Search results for "lp"
| Artist |
Album |
Format |
Label & Cat. Number |
Year |
Price (incl. 19% VAT) |
|
| 23 SKIDOO |
Seven Songs |
do-LP |
LTM Publishing LTMLP 2528 |
2012 |
€27.50 |
 |
| 400 LONELY THINGS |
same |
LP |
Bronsonunlimited BRO 000 LP |
2003 |
€20.00 |
|
| 87 CENTRAL |
Formation |
CD |
Staalplaat STCD 187 |
2003 |
€8.00 |
|
| ABOVE THE RUINS |
Songs of the Wolf |
LP |
Infinite Fog Prod. IF-85 LP |
2018 |
€20.00 |
|
| ADAMSON, BARRY + PAN SONIC + HAFLER TRIO |
The Hymn of the 7th Illusion |
LP |
Cold Spring Records CSR241LP |
2017 |
€18.00 |
|
| AESTHETIC MEAT FRONT |
Essence of Rituals |
LP |
Old Europa Cafe OELP 028 |
2019 |
€20.00 |
|
| AF URSIN |
Aura Legato |
LP |
Blackest Ever Black BLACKESTLP012 |
2016 |
€26.00 |
|
| AGNIVOLOK |
Sculptor |
LP |
State Art AVANT 004 |
2002 |
€12.50 |
|
| AKERLUND, LARS & ZBIGNIEW KARKOWSKI |
Aware Not Aware/Radio Enemy |
LP |
Fylkingen Records FYLP 1037 |
2016 |
€16.00 |
|
| AKIYAMA, MITCHELL |
Mort aux vaches |
CD |
Staalplaat / Mort aux Vaches |
2004 |
€14.50 |
|
| AKSAK MABOUL |
Figures |
do-LP |
Crammed Disc CRAM 300DLP |
2020 |
€25.00 |
|
| AL-QASAR |
Wo are we? |
LP |
Glitterbeat GBLP130 |
2022 |
€22.50 |
|
| ALIO DIE / PARALLEL WORLDS |
Circo Divino |
LP |
Hic Sunt Leones HSL055LP |
2010 |
€16.50 |
|
| ALLETT, JACK |
The Object isn't there |
LP |
AudioMER 017 LP |
2017 |
€18.00 |
|
| ALOG |
Amateur |
do-LP |
Rune Grammofon RLP3063 |
2007 |
€22.00 |
|
| |
Islands of Memory |
LP |
Creaked Records CRDSLP 6 |
2006 |
€15.00 |
|
| ALVA NOTO |
Kinder der Sonne |
do-LP |
NOTON 058LP |
2023 |
€27.50 |
|
| AMBARCHI, OREN |
A Final Kiss on Poisoned Cheeks |
LP |
Table of the Elements TOE-LP-95 / Am95 (Americum) |
2008 |
€17.50 |
|
| AMENRA / CAVE IN / MARISSA NADLER |
Songs of Townes van Zandt Vol. III |
LP |
My Proud Mountain MPM029LP / Neurot Recordings |
2022 |
€25.00 |
|
| APALUSA |
Obadiah |
CD |
Low Point LP021 |
2008 |
€12.00 |
|
| APSE |
Climb up |
do-LP |
ATP Recordings ATPRLP34 |
2009 |
€17.50 |
|
| ASTRID & RACHEL GRIMES |
Through the Sparkle |
LP |
Gizeh GZH073LP |
2017 |
€20.00 |
|
| ATELEIA & BENJAMIN CURTIS |
Baghdad Batterie |
LP |
Table of the Elements TOE-LP-93 / Np 93 Neptunium |
2008 |
€17.00 |
|
| AU |
Mort aux vaches |
CD |
Staalplaat |
2004 |
€10.00 |
|
| AUN |
Alpha Heaven |
CD |
Denovali Records DEN 172 |
2013 |
€14.50 |
|
| AUTOPSIA |
Colonia |
CD |
Staalplaat STCD158 |
2002 |
€8.00 |
|
| B.E.F. |
Music for Stowaways |
LP |
Cold Spring CSR310LP |
2023 |
€23.50 |
|
| BABY DEE |
A Book of Songs for Annie Marie |
LP |
Tin Angel Records TARA013LP |
2010 |
€15.00 |
|
| BAKER, AIDAN |
Scalpel |
CD |
The Kora Records TKR 008 (Micro Series #2) |
2007 |
€12.00 |
|
| BARBIERI, CATERINA |
Fantas Variations |
do-LP |
EMEGO 279LP |
2021 |
€25.50 |
|
| BASINSKI, WILLIAM |
A Shadow in Time |
LP |
Temporary Residence Lim. TRR278LP |
2017 |
€25.00 |
|
| BATES, MARTYN |
Americas Dissonance |
LP |
Beta-Lactam Ring Records mt197lp |
2007 |
€20.00 |
|
| BEKAERT, JACQUES |
Jacques Bekaert |
LP |
METAPHON 015LP |
2022 |
€24.00 |
|
| BERIO, LUCIANO |
Differences |
LP |
Lilith LRLP121 |
2006 |
€16.50 |
|
| BERTOIA, HARRY |
Sonambients : The Sound Sculpture of Harry Bertoia |
CD + DVD |
Important Records / Sonambient FW-1034 |
2017 |
€24.00 |
|
| |
Experimental I / Mechanical I |
LP |
Sonambient FW1035LP |
2019 |
€25.00 |
|
| BIBLE, JEREMY & JASON HENRY |
Vryashn |
LP |
Infraction Records INFX 049 LP |
2011 |
€18.00 |
|
| BIG CITY ORCHESTRA |
The Beatlerape (Sound effects library Volume four) |
CD |
Staalplaat STBCO |
0000 |
€13.00 |
|
| BIOSPHERE |
Substrata |
do-LP |
Biophon Records BIO5LP |
2011 |
€33.50 |
|
|
Shenzhou |
3 x LP |
Biophon Records BIO27LP |
2017 |
€36.00 |
|
|
The Senja Recordings |
do-LP |
Biophon Records BIO31LP |
2019 |
€28.50 |
|
|
Dropsonde |
3 x LP |
Biophon Records BIO33LP |
2020 |
€32.00 |
|
|
N-Plants |
do-LP |
Biophon Records BIO6LP |
2020 |
€32.00 |
|
|
Shortwave Memories |
do-LP |
Biophon Records BIO36LP |
2022 |
€29.50 |
|
| |
Inland Delta |
do-LP |
Biophon Records BIO39LP |
2023 |
€26.50 |
|
| BLACK TO COMM |
Alphabet 1968 |
CD |
Type Records TYPE053 |
2009 |
€15.00 |
|
| |
Oocyte Oil & Stolen Androgens |
LP |
Thrill Jockey THRILL534LPX |
2020 |
€26.00 |
|
| BLITZOIDS |
Steeling from helpless children / Look up |
do-CD |
Ad Hoc Records AD HOC 16/17 |
2006 |
€14.00 |
|
| BLOCK, OLIVIA |
Karren |
LP |
Sedimental SEDLP062 |
2013 |
€19.00 |
|
| BODIN, LARS-GUNNAR |
Clouds |
LP |
Fylkingen Records FYLP 1020 |
1977 |
€15.00 |
|
| BOHREN & DER CLUB OF GORE |
Dolores |
do-LP |
PIAS Recordings PIASR145DLP |
2014 |
€23.00 |
|
| BRANCA, GLENN |
Indeterminate Activity of Resultant Masses |
CD |
Atavistic ALP046cd |
2007 |
€14.50 |
|
|
Symphony # 5: Describing Planes of an Expanding Hypersphere |
CD |
Atavistic ALP15CD |
1996 |
€14.00 |
|
| |
Symphony # 6: Devil Choirs at the Gates of Heaven |
CD |
Atavistic ALP10 |
1993 |
€14.00 |
|
| BRAND, JENS |
Ratchets // Motors |
LP |
Staalplaat SP- theta |
2023 |
€18.50 |
|
| BURKE, DAN & KEVIN DRUMM |
Mort aux Vaches |
CD |
Mort aux Vaches / Staalplaat |
2003 |
€14.50 |
|
| BURNES, ANDREW |
Telescope |
LP |
Table of the Elements TOE-LP-98 / Cf98 |
2008 |
€17.00 |
|
| BURROUGHS, WILLIAM S. |
Curse Go Back |
LP |
Paradigm PD 031LP |
2016 |
€22.00 |
|
|
Break Throuigh in Grey Room |
LP |
DAIS Records DAIS197LPC |
2023 |
€25.00 |
|
| |
Break Through in Grey Room |
LP |
DAIS Records DAIS197LPC |
2023 |
€25.00 |
|
| BURROUGHS, WILLIAM S. & BRION GYSIN |
same |
LP |
Cold Spring CSR293LP |
2021 |
€28.00 |
|
| BVDUB |
Wrath & Apathy |
do-LP |
n5MD - MD286LP |
2020 |
€32.00 |
|
| CARTER TUTTI VOID |
Play Chris & Cosey |
do-LP |
Conspiracy International CTILP012014 |
2015 |
€29.50 |
|
| |
Triumvirate |
LP |
Conspiracy International CTICVLP2019 |
2019 |
€26.50 |
|
| CASAS, CARLOS |
Mutia (special ed.) |
3 x LP |
Matiere Memoire MATME-002LP |
2019 |
€45.00 |
|
| CAUX, JACQUELINE |
Anna Halprin |
2 x DVD |
Jacqueline Caux |
2014 |
€35.00 |
|
| CHRIS & COSEY |
Exotika (violet vinyl) |
LP |
Conspiracy International - C.T.I. LP 16 |
2019 |
€23.00 |
|
| CHROME |
Third from the Sun |
LP + CD |
Lilith Records LRLP 318 |
2010 |
€18.00 |
|
| CLEMENTI, ALDO |
Collage |
LP |
Alga Marghen NMN 167LP |
2023 |
€22.50 |
|
| COIL |
A Prison Of Measured Time (col. vinyl) |
12inch |
Old Europa Cafe OELP 033 |
2020 |
€30.00 |
|
|
Sara Dale's Sensual Massage |
do-LP |
Infinite Fog Productions IF-102LP |
2020 |
€34.00 |
|
|
Love's Secret Domain (GOLD) |
3 x LP |
Infinite Fog IF-104LP* |
2021 |
€49.50 |
|
|
The Ape of Naples |
3 x LP set |
Infinite Fog IF-111 LP |
2022 |
€46.00 |
|
|
The Ape of Naples (White) |
3 x LP set |
Infinite Fog IF-111 LP |
2022 |
€48.50 |
|
|
The New Backwards (special edition) |
3 x pic-LP |
Infinite Fog Prod. IF-108LP* |
2022 |
€79.00 |
|
|
Love's Secret Domain (colour in colour) |
LP |
Kontakt Audio - AKT04LPcol |
2022 |
€39.00 |
|
| |
The New Backwards (colour in colour) |
LP |
Kontakt Audio AKT11LP |
2022 |
€39.00 |
|
| COLECLOUGH, JONATHAN & TIM HILL |
Beech for John and Miho |
CD |
SealPool SPOOL001 |
2003 |
€15.00 |
|
| COLLECTIONS OF COLONIES OF BEES |
Six Guitars |
LP |
Table of the Elements TOE-LP-92 / U 92 Uranium |
2008 |
€17.00 |
|
| CONCERT SILENCE |
Rain Furniture |
LP |
Infraction INFX 047LP |
2010 |
€16.00 |
|
| CONTROLLED DEATH / RUDOLF EB.ER |
Death Ceremonies |
LP |
Cold Spring CSR283LP |
2020 |
€25.00 |
|
| CORRUPTED |
Felicific Algorithim |
12inch |
Cold Spring Records CSR240LP |
2018 |
€20.00 |
|
| CORTINI, ALESSANDRO & LAWRENCE ENGLISH |
Immediate Horizon |
LP |
Important Records IMPREC466LP |
2018 |
€30.00 |
|
| CORTINI, ALESSANDRO & MERZBOW |
same |
do-LP |
Important Records IMPREC431LP |
2017 |
€32.00 |
|
| COSEY FANNI TUTTI |
Tutti |
LP |
Conspiracy International CTITUTTILP2018 |
2019 |
€29.50 |
|
| CULPIS |
Situation Vacant Columns |
CD |
PARA disc PACD011 |
2003 |
€13.00 |
|
| CUPPLES, AARON |
Island of the Hungry Ghost (OST) |
LP |
PAN - PAN110LP |
2021 |
€24.00 |
|
| CZUKAY, HOLGER |
Cinema |
5 x LP-BOX + DVD + 7inch VINYL-VIDEO |
Grönland Records LPGRON180 |
2018 |
€120.00 |
|
| DANIELL, DAVID |
I-IV-V-I |
LP |
Table of the Elements TOE-LP-99 / Es99 |
2008 |
€17.00 |
|
| DE WAARD, FRANS |
This is supposed to be a record label. Staalplaat: Eleven Years Of Distortion In The Independent Music Industry |
BOOK |
Korm Plastics |
2020 |
€12.00 |
|
| DEAD CAN DANCE |
Dionysus |
LP |
[PIAS] Recordings PIASR440LP |
2018 |
€28.00 |
|
| DEATHPROD |
Sow Your Gold in the White Foliated Earth |
LP |
Smalltown Supersound STS402LP |
2022 |
€26.50 |
|
| DEISON / MATTEO UGGERI |
In the other House |
LP |
FinalMuzik Fmv05 / Loud! L!025 / Grey Sparkle GsLP10 |
2015 |
€15.00 |
|
| |
In the other House |
CD-R |
Loud! L!025 / Grey Sparkle GsLP10 |
2015 |
€10.00 |
|
| DELPHIUM |
 Snowhill-X EP (SOLD OUT) |
7 |
Drone Records DR-24 (2nd) |
2002 |
€6.00 |
|
| |
Snowhill X (SOLD OUT) |
7inch |
Drone Records DR-24 |
1997 |
€ |
|
| DELPLANQUE, MATHIAS |
La Plinthe |
CD |
Optical Sound OS 034 |
2008 |
€15.00 |
|
|
Ma Chambre quand je n'y suis pas (Paris) |
mCD-R |
Taalem alm 56 |
2009 |
€5.00 |
|
|
Drachen |
LP |
Ici d'ailleurs Mind Travels Serie MT 06 |
2015 |
€16.00 |
|
|
Chutes |
CD |
Baskaru karu:023 |
2013 |
€12.00 |
|
| |
O Seuil |
CD |
Ici d'ailleurs Mind Travels Serie MT015 |
2022 |
€14.00 |
|
| DET KÄTTERSKA FÖRBUND |
Lidaverken Del I: Att I Vådeld Förgås |
LP |
Cold Spring CSR265LP |
2021 |
€22.00 |
|
| DEUPREE, TAYLOR |
Mur |
LP |
Dauw - DAUWLP017 |
2021 |
€23.00 |
|
| DHOMONT, FRANCIS |
Birthdays |
LP |
Beniffer Editions BFF130LP |
2012 |
€18.00 |
|
| DIE FORM |
Baroque Equinox |
2LP+CD+DVD-BOX |
Trisol TRI 583 LP+CD |
2017 |
€45.00 |
|
| DIMUZIO, THOMAS & ALAN COURTIS |
Monk Style or Scream |
LP |
Monotype Records monoLP026 |
2017 |
€18.00 |
|
| DORA, DELPHINE ET MOCKE |
Le Corps Defendant |
do-10inch |
Okraina # 11 |
2017 |
€20.00 |
|
| DRAFTED BY MINOTAURS |
Aversion Therapy |
do-LP |
Infraction INFX038LP |
2009 |
€26.00 |
|
| DRAPE |
An Idea and its Map |
LP |
Infraction INFX 052 LP |
2012 |
€25.00 |
|
| DRUMM, KEVIN |
The Back Room |
LP |
Monotype Records monoLP 021 |
2016 |
€18.00 |
|
|
Inexplicable Hours |
do-LP & CD |
Sonoris LP03 |
2018 |
€27.00 |
|
| |
Battering Rams |
LP |
A Sunken Mall - ASM05LP |
2023 |
€22.50 |
|
| DRØNE / DROENE / DRONE (MARK VAN HOEN / MIKE HARDING) |
A Perfect Blind |
LP |
Pomperipossa Records PRLP3 |
2017 |
€16.00 |
|
| DUNCAN, JOHN |
Mort aux vaches |
CD |
Mort aux Vaches / Staalplaat |
1998 |
€20.00 |
|
| DWARFS OF EAST AGOUZA |
Rats don't eat Synthesizers |
LP |
Akuphone AKULP1008 |
2018 |
€22.00 |
|
| DZIADOSZ, BARTOSZ & TOMASZ MRENCA |
Black Lake |
LP |
Infraction INFX 074 LP |
2020 |
€23.00 |
|
| DÄLEK {DALEK] |
Endangered Philosophies |
do-LP |
Ipecac Recordings IPC194LP |
2017 |
€29.50 |
|
| |
Precipice |
do-LP |
Ipecac Recordings IPC240LP |
2022 |
€33.50 |
|
| EARTH |
A Bureaucratic Desire for Extra Capsular Extraction |
do-LP |
Southern Lord LORDLP 122 |
2010 |
€29.00 |
|
| EASTLEY, MAX / STEVE BERESFORD / PAUL BURWELL / DAVID TOOP |
Whirled Music |
LP |
Black Truffle BT034LP |
2018 |
€23.00 |
|
| EINHEIT, ESCH & MUR |
Terre Haute |
LP |
Rustblade RBLLLP008 |
2015 |
€22.00 |
|
| EINSTÜRZENDE NEUBAUTEN |
1/2 Mensch |
LP |
Potomak / Freibank LP 26141 |
2002 |
€22.00 |
|
|
Haus der Lüge |
LP |
Potomak / Freibank LP 20001 |
2002 |
€22.00 |
|
|
Zeichnungen des Patienten O.T. |
LP |
Potomak / Freibank LP 19901 |
2003 |
€22.00 |
|
|
Phase IV : the box set (Alles in Allem) |
LP-Box |
Potomak LP 196001 |
2020 |
€90.00 |
|
|
Grundstück |
LP + DVD |
Potomak LP 158681 |
2018 |
€31.00 |
|
| |
Rampen - APM: Alien Pop Music (lim. yellow vinyl) |
do-LP |
Potomak LP 256091 |
2024 |
€48.00 |
|
| ELEH |
Home Age |
LP |
Important Records IMPREC 454LP |
2017 |
€25.00 |
|
| ELPH VS. COIL |
Worship the Glitch |
CD |
DAIS Records DAIS115 |
2018 |
€16.50 |
|
| |
Worship the Glitch (coloured v.) |
do-LP |
DAIS Records DAIS 115* |
2018 |
€34.00 |
|
| ENCOMIAST |
Malpais |
mCDR |
Taalem alm68 |
2010 |
€5.00 |
|
| ENGLISH, LAWRENCE |
Cruel Optimism |
LP |
Room40 RM470LP |
2017 |
€26.00 |
|
| ENSTRÖM, ROLF |
TNT |
LP |
Fylkingen Records FYLP 1031 |
1986 |
€18.00 |
|
| ESPLENDOR GEOMETRICO |
Desarrollos Geometricos |
LP |
Geometrik Records GR 2123LP |
2011 |
€20.00 |
|
| |
Nador |
LP + 7inch |
Geometrik GRLP 2134 |
2015 |
€23.50 |
|
| EX-EASTER ISLAND HEAD |
Mallet Guitars Three |
LP |
Low Point LP055 |
2013 |
€17.50 |
|
| |
Twenty-Two Strings |
LP |
Low Point LP063 |
2016 |
€17.00 |
|
| EYELESS IN GAZA |
Rust Red September |
do-LP |
Letthemeatvinyl LETV273LP |
2015 |
€28.50 |
|
| FAUST |
j US t (Just us) |
LP & CD |
Bureau B BB182LP |
2014 |
€22.00 |
|
| |
Punkt |
LP |
Bureau B - BB 392LP |
2022 |
€22.50 |
|
| FENNESZ |
June |
LP |
Table of the Elements TOE-LP-100 / Fm100 (Fermium) |
2008 |
€17.00 |
|
| |
17.02.12 |
do-LP |
Song Cycle 170212DLP |
2013 |
€29.00 |
|
| FERRARI, BRUNHILD & CHRISTOPH HEEMANN |
Stürmische Ruhe |
LP |
Black Truffle BF036LP |
2022 |
€28.00 |
|
| FERREYRA, BEATRIZ |
Senderos de luz y sombras |
LP |
RECOLLECTION GRM - REGRM 027LP |
2023 |
€20.00 |
|
| FIN DE SIECLE |
Nine barns |
LP |
OPN Records OPNLP001 |
2007 |
€14.00 |
|
| FISER, LUBOS |
Valerie A Tyden Divu (Valerie and her Week of Wonders) |
LP |
FKR009LPXA / XB |
2018 |
€20.00 |
|
| FIVE ELEMENTS MUSIC |
Sylphstream |
CD-R |
Still*Sleep SS16 |
2008 |
€9.00 |
|
| FOSSIL AEROSOL MINING PROJECT [FAMP] |
August 53rd |
LP |
Helen Scarsdale HMS043LP |
2018 |
€23.00 |
|
| FRICKE, STEFAN & ALPER MARAL |
Am Grabe. Ein Audio-Ritual / At the Grave. An audio ritual |
do-LP |
Edition Telemark 903.04 |
2019 |
€28.50 |
|
| FULLMAN, ELLEN |
In The Sea |
do-LP |
Superior Viaduct SV174LP |
2020 |
€27.50 |
|
| GALBRAITH / NEILSON / YOUNGS |
Belsayer Time |
LP |
Time-Lag Records TLR 034LP |
2006 |
€22.50 |
|
| GAMMELSAETER & MARHAUG |
Higgs Boson |
LP |
Ideologic Organ SOMA 043LP |
2022 |
€24.00 |
|
| GEINS'T NAIT & L. PETITGAND |
Like This Maybe or This |
LP |
Ici D'Ailleurs MT12LP |
2021 |
€18.00 |
|
| GENESIS P-ORRIDGE & DAVE BALL |
Imagining October (Dir. Derek Jarman) O.S.T. |
LP |
Cold Spring CSR300LP |
2022 |
€26.50 |
|
| GENOCIDE ORGAN |
Live in Japan 2007 |
LP |
Tesco 077 LP |
2009 |
€20.00 |
|
| GNOD |
Chapel Perilous |
LP |
Rocket Recordings LAUNCH132LP |
2018 |
€24.00 |
|
| GODFLESH |
Purge |
LP |
Avalanche Recordings AREC066LP |
2023 |
€30.00 |
|
| GOL & CHARLEMAGNE PALESTINE |
Pandamoniahbleeumm!!! |
LP |
Planam Golpal |
2009 |
€19.50 |
|
| GOL & GHEDALIA TAZARTES |
Alpes |
LP |
Planam Golta |
2013 |
€20.00 |
|
| GOVERNMENT ALPHA / HIKARI NO OKA |
Schwingend / Obelisk |
CD |
Licht-Ung |
2005 |
€13.00 |
|
| GUTHRIE, ANNE |
Brass Orchids |
LP |
Students of Decay SoD119LP |
2018 |
€16.50 |
|
| HAFLER TRIO |
Who Sees Goes On # 1 - 7 |
7 x 10inch vinyl SET |
Die Stadt DS03 - 08 / Walter Ulbricht Schallfolien WULP 019 - 025 |
1998 |
€300.00 |
|
| HAIGH, ROBERT |
Black Sarabande |
LP |
Unseen Worlds UW029LP |
2020 |
€20.00 |
|
| |
Human Remains |
LP |
Unseen Worlds UW043LP |
2022 |
€24.00 |
|
| HAINO, KEIJI / BALAZS PANDI / MERZBOW |
Become the Discovered, not the Discoverer |
do-LP |
RareNoise Records RNR111LP |
2019 |
€27.50 |
|
| HECKER, TIM |
Dropped Pianos |
LP |
Kranky KRANK161LP |
2011 |
€17.00 |
|
| |
The North Water (Original Score) |
LP |
Lakeshore Records / Invada - LSINV277LP |
2022 |
€29.50 |
|
| HELM |
Olympic Mess |
do-LP |
PAN PAN63LP |
2015 |
€27.00 |
|
| HENRIKSEN, ARVE |
Places of Worship |
LP |
Rune Grammofon RLP 3147 |
2013 |
€24.00 |
|
|
The Nature of Connections |
LP + CD |
Rune Grammofon RLP 3161 |
2014 |
€25.00 |
|
|
Towards Language |
LP + CD |
Rune Grammofon RLP 3192 |
2017 |
€25.00 |
|
|
The Height of the Reeds |
LP + CD |
Rune Grammofon RLP 3201 |
2018 |
€26.50 |
|
| |
Chiaroscuro |
LP |
Rune Grammofon RLP3037 |
2017 |
€25.00 |
|
| HENRY, PIERRE |
Malefices |
LP |
Cacophonic 6CACKLP |
2013 |
€22.00 |
|
| HUMAN LARVAE |
Behind blinding Light |
LP |
Freak Animal Records FA-LP-044 |
2017 |
€20.00 |
|
| ILLUSION OF SAFETY |
Mort aux vaches (II) |
CD |
Staalplaat / Mort aux Vaches |
1999 |
€15.00 |
|
| INADA, KOZO |
d [ ] |
maxi-CD |
Staalplaat STCD 154 |
2001 |
€10.00 |
|
| INFANT CYCLE & RAMUNAS YARAS / DELPHIUM |
Translation / Heart full of Soul |
do-mCDR |
Diophantine Discs n=5,6 |
2007 |
€8.00 |
|
| INFINITE MUSIC |
A Tribute to La Monte Young |
LP |
Fire Records FIRELP527 |
2018 |
€25.00 |
|
| IRISARRI, RAFAEL ANTON |
Agitas Al Sol |
LP |
Room40 RM 4158LP |
2022 |
€27.50 |
|
| |
Peripeteia (clear) |
LP |
DAIS Records DAIS150LPC1 |
2020 |
€24.00 |
|
| IVERSON AND WALTERS |
First Collection |
LP |
Infinite Fog IF-114 LP |
2022 |
€23.00 |
|
| JAZZKAMMER |
Mort aux vaches |
CD |
Staalplaat / Mort aux Vaches |
2005 |
€14.00 |
|
| JENSEN, CLARICE |
For this from that will be filled (silver) |
LP |
Miasmah MIALP041 |
2022 |
€23.50 |
|
| |
Esthesis |
LP |
130701 LP13-51 |
2022 |
€32.50 |
|
| JÜPPALA KÄÄPIÖ |
Alpen Ocean |
LP |
Omnimemento OM 09 |
2013 |
€19.50 |
|
| KA-SPEL, EDWARD |
Lyvv, China Doll |
CD |
Staalplaat S.T.CD 060 |
1993 |
€14.50 |
|
| KA-SPEL, EDWARD & MOTION KAPTURE |
Anagramma |
LP |
Rustblade RBL083LP |
2022 |
€30.00 |
|
| KABOOM KARAVAN |
The Log and the Leeway |
LP |
Miasmah MIALP046 |
2020 |
€26.00 |
|
| KHOST (DECONSTRUCTED AND RECONSTRUCTED BY) GODFLESH |
Needles into the Ground |
LP |
Cold Spring Records CSR215LP |
2016 |
€18.00 |
|
| KILLING JOKE |
Hosannas from the Basements of Hell (coloured deluxe vinyl) |
do-LP |
Cooking Vinyl COOKLP346DE |
2023 |
€28.00 |
|
| KIRKEGAARD, JACOB |
Black Metal Square |
LP |
Important Records IMPREC475LP |
2019 |
€39.00 |
|
| KLEISTWAHR |
This World is not my Home |
do-LP |
Fourth Dimension Records FD2LP115 |
2020 |
€23.00 |
|
|
Do Not |
LP |
FOURTH DIMENSION FD130LP |
2022 |
€18.00 |
|
| |
Mobility |
LP (single-sided) |
Fourth Dimension FDLP129 |
2022 |
€14.00 |
|
| KLOFT RETARDER |
Stolperfallen im zerebralen Subraum |
CD-R |
Verato Project verazität 004 |
2002 |
€8.00 |
|
| KMRU |
Stupor |
LP |
Other Power ACU09LP |
2023 |
€26.00 |
|
| KNURL |
Acetylphasia |
MC |
Impulsy Stetoskopu 047 |
2015 |
€8.00 |
|
| KOLLAPS |
Mechanical Christ |
LP |
Cold Spring Rec. CSR269LP |
2019 |
€18.00 |
|
| KONRAD KRAFT |
Temporary Audiosculptures and Artefacts |
CD |
Auf Abwegen aatp33 |
2011 |
€13.00 |
|
| KRAFTWERK |
Live 1971 |
do-LP |
BB B186LP |
2012 |
€36.50 |
|
| KRENG |
The Summoner |
LP |
Miasmah Recordings MIALP030 |
2015 |
€17.00 |
|
| |
Works for Abattoir Ferme 2007-2011 |
4 x LP BOX |
Miasmah MIA 020RE-LP |
2022 |
€65.00 |
|
| KRÜSI, HANS |
ExHK |
LP |
Alga Marghen MUSIQUE 001LP |
2023 |
€23.50 |
|
| KUBISCH, CHRISTINA / FABRIZIO PLESSI |
Two and Two |
LP |
Song Cycle Records CY988LP |
2017 |
€28.00 |
|
| KUUPUU |
Lumen Thäden |
LP |
Time-Lag Records TLR 044 LP |
2009 |
€23.50 |
|
| LANDING |
Passages through |
CD |
K Records KLP 146 |
2003 |
€15.00 |
|
| |
Third Sight |
LP |
El Paraiso Records EPR034LP |
2016 |
€23.00 |
|
| LE PLASTIQUE MYSTIFICATION GROUP |
A Stage of Salvation |
CD-R |
Kundalini Records LPMG-KR-004 |
0000 |
€8.00 |
|
| LEGENDARY PINK DOTS & KETVECTOR |
The Shock Exchange |
LP |
Rustblade RBLLPO11 |
2015 |
€23.00 |
|
| LEGENDARY PINK DOTS (LPD) |
All the King's Horses |
CD |
Caciocavallo CAD 28 |
2002 |
€13.50 |
|
|
All the King's Men |
CD |
ROIR RUSCD8278 |
2002 |
€14.00 |
|
|
Live at La Luna |
DVD |
Soleilmoon Recordings |
2004 |
€14.00 |
|
|
Pre-Millenial Single |
maxiCD |
Soleilmoon SOL 74 |
1998 |
€8.50 |
|
|
Island of Jewels |
CD |
SPV Poland SPV-L 0092 |
2002 |
€13.00 |
|
|
Paris in the Fall |
DVD |
Soleilmoon Recordings SDVD 8 |
2011 |
€14.00 |
|
|
Chemical Playschool 15 |
CD |
Rustblade RBL037 |
2012 |
€14.00 |
|
|
The Gethsemane Option |
CD |
Metropolis MET 872 |
2013 |
€15.00 |
|
|
Traumstadt 4 |
CD-R |
Terminal Kaleidoscope |
2013 |
€15.00 |
|
|
10 to the Power of 9 - Vol. 1 |
LP |
Rustblade RBLLP004 |
2014 |
€23.50 |
|
|
10 to the Power of 9 - Vol. 2 |
LP |
Rustblade RBLLP006 |
2015 |
€22.50 |
|
|
10 to the Power of 9 (special ed.) |
2 x CD bag |
Rustblade RBL046BOX |
2015 |
€40.00 |
|
|
Chemical Playschool 11, 12, 13 |
3 x CD BOX |
Caciocavallo CAD 3 |
2001 |
€42.00 |
|
|
Pages of Aquarius |
CD |
Metropolis MET 1016 |
2016 |
€15.00 |
|
|
From here you'll watch the World go by |
do-LP |
Rustblade RBLLP019 |
2017 |
€28.50 |
|
|
Angel in the Detail |
CD |
Metropolis MET 1190 |
2019 |
€16.50 |
|
|
Five Days... Complete |
do-LP |
Cleopatra CLO 09925 |
2019 |
€43.50 |
|
|
The Seismic Bleats of Quantum Sheep |
CD |
LPD self released |
2019 |
€18.50 |
|
|
Kleine Krieg |
do-CD |
Klanggalerie gg321 |
2020 |
€18.00 |
|
|
Five Days... Complete |
CD |
Cleopatra CLO 09925 |
2019 |
€16.50 |
|
|
The Crushed Velvet Apocalypse |
CD |
Soleilmoon Recordings SOL 175 CD |
2011 |
€17.00 |
|
|
Come out from the Shadows 4 - Live at Lounge AX Chicago 1993 |
do-LP BOX |
Rustblade Rec. RBL078LP |
2021 |
€33.00 |
|
|
Come out from the Shadows 4 - Live at Lounge AX Chicago 1993 |
3 x LP BOX |
Rustblade Rec. RBL078box |
2021 |
€105.00 |
|
|
Chemical Playschool Vol. 21 / 22 |
do-CD |
Terminal Kaleidiscope / LPD self-released |
2021 |
€22.50 |
|
|
Hallway of the Gods |
CD |
Soleilmoon Recordings SOL 50 CD |
1997 |
€15.00 |
|
|
From here you'll watch the World go by |
CD |
Soleilmoon Recordings SOL 28 CD |
1995 |
€15.50 |
|
|
Island of Jewels |
CD |
Metropolis MET 1246V |
2021 |
€16.00 |
|
|
Curse |
CD |
Metropolis MET 1247V |
2021 |
€15.00 |
|
|
The Museum of Human Happiness (col.) |
do-LP |
Metropolis Records MET 1274 |
2022 |
€36.00 |
|
|
The Museum of Human Happiness |
CD |
Metropolis Records MET 1274 |
2022 |
€16.00 |
|
|
The Maria Dimension - Complete Recordings |
3 x CD |
Soleilmoon Recordings SOL 187 CD |
2022 |
€43.00 |
|
|
Come out from the Shadows Vol. 5 / Parkzicht |
CD |
Old Europa Cafe OECD 317 |
2023 |
€15.00 |
|
| |
Faces in the Fire (40th Anniversary ed.) |
LP |
Play It Again Sam Records - PIAS 40 |
2023 |
€27.00 |
|
| LEJEUNE, JACQUES |
Early Works 1969-1970 |
LP |
Robot Records ROBOT 043LP |
2015 |
€26.50 |
|
| LES FRAGMENTS DE LA NUIT |
Musique de Nuit |
LP |
Denovali DENLP117 |
2012 |
€16.50 |
|
| LIAISONS DANGEREUSES |
same |
LP |
Soulsheriff Records SSLP06 |
2015 |
€17.50 |
|
| LIBEREZ |
Way through Vulnerability |
LP |
Alter ALT43LP |
2018 |
€18.00 |
|
| LILES, ANDREW |
Miraculous Mechanical Monster |
LP |
Dirter Promotions DPROMLP77 |
2010 |
€16.00 |
|
| |
It's only Pain |
LP |
Dirter Promotions DPROMLP18101937 |
2021 |
€30.00 |
|
| LISA CARBON |
Trio de Janeiro |
LP |
Quatermass QS 114 LP |
2001 |
€18.00 |
|
| LOCRIAN |
New Catastrophism |
LP |
PROFOUND LORE PFL 277LP |
2022 |
€17.50 |
|
| LOCRIAN & MAMIFFER |
Bless them that curse you |
do-LP |
Utech Records URLP069 / SIGE 013 |
2012 |
€29.50 |
|
| LULL |
Moments |
do-LP |
Cold Spring Records CSR295LP |
2021 |
€29.50 |
|
| M.B. (MAURIZIO BIANCHI) |
Aktivität |
LP |
ROTOR 054CLR-LP |
2016 |
€30.00 |
|
| MALONE, KALI |
All Life Long |
do-LP |
Ideologic Organ SOMA055LP |
2024 |
€32.50 |
|
| MALONE, KALI (FEATURING STEPHEN O'MALLEY & LUCY RAILTON) |
Does Spring Hide its Joy |
3 x LP |
Ideologic Organ SOMALP 50 |
2023 |
€49.50 |
|
| MARCHETTI, LIONEL |
Alpha Z Centauris |
MC |
Mirror Tapes MT010 |
2011 |
€9.00 |
|
| |
La grande vallee / Micro-climat |
LP |
RECOLLECTION GRM REGRM 026LP |
2021 |
€20.00 |
|
| MARCLAY, CHRISTIAN |
Records ’81-’89 |
CD |
Atavastic alp62cd1 |
1997 |
€15.00 |
|
| MARGITT HOLZT & THORSTEN SOLTAU |
Atvasinajumu un diferencetu EP |
pic-12inch |
Albert Deitzel Records Kat-Nr. 37A / M.M.Label M.M VINYLLP01 |
2011 |
€15.00 |
|
| MARHAUG, LASSE |
Context |
LP |
Smalltown Supersound STSLJN396LP |
2022 |
€28.50 |
|
| MASTER MUSICIANS OF BUKKAKE |
Further West Quad Cult |
LP |
Important Records IMPREC 411LP |
2015 |
€23.00 |
|
| MEIRINO, FRANCISCO & KIKO C. ESSEIVA |
Focus on Nothing on Focus |
LP |
Aussenraum ARLP001 |
2013 |
€16.00 |
|
| MENCHE, DANIEL |
Kataract (Alpha Mix) |
LP |
DeMego 008V |
2010 |
€15.00 |
|
| MENCHE, DANIEL / WILLIAM FOWLER COLLINS |
Raised Coils of the Giant Serpent of Eternity / I Heard only the Eternal Storm |
LP |
Sige Records SIGE028LP |
2014 |
€21.50 |
|
| MERZBOW |
Tamayodo |
pic-LP |
Rustblade rbllp002 |
2013 |
€29.00 |
|
| MERZBOW + GENESIS BREYER P-ORRIDGE |
A Perfect Pain |
LP |
Cold Spring RecordsCSR23LP |
2018 |
€22.00 |
|
| MERZBOW / ASKEW |
Level |
LP |
Rustblade RBLLP007 |
2015 |
€15.00 |
|
| MERZBOW / SUN RA |
Strange City |
LP |
Cold Spring Records CSR229LP |
2016 |
€20.00 |
|
| MIRRORRING (LIZ HARRIS & JESY FORTINO) |
Foreign Body |
LP |
Kranky KRANK162LP |
2012 |
€20.00 |
|
| MLEHST |
I am, I was, I will always be |
LP |
Belief Recordings brlp004 |
2006 |
€15.00 |
|
| |
A cautionary tale |
LP |
Belief Recordings brlp005 |
2007 |
€15.00 |
|
| MOGARD, ABUL |
Kimberlin (Original Soundtrack) |
LP |
Ecstatic ELP049 |
2019 |
€23.00 |
|
| MOGARD, ABUL / MAURIZIO BIANCHI |
Nervous Hydra / All this has passed forever |
LP |
Ecstatic ELP027 |
2017 |
€22.00 |
|
| MORAL ORDER |
Alpha + Omega |
LP |
Old Europa Cafe OELP036 |
2021 |
€23.50 |
|
| MOSS, JESSICA |
Pools of Light |
LP |
Constellation CST124LP |
2017 |
€23.00 |
|
| MOTHRA |
Doom Engine |
LP |
Cold Spring CSR284LP |
2020 |
€20.00 |
|
| MUELLER, JON |
Alphabet of Movements |
LP |
Type Records TYPE092V |
2011 |
€16.50 |
|
| MURCOF |
The Versailles Sessions |
do-LP |
Leaf Records BAY67LP |
2008 |
€18.50 |
|
| MURMER |
Songs for Forgetting |
LP |
Gruenrekorder GR172LP |
2016 |
€20.00 |
|
| MUSIC OF TRANSPARENT MEANS |
Selected Live Recordings |
LP |
DE LA CATESSEN RECORDS DLC 007LP |
2022 |
€25.00 |
|
| |
Chord from the Second Delphic Hymn |
LP |
De La Catessen DLC004 |
2023 |
€28.00 |
|
| MUSLIMGAUZE |
Speaking with Hamas |
CD |
Staalplaat STCD 140 |
1999 |
€15.00 |
|
|
Tandoor Dog |
CD |
Staalplaat / Muslimgauze Archive 13 |
2013 |
€15.50 |
|
|
Deceiver 3 & 4 |
do-CD |
Staalplaat / Muslimgauze Archive 12 |
2014 |
€20.00 |
|
|
Turkish Berlina |
CD |
Staalplaat / Muslimgauze Archive 17 |
2013 |
€15.50 |
|
|
Zilver / Feel the Hiss |
CD |
Staalplaat archive thirty |
2015 |
€15.50 |
|
|
Minaret Speaker |
CD |
Staalplaat archive twenty nine |
2015 |
€16.50 |
|
|
Abyssinia Selasie |
CD |
Staalplaat - Muslimgauze Archive 26 |
2015 |
€16.00 |
|
|
UZI |
LP |
Other Voices Records VOX 63 LP / Kompakt Audio AKT01 |
2021 |
€20.00 |
|
|
Jackal The Invizible |
do-LP |
Staalplaat - MG Archive 056 |
2021 |
€29.50 |
|
|
Muhammadunize |
do-LP |
Staalplaat - MG Archive 045 |
2022 |
€32.00 |
|
|
Farouk Enjineer |
do-LP |
Other Voices Records - VOX 66 LP |
2021 |
€30.00 |
|
|
Khan Younis |
pic-LP |
Other Voices VOX 58 LP / Kontakt Audio AKT 06 |
2022 |
€29.50 |
|
|
Eye For An Eye |
LP + 7inch |
Staalplaat - Archive058LP |
2023 |
€26.00 |
|
|
Lo-Fi India Abuse |
LP |
Other Voices VOX 74 LP / Kontakt Audio AKT07 |
2023 |
€24.00 |
|
|
Lo-Fi India Abuse |
pic-LP |
Other Voices VOX 74 LP / Kontakt Audio AKT07 |
2023 |
€29.00 |
|
| |
Turn on Arabic American Radio |
do-LP |
Staalplaat - MG archive 34 |
2023 |
€33.00 |
|
| MY HOME, SINKING |
King of Corns |
do-LP |
Infraction INFX 068 LP |
2017 |
€28.00 |
|
| MZ.412 |
Svartmyrkr |
LP |
Cold Spring Records CSR257LP |
2019 |
€22.00 |
|
| MZ.412 /TREPANERINGSRITUALEN |
X Post Industriale / Rituals 2015 e.V. |
do-LP |
Old Europa Cafe OELP 024 |
2017 |
€32.00 |
|
| NEPTUNE |
Gong Lake |
LP |
Table of the Elements / Radium TOE-LP-811 |
2008 |
€16.00 |
|
| NEU! |
Neu! |
LP |
Grönland LPGRON 1 |
2010 |
€16.00 |
|
| NEUROSIS & JARBOE |
same |
do-LP |
Neurot Recordings NR114LP |
2019 |
€26.00 |
|
| NIBLOCK, PHILL |
Music for Organ |
LP |
Matiere Memoire MMGO 005LP |
2019 |
€26.00 |
|
|
Exploratory I |
LP |
Matiere Memoire MATME008LP |
2021 |
€26.00 |
|
|
Exploratory II |
LP |
Matiere Memoire MATME009LP |
2021 |
€26.00 |
|
| |
Boston/Tenor/Index |
LP |
Alga Marghen NMN 173LP |
2023 |
€22.50 |
|
| NILSEN, BJ [BJ NILSEN] |
Massif Trophies |
LP |
EMego EMEGO 233LP |
2017 |
€16.50 |
|
| NIMH |
This crying Era |
LP |
Synästesie Schallplatten SS001 |
2012 |
€18.50 |
|
| NOETINGER, JEROME & LIONEL FERNANDEZ |
Outer Blanc |
LP |
Sonoris LP04 |
2021 |
€18.00 |
|
| NORDHEIM, ARNE |
Electric |
do-LP |
Rune Grammofon RLP 3002 |
2017 |
€45.00 |
|
| NORDVARGR + TREPANERINGSRITUALEN = ᚾᛟᚢ II // ᚦᛟᚦ ᚷᛁᚷ |
Alpha AEnigma |
CD |
Old Europa Cafe OECD 260 |
2018 |
€14.00 |
|
| NOVA, JACQUELINE |
Creacion de la Tierra - Ecos palpitantes de Jacqueline Nova: Musica electroacustica e instrumental (1964-1974) |
do-LP |
BUH Records BR 172LP |
2022 |
€34.00 |
|
| NURSE WITH WOUND |
To the Quiet Men from a Tiny Girl |
LP |
United Dirter DPROMLP152 |
2020 |
€23.50 |
|
|
Merzbild Schwet |
LP |
United Dirter DPROMLP153 |
2020 |
€23.50 |
|
|
The Ladies Home Tickler (And Other Exotic Devices) |
do-LP |
Dirter Promotions DPROM 162LP |
2022 |
€39.50 |
|
|
Brained By Falling Masonry/Cooloorta Moon |
pic-LP |
Dirter Prom. DPROM 164LP |
2023 |
€31.50 |
|
|
Alas The Madonna Does Not Function |
pic-LP |
Dirter Prom DPROM 161LP |
2022 |
€31.50 |
|
| |
Thunder Perfect Mind (special ed.) |
3 x pic-LP |
Infinite Fog Productions IF-119LPPIC |
2024 |
€88.00 |
|
| O'MALLEY, STEPHEN |
Keep an Eye out |
LP |
Table of the Elements TOE-LP-101 / Md Mendelevium |
2008 |
€18.00 |
|
| OFFTHESKY / PLEQ |
A Thousand Fields |
do-LP & 7inch |
Infraction INFX 061 LP / INFX 062 S |
2015 |
€32.00 |
|
| OLIVEROS, PAULINE |
The Well & The Gentle |
do-LP |
Important Records IMPREC459LP |
2023 |
€36.50 |
|
| OUR LOVE WILL DESTROY THE WORLD |
Fucking Dracula Clouds |
LP |
Blackest Rainbow Records BRR153LP |
2009 |
€16.00 |
|
| PALESTINE / VAINIO / THIELEMANS |
P V T |
LP |
Matiere Memoire MMGO 002LP |
2020 |
€23.00 |
|
| PALESTINE, CHARLEMAGNE |
Dingggdongggdinggg Vs. Singggsonggsinggg |
LP + 7inch |
Matiere Memoire MATME-001LP |
2018 |
€36.00 |
|
| PALESTINE, CHARLEMAGNE / GRUMBLING FUR TIME MACHINE ORCHESTRA |
ggrrreeebbbaaammmnnnuuuccckkkaaaiiioooww!!! |
LP |
Important Records IMPREC 409LP |
2015 |
€25.00 |
|
| PALMER, AMANDA & EDWARD KA-SPEL |
I can spin a Rainbow |
do-LP |
8ft. Records 8FT035LP |
2017 |
€27.50 |
|
| PAN AMERICAN |
White Bird Release |
LP |
Kranky KRANK LP128 |
2009 |
€15.00 |
|
| PAN SONIC & CHARLEMAGNE PALESTINE |
Mort aux Vaches |
do-LP |
Matiere Memoire MMGO 001LP |
2019 |
€34.00 |
|
| PARTCH, HARRY |
World of Harry Partch |
LP |
8th Records ETH7207HLP |
2018 |
€20.00 |
|
| |
Plectra and Percussion Dances |
LP |
Jeanne Dielman JD116LP |
2016 |
€18.00 |
|
| PERILA |
How much time is it between You and Me |
LP |
Smalltown Supersound STS383LP |
2021 |
€22.50 |
|
| PERRY, BRENDAN |
Eye of the Hunter / Live at the ICA |
do-LP |
4AD - 4AD 0555 LPX |
2023 |
€44.50 |
|
| PHURPA |
Rituals of Bön I |
LP |
Zoharum ZOHAR 126-1 LP |
2016 |
€20.00 |
|
| PHURPA + MARE DI DIRAC |
Misericordia |
LP |
4iB Records 4iB LP/0915/025 |
2017 |
€15.00 |
|
| PICK-UP |
Mouthless |
LP |
Important Records IMPREC 243LP |
2009 |
€15.00 |
|
| PIMMON |
Mort aux vaches |
CD |
Staalplaat / Mort aux Vaches |
2003 |
€14.00 |
|
| PIPELINE ALPHA |
Evocation of Seth |
CD |
Triage Industries |
2007 |
€10.00 |
|
| PIPELINE ALPHA VS. MESSIAH COMPLEX |
Darking lights of Babylon |
CD-R |
Amid the Waves amid 02 |
2009 |
€10.00 |
|
| PLOTKIN, JAMES & PAAL NILSSEN-LOVE |
Death Rattle |
LP & CD |
Rune Grammofon RLP3148 |
2013 |
€22.50 |
|
| POLMO POLPO |
Like Hearts Swelling |
CD |
Constellation CST 026-1 |
2003 |
€16.00 |
|
| |
Like Hearts Swelling |
LP |
Constellation CST 026-1 |
2003 |
€16.00 |
|
| PRIME / PREVOST / O'ROURKE |
Alpha Lemur echo two |
CD |
Mycophile Records SPOR 05 |
2001 |
€13.50 |
|
| PSYCHIC TV |
Those who do not |
do-LP |
Cold Spring CSR323LP |
2023 |
€31.00 |
|
| RADIGUE, ELIANE |
In Memoriam-Ostinato / Danse des Dakinis |
LP |
Alga Marghen NMN 170LP |
2022 |
€24.00 |
|
| RAISON D'ETRE |
Prospectus I |
do-LP |
Cyclic Law - 127th Cycle / Old Europa Cafe OELP 026 |
2018 |
€27.50 |
|
|
Enthralled by the Wind of Loneliness |
do-LP |
Cyclic Law - 128th Cycle / Old Europa Cafe OELP 027 |
2018 |
€27.50 |
|
|
Within the Depths of Silence and Phormations |
do-LP |
Old Europa Cafe OELP 029 / Cyclic Law 139th Cycle |
2020 |
€28.50 |
|
| |
In Sadness, Silence and Solitude |
do-LP |
Old Europa Cafe OELP 030 / Cyclic Law 140th Cycle |
2020 |
€28.50 |
|
| RAPOON |
Raising Earthly Spirits |
do-LP BOX |
Other Voices VOX 71 LP / Kontakt Audio AKT08LP |
2023 |
€42.50 |
|
| |
Ten Four: Centred Horizons (lim. blue vinyl) |
LP |
Winter-Light WIN 047LP* |
2022 |
€28.50 |
|
| RATKJE, MAJA S. |
Crepuscular Hour |
do-LP / DVD / CD |
Rune Grammofon RLP 2181 |
2016 |
€34.00 |
|
| |
Sult |
LP |
Rune Grammofon RLP3204 |
2019 |
€25.00 |
|
| RESIDENTS |
Coochie Brake |
LP |
Cryptic Corp. / MVD Audio MVD5294LP |
2011 |
€15.00 |
|
|
Mole Box |
6 x CD BOX |
Cherry Red / New Ralph Too - NRTBOX010 |
2019 |
€45.00 |
|
| |
RESIDENTS - The Third Reich'n' Roll |
do-LP |
New Ralph Too NRTLP003D / MVD Audio / Cherry Red |
2023 |
€49.50 |
|
| REYNOLS |
Minecxio Greatest No Hits |
LP |
Beat Generation BEAT 099LP |
2023 |
€26.00 |
|
| ROIGK, STEFAN |
The Rising of Matteo |
CD |
Tochnit Alelph TA110 |
2015 |
€13.00 |
|
| ROSE, NEIL |
Wilbur Whateley / Psychopomps |
LP |
ONEC Records onec 003LP |
2009 |
€13.00 |
|
| ROSENQVIST, DAG & SIMON SCOTT |
Conformists |
LP |
Low Point LP038 |
2010 |
€15.00 |
|
| SALOMAN, GABRIEL |
Adhere |
LP |
Miasmah MIALP021 |
2012 |
€16.00 |
|
| SAMARTZIS, PHILIP |
Mort aux vaches |
CD |
Staalplaat / Mort aux Vaches |
2002 |
€13.50 |
|
| SANTOS SILVA, SUSANA / HAMPUS LINDWALL / TORBJORN ZETTERBERG |
Hi! Who are you? |
LP |
Matiere Memoire MATME-004LP |
2019 |
€23.00 |
|
| SCAPULAR |
Devotional LP |
CD |
Silentes / 13(3) - sps2038 |
2020 |
€12.00 |
|
| SCHICKERT, GÜNTER & PETER UNSICKER |
Mauerharfe |
LP + CD |
Marmo Music MARMO LP 02 |
2019 |
€22.50 |
|
| SCOTT, SIMON (SIMON SCOTT) |
Navigare |
LP |
Miasmah Recordings MIALP010 |
2009 |
€18.00 |
|
| SENSSURROUND ORCHESTRA |
Mort aux Vaches: Meltdown Of Control |
CD |
Staalplaat / Mort aux Vaches |
2000 |
€13.00 |
|
| SERRIES, DIRK |
Microphonics XXI-XXV |
do-10inch & CD |
Tonefloat lptf130 |
2013 |
€27.50 |
|
| SERRIES, DIRK / RUTGER ZUYDERVELT |
Buoyant Live |
LP |
Tonefloat TFLP169 |
2016 |
€19.50 |
|
| SHE SPREAD SORROW |
Huntress |
LP |
Cold Spring CSR282LP |
2021 |
€23.00 |
|
| SIEBEN |
Each Divine Spark |
LP |
Dark Vinyl Records DVLP-7 |
2014 |
€19.50 |
|
| SIGUR ROS |
Kveikur |
do-LP & 10inch |
XL Recordings XLLP606X |
2013 |
€26.00 |
|
| SILVERMAN |
Finisterre |
CD-R |
Terminal Kaleidoscope / LPD self-released |
2013 |
€13.00 |
|
| SION ORGON |
Dust |
LP |
Lumberton Trading Company LUMB029LP |
2021 |
€20.00 |
|
| SKALPELL |
Nothing important to tell so far |
CD |
Nothing important to tell so far |
2010 |
€7.00 |
|
| SKIN AREA / JARL |
La Petite Mort |
LP |
Malignant Records TUMORLP72 |
2014 |
€20.00 |
|
| SKULL DEFEKTS |
The Temple |
do-LP |
Important Records IMPREC 235LP |
2009 |
€22.00 |
|
| SKULLFLOWER / MASTERY |
split |
LP |
Cold Spring CSR165LP |
2013 |
€23.00 |
|
| SLEEP RESEARCH FACILITY/LLYN Y CWN |
Sargo / Posidonia |
LP |
Cold Spring CSR317LP |
2023 |
€23.50 |
|
| SMEGMA |
Mirage |
LP |
Important Records IMPREC 311 LP |
2010 |
€20.00 |
|
| SONIC YOUTH |
Bad Moon Rising |
LP |
Goofin' GOO 018LP |
2022 |
€26.00 |
|
| |
EVOL |
LP |
Goofin' GOO 019LP |
2022 |
€26.00 |
|
| SPECIMENS |
Sculptures |
LP |
First Terrace Records FTR001 |
2016 |
€18.00 |
|
| SPIEGEL, LAURIE |
The Expanding Universe |
3 x LP |
Unseen Worlds UW 19LP |
2019 |
€42.00 |
|
| SPK (S.P.K.) |
Zamia Lehmanni (Songs of Byzantine Flowers) |
LP |
Cold Spring CSR274LP |
2019 |
€23.50 |
|
| SUNN O))) |
Life Metal (Pinwheel green and purple vinyl) |
do-LP |
Southern Lord SUNN300LP2C |
2022 |
€35.00 |
|
| SUPERSILENT |
14 |
LP |
Smalltown Supersound STS332LP |
2018 |
€22.00 |
|
| SUTCLIFFE JUGEND |
Offal |
do-LP |
Cold Spring CSR209LP |
2016 |
€23.50 |
|
| SUZUKI, AKIO |
A I Sha / あいしゃ |
LP |
Edition Omega Point OP-0013LP |
2015 |
€32.00 |
|
| TAEHA TYPES |
Mechanical Keyboard Sounds: Recordings of Bespoke and Customized Mechanical Keyboards |
LP |
Trunk Records JBH 084 LP |
2019 |
€28.00 |
|
| TAPE LOOP ORCHESTRA |
Interiors Two |
LP + CD + BOOK |
Tape Loop Orchestra TLO INT LP 002 |
2019 |
€34.00 |
|
| |
Interiors Three |
LP + CD + BOOK |
Tape Loop Orchestra TLO INT LP 003 |
2019 |
€34.00 |
|
| TARIQUA 'ALAWIYA |
The \'Imara (The Dance of the Stars) |
LP |
Via Parigi VIA03LP |
2021 |
€25.00 |
|
| TEMPLE MUSIC |
Alpha - Barton upon Humber - St Peter |
CD-R |
Shining Day SHINE 07 |
2008 |
€9.00 |
|
| TERUGGI, DANIEL |
Sphaera |
LP |
RECOLLECTION GRM - REGRM028LP |
2023 |
€20.00 |
|
| TEST DEPARTMENT / TEST DEPT. |
Disturbance |
LP |
One Little Indian TLP1443 |
2019 |
€20.00 |
|
| |
Disturbance |
CD |
One Little Indian TLP1443CD |
2019 |
€13.00 |
|
| THE ALPS |
Jewelt Galaxies / Spirit Shambles |
CD |
SPEKK KK:008 |
2007 |
€15.50 |
|
| THE BRAIN |
All Human is Error |
LP |
Workshop of Filthy Creation WLP04 |
2022 |
€23.00 |
|
| |
Experiments for Guitar + Machines |
LP |
Workshop of Filthy Creation WLP02 |
2022 |
€23.00 |
|
| THE ROOTSMAN MEETS MUSLIMGAUZE |
Amahar |
do-LP |
Via Pargi VIA01LP |
2021 |
€28.00 |
|
| |
City of Djinn |
do-LP |
Via Parigi VIA05LP |
2022 |
€30.00 |
|
| THIS IMMORTAL COIL |
The World ended a long Time ago |
do-LP |
Ici D'Ailleurs IDA152LP |
2022 |
€26.00 |
|
| THO-SO-AA |
LPZG/BLGM Live |
LP |
Tesco Org. TESCO 091 |
2014 |
€18.00 |
|
| THROBBING GRISTLE |
Mission of Dead Souls |
LP |
Mute TGLP6 |
2018 |
€26.00 |
|
|
Journey Through a Body |
LP |
Mute TGLP8 |
2018 |
€26.00 |
|
| |
A Souvenir of Camber Sands |
do-LP |
Mute TGLP20 |
2019 |
€25.00 |
|
| TIETCHENS, ASMUS |
Nachtstücke |
LP |
Bureau B BB LP 155 |
2014 |
€19.50 |
|
| |
Der fünfte Himmel |
LP |
Bureau B BB LP 156 |
2014 |
€21.50 |
|
| TO / THOMAS TILLY |
Le Cebron / Statics and Sowers |
LP |
Aussenraum Records AR-LP-002 |
2014 |
€20.00 |
|
| TOOP, DAVID & PAUL BURWELL |
Suttle Sculpture |
LP |
Sub Rosa SUBLOGOS03 |
2018 |
€16.00 |
|
| TREPANERINGSRITUALEN |
Perfection & Permanence |
LP |
Cold Spring Records CSR198LP |
2017 |
€16.00 |
|
|
Deathward, To The Womb |
LP |
Cold Spring Records CSR222LP |
2017 |
€19.00 |
|
|
Yours is a Kingdom of Death |
LP |
Old Europa Cafe OELP 022 |
2018 |
€23.00 |
|
| |
Algir; Eller Algir I Merkstave |
LP |
Cold Spring Rec. CSP275LP |
2019 |
€22.50 |
|
| TSUNODA, TOSHIYA / JUSTIN BENNETT |
Cleavage of Acoustics / Cacerolada |
LP |
Stichting Mixer MLP03 ( Dertiende Mixer) |
2004 |
€12.00 |
|
| TUXEDOMOON |
Dark Companion / 59 to 1 remix |
7inch |
Celluloid CEL 1-6215 / Ralph Records |
1980 |
€7.00 |
|
| UGGERI, MATTEO |
The Next Wait |
LP + 7inch |
Infraction INFX 072 LP |
2019 |
€28.00 |
|
| ULVER |
Flowers of Evil |
LP |
House of Mythology HOM023LPY |
2020 |
€32.00 |
|
| UNFYROS |
Alpha Hunt |
CD |
Aural Hypnox [AHEE01] MMXXII |
2022 |
€13.00 |
|
| URBAN SAX |
Urban Sax 1 |
LP + DVD |
Wah Wah Records LPS152 |
2016 |
€24.00 |
|
|
Urban Sax 2 |
LP + DVD |
Wah Wah Records LPS153 |
2016 |
€24.00 |
|
|
Fraction sur le Temps |
LP + DVD |
Wah Wah Records LPS154 |
2016 |
€25.50 |
|
| |
Spiral |
LP + DVD |
Wah Wah Records LPS152 |
2016 |
€25.50 |
|
| V.A. (VARIOUS ARTISTS) (COMPILATIONS) |
Yokomono 02 (Staalplaat Soundystem + FENNESZ, PALESTINE, FM3, RADIAN, TIM HECKER, ILPO VAISANEN, etc.) |
LP |
Staalplaat |
2005 |
€13.50 |
|
|
Yokomono 03 |
LP |
Staalplaat |
2006 |
€12.50 |
|
|
Zelphabet Vol. A |
CD |
Zelphabet |
2008 |
€6.00 |
|
|
>Manifesto Rumorarmonico Post Futurista. Tributo a LUIGI RUSSOLO |
do-LP |
Old Europa Cafe OELP009 |
2008 |
€22.00 |
|
|
Zelphabet Vol. B |
CD |
Zelphabet |
2008 |
€10.00 |
|
|
Zelphabet Vol. D |
CD |
Zelphabet |
2008 |
€10.00 |
|
|
Zelphabet Vol. E |
CD |
Zelphabet |
2009 |
€11.00 |
|
|
Zelphabet Vol. F |
CD |
Zelphabet |
2009 |
€11.00 |
|
|
Zelphabet Vol. G |
CD |
Zelphabet |
2009 |
€11.00 |
|
|
Zelphabet Vol. H |
CD |
Zelphabet |
2009 |
€11.00 |
|
|
Twenty Centuries of Stony Sleep |
do-LP |
Rune Grammofon RLP 3100 |
2010 |
€22.00 |
|
|
Zelphabet Vol. K |
CD |
Zelphabet K |
2011 |
€11.00 |
|
|
Yokomono 03.5 ("triple grooved" MERZBOW, MIKA VAINIO, NO ARTIST, JAAP BLONK, CYNTHIA ZAVEN) |
LP |
Staalplaat - Yokomono 03.5 |
2012 |
€12.00 |
|
|
Swedish Contemporary Music |
LP |
Fylkingen Records FYLP 1030 |
1983 |
€16.50 |
|
|
Gyalpo |
CD |
Gterma gterma005 |
2012 |
€13.00 |
|
|
Smm: OPIATE |
LP |
Ghostly International GI 187LP |
2013 |
€17.00 |
|
|
Musique Concrete |
LP |
Cacophonic!!! 17CACKLP / Finders Keepers Records |
2016 |
€21.00 |
|
|
Strain, Crack & Break : Music from the Nurse With Wound List Vol. 1 (France) |
do-LP |
Finders Keepers Records FKR101LP |
2019 |
€24.00 |
|
|
SEITO: In the Beginning, Woman was the Sun |
LP |
Akuphone AKULP1016 |
2019 |
€21.50 |
|
|
Princess Nicotine |
LP |
Sublime Frequencies SF006LP |
2011 |
€22.50 |
|
|
Made to Measure Vol. 1 |
LP |
Crammed Discs MTM 1LP |
2021 |
€18.00 |
|
|
Strain, Crack & Break Vol. 2 : Germany |
do-LP |
Finders Keepers Records FKR108LP |
2021 |
€27.50 |
|
| |
XKatedral Anthology Series II |
do-LP |
XKatedral XK 023LP |
2023 |
€45.00 |
|
| VAN WISSEM, JOZEF / SQÜRL |
Only Lovers left Alive (OST) |
do-LP |
Sacred Bones SBR3038LP-C4 |
2021 |
€29.50 |
|
| VICENTE-SANDOVAL, DAFNE / LARS PETTER HAGEN |
Minos Circuit |
LP |
Portraits GRM SPGRM006LP |
2023 |
€20.00 |
|
| VINCENT, VERONIQUE & AKSAK MABOUL |
Ex-Futur Album |
do-LP |
Crammed Discs CRAMO14LP |
2015 |
€27.50 |
|
| VOLCANO THE BEAR |
Golden Rhythm / Ink Musik |
LP |
Rune Grammofon RLP 3127 |
2012 |
€20.00 |
|
| |
Commencing |
5 x LP BOX |
Miasmah MIALP032 |
2015 |
€90.00 |
|
| VOX POPULI! |
Psyko Tropix |
LP |
Touch Sensitive Records TSR22LP |
2022 |
€29.50 |
|
| VSV / LE PLASTIQUE MYSTIFICATION GROUP |
Hipnotique / Alkazar |
CD-R |
Kundalini Records LPMG-KR-003 |
0000 |
€8.00 |
|
| WADA, YOSHI |
Singing in Unison |
3 x LP |
EM Records EM1009LP |
2012 |
€45.00 |
|
| WELBURN, JAMES |
Hold |
LP |
Miasmah mialp 031 |
2015 |
€16.50 |
|
| WESTERHUS, STIAN |
Pitch Black Star Spangled |
LP |
Rune Grammofon RLP 3099 |
2010 |
€20.00 |
|
| |
The Matriarch and the wrong kind of Flowers |
LP |
Rune Grammofon RLP 3133 |
2012 |
€24.00 |
|
| WHITE NOISE |
An Electric Storm |
LP |
Island Records Stereo ILPS 9099 / 5313 125 |
2008 |
€20.00 |
|
| WHITEHOUSE |
Halogen |
LP |
Dirter Promotions DPROMLP109 |
2015 |
€23.00 |
|
| WHOTE (=THOMAS WATKISS) |
Align |
LP |
The Seventh Media VII-1001-LP |
2010 |
€18.50 |
|
| WINER, LESLIE & VON HAUSSWOLFF, C.M |
1 |
LP |
Monotype Records monoLP005 |
2015 |
€26.00 |
|
| WOODEN VEIL |
same |
LP |
Dekorder 035LP |
2009 |
€13.00 |
|
| WORK IN PROGRESS |
Berlin (MADERNA, ULLMANN, HESPOS) |
CD |
Work In Progress wlpb001 |
0000 |
€15.50 |
|
| X-NAVI:ET |
Dead City Voice |
LP |
Zoharum ZOHAR 053-1 LP / ETER 15v |
2013 |
€16.00 |
|
| YEN POX |
Between the Horizon and the Abyss |
do-LP |
Malignant Records TUMOR LP85 / Burning Inside Records BURNINS02 |
2016 |
€20.00 |
|
| YOUNG GODS, THE |
The Young Gods Play TERRY RILEY in C |
do-LP + CD |
Two Gentlemen Records TWOGTL 101- LP |
2022 |
€32.00 |
|
| ZAMMUTO |
Zammuto |
LP |
Temporary Residence Limited TRR209 LP |
2012 |
€16.00 |
|
| ZOS KIA |
23 |
3 x LP |
Infinite Fog Prod. IF-70-LP |
2018 |
€46.00 |
|
| ZSOLT SORES |
Astro-Noetic Chiasm (Ahad's Flux Worlds 2) |
LP |
Fourth Dimension Records FDLP136 |
2023 |
€20.00 |
|
"lp" entries in albums descriptions
| Artist |
Album |
Format |
Description |
Year |
Price (incl. 19% VAT) |
|
| 1997EV |
Zeta Reticuli |
LP |
first LP release by 1997EV - very bleak "minimal post-psychedelia" and deranged songs based on sparse electronics, guitar chords and spoken words.... - ".. a long, dark, trance inducing ritual journey verging on astral bad trip. Spooky, spacey, percussion-driven and guitar-loaded ballads unfold.. " - lim. 315 copies
|
2010 |
€8.00 |
|
| 23 SKIDOO |
The Culling is Coming |
CD |
re-release of this cult ritual gamelan-ambience LP from 1983, with DAVID TIBET as guest-musician. Contains 26 min. bonus-material, a whole unreleased session rec. in Belgium Oct. 1982 !! |
2003 |
€15.00 |
|
| |
Urban Gamelan |
CD |
URBAN GAMELAN was the third LP by 23 SKIDOO, originally released in 1984, an all-time classic with a unique and very percussive industrial-funk mixture.. this re-issue comes with 4 bonus tracks from two rare 12"es: "COUP" and "LANGUAGE".. back in stock!
|
2008 |
€14.50 |
|
| 400 LONELY THINGS |
Mother Moon |
CD |
surprising release on Cold Spring: after a long forgotten LP many years ago (2003),this is the first wider available CD for this US project, centered around a place called "Banning Mill" in Georgia, an art collective cultural house for outsiders and freaks in the backwoods of the American South 1970*s - 1990's >= nine pieces full of beautiful nostalgic ambience and magic loops, with a long story behind, produced by WILLIAM BASINSKI
|
2023 |
€15.00 |
|
| AALFANG MIT PFERDEKOPF |
Kindspechleber |
LP + CD |
six years after the 7" on Drone Rec. here's the first LP for this german experimental / electro-acoustic drone project (by MIRKO UHLIG), wo loves to work with obscure / surprising / dadaistic found sounds & delicate drones, creating disturbing & dark'n'beautiful atmospheres at almost the same time; quite unique stuff, a droney mind- & earplay.... comes with bonus CD & appropriate artwork from ROBERT SCHALINSKI (COLUMN ONE)
|
2012 |
€20.00 |
|
| ABOVE THE RUINS |
Songs of the Wolf |
LP |
re-issue of the only album by this short-lived band project of TONY WAKEFORD, recorded already 1984 shortly afer he left DIJ and release as lim. MC and LP/CD later ... "A splendid mix of post-punk, new wave and slightly folky, sound bears resemblance to early Death In June, Tony Wakeford's future project Sol Invictus and Joy Division" - this new re-issue contains two bonus tracks = everything that was ever recorded by this band; lim. 500
|
2018 |
€20.00 |
|
| ADMIN DADA |
The Hypnagogic Traveller |
LP |
promosing French analog drone / ambient project with first LP, dedicated to hypnagogic states, to discover! - "..one enters a form of psychedelic trip, as if the brain was following the modulations of the music, which becomes almost meditative and brings us closer to a shamanic trance state. It's a bit of a sound illustration of this particular moment when we leave the state of pure awakening to become more cottony... " - lim. 100 copies only !
|
2021 |
€20.00 |
|
| AF URSIN |
Aura Legato |
CD |
re-issue of AF URSINs second LP from 2005, for the first time on CD! => the four delicately woven, mainly handplayed drone muzak pieces contain piano slices, smooth vocalizations, harmonium & zither (?) sounds, lightweight percussion and bass-textures and levitated analogue electronics, everything arranged in a very sensitive way... a real gem!
|
2016 |
€15.00 |
|
| |
Aura Legato |
LP |
re-issue of AF URSINs second LP from 2005 => the four delicately woven, mainly handplayed drone muzak pieces contain piano slices, smooth vocalizations, harmonium & zither (?) sounds, lightweight percussion and bass-textures and levitated analogue electronics, everything arranged in a very sensitive way... a real gem! Comes with a cover replica of the great 1st ed. cover (gold print on black, die-cut sleeve and hand-glued labels)
|
2016 |
€26.00 |
|
| AHTI & AHTI |
Nokivesi |
LP |
the duo of MARJA AHTI and NIKO-MATTI AHTI (AVARUS, KEMIALLISET YSTÄVÄT) with their second LP, a special form of radiophonic / electronic musique concrete: *the piece outlines a fragmented story told by two voices about a person living isolated on a remote island, a tragic and comic figure. The hermit kept in touch with the nearby residents, but he also stimulated their curiosity and imagination living apart from the mainstream society.* - lim. 230 copies
|
2023 |
€1.00 |
|
| AHTI, MARJA |
The Current Inside |
LP |
Finnish sound artist with second LP, conceptually working on CURRENTS - 'connecting and animating movements in the form of air, water and electricity' - with sounds coming from analog and digital synthesis and field recordings from elementary phenomena: the layers of Earth's atmosphere, streaming air, winter environments, or even the turning of the planetary angle towards the sun, are expressed or recorded... beautiful material, absolutely to discover!
|
2020 |
€22.50 |
|
| |
Still Lives |
LP |
the promising female Finnish sound artist with her third LP of "liminal", very focused experimental collages and ambience, pieces like vanitas paintings or shrines... - "AHTI forges vivid electroacoustic environments from field recordings, analog synthesizers, acoustic feedback, magnetic tape and digital processing, resulting in a set of articulate, prickly, and surprising compositions." - ed. of 300 copies
|
2021 |
€20.00 |
|
| AKERLUND, LARS & ZBIGNIEW KARKOWSKI |
Aware Not Aware/Radio Enemy |
LP |
the last album project that KARKOWSKI planned and finished before his death (12.12.2013), together with long-time collaborator LARS AKERLUND, finally sees the daylight: actually a split LP with two side-long solo-tracks by each composer, they spread different approaches to work with blocks of concrete noise and high dynamics (AKERLUND) and slowly evolving noise combined with vocal material (KARKOWSKI)....
|
2016 |
€16.00 |
|
| AL-QASAR |
Wo are we? |
LP |
ARABIAN FUZZ - debut LP of this exciting "Middle Eastern Psych Rock" collective: Arabian grooves, African trance music, heavy fuzzed global Psychedelia.. . a completely immersive and hypnotizing form of trance rock, very powerful, too.. feat. guest musicians LEE RANALDO (SONIC YOUTH) and JELLO BIAFRA (DEAD KENNEDYS)! - "...bristling with the kind of deep energy that makes AL-QASAR sound like the world"s most dangerous wedding band.."- gatefold sleeve, DL code
|
2022 |
€22.50 |
|
| ALFEO, PIER |
Works 2016-2018 |
LP (one-sided) |
PIER ALFEO = DUBIT (who had an excellent CD before on Backwards) - with three electro-acoustic compositions, revealing great details and lots of very "near" crackling sounds, sudden breaks and changes, and more calm passages, between tension - dynamism and spheric relaxation, there are wide fields to explore.... / art edition LP (one-sided, white vinyl, poster cover 60 x 90 cm with mathematical graphics , and vellum paper A4 inlay) - ed. of 300
|
2019 |
€18.00 |
|
| ALFRED 23 HARTH / JONATHAN MEESE / KOMMISSAR DIONYSOS UND ARIADNE |
Aufbruch zu Kepler-452b |
LP |
this LP in the FLUXUS+/- series contains a rare piece (only available here it seems) by ALFRED 23 HARTH (CASSIBER, etc.), plus more material by JONATHAN MEESE ("Jonathan Meese ist der Deutscheste Cowboy"), and a new side-long piece by the HJULER couple ("Die Kirche wird hier abgebaut und auf Kepler-452b neu errichtet"); lim. 100, hand-assembled and oversized cover
|
2017 |
€23.00 |
|
| ALL SHADOWS AND DELIVERANCE |
Partus |
LP |
first LP for this death industrial outfit from Belgium, a low fi noise-drone monster reminding on the Swedish CMI classics like BRIGHTER DEATH NOW or the latest attacks of TREPANERINGSRITUALEN.... a must to discover for fans of the genre! Lim. 250
|
2015 |
€17.00 |
|
| ALONE |
Fossilized In Concrete (1995-2006) |
LP |
first LP release for this Avant-Pop project from Belgrade, collecting material from 12 years.- "Definitely pop but never easy, futurist and neo-romantic at times, ALONE’s music remains through the years as unfamiliar and utterly compelling as the post-apocalyptic landscapes it tells us about.." - lim. 318 copies on crystal clear vinyl with fold out full colour insert
|
2009 |
€8.00 |
|
| ALTAIR TEMPLE / EXPO '70 |
split |
LP |
promising drone-duo from Bordeaux, France, with three tracks on this split LP with EXPO70; a stunning mixture of cosmic drones & psychedelia... lim. 300 white vinyl
|
2011 |
€16.00 |
|
| AMBARCHI, OREN |
Triste |
CD |
re-release of deleted LP in digipack/gatefold-cover |
2005 |
€14.50 |
|
| |
A Final Kiss on Poisoned Cheeks |
LP |
release in the new TOTE guitar vinyl-series (12 LPs!), a one-sided LP with etching by SAVAGE PENCIL on the other side; light blue vinyl
|
2008 |
€17.50 |
|
| AMINI, SIAVASH |
Serus |
LP |
third LP for this rising and favoured 'experimental / orchestral ambient drone' artist from Teheran / Iran, inspired by the "other night" conception of MAURICE BLANCHOT, focusing on the special consciousness state between sleep, dream and being awake ("body and mind in an in-between state")... - the album gets life and (e)motion from this contradiction, mirroring the interchange of somber moods with moments of harmony and relief, totally suspended in the nocturnal dark.. comes with DL code
|
2019 |
€26.00 |
|
| AMON DÜÜL |
Disaster (Lüüd Noma) |
do-LP |
recordings from the same crazy sessions that were leading to the "Psychedelic Undergorund" LP (1969), now re-mastered from the original tapes! - "Zusammen, im Kollektiv.. war alles möglich. ... spielten in Meisels Studio zeitgemäß high in the sky eine Session ein, die alle Regeln durchbrach und alle Hörgewohnheiten auf den Kopf stellte." - comes in gatefold cover
|
2023 |
€26.00 |
|
| ANAKRID |
UnoDos |
do-CD |
lim. / numb. / signed 400 copies with original piece of art by the band; compiles the deleted self-released LPs
|
2007 |
€15.00 |
|
| ANEMONE TUBE |
In the Vortex of Dionysian Reality |
LP |
expanded re-issue and re-working of a cassette project from 2015 (with bonus material feat. PACIFIC 231, POST SCRIPTVM and MONOCUBE!) with a strong relation to NIETZSCHE's philosophy of the Dionysian, a wall of sound oscillating between expressive distortion and melancholic beauty, a melodramatic maelstrom of noise.....music seen as the primordial form of expression! - this LP version (lim. 200) has one extra track not on the CD version
|
2017 |
€17.00 |
|
| APPEL, KAREL |
Musique Barbare |
LP |
"my paint-tube is a rocket!" Re-issue of this rare musique concrete LP from 1963 by radical Dutch painter and sculptor KAREL APPEL, who created three tracks for this LP at the Instituut Voor Sonologie by violating electric organ, kettle drum and other percussion instruments, and using his voice&screams, processed through extensive use of tape manipulation techniques ... it still sounds absolutely great after so many years! Comes in gatefold-cover with lots of pictures, liner notes, etc.
|
2016 |
€16.00 |
|
| APSE |
Climb up |
CD |
new album by this "experimental post rock" band known for the excellent LP on Equation
|
2009 |
€10.00 |
|
| ARMAROLI, SERGIO |
Mahler (in/a) Cage / Casetta di composizione |
CD |
curious field recording project that tries to capture the environmental soundscape in Toblach / Bozen where GUSTAV MAHLER stayed around 1909 - 1911 in summer at his composer house, composing his last works...- based on JOHN CAGE's concept of "Sculptures Musicals" (1989), this is a kind of re-imagination of a hypothetical soundscape with certain elements involved that had impact in the compositional work..
|
2021 |
€14.00 |
|
| AROVANE & PORYA HATAMI |
C.H.R.O.N.O.S. |
LP |
AROVANE (aka UWE ZAHN) and the Iranian electronic composer PORYA HATAMI on their third album for Karlrecs, after the highly abstract electro-acoustic, "micro particles" electronic miniatures of the previous "Organism" LP this goes into a much more ambient direction, "focus on creating a contemplative, zen-like atmosphere of subtle beauty.." ; lim. 300 copies
|
2019 |
€18.00 |
|
| ARTIFICIAL MEMORY TRACE (AMT) |
Ultrealith |
CD |
for ULTREALITH field recordings from the "border of perception" were used, such as underwater recordings, ultrasounds, electromagnetic signals (from crustaceans, bats, dolphins, insects, etc..) => a very own & unique micro-soundworld, comparable with works of MICHAEL PRIME, FRANCISCO LOPEZ or JOHN HUDAK; almost 80 minutes of material (8 tracks)
|
2012 |
€14.00 |
|
| ARTIFICIAL MEMORY TRACE / GERALD FIEBIG / EMERGE / PBK |
Fiction Circuit |
LP |
four experimental collaborations on this colourful designed LP, feat. re-workings of A.M.T. and PBK basic materials... "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.." lim. 300 copies on green-marbled vinyl, hand-numbered and with download code
|
2019 |
€18.00 |
|
| ASHER, MEIRA & URI FROST / TZII |
Undo / Yalniz |
LP |
intense apocalyptic ritual music from these Israeli sound artists, activists and musicians, MEIRA ASHER and URI FROST on one side of this split LP, MEIRA is reciting a poem named UNDO by JEREMY AVIS with her incredible deep voice over doom laden industrial sounds... TZII on the split side sounds different, more collageous and digitally processed, fragmented and morphed sounds all around ("a funeral oration to love.."- great LP, lim. 300, elaborated silk-screen cover !!
|
2022 |
€20.00 |
|
| ATARAXIC ATAXIA |
Shadow Sea |
CD-R |
re-issue of a lim. CD-R, this male/female duo (from Columbia, USA) convinces with a very special low fi industrial sound mixture using violin (or other string instruments), processed / sampled found sounds and pulsing noise... "The beauty and grit of this release is not only palpable, but also sort of regenerating and constantly transforming. The rest is enshrouded in mystery." - prof. printed release on the label of ARVO ZYLO
|
2016 |
€8.00 |
|
| ATELEIA & BENJAMIN CURTIS |
Baghdad Batterie |
LP |
release in the new TOTE guitar vinyl-series (12 LPs!), a one-sided LP with etching by SAVAGE PENCIL on the other side
|
2008 |
€17.00 |
|
| ATKINSON, FELICIA |
Hand in Hand |
do-LP |
this French artist (once active as JE SUIS LE PETIT CHEVALIER) releases on the prolific Shelter Press, creating poetic, sensitive and very emotive day-dream ambience from synthetic and acoustic sources, field recordings and her voice; "This record is meant to be a moment of common thinking and listening in its diversity and abstraction. In the same way a sci-fi novel by Philip K. Dick or a sculpture by Guy Mees can be percieved: trivial, sensitive and mysterious at the same time"
|
2017 |
€25.00 |
|
| AUBE |
Millenium-R2 |
CD-R |
minimal & silent remixes from AUBE's "Millenium" series (12 CDs / 2 do-LPs), appeared on the AUBE label GROSS in 2002; numbered edition 120 copies, excellent design/cover; sound-sources: Water, Fire, Earth, Air; nice recording by the master of sampled loops from Japan who sadly died Sept. 2013; last NEW copies found !!
|
2002 |
€10.00 |
|
| |
Hydrophobia 1993 |
LP |
previously unreleased material composed, recorded and mixed with water sound only, comes on water blue vinyl, lim. 300; artwork by ABBY HELASDOTTIR (GYDJA) - singled sided LP!! (this is actually a remix of the Hydrophobia cassette material [Vanilla Rec.] that was supposed to be released on CD by Cheeses at the early 2000's, but never came out..)
|
2021 |
€20.00 |
|
| AUTECHRE / HAFLER TRIO |
³oæh |
7 x LP BOX |
re-issue (now all dressed in black) of the 7 LP box from 2021 that sold out immediately, includes all three collaborations by both projects released by PHONOMETROGRAPHY and DIE STADT before (2003-2011), their explorations in drones and silent + strange sounds.. - lim. / numb. 500 copies, gloss printed black covers, comes with booklet inside a black envelope with individual number, a very artful packaging by Andrew McKenzie himself !
|
2023 |
€149.00 |
|
| B*TONG / FABIO ORSI |
Hold me tight |
MC |
"From Insomnia to Revelation in 15 minutes" - Drone Records artist (Drone-Mind 1 LP) B*TONG is back on this C-30 split cassette with prolific ambient composer FABIO ORSI : "30 minutes of Ambiences. Dark wastelands, wide clouds, warmth and light" - lim. / numbered ed. 50 copies on turquoise-shining MC, with colour cover and inlay
|
2020 |
€8.00 |
|
| BAD ALCHEMY |
No. 65 (February 2010) |
mag |
THYMOLPHTALEIN, TWISTED CABARET VOL.1, DAVID SYLVIAN, ZEITKRATZER RECORDS, SUBSTANTIA INNOMINATA-reviews, EMPREINTES DIGITALES, PSYCH.KG, MONOCHROME VISION, KORM PLASTICS, SPEKK, TOUCH, NOISE & CAPITALISM, und und und..
|
2010 |
€3.00 |
|
| BAD SECTOR |
Xela |
LP |
vinyl re-issue of the great Waystyx CD from 2001, being based on a backing tape for the performance at a Staalplaat festival in Berlin, August 1996; this is also the first ever 12" VINYL release by the Italian cult project!! "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." lim. 200 on black vinyl
|
2017 |
€16.00 |
|
| BAKER, AIDAN |
An Instance of Rising / Liminoid |
CD |
AIDAN BAKER as a "classical composer"? - here are two examples of pieces made for classic ensembles, performed in Poland and Latvia: long sustained tones on clarinet, flute, sax and strings are evolving into more dynamic structures, delivered by piano and vibraphones ("An Instance of Rising"), the second longer piece "Liminoid" is performed with two drums, 2 guitars, 3 violins and singer and constructs a vivid minimalistic sculpture with post rocks elements.. lim.300, silkscreen cover, numbered
|
2020 |
€13.00 |
|
| |
Letters |
MC |
one of the classic / best AIDAN BAKER solo works, originally on Arcolepsy (CDr, 2001), and Basses Frequences (LP, 2008), out again as small MC (C-50) in a tiny edition (50 copies!): "LETTERS war 2001 einer der allerersten CDRs, die wir von AIDAN BAKER ins Programm nahmen... und die Begeisterung war groß! .. zwei lange, verträumte Stücken: guitar, bass, cymbals, vocals und tapes ergeben sinnliche, analog tönende Klangsphären mit genügend experimentellem Potential, insgesamt recht gitarrig.. "
|
2019 |
€8.00 |
|
| BALDINI / BIGAZZI / FERRI |
Alfabetiere Majakovskij ! |
BOOK + CD |
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 !!
|
2022 |
€25.00 |
|
| BALDRUIN |
Portal |
LP |
debut LP by this German project (from Wiesbaden) => well constructed cosmic ambient-scapes with a dark psychedelic / cinematic / surrealistic touch, when strange voices, subtle percussion and whistling noises enter the scenery.... lim./numbered 260 copies on heavy CLEAR vinyl, with insert, download card... definitely to discover for cosmic spaceheads !!
|
2015 |
€15.00 |
|
|
Vergessene Träume |
LP |
musically the most 'accessible' LP of BALDRUIN so far, a strong melancholic undertone is present on all of those 13 miniatures, that could form together a long forgotten introspective film soundtrack from the 70's, often based on ancient sounding synth-patterns and sequencers, but there also acoustic instruments used and more playful and surrealistic elements... imagine the intimate melodic moments of LEGENDARY PINK DOTS or TANGERINE DREAM, appearing in an odd dream.. lim. 250
|
2018 |
€15.00 |
|
| |
Relikte aus der Zukunft |
LP |
this German artist, raised in a small Bavarian village near a church and serving as altar boy, developed an ongoing interest in transcendental and mysterious atmospheres; this surprising LP on the Peruvian label BUH is another journey into a bizarre fairy-tale world based on electronic miniatures and acoustic hallucinations.. * The gloomiest soundscapes can jump into a ship fueled by retro sci-fi arpeggios, the solemn can turn to rejoice, and a star can shrink into a fireplace.* - lim. 300
|
2023 |
€27.50 |
|
| BAND OF PAIN |
Still falls the Rain |
7inch |
after a long pause a new release by STEVE PITTIS (DIRTER PROM.) project, a tribute to the poem found inside the gatefold cover of the first BLACK SABBATH LP, feat. LUCY COTTER (voice) and ANDREW LILES; lim. 500 on heavy purple vinyl
|
2015 |
€9.50 |
|
| BARRIKAD |
We make Nihilists smile again |
CD |
the Swedish "anarchist noise" project presents three long and very diverse collaboration tracks, with Finnish nihilists KRIMINAALISET METSÄNHALTIJAT, Russian industrial project FEAR KONSTRUKTOR, and Japanese harsh noiser GOVERNMENT ALPHA, ranging from experimental ambient electronics to brutal noise attacks.... and a lovely psychedelic Hippie-cover !
|
2011 |
€10.00 |
|
| BASINSKI, WILLIAM |
Shortwavemusic |
CD |
Wiederveröffentlichung der Raster-Noton LP von 1997, mit Bonustrack! Sanfte Äther-Melodien in endlosen Kurz-Echo Räumen, Musik die ausfranst in einem Meer von seltsamen Effekt-Sounds.. / re-release of LP from 1997 with bonus-track (+ 14 min.), comes in squared clear case with cardboard sheath. BACK IN STOCK
|
2007 |
€16.00 |
|
| BASTARD NOISE / BIZARRE X |
Self Righteous Suicide / ...Ethik?... |
LP |
strong split LP with extremely vocalized scum and dark noise ("powerviolence") by BASTARD NOISE (4 tracks), and 11 tracks of swampy old school Grindcore by BIZARRE X from Germany, both with hyper agressive lyrics about personal and political entities.. "FIGHT ANIMAL ABUSE AND SPEAK OUT AGAINST HUMAN IGNORANCE WHICH IS THE ONLY 'CANCER' ON THIS POOR PLANET"; comes with inlay, ed. of 600 copies
|
2019 |
€15.00 |
|
| BECKAHESTEN |
Tydor |
LP |
already the second album for this impressive "ritual folk / drone / industrial" trio from Sweden, feat. PER AHLUND (DISKREPANT, SKARE, SOPHIA & KARJALAN SISSIT live member). with female vocations and most powerful dark sonics...- "Dancing with vague entities in a blackened cinder field, followers of dread that has woken, hypnotised one is drawn deeper into their realm. The trees moulder around and offer little protection. Haunting voices keep echoing in the dusk..." - very lim. LP version now in stock
|
2021 |
€18.00 |
|
| BECUZZI, GIANLUCA: PLAYS LIMBO |
Unholy Rituals Vol. I / II / III |
do-CD |
BECUZZI uses source sounds from LIMBO, a legendary Italian dark wave band, to create extremely dark & isolationist, at times horror-filled pieces, pervaded with anxiety and helplessness, spread on 2 cds...
|
2015 |
€13.00 |
|
| BEEQUEEN |
Time waits for no one |
CD |
re-issue of the Staalplaat CD from 1994 (their 2nd CD)
|
2008 |
€13.00 |
|
| BERG, CHRISTOPH |
Tape Anthology Vol. 1 |
LP |
known for his works as FIELD ROTATION (Denovali) and his solo-album for SONIC PIECES, this composer and classical trained piano & violin player from Berlin has released the first LP on his own label=> much more experimental as before this is grounded on tape manipulations of field recordings and instrumental sounds, deeply "analogue" and atmospheric, with love for every tiny detail... to discover!
|
2019 |
€22.50 |
|
| BERLINER RING |
Bardo |
12inch |
the only vinyl release (5 track mini-LP) for the Berlin based "electro-mechanical" group so far, who excite with rhythmic and subtle pulsating electronics and sounds from their self-built instruments and machines; the 4 members use: timpani, rhythm maches, a 'Heckeshorn' (hybrid slide guitar), self build theremins and analogue synths, samples, bass. osmotic dubbler, etc. etc.. for their fresh and original songs..
|
2012 |
€12.00 |
|
| BERTOIA, HARRY |
Experimental I / Mechanical I |
CD |
more unreleased sculpture recordings from BERTOIA's archive, which was now fully opened to issue his earliest recordings, the CD version has one extra track !! " Like his sculptures, Bertoia never titled his recordings but frequently referred to specific concepts he was pursuing. These are among the earliest known examples of Bertoia using terms which would become more common in the years to come: 'experimental', 'mechanical' "
|
2019 |
€15.00 |
|
|
Experimental I / Mechanical I |
LP |
more unreleased sculpture recordings from BERTOIA's archive, which was now fully opened to issue his earliest recordings, two long pieces like acoustic paintings, minimal and floating " Like his sculptures, Bertoia never titled his recordings but frequently referred to specific concepts he was pursuing. These are among the earliest known examples of Bertoia using terms which would become more common in the years to come: 'experimental', 'mechanical' and 'long sounds' "
|
2019 |
€25.00 |
|
| |
Hints Of Things To Come |
CD |
four unreleased "sculpture ambience" pieces from the archive, recorded around 1970, with the over 30 min. long, deep harmonic title piece and first experiments with overdubbing... - "This CD is defined by ambient passages, long drones, gongs that sound like whales, shimmering harmonics and the feeling of an artist searching for sounds deep within his own sonic sculpture."
|
2023 |
€17.00 |
|
| BERTONCINI, MARIO |
Arpe Eolie |
LP |
ethereal noises that play themselves => wonderful sound / wind sculpture recordings from the 70's by BERTONCINIs huge Aeolian Harps and gongs (that also look phantastic, the largest was 7 metres high!), creating mysterious of drones-extensions and almost electrical sounding whisphers... a wonderful edition with extensive 4 page inlay, many photos, lim. 400, deluxe silver print cover. A must have for anyone interested in droning sound sculptures !!
|
2016 |
€26.00 |
|
| BHATTACHARYA, DEBEN |
Music on the Desert Road |
LP |
new issue of this LP from 1958 (!) by the Indian ethnomusicologist and radio producer, feat. recordings from journeys through the Middle East (Turkey, Syria, Jordan, Iraq, Iran, and Afghanistan, as well as India and Pakistan).. "this LP is one of the best and earliest documents of the diverse and rich musical traditions of the Middle East. Subtitled 'A Sound Travelogue by Deben Bhattacharya', 'Music On The Desert Road' is exactly that, a beautiful and flowing document of the region's sound." - lim. 500
|
2019 |
€18.50 |
|
| BIANCHI, MAURIZIO (M.B.) |
Mectpyo Bakterium |
LP |
re-issue of the much sought-after LP from 1982 released on DYS (the label run by THE MNEMONISTS), recorded August-October 1981, one of the "calmer" albums of the early MB phase, comes with reproduction of the original cover, lim. 275 on coloured /marbled (grey / black / white) vinyl, with inlay... "The icy opression, the hallucinative electronic wounds, are a precious and singular fact in a technological society brought to limit" [M.B.]
|
2013 |
€22.00 |
|
|
Industrial Murder / Menstrual Bleeding |
CD |
this album was once released as LP on Banned Productions (1992), so its one of the releases that appeared when M.B. was not musically active; the material was recorded in 1991 (two long tracks, 49+ min.) - amazing industrial drone noise with the use of rhythm machines... comes in an elaborate multi-colour silkscreen cardboard box (gold, blue, red & white), lim. 300
|
2011 |
€10.00 |
|
| |
Mectpyo Box |
10 x CD BOX |
*.. die ultimative MB Box, sie enthält alle 10 LPs der Frühphase (1981-1984), sowie diverse rare Stücke von Compilations... / collection of all 10 LP-releases issued 1981-1984 in one box, plus a wide selection of compilation-tracks and 84 pages "booklet" / inlay cards with original artworks & collages, interviews, and essays of MB on SPK, WHITEHOUSE, TG, etc.. lim. / numb. 200 copies; last copies of the "black" re-edition from 2015 !!
|
2015 |
€165.00 |
|
| BIRDS OF DELAY |
The Cut |
LP |
between vocal / sound poetry experiments & minimal drone attacks, side one pieces on this LP on Belgiums most crazy label ULTRA ECZEMA, lim. 300
|
2010 |
€18.00 |
|
| BLACKSHAW, JAMES |
The Glass Bead Game |
LP + CD |
newest album by the British 12-string guitar - mantra wonder, on Michael Gira's label! (CD has same material as LP)
|
2009 |
€17.00 |
|
| BLEGVAD, PETER / JOHN GREAVES |
Kew. Rhone |
CD |
re-issue of LP from 1977 by the two ex HENRY COW members (+ LISA HERMAN and others) - one of the true classic albums of the progressive / art-rock / 'RIO - Rock in Opposition' movement... "Completely and utterly unlike any other album you're likely to come across. Ever." [Andy Gill NME]
|
2015 |
€14.00 |
|
| BLOCK, OLIVIA |
Dissolution |
LP |
phantastic new LP by OLIVIA BLOCK which moves from incredible collage music to polymorphing shortwave drone muzak and beyond, also lots of differently mutated vocal & voice material is present....[sound sources: found and personal microcassette tapes, NIST time recordings, shortwave radio broadcasts, municipial audio feets from several US cities, field recordings from various sites, musicians playing clarinet and flute]; two side-long pieces about the human "webs of significance"..
|
2016 |
€27.50 |
|
| BLOOD RHYTHMS |
Civil War |
LP + BOOK |
second LP (after 'Assembly' co-released by RRRecords, 2015) by the exceptional noise & power electronics project of Seattle-based ARVO ZYLO, with stunning studio material collected over 10 years, feat. many guests such as DAN BURKE (ILLUSION OF SAFETY), DAVE PHILLIPS, BRUCE LAMONT (YAKUZA, BLOODIEST), WYATT HOWLAND (SKIN GRAFT), etc.. - we got few copies of the ART edition (lim. 100) with gatefold cover and 44 page foll colour book, on RED vinyl
|
2019 |
€35.00 |
|
| |
Horror Pilation |
CD-R |
a collection of long tracks that appeared before on very limited LPs in collaboration with LESLIE KEFFER => longform drones that ebb + flow in a contemplative and haunting way, slowly covering you with atmospheric drift.. To discover ! - professionally duplicated and printed CD + cover, sealed jewel-case
|
2022 |
€10.50 |
|
| BLUE SABBATH BLACK FIJI |
Mistake of a small Bird |
LP |
insane sound from this Scottish (?) male/female duo using tortured guitars, disco beat boxes, roaring noises, deranged vocals... "destroyed as a bombed out building"... quite crazy & original psychedelic/nihilistic acid noise, their second LP , lim. 500
|
2011 |
€17.50 |
|
| BOB DOWNES OPEN MUSIC |
Episodes at 4 am |
CD |
re-issue of this very experimental LP (1974) of this well know Jazz musician, has 35 minutes of previously unreleased bonus material
|
2007 |
€13.00 |
|
| |
It's a Mystery |
CD |
incredible, genre-crossing material (12 pieces) from this late 60's/early 70's experimental musician (flutist / saxophonist), between Jazz and contemporary dance composition everything is possible, all carefully created.. "from solo to 65-piece wind band, recording experiments to library music and the years 1970 to 2004. And, of course, Alphorns."
|
2017 |
€13.00 |
|
| BODIN, LARS-GUNNAR / BENGT EMIL JOHNSON |
Semikolon |
LP |
re-issue of both artists debut-LP from 1966 with recordings made 1965 at EMS (Elektron Music Studio) for Sveriges Radio; highly experimental collages using sound poetry & electronic sounds, at that time a pioneering work that didn't fit in any category (which later was named 'text-sound-composition')! This new ed. icludes one previously unreleased bonus-track from the same time ! lim. 500
|
2013 |
€18.00 |
|
| BOHREN & DER CLUB OF GORE / WALD |
Schwarzer Sabbat für Dean Martin |
7inch |
remastered re-issue of this very rare early BOHREN EP from 1995 (their second vinyl release) - WALD was the project of Mark Sikora who is featured with 6 (!) tracks here and got help by some "Grundbollern" of Bohren... comes with 3 flyers and a piece of "forest" sticked on the inner sleeve; pressed on black vinyl; lim. 200 copies
|
2020 |
€17.50 |
|
| BOKANOWSKI, MICHELE |
La Plague |
LP (one-sided) |
a so far unpublished piece composed 1991 for the short film "La Plague" by PATRICK BOKANOWSKI, by the French electro acoustic createur who studied with ELIANE RADIGUE and is known for some phantastic albums; this one-sided mini LP comes in four different editions w. embossed cover and insert, lim. 300 - "...It is pure liquid abstraction in sounds. It is one of those rare compositions really out of time and space..."
|
2019 |
€16.00 |
|
| BOMIS PRENDIN / MAMA BAER |
Die Zöglinge der Dalaia Lama |
LP |
seventh part in the HJULER/MAMA BÄR split LP series with 12 different artist, each LP is limited & numbered to 177 copies with handmade cover; split-partner is US experimental band BOMIS PRENDIN, existing since 1979 (!) - a real FREAK SHOW !!
|
2011 |
€20.00 |
|
| BORBETOMAGUS |
1st ("Sauter, Dietrich, Miller, Doherty") |
CD |
re-issue of their first LP from 1980; comes with previously unreleased track
|
1995 |
€13.00 |
|
| BOURBONESE QUALK |
Hope |
CD |
re-issue of the second LP (1984) of the British cult industrialists, this first CD re-issue feat. 3 bonus tracks not on the original LP.. "Hope is full of unceasing drum machine rhythms, electro pulses, echoing samples and lo-fi synths matched with strummed guitars and dub bass. The accompanying drones and snarled vocals go beyond any early 80's industrial tag to be something more unique.." [Mannequin Rec.]
|
2020 |
€15.00 |
|
| BOW GAMELAN ENSEMBLE |
Great Noises that fill the Air |
CD |
re-issue of rare LP from 1988 by this performance and installation group from East London, who used dozens of self-built instruments and sculptures from scrap metal over electric motors to domestic objects (also fireworks and light bulbs during the shows); this collects 12 very different tracks of their experiments feat. various guests as Z'EV.. "from the deep, organ like sounds of the Pyrophones and the tumultuous din of The Thundersheet, through a gamut of percussive timbres and dynamic ranges"
|
2018 |
€12.00 |
|
| BRANCA, GLENN |
Symphony # 6: Devil Choirs at the Gates of Heaven |
CD |
re-issue of BRANCA's maybe most intense work (studio LP from 1989), feat. PAGE HAMILTON (who got famous later with HELMET); intense conglomerations of rhythms, wall of guitar drones, acoustic energy !! "the sound of the whoosh at the core of creation / the UBERMUSIK of the spheres as terrible and gorgeous as desire"
|
1993 |
€14.00 |
|
| BRESCHAND, HELENE |
Les Incarnes |
LP |
solo album by this interesting French harp player, this is her first LP with two suspenseful side-long pieces using acoustic and electric harp and her voice in a very experimental way, creating tones and intensity you would never expect normally from a harp...."The way in which Breschand makes the harp resonate like a cello or violin is exceptional, and as it buzzes and shimmers into tightly-controlled flurries of feedback and reverb..." [FREQ]
|
2014 |
€18.00 |
|
| BRUITAL ORGASME |
Experiment in functional Background Music |
LP |
this very active male/female industrial noise duo from Belgium releases their first LP on Silken Tofu! - by incorporating a wide range of different sound-sources (self build sound objects, old vinyl players, tapes, radios, etc..) they manage to create very versatile collage noise tracks with lots of atmosphere... lim. 200, comes w. silkscreened PVC sleeve & cover + download code, very nice artwork
|
2015 |
€18.00 |
|
| BRUME |
Xerxes Logo |
T-SHIRT |
black deadhead from "Xerxes" LP on battlegreen unisex shirt; sizes L, XL in stock - ask for other sizes!
|
2013 |
€20.00 |
|
| BRUME & TBC |
House Unwillently |
CD-R |
CDR edition of the deleted LP from 2001 / full-colour 7" cover / BACK IN STOCK ! |
2005 |
€8.00 |
|
| BRUME / OUBLIER ET MOURIR |
A Year to live |
LP |
split LP inspired by the book of the same name by STEPHEN LEVINE about preparing for death in order to live more consciously inside every moment; OUBLIER ET MOURIR is the ambient side of ANEMONE TUBE; BRUME has an incredible side-long dark ambient-drone noise & poetry track in different parts, haunting & captivating & always changing! lim. 300 copies on white vinyl, with postcard and very nice 320gr. full-colour cover
|
2012 |
€17.50 |
|
| BRUNNEN |
The Beekeeper's Dream (subscribers edition) |
LP & pic-LP |
we got few sets of the lim. pic-LP-set edition, usually only available if you subscribed to the whole RANFB-set !! LP and bonus pic-LP entitled "TIPPPOO's TIGER", with signed insert !
|
2005 |
€30.00 |
|
| BUMSTEINAS, ARTURAS |
Bad Weather Long Play |
LP |
remarkable LP initiated by the Lithuanian composer, with very original / unique concept => all sounds here have been made on Baroque "weather machines" used formerly in Opera and Theatre-plays, old machines have been restored and a new piece "Bad Weather" was created and perfomed on various occasions: during the play, the ensemble used meteorological maps and charts from various centuries as scores... - this is pure imaginative + handmade object noise "music" ! With 8 page booklet
|
2019 |
€20.00 |
|
| BUNKER CITY VS. CARSTEN VOLLMER |
Antarctica / Antarktika |
pic-LP |
"ANTARKTIKA: Wilde weiße Schönheit - Für alle Ewigkeit - Hast du dich zugedeckt - Mit einem Schleier aus Kristall"- nicely designed split picture-LP with 6 songs from BUNKER CITY (Oldenburg, Germany) on one side, and one long track by Germanys most incorrigible harsh noiser CARSTEN VOLLMER, inspired by the 'Antarktika' theme: feedbackin' white noise in different high frequency shapes, and melodic power punk-pop on the flipside - what a combination! Lim.100, with inlay
|
2019 |
€18.00 |
|
| BURNES, ANDREW |
Telescope |
LP |
7th release in the new TOTE guitar vinyl-series Vol. 3 & 4 (12 LPs!), a one-sided LP with etching by SAVAGE PENCIL on the other side on colour or clear vinyl; solo debut album of this member of SAN AGUSTIN; mastered by JIM PLOTKIN
|
2008 |
€17.00 |
|
| BURROUGHS, WILLIAM S. |
Call me Burroughs |
LP |
first time re-issue of W.S. BURROUGHS first LP from 1965 - reading from 'Naked Lunch' and 'Nova Express' with his inimitable voice... "An eerie, deadpan drawl guides the listener through sci-fi innerscapes, narcotic nightmares, reports from the edge of the apocalypse"
|
2016 |
€24.00 |
|
|
Ali's Smile |
LP |
re-issue of one of the rarest ever published BURROUGH's LP (from 1971, only about 50 non-damaged copies could be distributed) with a reading from 1970 ("A tale of revenge, heartless cruelty and amulet power, muddied with frequent recourse to Scientological references"), plus "Nova Dispatches", earliest recordings with shorter texts done on tape in 1963 by the master himself ("Cut-up and Fold-In Techniques", "Virus", "Nova Mythology"); nice ed. with numbered inlay + postcard, 1000 copies
|
2021 |
€26.00 |
|
|
Nothing Here Now but the Recordings |
LP |
re-issue of this now almost historical LP from 1981 - the last release on Industrial Records (IR0016), coordinated and produced by GENESIS P-ORRIDGE and PETER CHRISTOPHERSON who put together this compilation of incredible spoken word cut up experiments and field recordings, in fact the first widely available release with BURROUGHS recordings; back in print, re-mastered audio + re-stored artwork, Clear vinyl ed. lim. 750 copies (black vinyl available too)
|
2023 |
€25.00 |
|
| |
Break Through in Grey Room |
LP |
SUB ROSA compiled and released this LP in 1986 with rare, highly experimental early cut-up recordings from the 60's to 70's, working with BRION GYSIN, THE MASTER MUSICIANS OF JOUJOUKA; and mathematician IAN SOMMERVILLE... *the record is as much an exhibition of studio and composition technique as it is a document of underground culture at that time.* - clear vinyl 750 copies (black vinyl available, too)
|
2023 |
€25.00 |
|
| BUTZMANN / KAPIELSKI |
WAR PUR WAR |
LP |
expanded re-issue of this extraordinary LP from 1987 (Zensor) by the composer and performance artist FRIEDER BUTZMANN (also part of Berlin's Geniale Dilettanten movement) who worked here with THOMAS KAPIELSKI to create eccentric electro-pop pieces with bizarre collage and vocal material; the new edition contains two bonus-tracks, unpublished photos and liner notes
|
2020 |
€20.50 |
|
| |
WAR PUR WAR |
CD |
expanded re-issue of this extraordinary LP from 1987 (Zensor) by the composer and performance artist FRIEDER BUTZMANN (also part of Berlin's Geniale Dilettanten movement) who worked here with THOMAS KAPIELSKI to create eccentric electro-pop pieces with bizarre collage and vocal material; the new edition contains two bonus-tracks, unpublished photos and liner notes; digipak edition
|
2020 |
€16.00 |
|
| BÜNNAGEL, JULIA |
Sounds like... Vienna |
LP |
"Urbane Klangbildhauerei" - a lovely "anti"-music / art record from the Cologne based artist, who created LPs out of the molds and concrete of Vienna streets and played them on her turntable at various public places, combined with the environmental noises of the sites, the turntabe's tonearms 'read' the city architecture.. ; the sounds of the textures are building granular, hissing structures...- lim. 300 / 45 rpm, fold out inlay and silkscreened outer sleeves, looks & sounds great !!
|
2020 |
€18.00 |
|
| B°TONG (B*TONG / B-TONG/ BTONG) |
Ov ELF and HAARP |
CD-R & object |
most abstract drone-morphologism, fields of concrete otherworldy sounds... excellent album by the Swiss project again, soon also on the very first LP on Drone Records !! lim. / numb. 50 copies coming in handpainted CD/cloth-case with diverse inlays, and sticker, on a new label from Augsburg, Germany, run by EMERGE and GERALD FIEBIG
|
2011 |
€11.00 |
|
| |
Prostration before Infinity |
LP |
the very first full LP release for the Swiss Drone Rec. artist (MIND 01 LP) who found a remarkable own way to transform subconscious matter into audio material (or vice versa?=), here with a stronger focus on oral / voice sources... we had to think of OVRO or even NURSE WITH WOUND when these bizarre & surrealistic micro sound drones appear, exist for a moment and seep away... lim. 300
"inspired by the vast and still quite unknown space that surrounds us" |
2014 |
€17.50 |
|
| B°TONG / EMERGE / IF BWANA / GERALD FIEBIG |
Thing |
CD-R |
starting release in the new series named "THING", based on the concept of physicality and the "meeting-place" for artists - this collects the two deleted split LPs by B'TONG & EMERGE, as well as IF BWANA and G. FIEBIG - morphing & moving dronescapes from B*TONG, more slow & contemplative, eerie metallic rumblings by EMERGE; refined & almost elegant drone compositions by FIEBIG IF BWANA.. lim. 100
|
2022 |
€8.00 |
|
| CABARET VOLTAIRE |
The Voice of America |
CD |
the CD version / re-issue of album from 1980, their second LP... - *the music keeps moving outward, emitting boomerang-like signals that are only coming back to us today: The Moog-y skronk of 'Partially Submerged', part Krautrock and part free-jazz, anticipates Cologne's unfettered improv glitches, Radiohead's sprawling rock, and Aphex Twin's Dramamine ambiance.* [SF weekly] - special offer !
|
2013 |
€10.00 |
|
| CAGE, JOHN |
Complete Song Books |
do-LP |
one of CAGE's most incredible pieces is "Song Books" from 1970, a collection of 92 short works containing songs and 'directions for a theatrical performance', both also with additional electronics; with various notation systems used, sometimes containing special actions (like eating fruits or drinking cognac) by the performers, texts by THOREAU, ERIK SATIE, MARCEL DUCHAMP and others... REINHOLD FRIEDL with help of RASHAD BECKER have interpretated all 92 songs in 2015; lim. 500 with inlay
|
2016 |
€26.50 |
|
| CAMPBELL, J. |
The Cormorant |
LP |
first solo LP (after some cassette releases) by this Australian deep atmo / experimental composer => subtle, floating, introspective ambient-scapes based on electronics, field recordings, lonely piano tunes and other processed instrumental sounds... think of ANDREW CHALK / ELODIE, ROBERT HAIGH, or recent MATTEO UGGERI works... - only 90 copies available, numbered ed. with oversized fold out sleeve
|
2021 |
€22.50 |
|
| CARTER, TOM & VANESSA ARN |
What is here for ? |
LP |
ed. of 515 copies / solo-collaboration LP of CHARALAMBIDES-member
|
2007 |
€14.00 |
|
| CASAS, CARLOS |
Mutia (special ed.) |
3 x LP |
the Spanish soundartist and film-maker CARLOS CASAS created a highly atmospheric / surrealistic documentary named CEMETERY about an "Elephant Graveyard" in Sri Lanka (2019) => MUTIA has been created from the field recordings made for the film, radio frequencies and electronics, and contains four contemplative side long pieces, plus 2 on the bonus LP and more bonus material via Download Code; lim. 200 RED vinyl (special ed.), with art print
|
2019 |
€45.00 |
|
| |
The Mont Aigu |
MC |
cassette only release (C-60) by the Spanish soundartist, known for the excellent "MMXX-19: 1883 (Sound Model I)" LP and "Mutia" 3 LP releases, on MONT AIGU he merges processed field recordings and radio frequencies he captured in this region in France, raw wind-like drones and abstract sounds merge with gentle harmonies, spheric and beautiful ! Lim. 90 copies, handnumbered, prof cover + DL code
|
2022 |
€14.00 |
|
| CASPAR BRÖTZMANN MASSAKER |
Black Axis |
do-LP |
first ever vinyl re-issue of the second album (1989, LP + 7"), remastered => "a hellscape of militaristic bass, brutalist drums, strangled guitar, and distant werewolf calls...But for all the ghoulish yells, suicide-cult references, and malevolent tones, Brötzmann’s music with Massaker is the stuff of transcendence, too, the sound of three musicians fighting through darkness in search of any light." [Pitchfork]
|
2019 |
€24.00 |
|
| |
The Tribe |
LP |
re-issue of the debut LP (1988) by CASPAR BRÖTZMANNs band project, still a milestone of ultra heavy & mind crushing industrial noise rock... "This plethora of sounds were arranged into tracks to sound like breaking concrete, grinding metal, or bursting glass, at once monumental and threatening, impenetrable and hermetic, yet also archaically tender and loving........Channeling Hendrixian vibrations mixed with hard German industrial atmosphere"
|
2019 |
€18.00 |
|
| CASTELLO, ANGELICA |
CATORCE REFLEXIONES SOBRE EL FIN |
LP |
great LP by this Mexican sound artist and "dreamworld / subsconsciousness explorer" => based on an installation with 14 objects woven with magnetic tape that interrelate to the sound and to each others, there are 14 miniatures with processed field recordings building a circle, it reminded us on some of LUC FERRARI's works, a conflation of voices, daily object sounds and more mysterious impulses, creates a spooky atmo... - lim. 300 ---
"It is uneasy music, but at the same time, it is beautiful uneasiness." [Vital Weekly]
|
2023 |
€18.00 |
|
| CHALK, ANDREW |
Everyone goes Home when the Sun sets |
CD |
a collection of 19 pieces of impressionistic ambience miniatures, often based on organ and zither (?) sounds, intimate and poetic acoustic drones that give you a warm feeling, like a "koan of lost memory and forgotten landscape.." artwork: oversized gatefold cover, mini-LP style with OBI and insert
|
2016 |
€16.00 |
|
| |
The Circle of Days 4 |
MC |
a collection of 18 ambient miniatures, fourth volume in the "Circle of Days" series, lim. ed. with ull colour cover; "The mind empties, your biorhythms adapt to Chalk’s excruciatingly slow pace, and you become aware only of where individual sounds begin and end....This is sculptural, present music, for which background details ultimately seem superfluous, and which makes the past as well as the future feel entirely open." [Soundohm]
|
2019 |
€12.50 |
|
| CHALK, ANDREW / RALF WEHOWSKY / ERIC LANZILLOTTA |
Yang-Tul |
CD |
re-issue of deleted LP from 1999 => two long pieces of mysterious, circling ambient-scapes inspired by the spiritual phenomenum of the 'YANG-TUL': one ANDREW CHALK piece using source-materials from RALF WEHOWSKY (aka RLW/ ex P16.D4), one RALF WEHOWSKY piece using materials from CHALK & ERIC LANZILLOTTA... the idea is: an emanation that produces its own secondary emanation, sounds still phantastic!!
|
2016 |
€12.00 |
|
| CHAMBERS, IAIN |
The Eccentric Press |
LP |
PERSISTENCE OF SOUND is a new interesting British label for experimental musique concrete (so far 4 LPs out): IAN CHAMBERS presents two radio pieces, "The Eccentric Press" uses industrial machine noises and typical working sounds from bells, etc.. recorded at the LWL-Industriemuseum in Dortmund, commissioned by WDR; "Maudslay Engine" is composed with various airplane, steam engine and machine-sounds... two very nice sound art pieces to discover, comes with DL code
|
2019 |
€23.50 |
|
| CHAUVEAU, SYLVAIN |
Kogetsudai |
LP |
the following release to "Singular Forms", reconstructing the classic song structure, influenced by Japanese Zen gardens.... minmimal electronics sounds and subtle drones, ghostly piano and CHAUVEAUs remarkable voice form an intimate, personal music.... feat. guest musicians as STEVEN HESS or STEPHANE GARIN and production help of ADAM WILTZIE (STARS OF THE LID, etc.)
|
2013 |
€15.00 |
|
| CHESSEX, ANTOINE |
Subjectivation |
LP |
impressive solo LP by the radical Swiss sax-player and sound artist, based on live-material recorded 2010-2015, with two very different approaches to sounds and textures on each side; "...a formidable tour-de-force, a developing field of distortion in which tenor saxophone adds on a metal-tinged sludgy tonality, wedged through dense masses of sound.... a rapid-fire of voices from the horn that gets enveloped in a back-and-forth between electroacoustic structures, psychoacoustics, and pure tone." lim.323
|
2019 |
€17.00 |
|
| CHOMO |
C'est illimite (experimentations sonoros et poetiques) |
LP |
filed under: strangest noises, drones, vocalizations and poetry from a true hermit and "total artist" who lived in the forest near Paris for 40 years until his death in 1999 (see: chomo.fr), doing 'primitive' and archaic paintings, sculptures, objects, self-made instruments, living in a surrealistic place between trees.... the utterings remind on ETANT DONNES or other French sound poetry, low fi and authentic.. a great document - comes with full colour inlay
|
2020 |
€18.00 |
|
| CHROME |
Alien Soundtracks |
CD |
CD re-issue of legendary second LP from 1977. Edition of 1000
|
2007 |
€16.00 |
|
| |
Half Machine Lip Moves |
CD |
CD re-issue of the third LP (1979) from the sc-fi industrial / post-punk legends from San Francisco around DAMON EDGE and HELIOS CREED. Edition of 1000
|
2007 |
€16.00 |
|
| CHRYSTAL BELLE SCRODD |
Belle de Jour |
CD |
re-release of UD021 LP from 1986, with bonus-tracks and new photos. CBS is DIANA ROGERSON and STEVEN STAPLETON. |
2005 |
€14.00 |
|
| CINDYTALK |
Wappinschaw (lim. clear red vinly) |
LP |
first ever re-issue of the fourth CINDYTALK LP from 1995, and the last of the "first phase", a most remarkable mixture of styles and approaches between beauty and aggression, as impressive as "Camouflage Heart", comes with rare bonus tracks... " As beautiful as it is strange, and as savage as it is delicate. There is no other record even remotely like it, and very few that equal it's artistic process. " [dreamritual] lim. colour vinyl version
|
2021 |
€23.50 |
|
| |
The Wind is strong (lim. marble smoke viny) |
LP |
re-issue of LP from 1990 - the third album by the unique Scottish industrial/ambient /experimental/poetry project of GORDON / CINDY SHARP, recorded for a film project that couldn't be realized => "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..." - lim. vinyl version on marble/smoke vinyl
|
2021 |
€23.50 |
|
| CLEMENTI, ALDO |
Collage |
LP |
"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” " - lim. 450 copies, suspenseful electronic tape music!! |
2023 |
€22.50 |
|
| CLEW OF THESEUS |
The Death Urge |
LP |
muddy ethno-ambient and rough brooding drones with dark pulses & existentialist approach ; very first LP by this US american experimental project, to discover! Lim. 215 copies
|
2011 |
€17.50 |
|
| COH |
Radiant Faults |
CD |
COIL collaborator IVAN PAVLOV aka COH with recordings from 2022, experiencing the "ElpH" phenomemon during the sessions (a notion invented by COIL for 'celestial entities' emanating from electronic equipment in special moments...) - *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.. * |
2023 |
€15.00 |
|
| COIL |
The New Backwards (special edition) |
3 x pic-LP |
collector's edition! 3 x pic LPs, lim. 555 copies, hotfoil embossing, handnumbered, looks great! -> the sister album to "Ape of Naples" from 2008, with diverse unreleased bonus tracks ('rough working stages and surprising remixes') from DANNY HYDE's archive.. *These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate's former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London's Swanyard* |
2022 |
€79.00 |
|
| |
The Ape of Naples (special ed.) |
3 x pic-LP |
collector's edition! 3 x pic LPs, lim. 555 copies, hotfoil embossing in GOLD, handnumbered, looks great! - 'This version is the third Coil record receiving the fully remastered and enhanced 3LP/2CD treatment supervised by Danny Hyde. Includes 9 additional rare or unreleased tracks.* + insert and slipmat
|
2022 |
€76.50 |
|
| COLECLOUGH, JONATHAN / BASS COMMUNION / COLIN POTTER |
same |
do-CD |
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
|
2022 |
€19.50 |
|
| COLLECTIONS OF COLONIES OF BEES |
Six Guitars |
LP |
FIRST release in the new TOTE guitar vinyl-series Vol 3 & 4 (12 LPs!), a one-sided LP with etching by SAVAGE PENCIL on the other side
|
2008 |
€17.00 |
|
| COLLEY, JOE |
Pleasure Pressure |
LP |
rare US LP by the master of somehow deranged electronics, like a mirror of our society and our minds within....- *Damaged wires, crackling speakers, and the existential dread of droning electronics are woven together into Colley's trademark juxtaposition of haunting minimalism and industrial wreckage... Buzzing, hissing, corroded sounds are wrenched from machines that seem on the brink of imminent collapse and deftly resurrected into new forms* - comes with DL code
|
2023 |
€29.50 |
|
| COLUMN ONE |
Early Apes 1993-1995 |
CD |
rare material from the early phase of the unique performance/collage/dada//post-industrial group COLUMN ONE - the DREAM BOX EXPERIENCE LP (1994), the THIS IS MY DREAM 7" (OBUH Records), and unreleased tracks; very nice edition comes in thick oversized cardboard sleeve with 6 postcards, lim. 500, with liner notes by TILL KNIOLA (AUF ABWEGEN); on Polish cult label NEFRYT
|
2011 |
€13.00 |
|
|
Boiling Pool |
LP |
BOILING POOL consists of 953 fragments, 722 situations, 952 interruptions & countless Sources, intensions & beings." - great new C.O.- album with two mind-bending sound collages, musique concrete in the truest sense of the world, full of often fast changing surprises (all kinds of imaginable sources), reminding on such classics as the MIXED BAND PHILANTROPIST LP, but it contains also longer and more calmer passages....100 records in 1! Lim. 245 copies only!
|
2016 |
€19.00 |
|
|
Whip cracking & Death defying (a Ceremony) |
LP |
this LP was recorded during rehearsals for the ENTROPIUM performance in Berlin, March 2012 (when COLUMN ONE was ZEITKRATZER); it sounds like a completely unintentional "in between" recording, musicians testing instruments, talking, making just noises, along with the sounds of the aeration/electronic devices in the hall...C.O. focus your attention to the 'preparation', of what normally stays unheard.. what is false, what is real? and how to show it? a very thoughtful concept album, perplexing your brain!
|
2016 |
€17.00 |
|
| |
W.Transmission I-V |
5 x CD SET |
for the first time on CD, the complete "World Transmission" series by the German experimental collective group, documenting "temporary intermissions" from 1991-2010, released before on rare cassettes and LP; various approaches and in depths concepts, performed live or in the studio, show the uniqueness and permanent (genre) transgression of C.O. // 5 CDs in digipaks in black folder, lm. 100 (standard ed.)
|
2022 |
€50.00 |
|
| COMES, MARTIJN & GIULIO ALDINUCCI |
Crystalline Tragedies |
LP |
strong split LP with side-long pieces by dutch MARTIJN COMES (very minimal drones and pulses based on synths & guitar sounds), and G. ALDINUCCI, who created a stunning ambient collage in his typical choral / spheric way, using field recordings from a Christian procession in "rural Tuscanny"... ed. of 300 copies, comes with DL code
|
2018 |
€16.50 |
|
| CONRAD, TONY & FAUST |
Outside the Dream Syndicate |
LP |
the meeting of minimal violin drones and Krautrock, rec. October 1972 at Wümme-studios; first vinyl re-issue of the famous LP from 1973, when TONY CONRAD (the film-maker, sound-artist and member of the THEATRE OF ETERNAL MUSIC with LA MONTE YOUNG who died April 2016) visited Germany... includes double sided insert with liner notes
|
2016 |
€24.00 |
|
| CONTAGIOUS ORGASM |
Live at Maschinenfest 2018 |
MC |
the cassette-only live series on the Berlin based label goes on, high quality design and MP3 download included, perfect sound.. "...this perfectly shows the progression from the 2008 performance made available last year: gone are the idm leanings, the co sound of the 2010s (which is presented here) is even more a language of its own, abrasive and accessible, palpable and psychedelic at the same time." 100 copies
|
2019 |
€10.00 |
|
| CONTRASTATE |
A live Coal under the Ashes |
CD |
1992 saw the release of CONTRASTATE's third proper album (after two brilliant self-released LPs) on Tesco, with a packaging no one had seen before: a CD placed "inside" a clear die-cut vinyl LP; this is the re-issue of the CD with one bonus-track, their mixture of experimental ambience, ritual industrial and poetry / lyrics let's this still stand out! "There is an odd sense of mania whilst listening to ‘A Live Coal’ strange whistling, off key guitar strings and trance like paranoia" [blackaudio]; BACK IN STOCK - special priced now
|
2008 |
€8.00 |
|
| CONTROLLED BLEEDING |
Distress Signals I |
do-LP |
first proper re-issue of C.B.s first legendary cassette (came out before the harsh industrial noise milestone "Knees and Bones" LP), released on BROKEN FLAG in 1984..."a rare delivery of brutal powernoise and experimentally distorted and tortured vocals."
|
2016 |
€30.00 |
|
|
Knees and Bones |
do-LP |
first ever VINYL re-issue of the cult harsh industrial noise album from 1985, C.B. first LP - at that time it was said to be the harshest, most brutal and noisiest record existing (and it's NOT just pure noise, but has great sounds and a great impact and effect !!); comes in gatefold cover with bonus tracks
|
2016 |
€30.00 |
|
|
Distress Signals I & II |
do-CD |
re-issue of C.B.s first legendary cassette (came out before the harsh industrial noise milestone "Knees and Bones" LP), released on BROKEN FLAG in 1984; co-published with a so far unreleased album that was recorded during the "Distress Signals" sessions in 1983 & 1984, now for the first time available
|
2016 |
€20.00 |
|
|
Body Samples |
do-LP |
the second C.B. LP appeared in May 1985 on German label DOSSIER and showed already a development from the harsh noise beginnings, incorporating dreamy 'cosmic' and ambience parts, percussion and psych/kraut elements and even electro beats, all framed by their heavy industrial noise and screams and rude experiments... a great album full of diversity and surprises; 11 (!) rare / unreleased bonus tracks, lim. 500
|
2016 |
€28.50 |
|
|
Body Samples |
do-CD |
the second C.B. LP appeared in May 1985 on German label DOSSIER and showed already a development from the harsh noise beginnings, incorporating dreamy 'cosmic' and ambience parts, percussion and psych/kraut elements and even electro beats, all framed by their heavy industrial noise and screams and rude experiments... a great album full of diversity and surprises; the re-issue has 11 (!) rare or unreleased bonus tracks apart from the 14 original tracks
|
2016 |
€19.00 |
|
|
Knees and Bones |
CD |
re-issue of the cult harsh industrial noise album from 1985, C.B. first LP - at that time it was said to be the harshest, most brutal and noisiest record existing (and it's NOT just pure noise, but has great sounds and a great impact and effect !!); has 4 long bonus tracks !
|
2016 |
€16.50 |
|
| |
Distress Signals I |
do-LP |
first proper re-issue of C.B.s first legendary cassette (came out before the harsh industrial noise milestone "Knees and Bones" LP), released on BROKEN FLAG in 1984..."a rare delivery of brutal powernoise and experimentally distorted and tortured vocals."; BLACK vinyl edition, 300 copies pressed
|
2016 |
€26.00 |
|
| CONTROLLED DEATH |
Demonic Trip Through Hell |
LP |
recordings from early 2021 that appeared on Cassette and VHS (!) only so far, extremely dark and raw catacomb death ambience reminding on some early M.B. works.. - standard LP version lim. 150 copies
|
2023 |
€30.00 |
|
| CONTROLLED DEATH (MASONNA) / MAYUKO HINO |
Split |
pic-LP |
Japan (death) noise split picture LP with 6 new C.D. tracks entitled "Devil's Sacrifice" and 2 long MAYUKO HINO tracks on the B-Side... - "Maso's is an uncompromising emotion of slabs of screams and drone, whereas Mayuko's achieves the same emotional frenzy by other means. Both achieve the apocalyptic annihilation of sound.." [Vital Weekly] - 400 copies pressed
|
2021 |
€26.00 |
|
| CONTROLLED DEATH / RUDOLF EB.ER |
Death Ceremonies |
LP |
" 'Death Ceremonies' is the darkest, most primitive death industrial record, soaked throughout with the smell of rotting corpses and burning bodies... Dense atmospheres of doom, death and decay build up just to break away in deep paranoia..." - split LP by the two dada-noise / industrial legends (MASONNA, SCHIMPFLUCH), both living in Osaka, Japan
|
2020 |
€25.00 |
|
| COOPER, LINDSAY |
Rags / The Golddiggers |
CD |
re-release of her first two LPs from 1980 & 1983 (ex HENRY COW & NEWS FROM BABEL)
|
1991 |
€14.00 |
|
| CORNER, PHILIP |
Italian Air: Wind, Water & Metal |
LP |
three previously unreleased pieces recorded all outdoors in Italy (1990-1996), mixing raw field recordings of water, rain & thunder with cymbals, alphorn & gong. Great atmospheric stuff (very low fi & rough & minimal) by this long active FLUXUS member and GAMELAN orchestra player; lim. 300 copies, comes with full-colour inlay & info sheet. FIRST EDITION !
|
2012 |
€18.50 |
|
|
Battutosso / Bone Pulse (and other Nature Musics) |
LP |
obscure recordings of PHILIP CORNER performing (or letting perform) on a pair of bones, various cow bells & a dancer, natural flute & breath, and a xylophon sculpture.. - this is where Fluxus concepts & improvised meditation sounds meet.. lim. 300
|
2013 |
€15.00 |
|
| |
Coldwater Basin |
LP |
recordings from 1961 (!) made in New York City, a home recording of water running from a faucet into a sink; feat. BILL FONTANA on microphone; last copies of this rare & obscure LP, front cover design by PHILIP CORNER himself; lim. 180 copies only !
|
2011 |
€23.00 |
|
| CORNFORD, STEPHEN |
Domestic Music |
MC |
strong release by this sculptor, musician and sound artist from UK (running the CONSUMER WASTE label), based on prepared piano sounds.. => "In the atmosphere of the album, there is a diffuse sense of isolation. The recordings seem to have been made in an empty room, with enough focus on the action and a ritualistic sense of the piano manipulation, using metallic objects and wooden sticks." [soundtraag] - lim. 90 numbered copies
|
2021 |
€9.00 |
|
| COURTIS, ANLA |
Antiguos Dolmenes del Paleolitico |
CD |
the REYNOLS master/mad-mind with a very serious album, using solely no-input feedback in different shapes from low hums to highpitched sharp sculptured drones... very nice |
2006 |
€13.00 |
|
| CROENE, FREDERIK |
Le Piano demecanise |
LP |
first LP for this Belgian pianist known for his work with ESTHER VENROOY and TIMO VAN LUIJK - here he produces extreme dark & hammering sounds on a completely dismantled piano, using natural reverb; lim. 500 - special sleeve design
|
2010 |
€18.50 |
|
| CROUCH, ROBERT |
Sublunar |
CD |
a highly minimal / meditative 'attention drone' composition by this Californian sound-artist known from releases on Dragon's Eye and LINE => slow, pulsative, subtle and airy expanses, where the sound or composition is seen as a sculpture, architecture or choreography, with numerous conceptual relations... the source material was delevoped in performance with YANN NOVAK & RAFA ESPARZA... BACK IN STOCK, special priced now!
|
2017 |
€10.00 |
|
| CUNI, AMELIA & WERNER DURAND |
Diasporagas (Ancient Trends & New Traditions In Indo-European Music) |
LP |
after the wonderful "Already awake in the Night" LP this must be the second vinyl release by "ethno-contemplation" duo from Berlin: three long tracks show them at their best, when DURANDs loops, drones and self build wind instruments meet with AMELIA CUNI's wonderful dhrupad singing, percussion, various resonaters and historical samples by Indian singers; the first side-long track HISS sound especially archaic and low-fi and was recorded live in Berlin Nov. 2013; lim. 300
|
2016 |
€20.00 |
|
| CURGENVEN, ROBERT |
Climata |
do-CD |
site specific recordings from 15 'Skyspaces' of the phantastic light-space sculptor JAMES TURRELL, extremely sublime, resonating drones.. "Each of the individual recordings, with their quiet & slowly changing microtonal interventions made in-situ, interrogate and offer a specific document of weather, location and duration framed by the architecture of the Skyspace." ed. of 500 copies
|
2016 |
€16.00 |
|
| CURRAN, ALVIN |
Canti Illuminati |
LP |
re-issue of the third LP (1982) by the US American composer who co-founded the MEV (MUSICA ELETTRONICA VIVA); two pieces dedicated to the human voice, using Choir, Synths, Piano and Tapes; "...In lyrical and poetic form, it rethinks the possibilities and potential of organized sound.... a landscape of sustained tone, rippling texture, and structural intervention. Necessity stripped to the elemental, while challenging, endlessly surprising, and complex." re-mastered, white vinyl, new liner notes
|
2019 |
€25.00 |
|
| CURRENT 93 |
Nature Unveiled |
CD |
re-issue of the first C93-LP from 1984 (LAYLAH 04)
|
2008 |
€14.50 |
|
|
Invocations of Almost |
LP |
dark experimental / atmospheric music for DAVID TIBETs art exhibition in Fullerton (Californa, launched on Davids 59th Birthday, March 5), containing 9 untitled tracks with elements of the latest album "The Light is Leaving us all" - the vinyl version has a shorter edit than on the CD and comes on ivory coloured wax..." Fast allen Stücken wohnt etwas (Alp-)Traumhaftes inne, und insofern erinnert es von der Stimmung zum Teil an 'The Stars On Their Horsies'. [African Paper]
|
2019 |
€20.00 |
|
| |
In Menstrual Night |
pic-LP |
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
|
2024 |
€32.00 |
|
| CUTLER, CHRIS / THOMAS DIMUZIO / FRED FRITH |
Golden State |
LP |
lovely designed LP edition (180 gr.) with four recordings made 1999-2002 (in LOS ANGELES & SAN FRANCISCO) comes with circular die-cut sleeve; we have copies on white & black vinyl in stock
|
2010 |
€20.00 |
|
| CZUKAY, HOLGER |
Cinema |
5 x LP-BOX + DVD + 7inch VINYL-VIDEO |
special release for CZUKAYs 80th birthday (March 2018) - a 5 LP box of the CAN-legend ("anarchist at the editing table" - taz) who died Sept. 2017 in Cologne: early Jazz-experiments from the 60's, rare and unreleased meditations, hits and fragments, collabs with BRIAN ENO, STOCKHAUSEN and CLUSTER, etc. etc...plus a DVD with the film 'Krieg der Töne' from 1987, a 7" vinyl-video and 36 p booklet !!
|
2018 |
€120.00 |
|
| D'INCISE |
Arpenter |
mCDR |
known from the LP on Ini.Itu, this project from Switzerland collects field recordings & transforms them into magic breathing clouds of drones... definitely to discover !
|
2011 |
€5.00 |
|
| |
Lethargie & autres animaux rugueux |
CD |
full album by this project known from the LP on INI.ITU, comes with oversized cardboard cover
|
2010 |
€12.00 |
|
| DAIJING, PAN |
Jade |
LP |
second full length LP for the Chinese post-industrial sound artist, an intense, high-class tour de force into catharsis, solitude and darkness...- "It's an anxious, solitary album that twins basement noise aesthetics with Daijing's cathartic performance, playing her signature vocals against screaming oscillators, booming Wolf Eyes-esque percussion and uncomfortable analog bass. " [Boomkat] - comes on white vinyl with 8 page 12" booklet
|
2021 |
€23.50 |
|
| DANIELL, DAVID |
I-IV-V-I |
LP |
8th release in the new TOTE guitar vinyl-series Vol. 3 & 4 (12 LPs!), a one-sided LP with etching by SAVAGE PENCIL on the other side on colour or clear vinyl; D. DANIELL is / was a member of the RHYS CHATHAM ensemble, FEBRUARY, TORTOISE, SAN AGUSTIN; where Blues meets the Drone
|
2008 |
€17.00 |
|
| DAUBY, YANNICK |
Vescagne, Salèse |
CD |
recordings from the Mediterranean Alpes in France served as source material for two long compositions, inspired by a mineral called "Lignite" (Brown Coal) that was extracted in the mine of Vescagne...with additional 'in-site' improvisations, these sound figurations evolve between the concrete and the flowing into mysterious, whispering atmospheres... lim. 250 copies
|
2015 |
€12.00 |
|
| |
Echoes as Messengers |
CD |
a sound installation for a public art project of the National Taiwan University => ultrasonic voices of the 'Japanese House Bat' were transformed & re-arranged with the help of analogue electronics and digital processing, amazing organic sounds merge with subtle / unusual electronics and create a special, very minimal aural environment... "Please try to listen to it at low volume, or at dusk, or windows open."
|
2015 |
€12.00 |
|
| DAVID [TIBET] |
Ferelith |
CD |
first ever solo-album of DAVID TIBET from CURRENT 93 - this is also the first in a series of 5 albums from him => two side-long pieces of transcendental ambience, mysterious and harmonic underneath (did someone say "sounds like MAEROR TRI or early TROUM?") ... ; the CD version comes in a mini LP sleeve with 'Japanese style' transparent paper insert.
|
2021 |
€16.00 |
|
| |
Fontelautus |
CD |
second in the series of five solo albums from DAVID TIBET, so far issued only as very limited editions a year ago => two side-long pieces of sacral, probably choir based ambience, mysterious and harmonic underneath, with lots of psychedelic effects... the CD version comes in a mini LP sleeve with 'Japanese style' transparent paper insert
|
2021 |
€16.00 |
|
| DE FILIPPIS, ALAIN |
Musicien Improbable |
LP |
compositions from 1983-2005 (11 pieces) by the French composer from Nantes who died in 2010 (known from the Metamkine mCD) - if "WEIRD" is not yet weird enough for you, you should listen to this LP, obscure and dadaistic pieces based on simple electronics, field recordings, poetry, tape drones, musique concrete collages... think of D.D.A.A., LAURENT PETITGAND, and other early French underground experimentalists....
|
2017 |
€18.00 |
|
| DE WAARD, FRANS |
Courriere |
CD |
sound material recorded from inside a canoe shipping down a wild river, everything has been slowed down completely so you can hear interesting details, all kinds of hissing and palpitating and groaning, and strange electro-magnetic waves....a very archaic, low fi sound characterizes this solo FRANS DE WAARD (BEEQUEEN, KAPOTTE MUZIEK, etc.) release.... lim. 200
|
2015 |
€13.00 |
|
| DEAD GUM |
Meta |
LP |
the remarkable Greek industrial / psychedelic / drone / noise - "rock" project with second LP - the guitar noise filled collages meander between harsher territories (think of WOLF EYES, SKULLFLOWER, KOLLAPS) and more cinematic and atmospheric parts and tracks, that can even remind on SPACEMEN 3 or MELANCHOHOLICS... - "META" is no post-something. "META" merely stands half foot ahead of absolute nothingness, the true end of it all. - 200 copies on black vinyl
|
2019 |
€16.00 |
|
| DEAD MAURIACS, THE |
Beaute des Mirages |
LP |
the French project known for its obscure sound/field recording collages (like an alien form of NWW) with their first LP, exotic plunderphonics from various odd sources, contrasted with cut ups, eerie electronic sounds and noises... a bizarre and weird record as you always wanted it ! - "full of fake(?) vintage atmospheres and armchair jungle hallucinations. An abstract journey into a beautiful (and sometimes scary) world of mirages."
|
2017 |
€19.00 |
|
| DEAS (CAMERON) |
Time Exercises |
LP |
after the strong "String Studies" a completely different approach on this LP, his first album composed solely for synthetic sounds.. "CAM DEAS is a guitar virtuoso who has switched to modular synth and computer productions resulting in these staggering studies in polymetric, mercurial and dissonant tunings - hugely recommended if you’re into the work of Autechre, Rashad Becker, Roland Kayn, Fis, Coil, Xenakis..." - lim. 500 copies
|
2018 |
€18.00 |
|
| DEATH KNEEL |
Adaptive Emotional Use |
LP |
Canadian project DEATH KNEEL (also member of death metal band TOMB MOLD) combines broken low-fi junk noise, contact mic. scratch noise and even rhythmic industrial techno with synth ambient passages and melancholic passages with amazing effect... first LP°! . -"With its clear attention to detail and the careful juxtaposing of harsh sounds against melodious elements, Death Kneel have delivered an evocative and artistic take on experimental industrial noise." {Noise Receptor}
|
2019 |
€16.00 |
|
| DEISON & MINGLE |
Tiliaventum |
CD-BOX & object |
stunning collaboration by Italian's best hidden secret DEISON, with ANDREA GASTALDELLO aka MINGLE=> inspired by the Tagliamento River (stretching between the Alps and the Adria) and using field recordings from it, this gives their usual electronically pulsing post industrial ambience explorations (reminding on BAD SECTOR, etc.) a very poetic touch... comes in cardboard box with real stone from the river + 16 page booklet + postcard; excellence all around !!
|
2017 |
€16.00 |
|
| |
Weak Life |
CD |
the following album to the great "Everything Collapse(d)" LP - 11 slow 'ambient IDM" tracks that are very focused and dense, with twisted rhythms and machine-like intensity... " Weak Life carries on the perfect union of Deison and Mingle's sounds: drones, field recordings and processed loops onto which disturbed rhythms, distorted beats and electronic treatments are inserted. As always these are dirty electronics which are extremely evocative, to which we have become accustomed." - excellent stuff again!!
|
2015 |
€12.00 |
|
| DEISON / MATTEO UGGERI |
In the other House |
LP |
a very nice LP by these two long active musicians from the strong Italian 'experimental atmospherics' scene in collaboration, expressing the 'quiet desperation that daily life often implies' with melancholic organic ambience tunes, combined with location recordings of a house (creaking, rain, etc.), slow and emotional... lim. 300
|
2015 |
€15.00 |
|
| DEISON / MAURIZIO BIANCHI |
[Black Panorama] |
CD |
six tracks of spheric darkness, amazingly calm ambience on this first ever collab. between the two Italian industrial veterans..
'That's why this work will help us to regain our peace of mind or to lose it forever, while remaining unchanged the view before us' [Maurizio Bianchi]
lim. 200 only!
|
2015 |
€13.00 |
|
| DEL POZO, ARTURO RUIZ |
Composiciones Nativas |
LP |
LP re-issue of a "masterpiece of Peruvian Avantgarde Music" from 1978, when DEL POZO combined his New Music composition skills with the use of native South American instruments, building quite unusual aural surroundings.. " a collage of sounds of Andean reminiscence, echoes and abstractions, which will entrance you an unprecedented sound universe"
|
2018 |
€21.50 |
|
| DER PLAN |
Geri Reig (Bonus Version) |
LP |
re-issue of their first legendary LP from 1980: minimal synthetic avantgarde / absurd dada Pop, highly experimental and weird, from the vivid DÜSSELDORF New Wave scene at that time... this re-issue has 6 rare bonus tracks! - "Geri Reig ist ein Punkalbum im eigentlichen und im besten Sinne. Neu, bedrohlich und gleichzeitig humorvoll." - printed innersleeve with extensive liner notes
|
2012 |
€20.00 |
|
| DEUTSCH NEPAL |
Tolerance |
CD |
re-issue of the third D.N. album from 1994 (Staalplaat), comes in new digipack-artwork; golden CD
|
2009 |
€13.00 |
|
|
Staring at my Wall |
CD |
Swedish industrial legend LINA BABY DOLL is back, presenting the good old sluggish DN sound in new perfection on 8 tracks! "Concrete sounds mixed with buzzing noises, drums banging as if all ancient armies in history were standing outside the door about to break down, not only the door but the hole town and leave it as a cloud of dust swaying over a surrealistic sculpture." - digipak
|
2019 |
€13.00 |
|
| |
Vol. 1 |
6 x LP - BOX |
the first five albums on vinyl, plus the bonus LP "Dystopian Selection" with rare material - comes in sturdy box with three postcards, certificate, each LP in own sleeve...- *All of them seem to be the evolution of an early idea, a baby that grows old, getting monstrous and divine while doing so..* - ed. of 435 copies (standard ed.)
|
2023 |
€123.00 |
|
| DEVIATION SOCIAL |
At Hotel Utah San Francisco 31 July 1982 |
CD-box |
re-issue of ultra rare cassette from 1982 by this Californian multi-media act, performing with help of MONTE CAZAZZA, historical industrial tunes with found sounds, high pitched noises and deranged beat box, along with spoken words, not to far from TG....- "The Recording is marred by some audience chatter, but comes across as a very solid performance. Some of the best live sounds from an American act are on display here. A true gem of early 80's industrial." - printed metal box, numbered 200 copies
|
2022 |
€13.00 |
|
| DIE FORM |
Die Puppe |
LP |
re-issue of DIE FORMS debut album from 1982 (BAIN TOTAL LP 001), cold minimal rhythmic machine industrial, all recorded on analogue equipment... "Songs range from hypnotic, minimalistic proto-IDM to pure, daring experimental sound manipulation"; re-mastered for vinyl, incl. 2 postcards & liner notes, with replica of the original cover
|
2015 |
€18.50 |
|
| DIE SÄCKIN MIT DOSENSCHMALZ |
First Gesäcke |
LP |
first LP by the legendary all female drone combo from the Schorlingborstel-commune
|
2015 |
€20.00 |
|
| DIETER MÜH (DIETER MUH) |
StockholmMonsters |
LP |
obscure "bootleg" LP which comes as a blank label release with simple black cover and insert, it was recorded live in Nov. 2001 at Fylkingen in Stockholm and is a great document of DIETER MÜHs raw ambient industrial sound, filled with dark powerful loops, speech samples, distorted analogue synths and ecstatic tribalesque percussion parts... [please note the cover-corners have suffered a bit, so the cover is only VG ]
|
2002 |
€12.00 |
|
| DIMUZIO, THOMAS |
Headlock |
CD |
re-issue of the very first DUMIZIO LP from 1989 - raw and overtopping, at times almost wild noise & drone experiments, but also more quiet pieces, pointing already out to later, more ambient works... BACK IN STOCK
|
1998 |
€14.00 |
|
| DISSECTING TABLE / MATTHIAS GRASSOW & TOMAS WEISS |
split |
LP |
PSYCH.KG makes it possible: Japan noise & German esoteric ambience combined on one split-LP, with covers handpainted by handicapped children! Lim. 100, only very few in stock, second part in the "A-Childs-Color-Play" series (first was by RAPOON / RELAPXYCH.0 - still available last copies!)
|
2011 |
€20.00 |
|
| DOCKSTADER, TOD & JAMES REICHERT |
Omniphony 1 |
CD |
re-issue of LP from 1966 ! |
2002 |
€14.00 |
|
| DONIS |
Без Гражданства (No Citizenship) |
LP |
the long existing Lithuanian dark folk & ambient project with a Russian titled LP, inspired by the post 2nd WW fate of the artists grandfather; "the record is done using only acoustic instruments and ambient sounds of the authentic grandfather's life places: the remaining houses, attics with old craftsman’s tools, native whistling winds of Zindaiciai and chirping birds, church, yellow rusted documents and photographs, squeaky steps in Jurbarkas’ town cemetery... lim. 150, white vinyl
|
2016 |
€23.00 |
|
| DREAM WEAPON RITUAL |
Ebb and Flow |
LP |
great LP by this Italian duo formed by MONICA SERRA and SIMON BALESTRAZZI & guests with brooding drone improvisations between more musical elements and noise, based on electronic & instrumental sources, concrete sounds, vocals... [using: analog & digital electronics, prepared toy psaltery, objects, bowed metal plate, organ, 'sacred horse skull', chalumeau, dobaci, bongo, gong set, flutes]... to discover !
|
2014 |
€15.00 |
|
| DROWNING POOL |
Aphonia |
CD-R |
re-issue of the fourth (and last) LP from 1988 by this great experimental ethno/art-rock/wave band from the US who established a unique style - everything digitally re-mastered and professionally duplicated; contains one bonus-track
|
2009 |
€11.50 |
|
| DRUMM, KEVIN |
Inexplicable Hours |
do-LP & CD |
good times for KEVIN DRUMM fans. after the massive "Elapsed Time" CD-box here are seven new long pieces, spread on two LPs, wonderfully designed; "Unusual electroacoustic experimentation, tense ambient, airy drone made with audio generators, field recordings and various electronic devices" - "These pieces, despiste their lenght, are like perfect miniatures, timeless puzzles that you try and unravel through close listening." [The Wire] 6 panel double gatefold, + CD version, lim. 700
|
2018 |
€27.00 |
|
| DRYGIANAKIS, COSTIS |
Chondros and Katsiani on the Mountain (Ο Χονδρός Και Η Κατσιάνη Στο Βουνό) |
CD + BOOK |
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
|
2019 |
€16.00 |
|
| DRØNE / DROENE / DRONE (MARK VAN HOEN / MIKE HARDING) |
Mappa Mundi |
CD |
third full length (first CD after two LPs) for the creative unit formed by MIKE HARDING (TOUCH label mastermind) & MARK VON HOEN (SEEFEEL, SCALA...) ; "Mappa Mundi traces and describes audio surrounding and occupying the planet earth." comes in a 5" cover, 5 tracks, 500 copies
|
2017 |
€10.00 |
|
| |
A Perfect Blind |
LP |
the second LP by the project of MARK VAN HOEN (SEEFEEL, etc.) and MIKE HARDING !! Record Store Day 2017 release
|
2017 |
€16.00 |
|
| DUBACH, PETRA & VAN HORRIK |
Failing Humans Failing Machines |
LP |
highly interesting artist couple from Eindhoven (Netherlands), connected to sound art, dance, and PAUL PANHUYSENs MACIUNAS ENSEMBLE: this LP features two completely different sides of their work: an atmospheric ambient noise improvisation on Side A (on various instruments and objects), whereas Side B presents a recording of an installation, based on their WAVES research project using a set up of two long strings driven by body-shakers.. silk-screen cover
|
2014 |
€25.00 |
|
| DUHKHA |
Mariyammal |
LP |
excellent, overlooked LP by this BENJAMIN BEX project with many guest musicians, a highly emotional ambient journey that combines many sounds and sources...- "Ambient-Puzzle aus Frankreich. Zahlreiche Soundlandschaften von Musikern werden zu einer Fläche verbaut. Organisch und handfest. mit einer ganz besonderen, kränklichen, geheimnisvollen Stimmung und irren Vocals. Achtung Sogwirkung!" [NonPop] - 5 tracks, lim. 314 copies, excellent cover art!
|
2015 |
€15.00 |
|
| DUNCAN, JOHN |
Organic |
LP |
first ever re-issue of JOHN DUNAN's debut LP from 1979, which consisted of two side-long pieces recorded live when he was a member of the LOS ANGELES FREE MUSIC SOCIETY (LAFMS); using Water-Noises, Percussion and Tapes (along with Bassoon sounds from MICHAEL LE DONNE-BHENNET on one piece).... lim. + numbered edition of 500 copies, inlay, clear vinyl
|
2018 |
€25.00 |
|
| |
This bitter Earth |
7inch |
the accompanying 7" to the "Bitter Earth" LP with three more haunting cover versions: "This Bitter Earth" (feat. C.M.VON HAUSSWOLFF), "I Fall in Love to easily", and "Final Solution", a PERE UBU song |
2016 |
€9.00 |
|
| DUNCAN, JOHN & JOACHIM NORDWALL |
Conventional Wisdom |
LP |
first time full length collab. by JOHN DUNCAN (vocals) with JOACHIM NORDWALL (synths, drum machine, and vocals on one track), ed. of 300 copies "...his original lyrics in stark arrangements ranging from shortwave radio-streaked dark ambient settings and Mika Vainio-esque isolationism, to deathly dubs driven by Nordwall’s rugged rhythms in a style that heavily recalls Jay Glass Dubs’ recent ‘Epitaph’ LP."
|
2019 |
€20.00 |
|
| DÄLEK {DALEK] |
Respect to the Authors |
12inch |
a six track mini-LP by the atmospheric hip-hop experiMENTALists, still unique in their genre, vinyl-only release lim. 500 copies; "...being Hip Hop for those who don’t pigeon-hole themselves as typical Hip Hop diehards, attracting those who keep listening outside the box. Subversive. Paradigm-changing. Mindblowing." - no download code, no digital version at all available !!
|
2019 |
€17.50 |
|
| EASTLEY, MAX |
Installation Recordings (1973-2008) |
do-CD |
amazing installation-recordings from many different sound-sculptures using aero- & hydrophones, aeolian flutes & arcs, friction tubes, wires, motors, metals, strings, wood; -> creating beautiful & surprising atmospheric sounds; great collection by this British soundartist, highly recommended! Comes with 20p. full-colour booklet
|
2010 |
€20.00 |
|
| EASTLEY, MAX / STEVE BERESFORD / PAUL BURWELL / DAVID TOOP |
Whirled Music |
LP |
re-issue of rare LP from 1980 (Quartz Publications - the label run by DAVID TOOP) with recordings from London improvisers 1979 (indoors and outdoors), using only "whirled" or swung instruments (traditional and/or home-made), extremely interesting and purely acoustic; at these series of live performance the audience was usually protected with masks... comes with 24 p. booklet feat. archive material & notes by DAVID TOOP
|
2018 |
€23.00 |
|
| EB.ER, RUDOLF / JOKE LANZ / GX JUPITTER-LARSEN / MIKE DANDO |
Wellenfeld |
CD |
this supergroup of noise committers was formed at the 'Extreme Rituals Festival' in Bristol, December 2012, for a unique live performance using bio-feedback technics of their own brainwaves to control the sounds: a wireless EEG device received their brain-activity data during the concert which was then processed into noise, while the performers 'learned" spontaneously on stage to sculpt the acoustic outcome through their mind alone.. lim. 300
|
2014 |
€13.00 |
|
| EHOECO |
L'Experience Acousmagique |
LP |
overlooked LP of this shortlived project consisting of EMMANUEL HOLTERBACH (ELIAN RADIGUE connaisseur and collaborateur) and ETIENNE COUSSIRAT => electro-acoustic improvisations, refined dense-droning audio voyages.. *EHŒCO is a territory were they explore and invoke the voice of forgotten creatures, the spirit of giant machines, the depths of waves frequencies and the secret sounds of familiar landscapes." - 300 copies
|
2013 |
€21.50 |
|
| EIMERT, HERBERT |
Epitaph Für Aikichi Kuboyama / Sechs Studien |
LP |
"EPITAPH FÜR AIKICHI KUBOYAMA" (1957-1962) - a protest piece against USA's nuclear bomb testings at Bikini Atoll, plus six electronic studies (1962) by the founder of the 'Studio für Elektronische Musik' in Cologne (1951), at that time the only studio for electronic music in the world; originally released on LP in 1966, lim. 500 & fully re-mastered
|
2018 |
€18.50 |
|
| EINSTÜRZENDE NEUBAUTEN |
1/2 Mensch |
LP |
the legendary LP rec. 1984/1985 / re-issue 2002
|
2002 |
€22.00 |
|
|
Kollaps |
LP |
first LP - re-issue |
2007 |
€20.00 |
|
|
Zeichnungen des Patienten O.T. |
LP |
re-issue of second LP from 1983
|
2003 |
€22.00 |
|
| |
Phase IV : the box set (Alles in Allem) |
LP-Box |
back in stock few copies!!! => lim. box edition of the "Alles in Allem" album, with additional CD + LP feat. bonus material and outtakes, a DVD with pictures and audio material from the studio process, and a 164p. book
|
2020 |
€90.00 |
|
| EKIN FIL |
Maps |
LP |
already the fourth LP for the Turkish artist who mesmerizes here with ghostly, intimate 'songs' based on synth-piano, electronics and smoothly aspirated vocals... extremely melancholic, lonely, fragile and haunting..."The saddest songs of The Durutti Column excised of rhythm and those few plunges into sorrow by Harold Budd make for apt comparisons to Maps, in addition to the drone-on classics of Grouper, Slowdive, and Sarah Davachi."
|
2018 |
€19.00 |
|
| ELEH |
Retreat, Return, Repose |
3 x CD |
re-issue of three rare/deleted mailorder-only LPs, lim. 1000
|
2012 |
€44.00 |
|
| |
Homage |
3 x LP-BOX |
luxus boxset re-issue of the three deleted (& much requested collectors items) "Homage to.." LPs from 2008/2009/2012:(Homage to the Square Wave.. to the Sine Wave.. to the Pointed Waveforms); lim., numbered ed. of 800 copies, each LP in own silkscreen cover
|
2013 |
€55.00 |
|
| ELEH / TARA JANE O'NEILL |
Circle Four: 100 Gongs for Arieto / Medusa Smack |
LP |
wonderful split release with highly meditative drones as a homage to HARRY BERTOIA => contains a piece from 2012 by TARA JANE O'NEILL using BERTOIAs sound-sculptures on one side, 100 gong-sounds (for 100 years of BERTOIA) performed on a 'Serge modular system" by ELEH on the other; lim. 800 letter-press cover (gold on black), looks great. BLACK VINYL
|
2015 |
€30.00 |
|
| ELODIE (TIMO VAN LUIJK & ANDREW CHALK) |
La Lumiere Parfumee |
CD |
second album by this new project of ANDREW CHALK & TIMO VON LUIJK after the highly successful LP "Echos Pastoraux"; "an impressionistic pallette of pastel shades and shimmering opalescent rays"; edition of 400 copies in mini-gatefold LP sleeve
|
2011 |
€16.00 |
|
|
Traces Ephemeres |
LP |
third LP by this fruitful project of ANDREW CHALK and TIMO VAN LUIJK, this time with help from JEAN-NOEL REBILLY and TOM JAMES SCOTT who add clarinette, piano and koto => 18 instrumental miniatures, quite varified introspective music, often sounding like extremely subtle & silent drone-jazz.. lim. 350
|
2014 |
€18.00 |
|
|
Grisailles |
LP |
already the fifth LP by ELODIE, containing five instrumental, most intimate / contemplative pieces => smooth harmonic drops and floating tunes from clarinet, piano, transverse flute, synths, etc.. create elusive patterns and invite you to dwell on every single sound... very thick hand-assembled sleeves with hand printed etching by TIMO VAN LUIJK included, lim. 300
|
2016 |
€35.00 |
|
| |
La Lumiere Parfumee |
LP |
vinyl version of the second album (CD in 2011) by the ever evolving project of ANDREW CHALK & TIMO VON LUIJK, released after the highly successful LP -Echos Pastoraux-... "an impressionistic pallette of pastel shades and shimmering opalescent rays"; comes with insert // handmade sleeve // letterpress design
|
2018 |
€26.00 |
|
| EMAK |
Elektronische Musik aus : Köln 1- 3 |
3 x LP BOX |
re-issue of the three minimal electro LPs originally released 1982-1985, by this collective around synth specialist MATTHIAS BECKER - "influenced by German experimental music - from Stockhausen to Can - and by minimal music, musique concrète and ambient music. Some of the tracks presented in this first complete edition of EMAK's recordings became very popular in Germany's eighties club scene because of their pulsating rhythms" lim. 300 in red BOX
|
2018 |
€89.00 |
|
| EMPUSAE / SHINKIRO |
Organic Aural Ornaments II |
LP |
second part of their collaboration (after the first part on Ant-Zen in 2011), very spacious organic / cinematic / cosmic ambience, LP version on black vinyl, only 100 copies ! *... poly-rhythmic landscapes and field recordings, spacious textures and deep ambient drones. Organic sequences move through the musical architecture and build long tracks of an evolving deep ruminant sea of waves.*
|
2022 |
€20.00 |
|
| ENDO, KAZUMOTO |
Live at Sendai Contemporary Museum |
12inch |
one sided LP with a legendary live recording from 1999 by K. ENDO also known as KILLER BUG => "This live recording shows once again an artist on fire, both in studio as well on stage, with usual master control over his sharp and abrasive electronics. A delightful mangle to the fanatic's earholes, with non stop assault of metal scrap feedbacks, and powerful, crushing walls of distortions.. " -lim. 250, never seen black & white halved vinyl + splatter colours above.. - 45 RPM
|
2017 |
€20.00 |
|
| ENGLISH, LAWRENCE |
Viento |
CD + BOOK |
CD re-issue of the strong TAIGA LP from 2015, now with 40 page photo booklet + embossed sleeve: very 'physical' field recordings of extreme wind and blizzards caught during a trip to Antarctica and Patagonia, you can feel the energy of the atmosphere when you listen to this.. - "abandoned buildings, lone trees bent over in fields of tundra-like grasses, quivering road signs, wailing fences and other objects brought into relief with the wind..."
|
2022 |
€23.00 |
|
| ENSTRÖM, ROLF |
Directions |
CD |
only few releases exist of this highly interesting Swedish composer, known for his stunning LP on Fylkingen, this CD contains the older works: "Directions" (1979), "Tjidtjag Och Tjidtjaggaise" (1986), and the epic " Slutförbannelser/Final Curses" (1981) in eight parts; challenging, lyrical electro-acoustic at its best !
|
1989 |
€16.50 |
|
| ERLANDSSON, MATS |
Minnesmärke |
LP |
long sustained multi-layer drones based on acoustic (trombone, tuba, violin) and electronics (double bass, electronics) plus field recordings in the back, forming slowly evolving, almost elegant aural spaces.. "...in order to evoke a psychedelic state of reflection, a dream-like elegy for the acoustic properties of the former iron ore mine Ställbergs Gruva where the music has been conceived and recorded.." - debut LP by the Swedish composer
|
2020 |
€21.50 |
|
| ESPLENDOR GEOMETRICO |
Live in Utrecht |
CD |
re-issue of the LP from 1990, recorded live 25.11.1989 in Utrecht, Netherlands
|
1999 |
€13.00 |
|
| ETANT DONNES |
Royaume / Aimant + Aimant |
LP |
"Two pole like two bodies like two hearts like two magnets": field recordings - noise - poetry - ritual: re-issue of the wonderful CD from 1991 (Touch), a surrealistic / mystic journey through the four elements, refering to the light evoked by the colour green; on the B-side the LP contains three rare tracks from a split 10" (1992) "Aimant + / Aimaint -" a 'magical alchemical mantra based upon the force of love, the force of life'
|
2016 |
€22.50 |
|
|
L'Etoile Au Front |
CD |
re-issue of their third cassette (on DIE FORM's Bain Total) from 1982, one of the five much sought-after early cassettes before the band appeared on Staalplaat with "L'Eclipse" (1985): obscure collages made of low fi recordings and mechanical / motorized object sounds, radio found sounds, whispers, plus a long noisy live extract (live Grenoble '81) with screams and weird electronic sounds, and one unreleased bonus traack! This shows the shaping of the unique ETANT DONNES sound of later releases!
|
2021 |
€15.00 |
|
| |
Bleu |
do-LP |
"FORCE DE L'AMOUR" - first ever re-issue of the fascinating, deeply passionate CD from 1994 (Staalplaat), forming a kind of trilogy with "Aurore" and "Royaume"; printed inlays, 45 RPM: "Bleu is the final gesture and culmination of this period of creation where poésie and la nature form a magical alliance that resonates as an alchemical wedding.."
|
2021 |
€35.00 |
|
| EVIL SPIRIT |
The Imageless Mirror |
LP |
the amazing South American "experimental doom metal" duo with their second release, feat. MARCELO AGUIRRE (see Newsflash June 19 for his excellent solo LP) on vocals and drums - "Slow, weird ass doom from a horror movie. Cool as hell, particularly when the unhinged saxophone kicks in.." [Last_vinyl_before_doomsday] ; edition of 200 copies with insert
|
2018 |
€17.00 |
|
| EXPO 70 (EXPO SEVENTY) |
Kinetic Tones |
LP |
four new studio tracks by the prolific JUSTIN WRIGHT with his space rock / neo psychedelia project in this nice release series, this LP is dedicated to the Flores Hawk-Eagle > "Laced with drones, heavy and leaden as cinder block bunkers, and shot through with a cosmic strain of psychedelia that unwinds as much as unravels the soul...from minimalist Drone over spooky Psychedelia to harmonic and beautiful soundscapes" ed. of 500 copies on bronze coloured vinyl
|
2015 |
€20.00 |
|
| EYELESS IN GAZA |
Caught in Flux |
CD |
re-issue of the debut-album (LP & 12") from 1981, remastered version 2008
|
2008 |
€14.00 |
|
| |
Orange Ice & Wax Crayon |
CD |
re-issue of the LP from 1992, which was a compilation of outtakes, rejected and unreleased tracks rec. 1981-1985, thus going back to the very early experimental (post-punk and raw atmospheric) beginnings of the band, but also showing their poppier evolution... great collection for the fans, none of these tracks ever appeared on the regular albums
|
2012 |
€13.00 |
|
| FAUST |
71 Minutes |
CD |
rec. 1971-1973, rel. befores as "Munich & Elsewhere/Return of a Legend"LP (RR25,1986) and "The Last" LP (RR36,1988), plus material from unreleased "Faust Party 3"LP |
1998 |
€14.00 |
|
|
Faust |
CD |
re-issue of first LP from 1971 (Polydor) |
2000 |
€14.00 |
|
|
So Far |
CD |
re-issue of 2nd LP from 1972 (Polydor) |
2000 |
€14.00 |
|
|
Punkt |
LP |
'the never before fully released "lost/last" 5th album (also called "5 1/2") from the recent box set as standalone item, originally planned as their second LP for Virgin! 7 tracks, recorded in 1974 at Musicland Studios in Munich.. - "Das Leben von Faust in ihrer Kernbesetzung war kurz, intensiv, aufregend, extrem kreativ und derart spannungsgeladen, dass es fast zwangsläufig zur Implosion kommen musste..."
|
2022 |
€22.50 |
|
| |
Punkt |
CD |
the unreleased "lost/last" 5th album (also called "5 1/2") from the recent box set as standalone item, originally planned as their second LP for Virgin! 7 tracks, recorded in 1974 at Musicland Studios in Munich.. - this CD version comes with 8 page booklet
|
2022 |
€16.00 |
|
| FAVARON, GIANLUCA / STEFANO GENTILE / CARL MICHAEL VON HAUSSWOLFF / ROD MODELL |
LANDSLIDE (For Fields Recordings and Sine Waves) |
do-LP |
strong concept album inspired by the catastrophe of Longarone / Vajont (Italian Alps) from October 1963, when a gigantic floodwave killed 2000 people in the valley, caused by the man-made dam (260 metres high!)... - the original version of "Landslide" from FAVARON and GENTILE contains recordings from the region, where small "Landslides". still happen, ROD MODELL and VON HAUSSWOLFF created reworkings and remixes..- 4 side long pieces, 4 page inlay, lim. 300
|
2022 |
€36.00 |
|
| FEAR DROP |
No. 16: LA ZONE GRISE |
mag & CD |
finally a new FEAR DROP (best french mag for ambient & experimental music) issue, on the theme "GREY AREA"; feat. two long essays by publisher DENIS BOYER, plus articles about COILs ANS-work, HUMAN GREED; STEVE RODEN, BERNHARD GÜNTER, and the very first interview / article about our 10" series SUBSTANTIA INNOMINATA! + compilation CD with mentioned artists and CISFINITUM, TROUM, YANNICK FRANCK, L. MARCHETTI, M. DELPLANQUE, etc.. a definite MUST HAVE, highly recommended!!! Exclusive material only !
|
2012 |
€12.00 |
|
| FEAR FALLS BURNING |
Once we all walk through solid objects |
5 x LP-SET |
source material by FFB performed by 10 artists (one per LP-side): BASS COMMUNION, FINAL (Justin Broadrick / JESU), FREIBAND, HARVESTMAN (Steve von Till / NEUROSIS), BIRCHVILLE CAT MOTEL, BYLA, AIDAN BAKER, JOHANNES PERSSON, JEFRE CANTU-LEDESMA (of TARENTEL), STEFANO PILIA. Lim. 500, pressed on clear 180gr vinyl. LAST COPY, MINT !
|
2007 |
€62.00 |
|
| |
The Carnival of ourselves |
CD |
re-issue of the deleted LP (Tonefloat 2006), plus one previously unreleased live-track (May 2006 Hamburg)
|
2009 |
€12.00 |
|
| FENNESZ |
June |
LP |
release in the new TOTE guitar vinyl-series (12 LPs!), a one-sided LP with etching by SAVAGE PENCIL on the other side; comes on beautiful orange-marbled or clear vinyl. Mastered by JAMES PLOTKIN
|
2008 |
€17.00 |
|
| |
17.02.12 |
BOX |
collectors item lim. 500 - amazing box documenting Fennesz live performance in Florence in a museum Febr. 2012: 2 x LP, CD, photo-gallery, 12p photographic book, and 2 DVDs, all housed in extra folder & box! |
2013 |
€111.00 |
|
| FERGUSSON, ALEX |
Secret Recordings 1976-1992 |
5 x LP BOX |
5 LP box with various projects and solo works by the founding member of ALTERNATIVE TV and PSYCHIC TV: industrial sessions 1977 with GENESIS P. ORRIDGE ("Industrial Porridge"), material from THE NOBODIES, CASH PUSSIES, PTV "Pagain Day II", solo material feat. CHRIS CARTER and DANIEL MILLER (MUTE) 1980-1982... - lim. 400 in total, 300 on black vinyl, plus T-Shirt and 32 page booklet
|
2023 |
€105.00 |
|
| FERIAL CONFINE (=ANDREW CHALK) |
The full use of Nothing |
CD |
re-mastered re-issue of the very first MC release (1985) by ANDREW CHALKs old solo-project, first in a trilogy of releases, luxurious art-cover (mini LP style with Japanese language obi strip), lim. 500
|
2013 |
€15.00 |
|
| FERRARI, LUC |
Labyrinthe de Violence / DANCE |
LP |
previously unreleased installation piece from 1975! one-sided LP lim. 500
|
2009 |
€21.50 |
|
| |
Tinguely 1967 |
LP |
a so far unreleased composition that was used for a TV film about the great "senseless machines" sculptor JEAN TINGUELY, using field recordings from an exhibition made in 1966; on Side B an even older piece (1964) of musique concrete made for a short film of JEAN BARRAL, also unpublished so far! A must for any LUC FERRARI fan!! |
2017 |
€16.50 |
|
| FIBO-TRESPO |
Askel oikeaan suuntaan |
CD-R |
handmade wallpaper-cover lim. 70 |
2002 |
€6.00 |
|
| FIEBIG, GERALD |
Pferseer Klangtrilogie |
CD-R |
highly conceptual / experimental recordings by Augsburg-based GERALD FIEBIG, who uses abstract paintings in a galery as 'scores' to perform, going from poetry / words (meaning) over noise & fragmentation to a new structure made out of tones & musical signals (using violin bow samples, sculptures by GÜNTHER POSCH & synth drones)... lim. 20 copies only
|
2013 |
€8.00 |
|
| FILM SCHOOL |
same |
CD |
a must for any MY BLOODY VALENTINE-fan! Also available as LP for same price |
2006 |
€16.00 |
|
| FM EINHEIT |
EXHIBITION OF A DREAM |
do-CD |
Dream interpretations of 12 artists who tell their dream "fiction" lead by their Unconscious, with accompanying sounds of FM EINHEIT and "band": GENESIS P.ORRIDGE (longest track), LEE RANALDO (SONIC YOUTH), film-maker APICHATPONG WEERESETHAKUL, SUSAN STENGER, etc. - very nice concept / idea with surprising results [ the whole is a re-issue of a rare 3 LP " L'exposition D'un Rêve" from 2018 ]
|
2021 |
€16.00 |
|
| FOR KINGS AND QUEENS |
The Living Room Series Vol. 1: Inland |
CD-R |
first part in a new release tryptich by this strong project from Berlin (just being featured on 'Drone-Mind Vol. 6' LP), exploring "the inside and outside environments": INLAND consists of two long pieces where repeating crunching and whirs, eerie vocal material, instrumental contrabass sounds and various electronic vibes and pulses merge into a floating sound collage; highly atmospheric and subtle! lim. 50 in special handmade / oversized cover
|
2017 |
€12.00 |
|
|
The Living Room Series Vol. 2: Ausland |
CD-R |
second part in a new release tryptich by the ever amazing project from Berlin (just being featured on 'Drone-Mind Vol. 6' LP), exploring "the inside and outside environments": AUSLAND presents 2 long tracks of disturbing 'saw tooth' drones with lots of somehow frazzled sounds and effects, collaged voice and synth sounds support the alien atmosphere, before arrays of field recordings join in, creating a strong dreamlike atmosphere..lim. 50 in special handmade / oversized cover
|
2017 |
€12.00 |
|
| |
The Living Room Series Vol. 3: Umland |
CD-R |
thrid part in a new release tryptich by the ever amazing project from Berlin (just being featured on 'Drone-Mind Vol. 6' LP), exploring "the inside and outside environments": UMLAND sounds subtle and mysterious for the most part, W.S. BURROUGHS appears in a dream and lurks around the corner... lim. 50 in special handmade / oversized cover
|
2017 |
€12.00 |
|
| FOSSIL AEROSOL MINING PROJECT [FAMP] |
August 53rd |
LP |
the wondrous/wonderful/mysterious FAMP project with new LP using low-fi tape loops and samples from old physical media only, thus creating a sound as coming from an ancient culture... "Down-pitched, disquieting rumbles form the foundations for much of Fossil Aerosol’s compositions, which mutate the fractured, crumbled, and mildewed artifacts into patterned yet shifting phrases. The result seems like hybrid, time-compressed mimicry of the evolution of our media-driven language."
|
2018 |
€23.00 |
|
| FOSSILS / DARKSMITH |
Million Year Spree |
LP |
new experimental sound-culture from Canada & USA on this split-LP; "the last one on being and nothingness"; numb. ed. 400 copies, mastered by JASON LESCALLEET
|
2012 |
€17.00 |
|
| FREIBAND |
Capture |
mCD-R |
remix of material recently presented on the AUDIOSCOOP doLP
|
2008 |
€5.50 |
|
|
Stainless Steel |
LP |
FREIBAND reworks Gamelan-sounds! Minimal drones, repetitive structures, metallic atmospheres... great LP, with 2 endless grooves on Side B; mastered by JAMES PLOTKIN, numbered edition of 250 copies
|
2011 |
€12.50 |
|
| |
Stainless Steel Redux & Finale |
mCD-R |
kind of companion-release to the "Stainless Steel" LP with a track from the same sessions, not on the LP; 20min. long
|
2011 |
€5.50 |
|
| FREIBAND / RLW |
Silence will fall / Bis ans Ende (Psych 16) |
lathe-cut 7inch |
collector's item! lovely split 7" by FREIBAND (great slow mo drone-flushes) and RLW (deranged electro-acoustics with confusing effect, as usual unique!); lim. 30 copies in handmade (cardboard, wallpaper?) cover, very nice!!
|
2015 |
€23.00 |
|
| FREIWILLIGE SELBSTKONTROLLE (F.S.K.) |
Freiwillige Selbstkontrolle / Teilnehmende Beobachtung |
LP |
re-issue of the rare 7"es (Zickzack, 1980/1981) released before the debut LP 'Stürmer': "Teilnehmende Beobachtung" was produced by Wirtschaftswunder's Tom Dokoupil and established F.S.K.'s status as one of the most singular (and back in those days controversial) phenomena in the (west-)german postpunk/pop/underground history.." - comes with 8 page booklet + printed inner sleeves
|
2021 |
€20.00 |
|
| FRITH, FRED |
Propaganda |
CD |
incredible work for a theatre-play from 1987 (first performed by the Creation Production Company at La Mama Experimental Theater in New York, May 1987), intense & dark, political & powerful, these 21 alarming tracks show the most challenging and noisy side of FRED FRITH, at that time influenced by the conflict in El Salvador....a part of this was previously released on the do-LP "Technology of Tears" (1986), this is now fully reconstructed and presented in it's entire length
|
2015 |
€14.00 |
|
| |
Rocking The Boat (Volume 1 Of The Fred Records Story, 2001-2020) |
9 x CD BOX |
First part of a three-box collection with 9 CDs by the ever innovative guitarist & composer (starting with "Guitar Solos", the first LP from 1974), incl. "Dropera" which is not available seperately, a big booklet (40 pages) with artwork, photographs, extensive notes and other comments by FRITH, all packed in a solid cardboard-box; 99 tracks !!
|
2021 |
€66.00 |
|
| FRITSCH, JOHANNES |
Kyo Mu / Hochtoner |
LP |
two recordings from 1975 for tapes, viola, electronics, Shakuhachi, percussion, flute, synth, for the first time released, the first full LP by long time STOCKHAUSEN Ensemble member from Cologne, with guests! => " a mesmerizing symbiosis of innovative sound exploration and visionary interior music, a sublime compound of fine-drawn intricate arrangements skillfully projected in space and time, or perhaps beyond space and time" - lim. 500, gatefold sleeve
|
2022 |
€25.00 |
|
| FROZEN FACES |
Broken Sounds of a Dying Culture |
CD |
re-issue of self-released first LP from 1997, plus tracks from the 7" "Religion of Hate". Project of Lina / DEUTSCH NEPAL. large cardboard cover. SPECIAL OFFER !
|
2007 |
€10.00 |
|
| FUENTES, MATHIEU |
Ily, Almeria |
MC |
second album by this interesting newcomer from France working in the musique concrete tradition, using REVOX B77 reel-to-reel tape and computer: *Like a distant and distorted memory, « Ily, Almería » wanders in reality and fiction, media and body, the domestic and the high-speed outside world, tangible and delirium, in and out-of-frame phenomena. The sonic outcome is a fragile assemblage, a dynamic interplay of well sculpted nervous collages, overwhelming tunnels, smoother sequences and delicate soundscapes.* - lim. 100, prof tape + cover, DL code |
2023 |
€9.50 |
|
| FUHLER, COR / MATS GUSTAFSSON |
split |
LP |
#3 in the split LP series
|
2008 |
€14.50 |
|
| FULLMAN, ELLEN |
In The Sea |
do-LP |
complex overtune drone music produced on her unique "Long String Instrument" in the 80's (using 25 m long strings!), culled from the two ultra rare tapes "In the Sea" and "Work for 4 Players and 90 Strings" (released after the classic debut LP from 1985), plus the unpublished piece "Work for Two" recorded 1988 at De Fabriek in Den Bosch, Netherlands (!).. "Ethereal and exquisitely paced, these rare recordings capture minimalism's quiet radiance."
|
2020 |
€27.50 |
|
| GABER, HARLEY |
The Winds Rise in the North |
do-CD |
One long multi-layer drone-minimalism piece (more than 100 minutes, in 4 movements) played on five strings, which reveals lots of inner micro-movements and developments (kind of intense micro-(dis)harmonics) with almost dramatic effects, a great piece by this modern US-composer. Originally released on Titanic Records in 1976 as do-LP... incl. 12 page booklet
|
2008 |
€21.50 |
|
| GALBRAITH, ALASTAIR & MATT DE GENNARO |
From the Dark (South Island) |
CD |
three long live recordings from art performance gallerys where both perform with long wires up to 100 feet long... minimal overtune drones & soundsculptures..
|
2006 |
€14.50 |
|
| GAPIK, CEZARY |
Contrast I |
LP |
promising first LP for this Polish minimal drone/noise artists, who works with different intensities on both sides; reminded us on DANIEL MENCHE or FRANCISCO LOPEZ, very much worth to discover ! Lim.400
|
2011 |
€20.00 |
|
| GEHIRN.IMPLOSION VS. CARSTEN VOLLMER |
Stille Räuber / Arbeit Nr.18 |
LP |
powerful split LP by these two German industrial noise acts: GEHIRN.IMPLOSION presents high hissing white noise with melancholic microsounds appearing inside the tornado eye - feat. HALS MAUL (EA 80) on one track (guitar, vocals) - CARSTEN VOLLMER spreads his latest work in the ARBEIT series on 7 tracks creating piercing feedback-noise with many cut-ups & changes & voice elements; his best work so far maybe !! Comes with 12"x12" inlay, lim. 300
|
2011 |
€12.00 |
|
| GEINS'T NAIT |
L'Or'n Cat |
CD |
the second "GN" LP from 1987 also sees now a late re-issue, fully re-mastered: a at times chaotic and wild form of experimental industrial using electronics, weird found sounds, samples, instruments, noises of all kinds, with a true DADA and Punk attitude ... "The mood is quite heavy and dark throughout, more so than so it seems on their debut album. Rhythms mechanically hammer away, along with grinding guitars..." [Vital Weekly]
|
2022 |
€15.00 |
|
| GEINS'T NAIT & L. PETITGAND |
Oublier |
CD |
after the nice "Je vous dis" LP from the year before already the second album by these two French industrial veterans, a meeting of well structured & harmonic electronic soundscapes & industrial sample effects, with a melancholic /nostalgic neo-classic touch, sometimes reminding on the more harmonic COIL tracks...
|
2015 |
€13.00 |
|
| GEINS'T NAIT + SCANNER + PETITGAND |
OLA |
CD |
GN + LP are back in the strong MIND TRAVELS series, this time in collab. with legendary British artist SCANNER, for a more explosive and industrialized experience.... - *Intense and immersive, GN +LP + Scanner's work gives off an atmosphere: a timeless sound space, the perception of a cold, mechanical but strangely reassuring world. A universe that some might compare to a combination of David Cronenberg's "The Fly" and Wang Bing's "West of the tracks"... *
|
2023 |
€13.00 |
|
| GENESIS P-ORRIDGE & DAVE BALL |
Imagining October (Dir. Derek Jarman) O.S.T. |
LP |
the curious soundtrack from 1984 to DEREK JARMANs rare short film ("a dreamlike meditation on art and politics in the final years of the Cold War."), filmed in the 'Eisenstein Museum' and others places in Moscow and London, 'the heroism of the revolution through the queered lens" - the soundtrack uses dark analog synths and occasional noises and electronics, along with Russian (revolutionary?) choirs and music, it sounds all rusty and nostalgic.. - one-sided LP with etched B-side
|
2022 |
€26.50 |
|
| GERMAN ARMY |
Passage Through Selk'nam Hain Ceremony |
do-LP |
epic double LP album by the West Coast duo who established their very own style, percussive, hypnotic, full of unusual sounds and arrangements..- *The prolific group once again explores the freaked out fringes of the electronic world where blown out beat experiments stand beside buried guitar twangs, synth drones, and rigged textures, conjuring images of barren landscapes from forgotten far away lands. This is an album that you need to sink your mind deep into.* - comes with fold out poster!
|
2021 |
€32.00 |
|
| GILBERT, B.C. & G. LEWIS |
8 Time |
CD |
collection of all recordings from 1980 - 1981 made for 4AD by the 'experimental half of WIRE', previously released on a 12" (under the name CUPOL), LP and 7" => obscure effected repetitive sound patterns based on bass, percussion and electronics, at times with vocals, weird & wonderful, a kind of hand-played experimental ambience that still sounds surprising today...
|
1998 |
€15.00 |
|
| |
3R4 |
LP |
re-issue of the only LP by the 'experimental half of WIRE' (from 1980), the second ever released LP by 4AD at that time, like their other incarnation DOME, these are masterful / mysterious experimental soundscapes..."Play this record loud and try not to think that it is the soundtrack to a lost David Lynch film."
|
2015 |
€23.00 |
|
| GIRNUS, KLAUS / KOMMISSAR HJULER UND FRAU |
Zurück zum Sender |
LP |
fifth part in the HJULER/MAMA BÄR split LP series with 12 different artist, each LP is limited & numbered to 177 copies with handmade cover; this one is a split release with painter KLAUS GIRNUS
|
2010 |
€23.00 |
|
| GODFLESH |
Post Self |
CD |
great new album by the mythic avant/industrial metal band, irresistable rhythms and power... the CD version "...the duo’s eighth LP and third release since reconvening in 2014, is easily the group’s best effort in over 20 years, not to mention 2017’s best industrial-metal album." [Pitchfork]
|
2017 |
€13.50 |
|
| GODSPEED YOU BLACK EMPOROR! [GYBE] |
f#a#°° |
LP |
First LP, a classic album now; comes with handassembled, embossed papercover & many inserts. NEW pressing with sticker on front! => *Das 10-köpfige Ensemble aus Montreal, das man nur als Kondensat aus Ennio Morricone, 17 Pygmies, Savage Republic und dem Rhythmus von EX, die kanadische Tradition des Radio-Dramas und Instrumente wie Cello, Violine, Glockenspiel, Percussion, 3 Gitarren und Loops einbeziehend, bezeichnen kann!* [original label info]
|
1997 |
€26.50 |
|
|
Yanqui U.X.O |
CD |
CD-version of the doLP-album from 2002
|
2002 |
€15.00 |
|
|
F# A# °° |
CD |
remixed version of the deleted debut-LP from 1997, with two bonus-tracks!!
|
1998 |
€15.00 |
|
| |
Luciferian Towers |
LP |
with "Luciferian Towers", their seventh album, GYBE come back to a completely instrumental, extremely multi-layered, very droney and psychedelic sound with wonderful harmonic phrases and hymnic passages, without loosing their power at any time... "the most intense post-rock of the world"; the LP version comes with 24"x 24" poster and download coupon and luxurious gatefold cover
|
2017 |
€23.00 |
|
| GOLOWIN, SERGIUS |
Lord Krishna von Goloka |
LP |
re-issue of a collector's item from 1973 (on 'Die Kosmischen Kuriere'), the only LP by the Swiss writer (1930-2006) who published many books about esoteric, mythologic and folkloristic themes and the phenomenon of the 'didicoy'... feat. many guest musicians as KLAUS SCHULZE (ASH RA TEMPEL) or JÜRGEN DOLLASE... three free-floating, airy atmospheric pieces created with guitars, bass, organ, piano, flutes, percussion, and ethnic instruments...
|
2013 |
€16.00 |
|
| GOODE, DANIEL |
The Thrush from upper Dunakyn / The Bertoia in the Yamasaki Building - Princeton |
LP |
recordings from two performances (1971 & 1979), one was made on BERTOIA-sculptures ! Incl. two inlays with texts. ONE 2nd hand copy in stock, quality vg+ (excellent)
|
1982 |
€25.00 |
|
| GRUBBS, DAVID & ELI KESZLER |
One and One less |
LP |
POETRY/MUSIC/SOUNDART: difficult to find LP released by a non profit book publisher from Brooklyn, New York; the first collab. between DAVID GRUBBS (BASTRO, GASTR DEL SOL, etc..) and ELI KESZLER is a performance and installation soundpoetry and soundart piece, based on texts by GRUBBS and percussion sounds from KESZLER... comes with huge art-poster, explaining the concept and GRUBBs poems; lim. 300
|
2017 |
€28.00 |
|
| GRUNT |
Spiritual Eugenics |
do-LP |
the Finnish (harsh) noise & industrial project (active since 1993) with a new epic work, spreading on two LPs (80 min.) with 'pure filth & anger', the tracks are short attacks gouging into your brain, and have a nice 'mechanical' and trashy old school touch, analolgue throbbing pulses and cut up distortions, screams and pushed vocals, establishing quite a wide spectrum of noises and sounds in these 20 tracks; - gatefold-cover w. 2 inlays, black vinyl
|
2020 |
€26.00 |
|
| |
Spiritual Eugenics |
do-CD |
the Finnish (harsh) noise & industrial project (active since 1993) with a new epic work, spreading on two LPs (80 min.) with 'pure filth & anger', the tracks are short attacks gouging into your brain, and have a nice 'mechanical' and trashy old school touch, analolgue throbbing pulses and cut up distortions, screams and pushed vocals, establishing quite a wide spectrum of noises and sounds in these 20 tracks... - comes in double digipak with booklet
|
2020 |
€16.00 |
|
| H.Ö.H. |
Superorganism |
LP |
deep from the Finnish "analogue noise" scene, so far only released on cassette... "This vinyl album is all new material, exclusive for the LP. Tape loops, broken primitive electronics, tape hiss and distortion crackles, with really tasty sound and perfect vinyl sound..."
|
2020 |
€20.00 |
|
| HAFLER TRIO |
An Utterance of the Supreme Ventriloquist |
CD |
re-issue of one of the best H30 LPs, originally released by Soleilmoon in 1996 => two long pieces show ANDREW Mc.KENZIE in a much more challenging and experimental way than on the later drone-based works, minimal electronic soundwaves and pulsations are often busted open and effects / concrete field recording pieces appear.. great work in beautiful oversized packaging, BACK IN STOCK!
|
2005 |
€15.00 |
|
| HAIGH, ROBERT |
The Silence of Ghosts |
CD |
the new album by ROBERT HAIGH contains 18 tracks for 'classic' solo piano, calming poetic / melancholic miniatures with very silent synth drones in the background, so fragile.. this is all you need, sometimes... 45 min. playtime, lim. 700, mini-LP cardboard cover, artwork by ANDREW CHALK
|
2015 |
€15.00 |
|
| HASEGAWA, HIROSHI / MAMA BAER |
Scarlet Dream / Khmerzen |
LP |
11th part in the HJULER/MAMA BÄR split LP series (lim. 177 copies): 'Khmerzen' is an eerie horror (film?) and alienated pop music sound collage using lots of almost unbearable high-pitched voices and cryings, the split side belongs to HIROSHI HASEGAWA (of ASTRO and C.C.C.C. fame) with weighty & full reverberated dark space noise drones... nice record again in this series from PSYCH KG, numbered edition, handsticked cover...
|
2014 |
€20.00 |
|
| HASTINGS OF MALAWI |
Vibrant Stapler obscures characteristic Growth |
CD |
first ever CD re-issue of this rare LP (1981) from a trio that was also involved in the first NURSE WITH WOUND album: an incredibly strange dada and anti-music record beyond any style or fixed genre .- "they recorded the album in one night in 1981 with no plan and no idea of what they were doing. they played drums, clarinet, synthesiser and piano but also made use of things that they found lying around the studio - old records, cookery books, telephone directories and a telephone... "
|
2022 |
€15.00 |
|
| HAYNES, JIM |
Flammable Materials from Foreign Lands |
LP |
a full LP composed from material recorded at a residency in Estonia, taken from abandoned post Soviet-Era buildings and strange radio shortwave transmissions, leading to crackles, mechanical drones, rusty noise and cryptic speech with the typical flair of decay JIM HAYNES is known for... kind of sister-album to the 'Throttle & Calibration' tape.. "somewhat sparser than his other works, but no less fascinating, and with an additional menacing edge" [Brainwashed] lim. 300 clear vinyl
|
2016 |
€22.50 |
|
| HENRY, PIERRE |
Orphee Ballet |
LP |
famous piece written for the 'modern' ballet choreography of MAURICE BEJART in 1958 (first LP issue was in 1960), based on the Greek Orpheus myth... "Incorporating percussion, industrial soundscapes, nature sounds, spoken French narrative, and synthesized tones, 'Orphée Ballet' is a beautiful piece..; compelling and groundbreaking." lim. 500 copies, numbered
|
2018 |
€18.50 |
|
| HESPOS, HANS-JOACHIM / KOMMISSAR HJULER & MAMA BÄR |
t a n E K |
LP |
amazing collab-work with the internationally acclaimed german composer HANS-JOACHIM HESPOS; feat. one solo piece by HESPOS and collaborations with both HJULER & MAMA BÄR, plus a new HJULER & FRAU piece on Side B; 10th part in the HJULER/MAMA BÄR split LP series, lim. 177 copies, their most 'serious' effort maybe so far, great collage-pieces & more..
|
2013 |
€23.00 |
|
| HET ZWEET |
Het Zweet |
CD |
this dutch project released a great tribal industrial LP in 1987, using self-built percussion instruments like shopping trolleys amplified with pickups, or blown cardboard tubes, along with shouted viocals, somewhere between TEST DPT. and Z'EV... this is now re-issued with seven bonus tracks, all previously unreleased (studio + live) - "Unique in the percussive instrumentation that departs from the crude experimental electronic sounds of those days" [Runzio Immorale]
|
2022 |
€15.00 |
|
| HIJOKAIDAN |
Emergency Stairway to Heaven |
pic-LP & CD |
new studio material on the pic-LP (4 pieces with around 50 min.), plus a full CD with recordings from two live shows 2014; the Japanese harsh noise legends still going strong after more than 35 years !! Lim. 750
|
2015 |
€25.00 |
|
| |
Zouroku No Kibyou (40th Anniversary Edition) |
LP |
remastered re-issue of the first LP from 1982, with a collection of live rec. 1980/1981 by the Japanese cult impro/shock/chaos noise project: "The ensemble began at the very end of the 70’s as a performance art-based unit whose anarchic shows would often involve destruction of venues and audio equipment, food and garbage being thrown around, and on-stage urination.." - lim. 299 copies, original cover repr. |
2022 |
€24.00 |
|
| HIMUKALT |
Septic |
CD |
CD version of the quickly sold out LP from 2020 (Malignant), now re-mastered with elaborated 6 panel digipack plus 12 pages full colour booklet with images & collages by ESTER KÄRKKÄINEN aka HIMUKALT, lim. 300, 2 bonus tracks! => "Deadening rhythmic pulsations, bristling oscillations, and a steady stream of crackling and frying circuitry, often infused with layers of filth, hostility, and sexuality. This is best Industrial P/E. "
|
2023 |
€15.00 |
|
| HIROSHIMABEND |
Sequenxium |
CD-R (object) |
collector's item release by this deeply recommended US-American/Austrian "esoteric / transcendental post industrial" project (soon to be featured on the next DRONE-MIND LP !) => 10 tracks, only 25 copies existing, comes in super handmade wood/timber plate jewel-case object covers, hand coloured and painted
|
2020 |
€20.00 |
|
| HOFFMAN, KAY |
Floret Silva |
LP |
re-issue of the rare LP from 1985 (recorded already 1977) by this Swiss artist who later worked as dance & trance-therapist in Munich; using text from the middle-age collection 'Carmina Burana' and old folk-melodies, an avantgardish / progressive album with a meditative/mystic direction and wonderful singing was created...
|
2016 |
€22.00 |
|
| HOLOTROP |
Manifestation de l'Antinatalisme |
LP |
second LP (after the rare "Rites of Natema", 2016) for this German "dystopian ambience" project, extremely dark, subtle, pulsative, think of GALERIE SCHALLSCHUTZ, INADE or newer CYCLIC LAW acts.. "this lp is a sinister swan song to consumerism, eternal growth and progress, a eulogy for humanity as such..." - lim. ed of only 118 copies, excellent artwork, DL code
|
2020 |
€20.00 |
|
| HOLY SIMILAUN |
Radicor al flort, espert on'ill il erb, aor Raetia |
LP |
HOLY SIMILAUN is an anonymous experimental project from (probably) Italy, using here electronics, Japanese instruments, harp and the voice of ARCHIPEL, to explore the scopes between reality and illusion...- *a sonic tapestry that ebbs and flows between moments of serene beauty and frenzied dissonance* - as almost everything on this Italian label, a pleasure for explorers of the new, unexpected and unusual !! lim. 300 , 45 RPM LP,
|
2023 |
€18.00 |
|
| HOOR-PAAR-KRAAT |
A Doorbell of Earbows for Brefix |
LP |
lim. 500 / third LP from this obscure project around painter & sound experimentalist ANTHONY MANGICAPRA from Brooklyn
|
2008 |
€15.00 |
|
| |
An Anagram Hypnotic |
LP |
debut LP from this obscure project around painter & sound experimentalist ANTHONY MANGICAPRA from Brooklyn; lim. 281 copies, comes with sticker, numbered & signed & screen printed & with original finger tips on label; very nice edition !
|
2006 |
€15.00 |
|
| HORTOBAGYI, LASZLO |
Transociety Relics |
do-LP |
a full double LP (gatefold sleeve) with so far unreleased material by the unique Hungarian composer, dating back to 1974 (Side A) but contains also newer material composed 2010-2019... - "His sound art is simultaneously an expanded ethnography of an invented folklore and a way to preserve his acoustic environments for future generations." - lim. 300 copies only
|
2022 |
€29.50 |
|
| HYBRYDS |
Ritual Anthology |
CD |
early ritual works rec. 1986-1993 created with the help of VIDNA OBMANA, DJEN AJAKAN SHEAN, AH CAMA SOTZ, and others. 7 tracks of which 3 are previously unreleased, others from long deleted releases. Lim. 600 in excellent golden silkscreen / art cover!
|
2009 |
€14.00 |
|
|
Soundtrack for the Antwerp Zoo Aquarium |
CD |
re-issue of one of the best HYBRYDS-albums (originally released 1995), a soundtrack for the 150th anniversary of the Antwerp Zoo; a great underwater-dronescape using many sounds of ocean-creatures like dolphins, wales, etc..
|
2011 |
€12.00 |
|
| |
The Rhythm of the Ritual / Ein Phallischer Gott |
do-CD |
continuation of the much welcome re-issue series (#5): tracks from "The Rhythm of the Ritual" (CD, 1994) + "Ein phallischer Gott" (CD, 1997), plus live versions of the studio tracks (some from the live LP on OBUH Records) and other bonuses from the more percussive / ethnic side of HYBRYDS, who recorded everything "live" on 8 track... double digipack
|
2016 |
€16.00 |
|
| I:WOUND |
Traumpfad (a Travelogue in three Acts) |
LP |
coincinding with the re-activation of this German experimental project here's a new "handmade" edition of this almost 25 year old LP about a journey to India and Tibet: original field recordings and noises merge with electronic/concrete sounds, confusing lyrical impressions of the beauty and the ugly, the myths and the mystery, as a whole a surrealistic sound-experiment and document... spec. ed. lim. 50 with new cover, the original booklet and incense stick
|
1993 |
€17.00 |
|
| ICHIYANAGI, TOSHI |
Music for Tinguely |
CD |
three so far unreleased, very early tape pieces by the radical / innovative Japanese New Music / Avantgarde composer: "Music for Tinguely" (1963) is created from junk objects by the great sculptor of kinetic objects, JEAN TINGUELY; "Apperance" (1967) - a live electronic piece feat. JOHN CAGE and DAVID TUDOR; "Music for Living Space" (1969): composed for the inner space of the Sun Tower at the Expo 1970 in Osaka; lim. 500 in the prolific series of OMEGA POINT
|
2006 |
€21.50 |
|
| |
Funakakushi |
CD |
two tracks by the legendary Japanese sound-art composer: "Funakakushi" (1963) was made for the opening ceremony of a hotel in Kagawa with a "built-in-stone' sculpture, using Biwa (traditional Japanese instrument) and seawaves-sounds; "Life Music" is an electronic tape piece from 1964; excellent design (cardboard paper gatefold sleeve with obi and single-sided folded insert of notes in Japanese and English), lim. 500
|
2013 |
€21.50 |
|
| IDEA FIRE COMPANY |
Days |
7inch |
companion-release to the new LP "Music from the impossible Salon", 2 tracks, lim. 200, nice silk-screen print design
|
2011 |
€8.50 |
|
| IF, BWANA |
Wah Yu Wan |
MC |
re-issue of the very first IF, BWANA LP from 1990 (Generations Unlimited); on Side A a re-mastered version, on Side B the original version that appeared on the LP; nice idea, obscure sounds, great tape! C-90 in bag, lim. 100
|
2011 |
€7.50 |
|
| IIBIIS ROOGE |
same |
LP |
this is the only available LP at the moment by the "superastral duo" of HIGH WOLF (MAXIME PRIMAULT), and NEIL CAMPBELL (ASTRAL SOCIAL CLUB, etc.) who created highly trance-inducing electronic psychedelic sound with pulsing beats mixed with countless echo effects and noises... everything's blinking and flashing.. for the endless dance of your mind!
|
2010 |
€15.00 |
|
| IKONEN |
Zeitschrift für Kunst, Kultur und Lebensart Nr. 7 (Herbst 2005) |
mag |
JOHN MURPHY, POSTINDUSTRIELLE ALPTRÄUME, WONG KAR-WAI, ANTONIN ARTAUD, JAMES ELLROY, JULIUS EVOLA, etc.. |
2005 |
€5.00 |
|
| ILLUSION OF SAFETY |
More Violence and Geography |
CD |
re-release of first IOS LP from 1988 - a milestone of the North-American (post) Industrial, eerie and massive!! - "The 11 tracks display a much rawer and more 'industrial' feel with the use of harsh found sounds and voices, compared to recent works. Featuring new artwork by Dan Burke perfectly matching the albums title the CD also includes an unreleased live track (approx. 11 min. long) from the early 90's that didn't appear on the original album" - BACK IN STOCK, full colour cardboard cover
|
2002 |
€13.00 |
|
|
Probe |
CD |
re-issue of one of their main works from 1992 (Staalplaat), when JIM O'ROURKE was member of the band; edition of 500 copies
|
2009 |
€13.00 |
|
| |
Fin de Siecle |
CD |
re-issue of the long out of print masterpiece LP from 1995; comes with two bonus-tracks now; edition of 300 copies, nice priced !
|
2011 |
€10.00 |
|
| IMCA |
same |
CD |
IMCA = INTERNATIONAL MUSIQUE CONCRETE ENSEMBLE: FRANS DE WAARD, IOS SMOLDERS, JOHN HUDAK, GUIDO HUEBNER, ISABELLE CHEMIN. re-release of ultra-rare LP (only 98 copies made) from 1991 !!
|
2007 |
€12.00 |
|
| INADE |
The Nine Colours of the Threshold |
CD |
the long awaited new album by the dark ambient cult band from Leipzig, nine years after the last proper studio album INADE created another dark ambient milestone, strongly inspired by GUSTAV MEYRINKs writings and insights... music of a shining grandeur, and elevating darkness, creating a celebratory subtleness... "sonically sculpturing of that which lies deeper than matter, time and space."... "Audio-Alchemy in perfection" [Non-Pop]
|
2018 |
€13.00 |
|
| |
The Nine Colours of the Threshold |
LP |
the long awaited new album by the dark ambient cult band from Leipzig, nine years after the last proper studio album INADE created another dark ambient milestone, strongly inspired by GUSTAV MEYRINKs writings and insights... music of a shining grandeur, and elevating darkness, creating a celebratory subtleness... "sonically sculpturing of that which lies deeper than matter, time and space."... "Audio-Alchemy in perfection" [Non-Pop] lim. vinyl version 400 copies
|
2018 |
€20.00 |
|
| INANNA |
Day ov Torment |
CD |
re-release of this classic death industrial album from 1993 (Staalplaat) by the solo-project of MIKAEL STAVÖSTRAND (who was also part of ARCHON SATANI at that time). New artwork design by NIKO SKORPIO (SOME PLACE ELSE, etc) ; SPECIAL OFFER now
|
2007 |
€8.00 |
|
| INFANT CYCLE / DRONAEMENT |
split |
CD-R |
rare split release (lim. 100) of these two Drone Records (DR-41 and -95) artists from Germany & Canada - over 30 min. of material from INFANT CYCLE creating strong atmospheric industrial drone-tunes with a mechanical / rhytmic edge, whereas DRONAMENT mesmerizes with the mixture of subtle field recordings and sublime melodies, slowly oozing into your unconscious... not to be missed ! Comes in a handmade (coloured) wallpaper sleeve
|
2008 |
€9.00 |
|
| INGENTING KOLLEKTIVA |
An Anatomy of Melancholy |
LP |
finally in stock, the latest LP by this romantic drone impro collective around MATTHEW SWIEZYNSKI, who are inspired by INGMAR BERGMAN's concept of 'nothing' => six melancholic tracks evolve around guitar drones, field recordings, harmonium, bells, strings and LP feedback, creating a wonderful nostalgic atmosphere full of shining overtunes, mysterious backwards sounds and other cinematic noises... top album!! edition of 426 copies on red/black transparent vinyl
|
2015 |
€18.00 |
|
| INSIDE ARTZINE |
# 11 |
mag |
"maximum artscum"; german A4 underground magazine for extreme & dark art, feat. international artists doing surrealistic, esoteric, horrifying & misantrophic paintings, collages, sculptures & drawings, along with short stories & poetry; FULL COLOUR, around 40 pages, written mainly in english, HIGHLY RECOMMENDED
|
2006 |
€5.50 |
|
|
# 12 |
mag |
maximum artscum"; german A4 underground magazine for extreme & dark art, feat. international artists doing surrealistic, esoteric, horrifying & misantrophic paintings, collages, sculptures & drawings, along with short stories & poetry; FULL COLOUR, around 40 pages, written mainly in english, HIGHLY RECOMMENDED
|
2008 |
€7.00 |
|
| |
# 13 |
mag |
maximum artscum"; german A4 underground magazine for extreme & dark art, feat. international artists doing surrealistic, esoteric, horrifying & misantrophic paintings, collages, sculptures & drawings, along with short stories & poetry; FULL COLOUR, around 40 pages, written mainly in english, HIGHLY RECOMMENDED
|
2009 |
€7.00 |
|
| INTERNAL FUSION |
NedenBahe |
mCD-R |
"Nach langer Zeit was neues von diesem ethno-ambient Projekt, bekannt von einer schönen CD auf Staalplaat ! Hier mit zwei großartigen Stücken, wo sie orientalische Percussion & Gesänge & Instrumentalsounds sampeln und zu einer fliessenden, trancig-treibenden Melange verarbeiten.. wie eine Mischung aus MUSLIMGAUZE, RAPOON und TUU, nur besser!" - back in stock non jewel-case edition
|
2002 |
€5.00 |
|
| JGRZINICH (JOHN GRZINICH) |
Two Films |
DVD |
DVD with two soundart-films: "Sound Aspects of Material Elements" (57 min.) and "Mimema" (24+ min), sounds were made with the help of PATRICK Mc. GINLEY (MURMER), JIM HAYNES, HITOSHI KOJO (SPIRACLE), etc..
|
2012 |
€14.00 |
|
| JK FLESH |
Exit Stance |
12inch |
four track EP by JUSTIN BROADRICKs (JESU, GODFLESH, etc.) industrial/noise techno project, new material after the sold out "Suicide Estate" do-LP on Hospital Prod.
|
2017 |
€13.00 |
|
| JOHANNSSON, JOHANN |
Englabörn & Variations |
do-LP |
ENGLABÖRN (2002) was the first album by the great Icelandic composer who sadly died in Feb.2018; this re-mastered vinyl re-issue has a full bonus LP with reworkings and different versions of his tracks by various well known artists as HILDUR GUDNADOTTIR, A WINGED VICTORY FOR THE SULLEN, RYUICHI SAKAMOTO, etc. and JOHANNSSONs own variations.. .. gatefold cover, translucent banderole, download code, 180gr. pressing
|
2018 |
€32.00 |
|
| |
Personal Effects |
LP |
the very calm and melancholic soundtrack to the movie of the same name from 2009 (directed by DAVID HOLLANDER), previously unreleased, performed by the City of Prague Philharmonic Orchestra, with J. JOHANNSSON providing the piano and electronics... - extensive liner notes by the director on the inlay: "I never imagined this score would be something that would help me not only to cope with Johann's death, but to feel Johann's presence and be moved, time and time again, by his work"
|
2020 |
€28.00 |
|
| JOHN, JOANNA |
No End |
LP |
"the illusive feeling of altered states of consciousness" - first promising LP from Polish (visual) artist JOANNA JOHN, slow & dreamy hypnotic / repetetive electronic vibes and pulses.. - * using half-heard vocals, treacly pulses, and a mix of spacious synths and floating organ tones to connote the para-dimensional logic of heavy-lidded, intoxicated mindframes..*. - 300 copies
|
2020 |
€18.00 |
|
| JOHNSON, RAGNAR ASSISTED BY JESSICA MAYER |
Sacred Flute Music from New Guinea: Madang / Windim Mabu |
do-CD |
these recordings of tribal flute players and their environment in Papua New Guinea were made already in 1976 and released on two LPs in 1977/1979 => a fascinating journey into a completely different musical world, this shows the various forms of flute playing from different regions of the country (ultra large bamboo flutes in combinations with gongs or singers or shell rattles), we thought this sounds like nothing else!!
|
2016 |
€20.00 |
|
| JULIUS, ROLF |
Für einen kleinen See |
CD |
back in stock this nice drone/microsound/sound-sculpture album by the German installation-artist who died Jan. 2011, created for a small lake and other natural objects
|
2003 |
€14.50 |
|
| JUPITTER-LARSEN, GX & ACE FARREN FORD / LA SCRAMBLED DEBUTANTE FEAT. EMERGE |
Untitled |
LP |
two collaborations on this great new A.C. LP: Side A shows one of the grandfathers of conceptual ART-noise (aka THE HATERS) in collab with one of the members of the LOS ANGELES FREE MUSIC SOCIETY, for an amazingly organ like poly-drone piece; Side B delivers an uncategorizable impro-collage by ALLAN ZANE's (aka WYRM) LE SCRAMBLED DEBUTANTE and EMERGE with lots of weird acoustic & electronic sounds under full effects.. lim. 300 col. vinyl
|
2015 |
€17.00 |
|
| K11 [= PIETRO RIPARBELLI ] |
The Sacred Wood |
CD |
great album by PIETRO RIPARBELLI aka K11, who is already called the "new BAD SECTOR", using sounds recorded at the "Bosco dei Mostri" (Monsters Grove) in Bomarzo, Italy, an amazing park built 1552 with huge sculptures
|
2010 |
€13.00 |
|
| KA-SPEL, EDWARD |
The Moon cracked over Albion |
CD |
limited edition CD on the 'new' LPD Terminal Kaleidoscope label, recorded secretly by EK through one full year, with full colour insert w. artwork by the artist + dl-code for extra-track! "Conceived and recorded in a nation (a World?) so tragically divided, it could fall apart, it's hoped that just a few seeds of hope and optimism can be sown over the course of the time you'll spend in this peculiar world."
|
2019 |
€18.50 |
|
| KA-SPEL, EDWARD & MOTION KAPTURE |
Alien Subspace |
LP |
project by the LPD singer with the Italian "ambient & psychedelic prog duo" MOTION KAPTURE, compared to TANGERINE DREAM, AREA and COIL: "Alien Subspace captures and transports us into electronic synth spaces where guitars and basses are dilated in order to catapult us into eclectic stories and visions that only the inspired and melodic voice of Edward Ka-spel knows how to create..." - ed. of 499 copies
|
2019 |
€20.00 |
|
|
Anagramma |
LP |
project by the LPD singer with the Italian 'ambient & psychedelic prog duo' MOTION KAPTURE, compared to TANGERINE DREAM, AREA and COIL, their second album! - "A conceptual Voyage through Space Kraut rock and meditative ambient atmospheres in extended visionary ballad...." - standard LP version lim. 499 copies, blue-foggy vinyl
|
2022 |
€30.00 |
|
| |
Anagramma |
CD |
project by the LPD singer with the Italian 'ambient & psychedelic prog duo' MOTION KAPTURE, compared to TANGERINE DREAM, AREA and COIL, their second album! - "A conceptual Voyage through Space Kraut rock and meditative ambient atmospheres in extended visionary ballad...." - CD version / Limited Digipack 6 pages
|
2022 |
€14.50 |
|
| KA-SPEL, EDWARD & STEVEN STAPLETON // COLIN POTTER & QUENTIN ROLLET |
The Man who floated away |
LP |
two incredible first-time collabs, each piece on one full side: EDWARD KA-SPEL (LPD) with STEVEN STAPLETON (NWW), on Side B COLIN POTTER with French sax-wizard QUENTIN ROLLET; Side A "The Man who floated away" rec. 2017, "The Closer you are to the Center, the further you are from the Edge", recorded 2012; feat. ISABELLE MAGNON
|
2018 |
€19.00 |
|
| |
The Man who floated away |
CD |
two incredible first-time collabs: one long piece EDWARD KA-SPEL (LPD) with STEVEN STAPLETON (NWW), the other features COLIN POTTER with French sax-wizard QUENTIN ROLLET; "The Man who floated away" rec. 2017, "The Closer you are to the Center, the further you are from the Edge", recorded 2012; feat. ISABELLE MAGNON; digipak CD version
|
2018 |
€14.00 |
|
| KABOOM KARAVAN |
The Log and the Leeway |
LP |
first album by BRAM BOSTEELS extraordinary project after 7 years, this is like entering a beautiful and strange universe of its own, merging to many musical influences to be classified into any known genre... "A rare, spectral folk music has emerged from this metamorphosis, and it’s created a genuinely diverse record..." [Fluid Radio] - lim. 200 on coloured vinyl with 16 page LP sized booklet (full colour)
|
2020 |
€26.00 |
|
| KALLABRIS |
Red Square |
LP |
shortly after the "Plays and Sings for Money" LP KALLABRIS releases another LP; on Dortmund's best hidden secret, INSELKIND; 14 tracks: "Noises and songs for the intrepid. Kallabris still is in a singing mood and croons his way down the roads not taken. Electronic shivers, acoustic shakes, cheap beats, and a 1000 volt voice: That is the formula that makes your needle dance through the grooves of this record. A look back in anger down Nevsky Prospekt." lim. ed, silkscreen cover
|
2018 |
€15.00 |
|
| KARKOWSKI, ZBIGNIEW |
Nerve Cell_0 |
CD |
minimal & epic power-drone composition for cello & computer, distorted cello-sounds are treated & shaped into a flowing & fuzzing aural sculpture... immersive stuff, play it loud !
|
2012 |
€13.00 |
|
| KARL BÖSMANN |
Euphoria Mitte |
CD |
amazing second proper full-length CD by this radical German project by sculptor MARKUS THORN, very surprising & unsettling & experimental & impossible to categorize, TO DISCOVER !
|
2010 |
€12.50 |
|
| |
Mindfucker |
LP + CD |
German soundartist and sculptor KARL BÖSMANN (see 'Drone-Mind Vol.2' LP) is known for provocating/thoughtful art and abstract experimental soundscapes, using both analogue synths and instrumental/found sound sources and collages that are often pretty weird and bizarre... MINDFUCKER (one-sided LP) & FUCKMINDER (CD-R, 44+ min.) gather 10 very experimental tracks; comes with handmade photo-cover and inlay, collector's edition only 40 copies!!
|
2016 |
€35.00 |
|
| KAT COSM |
Sophie playing the recorder at school |
LP |
debut LP from this folk / electronica / Pop duo from Berlin, one second hand copy in stock, very good condition |
2002 |
€8.00 |
|
| KAVE |
Dismal Radiance |
CD |
deep unorganic (but very smoothly drifting) ambience in the way of dark OÖPHOI, early CAUL, AMON or even silent droning F. LOPEZ... very minimal & totally black.. debut CD by a newcomer from the Netherlands ... "there’s no passion, no emotion, just a spooky and mystical atmosphere of desolation and helplessness" [Ave Noctum]
|
2012 |
€13.00 |
|
| KE/HIL |
Zone 0 |
LP |
staggering, sluggish, slow waving industrial noise, the second recommended LP by KE/HIL ("The Saints of the Scum"), white vinyl lim. 250, last copies.. "reports from precarious minds and worlds, written in analogue noise reflecting degenerated inner city life and death. Observing non-zones, non-objects and especially non-subjects. Nightmarish sounds and rhythms beat the pulse of cities and areas in agony. It could be your city! it could be you"
|
2015 |
€18.00 |
|
| KEMIALLISET YSTÄVÄT |
Saija |
7inch |
last copies of this rare 7" by the Finnish "wyrd folk" group, lim. 300 and usually only available as bonus to the KELLARI JUNIVERSUMI LP
|
2005 |
€8.00 |
|
| KENNEY/ KANG/ PARK |
At Temple Gate |
LP |
after the two beautiful LP on Ideologic Organ this sees JESSIKA KENNEY and EYVIND KANG working together again, now with help of HYEONHEE PARK on percussion & electronics, containing both collab & solo pieces.... expressive vocals, focused percussion, bubbling water, contemplation drones, viola, east asian harmonics.... a celebratory / ritualistic atmosphere between silence & noisy outbursts... intense! lim. 300
|
2014 |
€20.00 |
|
| KILLER VS VOLLMER |
Noise Generation |
LP + pic-LP |
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
|
2017 |
€20.00 |
|
| KLEISTWAHR |
The Return |
CD |
re-mastered re-issue of the LP from 2009 (Noiseville); the project of GARY MUNDY (RAMLEH, BROKEN FLAG) with guitar driven harsh attacks noise... incl. are two bonus tracks! lim. 300 oversized gatefold cover
|
2015 |
€13.00 |
|
| |
Mobility |
LP (single-sided) |
going back to the earliest KLEISTWAHR (GARY MUNDY of RAMLEH) material, this was once released on cassette on the legendary Broken Flag label in 1983! - "Unavailable for over 30 years, this is a must-have record by all those with an interest in RAMLEH and their offshoots, the Broken Flag archives or, more broadly, anything from this fertile period in noise / avant--garde music from the basement." - 5 early power electronics tracks, 300 copies, inlay, one-sided LP
|
2022 |
€14.00 |
|
| KLUSTER |
Klopfzeichen |
LP |
re-mastered re-issue of one of the milestones of German experimental / impro electronic, the first KLUSTER LP (with CONRAD SCHNITZLER); very free, mysterious and ahead of their time (recorded 1970, released 1971); new liner notes by ASMUS TIETCHENS; 180gr vinyl. CD version on request
|
2012 |
€18.50 |
|
|
Klopfzeichen |
CD |
re-mastered re-issue of one of the milestones of German experimental / impro electronic, the first KLUSTER LP (with CONRAD SCHNITZLER); two long tracks, very free, mysterious and ahead of their time (recorded 1970, released 1971); new liner notes by ASMUS TIETCHENS: "The pure music of fear - Angstmusik = Reine Angstmusik...Chaotische, apokalyptisch klingende (Geräusch-)Improvisationen (später nannte man diesen Sound Industrial), teilweise angereichert durch rezitierte Texte."
|
2012 |
€13.00 |
|
| |
Zwei Osterei |
CD |
re-mastered re-issue of one of the milestones of German experimental / impro electronic, the second KLUSTER LP (with CONRAD SCHNITZLER); combining texts / readings by various authors and experimental sounds.. (recorded 1970 on one day, released 1971); new liner notes by ASMUS TIETCHENS... "schrankenlose musikalische Freiheit, gepaart mit der Lust am Geräusch."
|
2012 |
€13.00 |
|
| KNIZAK, MILAN |
Broken Music |
LP |
first ever re-issue of this LP from 1979 by Fluxus artist MILAN KNIZAK, who was a true pioneer in recycling & looping music from damaged and prepared LPs (by scratching them, burning them, putting tape and paint onto them, cutting & re-shape them, etc..), combining loopy fragments of the original content with the new 'broken vinyl' noises, often until the needles of his players got destroyed... nice gatefold cover with many pics from his objects..
|
2015 |
€16.00 |
|
| |
Broken Music |
CD |
first ever re-issue of this LP from 1979 by Fluxus artist MILAN KNIZAK, who was a true pioneer in recycling & looping music from damaged and prepared LPs (by scratching them, burning them, putting tape and paint onto them, cutting & re-shape them, etc..), combining loopy fragments of the original content with the new 'broken vinyl' noises, often until the needles of his players got destroyed... |
2015 |
€13.00 |
|
| KOCH, HANS W. |
The O. Theorem |
LP |
first LP release for this versatile, Cologne based composer and soundartist: the album is based on the "Total Harmony" ideas of Russian composer Nikolai OBOUCHOW (1892-1954) - a kind of "vertical" twelve-tone music, with astonishing result: "a self-contained harmonic system in which every chord is an inversion of every other." - the LP contains two pieces: 'Stele fuer n.o." (for large orchestra), and the electronic piece 'clock of fifths (totensonntag)'; strange-beautiful harmonics, printed inner sleeves
|
2018 |
€20.00 |
|
| KOCHAN, RAFAL |
ENCYCLOPAEDIA OF INDUSTRIAL MUSIC : VOLUME 2 |
BOOK / CD |
second volume (D -> I) of a new book-series from Polish label IMPULSY STETOSKOPU listing alphabetically all "industrial" acts of past & present with a description & full discography & photo if available; it features also post- & pre-industrial influenced projects you wouldn't really expect, but this wide view makes it really essential !! 100 pages, A4 format, 350gr hardcover book, over 270 entries, plus 1 CDR with mostly unreleased recordings by DAS SYNTHETHISCHE MISCHGEWEBE, YANNICK DAUBY, DIETERH MÜH, e
|
2010 |
€20.00 |
|
| KODJABASHIA, NIKOLA |
Explosion of a Memory |
CD |
Four works as a homage to the works of JAMES JOYCE, HEINER MÜLLER & VALERE NOVARINA; performed by the Macedonian Philharmonic Orchestra with help by CHRIS CUTLER and others
|
2010 |
€13.00 |
|
| KOLLAPS |
Sibling Lovers |
LP |
stunning debut LP of this Australian industrial rock formation, aggressive tracks with tortured vocals, bass/guitar, electronics and tribalistic percussion, in the way of old SPK, NEUBAUTEN, MISSING FOUNDATION, etc.."The band’s habitually uneasy textures and crude tones are generated with appropriated non-instruments- scrap metal, raw plastics, steel beams. For Kollaps, this isn’t an empty ‘industrial’ gesture. It’s a way to literally use the detritus of postmodern society against itself."
|
2017 |
€18.00 |
|
| |
Mechanical Christ |
LP |
2nd album for the raging Australian "violent industrial" band who just toured Europe extensively..."The bands’ distinctive primordial tones are created using appropriated waste materials like scrap metal, raw plastics and steel plates combined with blistering percussion, bass and vocals. This is no empty 'industrial' gesture, for the band this process of creation facilitates the literal use of postmodern society against itself.." - LP version comes with double sided insert
|
2019 |
€18.00 |
|
| KONRAD KRAFT |
Quadrat |
LP |
based on graphic-geometrical structures, KONRAD KRAFT has composed seven electro-acoustic pieces (all entitled 'x-quadrat'), which sound very clear and formal like A. TIETCHENS works on one hand, on the other there are surprising field recording elements, cut ups and improvised moments appearing, manifesting a pretty idiosyncratic musical language..."A sound manifestation of imaginary, sculptural and graphic structures. " lim. 300, absolutely to discover !!
|
2016 |
€18.00 |
|
| KONTAKT DER JÜNGLINGE |
0 (live Rostock, MS Stubnitz, 10.02.2001) |
CD |
the project of THOMAS KÖNER and ASMUS TIETCHENS, second part: "Submarine sounds, kinda like the 'Skagarak' LP by WERKBUND, ages ago.... More austere then the previous recording by Kontakt Der Junglinge, more dark too." BACK IN STOCK
|
2001 |
€14.00 |
|
| KRAFTWERK |
Live 1971 |
do-LP |
incredible, early live recordings made for Radio Bremen at GONDEL Cinema , 25. June 1971, plus "Interzone" rec. at Beatclub May 1971 !! Contains the 4 pieces from the first LP (1970), and three very rare live-only tracks! Line up with MICHAEL ROTHER (NEU!), drums-guitar-flute-electric violin & keyboard; first ever vinyl release of these recordings, lim. 500, clear vinyl, soon to be rare !!
|
2012 |
€36.50 |
|
| KRENG |
Works for Abattoir Ferme 2007-2011 |
4 x LP BOX |
the long awaited re-issue of KRENGS masterpiece, a perfect mixture of dark drones & sombre neo classic tunes! => "slow, skin-crawling cinematic ambience made for the Belgian theater group Abattoir Ferme. you are transported through the most terrifying, shadow-filled, downright bizarre moments of the subconscious.." - each LP with extra artwork, lim. 300 copies in box with silver tone print
|
2022 |
€65.00 |
|
| KRIWET, FERDINAND |
Hörtexte / Radiotexts |
3 x pic-LP-Box |
six radiotexts (created 1969 - 1983) and six so called great looking "viewtexts" reproduced on 3 picture-LPs, comes in box with 12"-booklet, edition of 1000 copies
|
2007 |
€58.00 |
|
| KRÜSI, HANS |
ExHK |
LP |
"Best known as a self-taught painter and photographer, Swiss ART BRUT trailblazer Hans Krüsi was also an avid field recordist. 'ExHK' is an exceptionally bizarre patchwork of insect and cattle sounds, church bells and chants, held together by saturated weirdo percussion and snippets of decayed folk songs captured from the radio. Brilliant and completely in its own world." [Boomkat] - lim re-issue of the much sought-after LP from 2008, only 150 copies!!
|
2023 |
€23.50 |
|
| KTL |
The Pyre : Versions distilled to Stereo |
LP |
STEPHEN O'MALLEY and PETER REHBERG with their (originally multichannel) Score created for GISELE VIENNE's dance theatre piece "The Pyre" (2012): very atmospheric and surrealistic drones and sounds with captivating aura.. "This composition dizzyingly sculpts the space on stage and generates an impression of great spatial depth, which activates light-sculptures that in turn evoke the illusion of a tunnel, whose depth also results in a play of reflections." lim. 700 green vinyl
|
2018 |
€22.50 |
|
| KUBISCH, CHRISTINA |
Night Flights |
CD |
re-issue of LP from 1987
|
2007 |
€15.00 |
|
| KUBISCH, CHRISTINA & ECKEHARD GÜTHER |
Mosaique Mosaic |
CD |
a "sound diary" recorded during a workshop & sound-installation stay of both in CAMEROON (summer 2010), discovering the most unusual places with help of local people.... recordings like 'sunday church service', 'street market' or 'abandoned hotel at night' from a nice aural picture of the environment...
|
2013 |
€13.00 |
|
| KULTHUM, UMM (also: KALTHOUM, OUM) |
The Twinkling Star |
LP |
fully re-mastered re-issue of this extraordinary LP from 1961 - UMM KULTHUM was a legendary female singer, songwriter and actress from Egypt ("Egypt's fourth pyramid"), and this her most well known release => popular 'oriental' music with many strings and the typical harmonic phrases from that time, combined with a pretty low fi recording quality and UMM KULTHUMS vocalizing, for "western" ears this sounds like music from another planet...
|
2019 |
€18.50 |
|
| LA MONTE YOUNG & MARIAN ZAZEELA |
31 VII 69 10:26 - 10:49 PM / 23 VIII 64 2:50:45 - 3:11 AM The Volga Delta |
LP |
first official re-issue of the mythical "Black Record" from 1969, the first LP and THE "drone" album from that time, feat. two side-long explorations into ultra-minimalist spheres and noises, set through layered vocals with special tuning or special gong performing... - "La Monte Young is the daddy of us all." [Brian Eno]
|
2023 |
€29.50 |
|
| LA MORTE YOUNG / DRONE ELECTRIC LUST (DEL) |
split |
LP |
split LP by with two side-long tracks of atmospheric, handplayed "rock"-instrumenation: LA MORTE YOUNG is a 5 man collective from France with members from SUN STABBED, TALWEG and NAPPE, doing the slowcored improvised psych-drone... the DEL ensemble on side B works similar, but sounds different, their experimental low-fi drone-blues could be the soundtracks for a WIM WENDERS film maybe.. lim. 300 copies
|
2015 |
€16.00 |
|
| LAMI, GIOVANNI |
मेम वेर्म [mema verma] |
LP |
a fascinating "study" of a SHRUTI box (the Indian drone instrument working on a system of bellows, similar to a harmonium), capturing the silent 'side-effect' noises of the instrument as object as well ("sampling and processing the breaths, whistles and noise produced by the reeds"), very intimate and near, a perfect mixture between non electronic drones and subtle concrete sounds... in the progression of this LP the original shruti drones become more and more audible.. lim. 300 silk-screen cover
|
2013 |
€16.00 |
|
| LAMMERS / USENBENZ |
Drawing in Sound |
LP |
after the great 'bell drone' LP this shows ANDREAS USENBENZ in a live collaboration with painter / illustrator CHRISTOPHER LAMMERS - recorded at Städtische Galerie Rosenheim in spring 2018 - about the topic of meadow; by using charcoal, ink, brushes and his bare hands, LAMMERS painted a 7 by 4 metre canvas during the evolving drone-scaping performance of USENBENZ; later a part of the painting has been used to be screen printed on Side B of this clear vinyl; lim. 100, one-sided
|
2018 |
€25.00 |
|
| LAMY, PHILIPPE |
Entre Deux |
mCD-R |
hallucinatory microsounds & drones from this painter & plastic arts sculptor from Toulouse, France, derived from field recordings and (maybe) objects.. whispering, subtle dreambient, slow & hazy..... unrecognizable sources full of tiny details, really fascinating !!
|
2013 |
€5.00 |
|
| LAND USE / MAURIZIO BIANCHI / PHARMAKUSTIK |
Spülfeld |
CD |
an epic drone-journey into the otherworld, with mysterious sounds & drones that shift, transform & mutate all the time... minimal but never static.. lim. 223 copies, comes in DVD slimcase with printed covers & inlay, numbered... already the fourth collab release by this dutch project with M.B. (and this time with help of PHARMAKUSTIK)
|
2011 |
€13.00 |
|
| LANDING |
Third Sight |
LP |
the US American (Connecticut) post rock / psychedelic drone / space rock band with a four track LP, some wonderful floating and trance inducing textures are created.. "Listening through this LP is likely to stimulate mental images of rural winds blowing across vast American fields of grass, bonfires, blue rivers and power lines sailing through rolling hills."..."like a calming codeine syrup, thickening once they’re in yr skull like gummy candy." [Tiny Mix Tapes] green vinyl
|
2016 |
€23.00 |
|
| LANG, KLAUS |
Organ Works Vol. 2 |
LP |
after the great 'Organ Works Vol. 1' LP here are two more organ-drone pieces ("ABD" from 1996, "Melrose Abbey" 1997) by the Austrian composer and organist KLAUS LANG, known also for his CDs on Edition RZ... both pieces were recorded in churches and capture the special sacred atmosphere of beautiful chord progressions and multi-layered, massive streams of shining and waving overtones...
|
2015 |
€19.00 |
|
| LARKIAN |
Dotted Drives & Drone Delays |
12inch |
long play 12" / mini-LP by the guitar-drone project of CYRIL MONNARD from Lausanne (Switzerland), layering slowly levels of guitar & synth harmonics, developing into very spheric drone-monuments....not unlike AIDAN BAKER, N, ULTRASOUND or FEARFALLSBURNING.. very nice! Comes with big postcard & download code
|
2013 |
€12.50 |
|
| LE GALL, PASCAL |
Landscapes |
10inch |
this sound-artist from Tours, France, creates quiet acoustic landscapes by playing records on 6 rpm, using BACH and SCHUBERT compositions but also unknown sources, evoking a very special, unreal atmosphere between somber harmonic phrases and droning winds... a very nice 10" EP with wonderful cover artwork & mastering by MATHIAS DELPLANQUE, a true "secret tip" and very much recommended!
|
2017 |
€17.00 |
|
| LEGENDARY PINK DOTS & CEVIN KEY |
9 Lives to Wonder |
DVD |
a 80 minutes long film by CEVIN KEY (SKINNY PUPPY) with material from 1993 documenting the recording sessions for "9 Lives to Wonder" in a remoted 16-track studio (De Klaverland) in the 'wild east' of the Netherlands, when they were in a most psychedelic / spaced out mode... and mood'! "It was crowded, a 24 hour party, much curry was imbibed, the air itself was perfumed" [E. KA-SPEL]; a great personal insight into the world of LPD 20 years ago!!
|
2012 |
€17.50 |
|
| LEGENDARY PINK DOTS & KETVECTOR |
The Shock Exchange |
LP |
split album by LPD (three new tracks on Side A, with the beautiful 'The Lie in the Sky') with a new project of SKINNY PUPPY and BAHNTIER members (four tracks on Side B); excellent electronic neo-psychedelia.... lim. 299 on clear vinyl, planned RSD release 2015 which came out a bit later
|
2015 |
€23.00 |
|
| LEGENDARY PINK DOTS / KINKELAAR, FREEK |
Close your Eyes, you can be a Space Captain. The Legendary Pink Dots in the 1980s |
BOOK + CD |
FREEK KINKELAAR who knows the DOTS well since a very long time, wrote this book about their first 10 years (1980-1989), doing interviews with all important members to write the bands story year by year.... also featured: many unique images, covers of early cassettes and releases, composition sketches, concert posters, live pics, full dotsography... 148 pages hardcover book, with CD feat. early favourites of LPD plus two unreleased tracks; 17 x 24 cm in size; a must for any true LPD fan !!
|
2022 |
€28.50 |
|
| LEWIS, KLARA & SIMON FISHER TURNER |
Care |
LP |
first collaboration by young Swedish composer KLARA LEWIS (daughter of GRAHAM LEWIS / WIRE) with SIMON FISHER TURNER, know for his various film soundtracks! => "The wide scope of references and constant pull of forces make this debut offering a timeless patchwork of sonic spaces. Care is an album which sways in such a salubrious manner one can’t help but delight in its unique form of location/disorientation." comes with download card
|
2018 |
€18.00 |
|
| LIAISONS DANGEREUSES |
same |
LP |
this milestone of electronic music (the only LP by legendary CHRISLO HAAS (DAF, DER PLAN, MINUS DELTA T., etc.) and BEATE BARTEL (MANIA D., MATADOR..) from 1981 got another vinyl re-issue.. "Songs such as 'Peut Être...Pas' and 'Los Niños Del Parque' played a decisive role in the development of Detroit and Chicago’s house sound, as well as various forms of European techno." - remastered + DL code
|
2015 |
€17.50 |
|
| LILES, ANDREW |
Miscellany Deluxe |
do-LP |
earliest recordings, comes in nice gatefold-sleeve, full edition (together with the box edition) of 600 copies, 300 as do-LP
|
2009 |
€21.50 |
|
| |
Miscellany Deluxe (Box Edition) |
3 x LP-Box & T-Shirt |
great silver box edition (w. violet lettering) has a third LP and a ultra-weird pink T-Shirt !! Lim. 300
|
2009 |
€60.00 |
|
| LINDSTRÖM, MATS |
Mig |
LP |
first LP release by this Swedish composer (*1960), musician and builder of self-made electronic instruments => almost uncategorizable fragmented electronics & concrete "additions", a new language of sounds, 7 pieces created 2006-2012; on STEPHEN O'MALLEYs new "serious music" label
|
2012 |
€16.00 |
|
| LIVE SKULL |
EP |
CD |
re-issue of the very first mini-LP (1984) by this New York Noise Rock phenomenon, comes with 24p booklet with extensive liner notes by band members & 8 rare bonus tracks; for the first time on CD
|
2013 |
€13.00 |
|
| |
Dangerous Visions |
LP |
together with SONIC YOUTH and SWANS, though lesser known, LIVE SKULL formed the third great monolithic noise rock band from New York City - this LP contains on one side NEW recordings (after their re-union in 2016), on the B-Side a Peel Session from 1989 with rare tracks, in fact the only existing studio verions of two tracks, plus two other unknown tracks from their first incarnations that ended in 1990; a must have for any NYC noise fan !!
|
2020 |
€24.00 |
|
| LOGOTHETIS, ANESTIS |
Hör!Spiel / Nekrologlog 1961 / Fantasmata 1960 |
LP |
this was the first released LP by the Greek-Austrian composer (he lived in Vienna until his death in 1994) who developed his own notational system using visual symbols that could be freely interpretated by the performers: three pieces of his pioneering electronic / tape music, incl. the famous "Fantasmata" from 1960; ed. of 500 copies
|
2018 |
€18.00 |
|
| LOPEZ, FRANCISCO |
Dynamo |
CD |
soundtrack for a huge, interactive (walkable) 16-speaker installation sculpture artwork by DANIEL CANOGAR, developed for the atrium of the Spanish Pavilion at EXPO DUBAI 2020; - *This moment captures the intense roar of so many machines of the past echoing through our modern history –technologies that we behold with a mixture of fear and fascination.* - 200 copies pressed |
2023 |
€13.00 |
|
| LOPEZ, FRANCISCO / MICHAEL GENDREAU |
Untitled # 185 / Drowning |
LP |
"Split-LP des ex-CRAWLING WITH TARTS Mitglieds M. GENDREAU mit dem spanischen Puristen F. LOPEZ => Vinyl-Kratzer & Rauschen von Auslaufrillen uralter Platten, aber auch die Geräusche der Mechanik & Motoren von antiken Plattenspielern dienten als Klangquelle für diese Bearbeitungen, ein Meer von low-fi Knirschen, Rascheln & Geknister, von multiplen 'white Noise'-Flächen und rhythmisch-repetitiven Mustern, so ungewöhnlich & wie überraschend im Verlauf... lim. 500, signed, covers are bend a bit; LAST COPY!
|
2006 |
€8.00 |
|
| LOWE, ROBERT AIKI AUBREY |
Levitation Praxis Pt. 4 |
LP |
experiments on HARRY BERTOIA's sound sculptures by the man behind LICHENS (and member of OM), also using his own (high) voice, to create something unreal and ethereal... recorded in July 2016 in conjunction with the "Atmosphere for Enjoyment" exhibition at the Museum of Arts and Design in New York; out on the DEMDIKE STARE label, black vinyl ed. 500 copies
|
2017 |
€20.00 |
|
| LSD MARCH / MAMA BAER |
Untitled / .... plays Amy Winehouse |
LP |
eighth part in the HJULER/MAMA BÄR split LP series with 12 different artist, each LP is limited & numbered to 177 copies with handmade cover; split-partner this time is japanese psych-outfit LSD MARCH with very bizarre, uncategorizable recordings, using much vocal sources, whereas MAMA BAER sings and plays guitar in a way it will kick the last braincells out of your head...
|
2012 |
€20.00 |
|
| LT. CARAMEL / KOMMISSAR HJULER UND FRAU |
Und am siebenten Tag besahen sich Votzegott und Votzefrau ihre Schöpfung: |
LP |
first part in the HJULER/MAMA BÄR split LP series with 12 different artist, each LP is limited & numbered to 177 copies with handmade cover; this one features a sexually explicit art-collage by KOMMISSAR HJULER
|
2009 |
€23.00 |
|
| LUCIER, ALVIN |
I am sitting in a Room |
CD |
the most famous sound art piece from 1970 (this version was recorded in 1980 and came first out as LP in 1981) => LUCIER is repeating a text about what he does - recording his voice in this room, and playing the recorded sounds again into it - until the resonances of the multiple re-recordings take over and the voice diminishes and disappears - "The space acts as a filter; the speech is transformed into pure sound" - and you can follow this process in "real time".. - comes. w booklet, back in stock !
|
1990 |
€15.00 |
|
| LUNDE, ERIC / KOMMISSAR HJULER |
split |
LP |
fourth part in the HJULER/MAMA BÄR split LP series with 12 different artist, each LP is limited & numbered to 177 copies with handmade cover; this one is a split release with long-time US activist ERIC LUNDE, recorded 2009
|
2010 |
€23.00 |
|
| M.B. / COALMINER + ALLIES |
Antimateria |
LP |
split LP with two new M.B. pieces on one side, and four COALMINER (= scream noise duo from the Phillipines!) tracks feat. diverse collaboration guests on the other side: TORTURING NURSE (Shanghai), RICHARD RAMIREZ; GNAW THEIR TONGUES; UNSIGNIFIED DEATH + TOSHIIJI MIKAWA; extreme monolithic noise and extreme minimal ambience as daily practises for aural awareness! - comes on different coloured vinyl, each lim. 100 - our copies are RED
|
2023 |
€20.00 |
|
| MACIUNAS ENSEMBLE |
Yoplaboum |
do-LP/ CD |
this group from Eindhoven, Netherlands, was founded in 1968 with a totally "free music" approach: play what you find at the place you perform, and perform without any preconceptions. or fixed rules.... but learn from it! This double LP contains pieces from two very rare cassettes, relased 1983 + 1984 (early 80's was their most active phase. feat. PAUL PANHUYSEN), establishing their own 'minimalist rhythmic style' - YOPLABOUM is a 43min. piece split over two sides! Lim. 300, printed inners, photos, liner n
|
2021 |
€30.00 |
|
| MAEROR TRI |
Hypnotikum I |
CD |
re-issue of the LP from 1998 (Soleilmoon) - five long tracks created 1996 & 1997 based on loops used live in 1996; the mellow & harmonic side of HYPNOTIKUM. For the first time on CD, lim. & numbered ed 300, comes in nice oversized gatefold / cardboard cover
|
2010 |
€12.50 |
|
|
Hypnotikum II |
CD |
re-issue of the LP from 2000 (Absurd / Poeta Negra) - four long tracks created 1996 & 1997 based on loops used live in 1996; the powerful & noisy side of HYPNOTIKUM. For the first time on CD, lim. & numbered ed 300, comes in nice oversized gatefold / cardboard cover
|
2010 |
€12.50 |
|
| |
Mort Aux Vaches: Hypnos/Transe |
CD |
re-mastered re-issue of the fourth M.T. CD that came out 1997 in Staalpaats "Mort Aux Vaches"-series, with recordings made "live in the studio" in May 1995 at VPRO in Amsterdam with no overdubs; three movements of raw & contemplative power-ambience, symbolizing a 'different state of consciousness' = the expansion of the mind through sound; lim. 500 with new artwork by SALT (Ant-Zen)
|
2012 |
€13.00 |
|
| MAEROR TRI / CRAWL UNIT |
Forazeihan / Broken Books & Wings |
pic-7inch |
right in time to the relase of the JOE COLLEY (aka CRAWL UNIT) 3 LP-box we got some NEW copies back in of this split picture-disc with two dark noise tracks, feat. the almost last studio-material ever recorded by MAEROR TRI in 1996 !! Lim. 500
|
2000 |
€8.00 |
|
| MALONE, KALI |
Velocity Of Sleep |
LP |
re-issue of her first LP from 2017 => three minimal / drone pieces with the long title track based on Lute tunes => 'the works here - incorporating justly tuned Theorbo, frippertronic tape delays, tuned sine waves, Double Bass, Gongs and Viola de Gamba - seek to explore tone, timbre and tuning from the ground up, approaching an experience listeners to Indian classical drone music will be more familiar with'; comes with printed inner sleeve, UK import, high price unavoidable
|
2021 |
€36.00 |
|
| MAMA BÄR / UP-TIGHT |
Etude in Black |
LP |
ninth part in the HJULER/MAMA BÄR split LP series with 12 different artist, each LP is limited & numbered to 177 copies with handmade cover => psychedelic improvisations with guitar, bass, drums/piano by Japans UP-TIGHT & a rather un-noisy piece named "Seelennebel-brut I-II" based on metal sounds & flute by MAMA BÄR
|
2013 |
€23.00 |
|
| MANNING, ROSS |
Te t on on ti computer |
MC |
we recently became fans of this Greek label, here's another very special release: ROSS MANNING is an Australian sound artist who builds his own half-mechanic/electronic/motor-driven percussion sculptures made by steel, aluminium and scrap metals that 'play themselves', creating complex aural landscapes... "His practice offers an exploration into the otherworldly by repositioning the mundane" [Visual ArtsHub9] / C-43 tape, lim. 80 copies, numbered
|
2019 |
€9.00 |
|
| |
Reflex in Waves |
LP |
fascinating sounds and vibrations based on self built motor-driven instruments, his second LP for Room40, still to discover! - "The resulting sound is a chaotic but pulse-like cluster of harmony... Manning’s instruments each maintain a distinct quality. No two instruments sound alike and although the way in which they are ‘performed’ may be similar, the resulting sound is anything but familiar."
|
2017 |
€25.00 |
|
| MARCLAY, CHRISTIAN & OKKYUNG LEE / MY CAT IS AN ALIEN |
From the Earth to the Spheres Vol. 6 |
CD |
re-issue of rare LP (Opax Rec.) with one live-recording by MARCLAY & LEE (NYC 12.2003), and two studio tracks (one is a very long bonus-track not on the LP) by MCIAA rec. 07.2002; special priced now as the label has stopped all activities! Comes in nice textured digi-sleeve
|
2006 |
€6.66 |
|
| MARIACHI |
Mariachi |
LP |
behind MARIACHI is guitar-player NINA GARCIA from Paris, who performs a lot live, and this is her first LP: very direct & near, bruitistic, atonal, into the face, often the created sounds don't remind much on a guitar... "One woman, one guitar, one pedal, one amp, one take and two sides! The first one improvised and the second as exercise in style."
|
2018 |
€16.00 |
|
| MASSTHISHADDHU |
Shekinah |
CD |
the only LP (United Dairies 1988) by this project with 3 of the METGUMBNERBONE members, creating "archaic" sounding ritual / occult folk industrial (chants, percussion, blow instruments) on two side-long tracks... this new re-issue has a 30 min. bonus track, previously unreleased... "Whatever words are spoken during this procession of yearning melodies and utterly ethereal voices is perhaps best left for the Gods." [Brainwashed]; re-master: COLIN POTTER, lim. 300
|
2021 |
€13.00 |
|
| MASTER MUSICIANS OF BUKKAKE |
Totem One |
LP |
re-issue of now impossible to find first LP in the "Totem-trilogy" (Conspiracy Records 2009) by the Seattle-based collective doing their "West Coast Death Cult Outer Space Gamelan"; experimental psyched out ceremonial muzak; feat. members of EARTH & BURNING WITCH and guest ALAN BISHOP (SUN CITY GIRLS); ed. of 1000
|
2012 |
€18.50 |
|
| |
Further West Quad Cult |
LP |
complimentary LP for synced playback with "Far West".. 'a deep journey into the cave where the self dissolves'... lim. ed. with fold out poster! |
2015 |
€23.00 |
|
| MB / BAD SECTOR / SIGILLUM S |
Endometrio / Endometrio De-Composto |
do-CD |
re-issue of one of the true masterpieces by M.B.(originally LP from 1982 = recycling of his own material which he called "bionic music") - especially we love the 2nd long track with piercing drones and strange harmonies underneath, one of our favourite MB tracks; as as bonus you get a CD with two AWESOME 2016 remixes by two other already "classic" Italian post industrial groups: BAD SECTOR and SIGILLUM S
|
2016 |
€17.00 |
|
| MC NAIR, JAMIE |
Ocean Dictionaries |
CD-R |
lim. 50 / wallpaper cover / New Zealand-import |
0000 |
€12.00 |
|
| MCDOWALL, DREW |
Lamina |
6 x CD-BOX |
*The six CD collection includes expanded editions of his four most recent Dais LPs (Collapse, 2015; Unnatural Channel, 2017; The Third Helix, 2018; and Agalma, 2020), alongside a disc of rarities (Undulations and Aberrations) and one of live performances (Entanglement). Taken together, it presents a definitive portrait of McDowall’s cryptic, questing artistry, forever seeking \\\"that sense of stepping over a threshold.* - sturdy cardboard box w. ribbon, extra sleeve for each CD, lim. 1000
|
2023 |
€38.50 |
|
| MEAT BEAT MANIFESTO |
Lonely Soldier |
12 |
includes remixes on the B-Side that are not on the do-LP
|
2008 |
€7.50 |
|
| MEESE / MAMA BAER / HJULER |
Alaska Kid jagt Dr. No |
CD |
after various collaborations by JONATHAN MEESE ("Alle Macht der Kunst") with the HJULER couple in the PSYCH KG "Fluxus" LP series, this must be the first full length CD with material by the three dadaistic bruitists and features 11 tracks: you can listen to a collaged JOSEPH BEUYS, "Strammstehen" - samplemania by MEESE, further investigations into MAMA BAER's singing & feedback noise experiments, agitation speech earplay poetry madness, "Alcoholisme-Brut Nr.1", etc.. + digipak with new MEESE artworks
|
2019 |
€13.00 |
|
| MELCHIOR, DAN & SIGTRYGGUR BERG SIGMARSSON |
Cod War Kids |
CD |
after the "Dark Arc" LP from last year (Ultra Eczema) here's the second collaboration with bizarre, dark & charmful low fi improvisations, field recordings, sketches of thee 'almost nothing', between music and pure atmosphere... "But through the whispering murmurs, the twang and fleeting harmonica is a true exploration of darkened corners. It’s as if they’ve awoken the ghosts of the old Gentry, and put them on someone’s front stoop to haunt the neighborhood." [Toneshift]
|
2019 |
€13.00 |
|
| MENCHE, DANIEL & ANLA COURTIS |
Cuspa Llullu |
LP |
after the great 'Yagua Ovy' LP in 2012 this is second time both 'advanced droners' collaborate => low overtune resonances that could come from heavy strings, all kinds of metallic scrapings, hummings and object whispers.. "Sounds here are not inert samples; there’re vibrating beings full of life and in constant mutation. Frequency-lifeforms moving everywhere in ways that can be only appreciated if we’re able to listen not only with the ears but with the whole body." - brilliant stuff again, lim. 300
|
2020 |
€17.50 |
|
| MENS, RADBOUD & MATTHIJS KOUW |
3/4 |
do-CD |
third collab release of the new dutch drone stars! => 'On their new album, MENS and KOUW use a 12-meter magnetic string instrument and a modular synthesizer to create 6 carefully tuned pieces. With a total playing time of over 2 hours, ‘3/4’ continues the long-form drone explorations first released on the LP ‘1’ on Moving Furniture Records in February 2017.." - a homage to the drone works of ELLEN FULLMAN, LA MONTE YOUNG and ALVIN LUCIER, ed. of 300 copies
|
2018 |
€15.00 |
|
| MENTER, WILL |
Always Sound |
BOOK / 3 x CD |
200 page book of photographs, texts and documents, all full colour, along with 3 CDs presenting the great "land art" of British (sound) artist PHIL MENTER, who uses natural elements like wood, slate, stone, water, etc.. for his huge (often outdoor) installations, sound sculptures and (dance) performances...very beautiful, highly recommended !
|
2013 |
€30.00 |
|
| MERZBOW |
Tamayodo |
pic-LP |
rare pic-LP with new recordings made 2013, lim. 299 copies only !
|
2013 |
€29.00 |
|
|
Storage |
2 x pic-LP & CD |
first ever vinyl re-issue of the ZSF Produkt LP from 1998, with third bonus track released so far only in the MERZBOX CD box... "Masami Akita creates in Storage a very experimental and atmospheric album with a masterful use of scraping sounds and metal percussions but also with a very effective use of silence. A strongly hypnotic and creepy sounding early analog Merzbow album." lim. 302 copies, new MASAMI AKITA artwork on the pic LPs, extra cover + CD version included!
|
2016 |
€38.00 |
|
| |
Cafe Oto |
do-CD |
*A documentation of prolific Japanese noise master Merzbow's double show at London's Cafe OTO in October 2016. Rhythm-driven and rammed with highly sculpted frequencies, Akita's sound is entirely remorseless. Furious squalls and delicate sine-warps post this one on the more psychedelic end of Akita's output* - comes in gatefold ecopak, photos by MASAMI AKITA |
2023 |
€18.50 |
|
| MERZBOW / RAVEN / DAO DE NOIZE |
Animal Liberation |
CD |
after "This is the Truth" (2007) and "Transgression" (2008) this is only the third full length LP by KEVIN TOMKINS (ex WHITEHOUSE) "transgressive art" project; one side sounds more suspenseful and dark, the other goes the classic power elecronics way, all powerful and captivating; comes in heavy gatefold sleeve on colour vinyl, numbered 300 copies
|
2015 |
€13.00 |
|
| MERZBOW / SCUM |
Scissors for Cutting up Merzbow |
3 x LP / 2 x CD set |
expanded re-issue of the do-LP from 1989 (released on Merzbow's ZSF produkt), now spread on 3 LPs (CD version included, too), lim. 200 only! "Present re-production systems point in the direction of a future hyper-dimension of physics. We no longer use a dialectical approach in our disposal/recycling system, only a forward movement to the reproduction of re-production." [MASAMI AKITA]
|
2018 |
€49.50 |
|
| MERZBOW / SUN RA |
Strange City |
LP |
it sounds incredible, but it happened: MERZBOW remixed SUN RA, using rare & unreleased tracks of the official SUN RA archive from 1966/1967; the LP has completely different material than the CD version!! "The constant and destructive waves of noise make this decisively a Merzbow record, but its cosmic mood and rhythms prove that Sun Ra lives in its DNA."
|
2016 |
€20.00 |
|
| |
Strange City |
CD |
it sounds incredible, but it happened: MERZBOW remixed SUN RA, using rare & unreleased tracks of the official SUN RA archive from 1966/1967; the CD version has completely different material than the LP version!! "The constant and destructive waves of noise make this decisively a Merzbow record, but its cosmic mood and rhythms prove that Sun Ra lives in its DNA."
|
2016 |
€13.00 |
|
| MERZBOW KAPOTTE MUZIEK |
Works 1987-1993 |
Korm Plastics KP 3050 |
lovely CD box gathering collaboration recordings by MERZBOW and Frans de Waards KAPOTTE MUZIEK made in the years 1987-1993, released on one MC, one LP & several compilations; the box also holds unreleased live- & studio-material; re-mastered by JOS SMOLDERS, designed by MEEUW, comes in an oversized carton box with poster & sticker! Lim. 300 - BACK IN STOCK last copies!
|
2012 |
€25.00 |
|
| MICRO_PENIS |
Schlim |
LP |
third wondrous LP by this French 4 piece collective (feat. OGROB) that creates an incredible animalistic, bruitistic and abstract / absurd sound, all handplayed and improvised and impossible to classify... "For a psychotic can only ever be himself freed from one’s treatment, thus expressing one’s inside kept insanity....Cyclothymia and dementia are hidden in each sound, each track of Schlim." lim. 300, with postcard and fake-porn (?) cover art
|
2016 |
€17.00 |
|
| MIDDLETON, IAN |
Aural Spaces |
LP |
third LP-album by this UK artist also known as REMORA
|
2009 |
€18.00 |
|
| MIGHTY ACTS OF GOD |
Joy of the Mountain |
CD-R |
wallpaper-cover / full-colour mini-poster inlay / organic plant-materials included / lim. 87 copies
|
2007 |
€8.00 |
|
| MILLIS, ROBERT |
Relief |
LP |
first solo-LP by the CLIMAX GOLDEN TWIN member and 'ethno' field recorder & film-maker (DVDs on Sublime Frequencies), creating a very special form of psychedelic ambience, combining electronic & found sounds.. "A fever dream of blurred harmonics and ethnomusicological spelunking"; lim. 400 copies
|
2013 |
€16.00 |
|
| MIMIR |
Mimyriad |
CD |
re-issue of the remix-version of the second MIMIR-album (1993) that appeared later on LP, a project by EDWARD KA-SPEL & CHRISTOPH HEEMANN, here also featuring JIM O'ROURKE & SILVERMAN....
|
2007 |
€14.00 |
|
| MINIT |
Now right here |
LP |
the great 3 track LP by this Australian duo (JASMINE GUFFOND and TORBEN TILLY), extremely contemplative & hypnotic drone-layers, somehow illuminated from the inside, gaining slowly volume and densitiy.. back in stock, our highest recommendation!! |
2004 |
€12.00 |
|
| MIRROR |
Still Valley |
CD |
probably MIRRORS most calm, meditative and timeless sounding release, revealing mysterious undertones..; recorded by ANDREW CHALK, CHRISTOPH HEEMANN and JIM O'ROURKE between May 2002 - January 2005; comes w. special dye-cut cover and has 1 bonus track compared to the previous LP version
|
2005 |
€15.00 |
|
| MIXED BAND PHILANTROPIST |
The impossible Humane |
LP |
first ever vinyl re-issue of the very rare & legendary collectors LP by this side-project of NEW BLOCKADERS - a milestone of mail-art & collage-noise, using source material from P16.D4, ORGANUM, NURSE WITH WOUND, ANDREW CHALK, H.N.A.S., ASMUS TIETCHENS, MERZBOW, HATERS, and many more... comes with two bonus tracks not on the original LP from a rare 7", lim. 400
|
2014 |
€16.00 |
|
| MIZUTANI, KIYOSHI |
Works 1989-1991 |
CD |
back in stock this collection with early material from the "The same thing makes always her laugh" LP (ZSF 1990), plus other rare cassette-only stuff; on the CRAWL UNIT-label which is not active anymore
|
1999 |
€13.00 |
|
| MLEHST |
Breathing in Dead Flies / Cock Sucking Lips |
CD |
re-issue of the first MLEHST LP from 1996, plus a very rare cassette only album from 1995 => this is eerie "non-music" made out of various fragmented, often slowly appearing noises, mostly not really harsh, but of a completely bleak nature... - along with the provocative / pornographic titles this forms a strong statement of outerbounds music, far away from any "accepted" style even more than 20 years later.. - lim. 200
|
2021 |
€13.00 |
|
| MNEM |
For Delta Relics |
CD |
debut full length of the Finnish true analogue droners (known from DR-54), on their voyage again to abysmal archaic drone textures.. "Finest sonic massives emitting complex syntheses of post industrial, electro-acoustics and harsh ambience; intensive layers of drones and abrasive loops laying foundation to diverse analog sound sculptures.." - lim. 500, artwork STEPHEN O'MALLEY, BACK IN STOCK LAST COPIES!
|
2003 |
€10.00 |
|
|
Golyma |
LP |
lim. 275 copies / first MNEM LP !! |
2005 |
€14.00 |
|
| |
Engrama |
LP |
re-release of the early 10" from 2000 plus one long (13+ min) unreleased track.. "Undoubtedly calmer than the 'Golyma' LP yet still intensive experimental industrial with post-electroacoustic undertones. Organically flowing drones and hypnotic, grinding loop sounds of vintage analog sound processing via old reel-to-reel tape recorders and treatments.."lim. 270, black sleeves with cut n'pasted front and back covers; BACK IN STOCK
|
2007 |
€15.00 |
|
| MODELL, ROD / MARIT WOLTERS |
Cocoon |
do-LP |
MARIT WOLTERS (originally from Achim near Bremen) is a sound artist and sculpturalist based in Vienna who relates to GERNÖT BÖHME ("Atmosphäre"), and MAURICE MERLEAU-PONTY in her works: her archaic looking stone sculptures (displayed in the 12page 12" x 12" booklet) generate micro-sounds who served as basis for electronic composer ROD MODELL to create a highly atmospheric, intimate ambient soundtrack (74 min.) for the museum... lim. 300 copies
|
2021 |
€36.00 |
|
| MOHAMMAD (MMMD) |
Pèkisyon Funebri |
3 x 10inch BOX |
after the great "SPIRITI" 3 x LP-box (2011) which became a collector's item, this is the second vinyl-box by the Greek "chamber doom" trio/duo, operationg in similar acoustic realms with their incredible low end Cello drone harmonics..." Let it all sink in. Let it make your bones shake. Let it change how you walk. Let it bring you down when you feel too proud. Let it pull you up when you feel too small. Let it be and let yourself be changed by its unrelenting resonance." [Tinymixtapes]
|
2016 |
€58.00 |
|
| |
Som Sakrifis |
CD |
Greek chamber music trio feat. ILIOS, harmonic low end cello/contrabass/oscillator-dronescape compositions with occasional chants, very heavy, deep bassy & slow... we love it! Cd re-issue of the LP from 2013, comes with unreleased bonus track, lim. 300 !
|
2015 |
€13.00 |
|
| MOHNE, ACHIM |
Accelerated Standstill |
LP |
two side long compositions made entirely of carefully assembled 'locked grooves' (caused by dirt, etc.) found on various mainstream vinyl records - a curious LP full of rhythmic structures and musique concrete drones that are constantly shifting by this German multimedia artist, playable at any speed - a must for fans of PHILIP JECK and Plunderphonics; lim. 300 / Nr. 7 in Touchs white label series; excellent record !
|
2014 |
€14.00 |
|
| MOLJEBKA PVLSE |
Borrowed Scenery |
LP |
the complete "Borrowed Scenery" sessions, now on vinyl - these droning sculptures spread and wave in a melancholic way, entangled by circling resonances and acoustic spirals... highly recommended day dream ambience! - lim. 150 with the "Borrowed Scenery: Appearance" CD-EP as bonus !!
|
2022 |
€20.00 |
|
| MONNIER, THIERRY |
Temps Espace |
LP |
a very abstract and 'a-musical' work of noises, resonances, tones, hums and silences, feedbacking drones in layers, mechanical sounds, reminding on CRAWL UNIT, SMALL CRUEL PARTY, etc.. "DIY musique concrete existing outside of any academism" - first LP for this French composer, member of LA MORTE YOUNG and man behind the DOUBTFUL SOUNDS label ; comes with two postcards
|
2017 |
€17.00 |
|
| MONOS (DARREN TATE & COLIN POTTER) |
Above the Sky |
CD |
finally a new album by the project of COLIN POTTER & DARREN TATE (with help of PAUL BRADLEY this time), based on the first live show from 2006 which has been later re-edited & re-processed... two long exquisite "experimental drone" tracks
|
2010 |
€13.00 |
|
| MOORE, R. STEVIE |
Phonography |
CD |
re-issue of this classic LP from 1978 (recorded 1974-1976), re-stored & re-mastered
|
2009 |
€14.00 |
|
| MORI, IKUE / MAJA S.K. RATKJE |
Scrumptious Sabotage |
CD |
extreme improvisation music with fast changing high speed noise attacks and 'quietly growing tension' by these two gifted performers in collaboration, recorded at two live performances...*The most astonishing element of this superb performance is the realization that even though the compositions are entirely intuitive, created without any previous planning, guidelines or negotations, the listener can sense a nearly palpable sense of deep connection and understanding between the artists* - digipak ed.
|
2013 |
€13.00 |
|
| MORRICONE, ENNIO |
Escalation |
LP |
soundtrack to the film of the same name from 1968, directed by ROBERTO FAENZA, a very political comedy attacking the values of western capitalism..; stylistically a very versatile soundtrack with lots of choral elements and the phantastic "Dies Irae Psichedelico" track; comes with cover replica of the original first LP edition from 1968, lim. 500 yellow vinyl
|
2015 |
€21.00 |
|
| MORSANEK / VINKEPEEZER |
same |
LP |
new label from Amsterdam with a split LP by two Dutch composers, to discover; gatefold-cover, edition of 550 copies
|
2009 |
€15.50 |
|
| MORTIFICATION TO THE FLESH |
Le Tresor Maudit |
CD |
re-issue of much requested LP from 1988 (Bog-Art 101) by this German Industrial project who only released this one album, strong martial electro Industrial with female voice & more free-floating experiments, weird & powerful... feat. AL MARGOLIS & GIANCARLO TONIUTTI (!), lim. 600
|
2011 |
€12.00 |
|
| MOSS, JESSICA |
Pools of Light |
LP |
debut LP by the violinist of SILVER MT.ZION and other Constellation Bands, who experiments with her violin sounds in real time through various effect pedals and sings to it... we fell in love with this album after a while ! "Pools Of Light unfolds at a stately, inexorable pace, combining sound-art and signal-processed timbres, extended melodic and contrapuntal lines, and the periodic deployment of stark, minimalist vocals." ; as usual, excellent cover art, with poster and download card!!
|
2017 |
€23.00 |
|
| MOTT, NICK |
The Visitors |
LP |
after the great 7" on Lumberton this is the very first solo LP/album for the ex VOLCANO THE BEAR - an incredible record full of weird, melancholic & unsettling arrangements (using often vocal & instrumental sources but also simple electronics, loops & tapes), at times it sounds like a more orchestral/humming version of GHEDALIA TAZARTES, then more 80's styled similar to RESIDENTS or RENALDO & THE LOAF, all lovely surreal; lim. 250 copies, very much recommended for explorers of the unexpectable..
|
2012 |
€16.50 |
|
| MSBR |
Ultimate Ambience |
LP |
re-issue of the rare 1992 debut LP by the Japanese (harsh) noise project, released originally on KOJI TANO's own MSBR Records label... "Two long tracks filled with excellent harsh noise with strong influences of musique concrete and electro-acoustic music. The great production on this LP makes it so powerful that it is frightening at times!" - ed. of 199 copies, oversized postcard, awesome silver on black silk screen cover
|
2019 |
€22.00 |
|
| MUELLER, JON |
Strung |
LP |
first release in the new TOTE guitar vinyl-series (12 LPs!), a one-sided LP with etching by SAVAGE PENCIL on the other side
|
2008 |
€16.50 |
|
| MULTER |
Däghallmy |
LP |
Back in stock, the debut-LP of this German ambient / experimental band. Refined minimalism. |
1998 |
€12.00 |
|
| MUNDAL, ARE |
Interlooper & Nocturnal Perambulation |
do-CD |
re-mastered digital version of the two limited / deleted LPs from 2020 & 2021 by the Norwegian dark ambient artist (with black metal roots), a trip into eerie atmospheric ambience with occult and surrealistic influences, made up from cascades of electronic sounds drowning in reverberations, ritualistic pulses and strokes, all kinds of voice and instrumental / orchestral surroundings.. - CD version comes with two art cards and bonus track
|
2022 |
€16.00 |
|
| |
Compilation Vol. 1 |
do-CD |
this compilation collects all existing vinyl material: two LPs, one 7" and the recent 'Kreis' 12", + a bonus track from the Norwegian dark industrial surrealist...=> this is the place where hallucinogenic visions, dark cosmic connotations, strange cinematic samples and dense dark post industrial tunes melt into a ritualistic atmosphere... the perfect music for our times of hazy illusions, alternate realities and self deceptions...- excellent artwork, too, double digipak, numbered ed. 200 copies
|
2023 |
€16.00 |
|
| MUSIC OF TRANSPARENT MEANS |
Selected Live Recordings |
LP |
MUSIC OF TRANSPARENT MEANS is the project of NYC based Australian ALEX CARPENTER, plus various guest musicians; this LP presents 5 pieces of most polyphonic and dense minimal (drone) music, performed on various instruments (guitars, saxophones, trumpet, trombone, clarinet), synths, glass harmonica bowels, and tom toms, it's a pure pleasure to discover these pieces from his archive... a true collector's item from Australians DE LA CATESSEN, lim. numb. 150 copies |
2022 |
€25.00 |
|
| MUSLIMGAUZE |
Tandoor Dog |
CD |
material from 1997: re-issue of the album "Tandoori Dog" (from ultra rare 4 LP set) + 3 unreleased tracks; lim. 500
|
2013 |
€15.50 |
|
|
Deceiver 3 & 4 |
do-CD |
re-issue of "Deceiver 3" which was part of the "Box of Silk and Dogs" 9 CD (1999), plus on the second CD so far un-released different mixes from the original Deceiver release (do-CD, 1996, Staalplaat), which is nowadays seen as one of MGs most important releases by reviewers and connaisseurs; lim. 500 - last copy
|
2014 |
€20.00 |
|
|
Syrinjia |
do-CD |
re-issue of LP from 1998 with lots of bonus tracks on the second CD - a very dubby, almost dance-oriented release, with strong Reggae influences... back in stock (standard jewel-case ed)
|
2004 |
€18.50 |
|
|
Narcotic |
do-LP |
re-issue of favored percussive album from 1997 (CD, Staalplaat), comes in gatefold sleeve...=> "Narcotic focuses much more on dubby, washed out and dense atmospheres that make you feel like you're wandering through an Arabic street on a hot summer's day. a truly amazing record to me, featuring extremely memorable tracks... just an absolute gem of a record and the one that always sticks out the most to me." [StoneInFocus]
|
2020 |
€29.50 |
|
|
UZI |
LP |
first time re-issue of LP from 1989 (Parade Amoureuse) - "Muslimgauze's gem from the late 80s. Cinematic, minimal, noisy, hypnotic, and gloomy. Probably not so overtly Middle Eastern as his later works, though definitely bearing an influence. Backed by electric drones percussion forms a living, breathing atmosphere of impending menace." - lim. 400 copies on GREY vinyl with fold-out (12" x 24") poster
|
2021 |
€20.00 |
|
| |
Chechnya Over Dub |
do-LP |
for the first time on vinyl, originally a part of the rare \"Fatah Guerilla\" 3 CD set in 1996 (Staalplaat) - at that time dedicated to an independent Chechnya; now released on a new Ukrainian label run by DMYTRO FEDORENKO (KOTRA, etc): 11 tracks, 600 copies, 3 sided |
2022 |
€34.00 |
|
| MY CAT IS AN ALIEN |
The Dance of Oneirism |
do-LP |
the Italian brother-duo who use self-build instruments & all kinds of objects & electronics for their spacey improvisations, with a new 5-track studio double album; ASH RA TEMPEL meets TIMOTHY LEARY in the Alps? "The Dance Of Oneirism is a music of unknowing, a dance with a phantom, the letting go of a dream." [David Keenan]; lim. 400 in total, different screenprint covers, with 24 pages Art Book
|
2015 |
€28.00 |
|
| MY CAT IS AN ALIEN / BJERGA & IVERSEN |
same |
LP |
collaboration LP by the two mega-active impro / drone / experimental projects from Italy & Norway, comes in silkscreen-cover with 5 different variants, edition of only 268 copies !
|
2010 |
€14.50 |
|
| MY CAT IS AN ALIEN / PESTREPELER |
Solar Anarchy / As Wolf |
pic-LP |
MCIAA side recorded live in Cologne 14.12.2006; PESTREPELLER is a project from UK with SAVAGE PENCIL (who also did the artwork for their side of the pic LP)
|
2009 |
€15.00 |
|
| MY HOME, SINKING |
King of Corns |
do-LP |
MY HOME, SINKING is the chamber-ambience "band-project" of ENRICO CONIGLIO who got the help of various guest musicians; an almost entire "acoustic" album has been created, often centered around piano phrases and droning instrumental or synth acoustics, also fragile singing / whispering of female vocalists, all sounds very airy, half improvised, open and atmospheric....has been compared to TALK TALK or RACHEL's... lim. 200, black viny, heavy gatefold-cover
|
2017 |
€28.00 |
|
| |
King of Corns |
CD |
MY HOME, SINKING is the chamber-ambience "band-project" of ENRICO CONIGLIO who got the help of various guest musicians; an almost entire 'acoustic' album has been created, often centered around piano phrases and droning instrumental or synth acoustics, also fragile singing / whispering of female vocalists, all sounds very airy, half improvised, open and atmospheric.... has been compared to TALK TALK or RACHEL's... lim. 400 CD version w. very nice packaging now in stock
|
2017 |
€14.00 |
|
| MYSTERY OF THE BULGARIAN VOICES FEAT. LISA GERRARD |
BooCheeMish |
BOX - set |
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
|
2018 |
€68.00 |
|
| MYSTIFIED |
Pulse Ringer Pieces |
LP |
finally the first LP for the experimental drone project from the States / pressed on clear blue vinyl, edition of 300
|
2009 |
€15.00 |
|
| MYTRIP |
Keeper |
LP |
the rising Bulgarian "technoid drone ambient" artist is back with a rousing new LP, rhytmic, loop based, emotionally complex... "More varied, freeform and self-assured than Filament, Keeper is equally immediate as it complex in sonic construction, meaning it draws attention on first listen and maintains it on repeated rotations. Recommended". - lim. 220 copies
|
2020 |
€16.00 |
|
| MYTRIP / EVITCELES |
Protective |
LP |
promising Bulgarian New-Droner MYTRIP is back on this split collab LP with EVITCELES, both have two single tracks, and two collab tracks under the project name PROTECTIVE, thus creating enough variation on the six tracks, and blurring the boundaries between a split and collab release, ranging from rather peaceful synth ambience to a more experimental and aggressive sound on Side B... lim. 275 copies, download code
|
2018 |
€15.00 |
|
| N(35)[HELLMUT NEIDHARDT] |
Saarn |
LP |
already a new LP by the "transcendental droner" from Dortmund, Germany, who dives deeply into subterraneous realms on three new tracks, using more distortion as usually which leads to a thick & 'earthy' sound, producing unusual feedback resonances & overtones after a while... lim. 100
|
2015 |
€26.50 |
|
| NADJA |
Flipper |
LP |
special release dedicated to dolphin & wales, all profits are donated to the Whale and Dolphin Conservation; four long tracks, feat. ANGELA CHAN & PETER BRODERICK (on violin & viola); very subtle, slow, harmonic & beautiful... definitely one of our most favourite NADJA release; comes with free download code, clear vinyl, lim. 500, 180gr. vinyl
|
2013 |
€20.00 |
|
|
Paradox Incubate 15.09.14 |
LP + CD |
only 5 days after the performance in Tilburg at the INCUBATE festival (15.09.14) this LP of the concert recordings was released, in a limited edition of 300 copies with additional CD version of the same album included => tracks from the great "Queller" album and long ambient-drone passages...excellent sound quality, 41+ min. playtime, a very nice document !
|
2014 |
€18.50 |
|
| |
Queller |
CD |
second ed. re-issue of the Essence LP from 2014 that sold out immediately, for many listeners (and us) one of the best NAJDA LPs ever....four tracks of what is now called "DREAMGAZE", ethereal slow motion heaviness; comes in a wonderful designed oversized mini-gatefold cover, silkscreened & with die-cut bellyband and mini-poster, lim. 450 copies
|
2016 |
€15.00 |
|
| NADJA & VAMPILLIA |
Imperfection |
LP |
LP version of the rare japan tour only CD from 2014 with new artwork; 400 copies black vinyl -"Imperfection was recorded as if both bands were one, with Nadja playing their world-acknowledged thick unearthly droning wall of bass and guitars, while Vampillia arranged the doomy acoustic drumming, beautifully harsh classical strings and piano. This instrumental voyage will take you to the highest peaks in a crystal-clear sunny day only to drag you to the blackest abyssal ocean's depths right afterwards."
|
2015 |
€15.00 |
|
| NADJA / AIDAN BAKER |
Nalepa |
LP + CD |
the 100th release on MIDIRA, the fine minimal / guitar / experimental drone label from Essen, Germany, is something very special: a "live in the studio" LP by NADJA recorded at the legendary Funkhaus Berlin, feat. HYPNODRONE ENSEMBLE drummer.. plus a full AIDAN BAKER solo CD recorded at the same studios a bit later; only 250 copies exist, all NADJA fans should hurry up !!!
|
2022 |
€32.00 |
|
| NADJA / DISROTTED |
Roman Numeral |
LP |
"From The Lips of A Ghost In The Shadow of A Unicorn's Dream" is the title of NADJA's great doom opus on this rare split LP with US "sludge" band DISROTTED, comes on Purple swirl vinyl => "Both of these bands are capable of conveying profound and gripping atmospheres by weaving together pummeling riffs and walls of noise, creating rich and organic textures on a level very few are able to reach.. "
|
2021 |
€20.00 |
|
| NAM-KHAR |
Secret Essence*Sangwa Dupa |
CD |
Drone Rec. artist NAM-KHAR (MIND-06 LP) with a stunning album on WINTER-LIGHT, the new dutch dark ambient specialist; in fact this is NAM-KHARs first proper full-lenght CD => 9 dark and subtle transmissions, creating sound-fields where electronics and ethnic instruments merge, extremely focused and immersing, reminding us on some AURAL HYPNOX releases... excellent (sub) consciousness music, for your deeper mind! Lim. 300
|
2018 |
€13.00 |
|
| NECKS, THE |
Hanging Gardens |
CD |
first album on ReR by the unique Australian ambient-Jazz combo, a long one-tracker 60+ minutes forming a highly repetitive, poly-rhythmic & minimalistic sound sculpture...
|
1999 |
€13.00 |
|
| |
Body |
CD |
the 20th NECKS album - still giving you a FRESH, awe-inspiring experience, improvised music that becames an atmospheric sculpture! "..they move as a feathered phalanx in dynamic murmuration, moving from breezy swirls of percussion over low-lying bass eddies in the first part, thru a passage of lysergic deliquescence, to a motorik post rock climax and far out into synth-curdled space jazz." [Boomkat]
|
2018 |
€13.00 |
|
| NEGATIVLAND |
Negativland |
LP |
2nd hand; 'first LP, handmade wallpaper cover, numbered, VG+ ; almost perfect condition!
|
1980 |
€45.00 |
|
|
Points |
CD |
CD-version of the second LP from 1981; obscure collages & weirdest songs & senseless noise, using tons of objects & instruments & found sounds, at times almost unlistenable & something like the even more bizarre counterpart to NURSE WITH WOUND; a masterpiece of US-American experimental music !!
|
1992 |
€13.00 |
|
| |
Escape from Noise |
CD |
LP-version is sold out completely, so we stock the CD version now! Probably the most well known album (1987) from the cultural terrorists, feat. their hits "Michael Jackson", "The Playboy Channel" and "Christianity is stupid", and lots of guest musicians like JELLO BIAFRA, DAS (BIG CITY ORCHESTRA), FRED FRITH, JERRY GARCIA (GRATEFUL DEAD), ALEXANDER HACKE (EINSTÜRZENDE NEUBAUTEN), THE RESIDENTS, etc..
|
1999 |
€13.00 |
|
| NEW BLOCKADERS (THE) |
VIVA NEGATIVA Vol. 1 |
4 LP - Box |
Full-Colour box w. 4 LPs containing TNB remix-material from ASMUS TIETCHENS, SRMEIXNER, DANIEL MENCHE, CISFINITUM, FREIBAND, HATERS,KARKOWSK,ASHTRAY NAVIGATIONS, MSBR, CONTROLLED BLEEDING, OREN AMBARCHI, DIETER MUH, Z'EV, KK NULL, etc.etc. first part of this monstrous compilation project !! lim. 500 - only 250 for free distribution |
2006 |
€55.00 |
|
| |
VIVA NEGATIVA Vol. 2 |
4 LP - Box |
Full-Colour box w. 4 LPs containing TNB remix-material from C. RENOU, MNORTHAM, AUBE, RLW, VIOLENT ONSEN GEISHA, AMK, DAMION ROMERO, DAS SYNTHETISCHE MISCHGEWEBE, SPIRACLE, MERZBOW, WOLF EYES, INCAPACITANS,JIM O'ROURKE, DAVE PHILIPPS, BROKEN PENIS ORCHESTRA, LASSE MARHAUG, G. TONIUTTI, etc.etc. second part of this monstrous compilation project !! lim. 500 - only 250 for free distribution |
2006 |
€55.00 |
|
| NEWS FROM BABEL |
Box |
3 x CD-Box |
re-release of the LPs "Sirens and Silences" & "Letters home" (1983 / 1986) plus material from a rare subscribers-only 7" (maxi-CD)
|
2006 |
€23.00 |
|
| NIBLOCK, PHILL |
Niblock for Celli / Celli Plays Niblock |
LP |
re-issue of the rare second NIBLOCK LP from 1984: in collaboration with JOSEPH CELLI (performing on Oboe and English Horn) NIBLOCK removed the breathing pauses of his playing to receive an uninterrupted full drone sound...." Niblock insists that his music be played loud: only in this way can one experience the visceral ringing of these long instrumental tones through the speakers and their natural overtones generated by the room. Niblock For Celli remains deeply absorbing."
|
2018 |
€21.50 |
|
| |
Exploratory I |
LP |
a new multi-dimensional drone piece, originally written / performed by ENSEMBLE PHOENIX from Basel (Switzerland) on 11 instruments; further studio versions were recorded by ARDITI STRING QUARTET (2 x violin, 1 x viola, 1 x violoncello) = Side A on this LP, and DAVID WATSON on scottish bagpipes and guitar (half acoustic, half electric) = Side B on this LP; lim. 300 copies on clear vinyl with full colour inlay and DL card
|
2021 |
€26.00 |
|
| NICO |
Live Heroes |
CD |
re-issue of LP from 1986 with a collection of live-material, incl. "Heroes", "My Funny Valentine", "The End"
|
2009 |
€10.00 |
|
| |
Femme Fatale |
LP |
very rare live LP with good quality live recordings from the East Europe 1995 tour, - made in Warsaw, Budapest and Prague; feat. the rare "All Saints Night From A Polish Motorway", "One more Chance", and "The Song of the Lonely Girl"
|
2016 |
€20.00 |
|
| NIEDOWIERZANIE |
Paradies |
CD |
first CD release (after two LPs) by the inspiring French project (with Polish name), following his vision of a "mediterrianen" ambient-folk melange with experimental & electronic edges..... many handplayed phrases from cello, accordeon & mandonline, combined with slow loops... very unusual & still to discover! lim. 300
|
2015 |
€12.00 |
|
| NILSEN, BJ [BJ NILSEN] |
Terroir |
mCD |
the French FERNS label with their charming series of mCDs has been re-activated again, and their first release after the break is this EP by BENNY NILSEN with a long, magnificient "concrete-atmospheric" sound piece based on field recordings made on the country in Austria side near KREMS: 'the terroir, harvest and fermentation during vinification' - first presented at the opening of "Drahtsicht", an outdoor sculpture by GÜNTER WOLFSBERGER, Oct. 2016; lim. 500
|
2017 |
€7.50 |
|
| |
Massif Trophies |
LP |
on his first solo outing for Ed. Mego, BJ NILSEN transforms field recordings from 'Gran Paradiso' in the Italian alpine regions with maximum result.. "Massif Trophies is also about the scope of details and perception of the path and the myth of the mountain as the accursed or sacred place. The five pieces contain narratives based on experiences and recordings from the trip."
|
2017 |
€16.50 |
|
| NOISEGATE |
Nr. 09 |
mag |
60 pages A4-format, great theoretical articles on sound & noise, artists & reviews: Low Classical Usic, Sound Sculpture & Electronic Music, Obscene Telephone Calls, Culture of Silence, SCRATCH ORCHESTRA - cont., Auditory Hallucinations, Stockhausen and Formel Komposition, etc.. |
2002 |
€5.50 |
|
| NONO, LUIGI |
Como una ola de fuerza y luz (etc.) |
CD |
re-issue of three pieces that came out originally on LPs released by Deutsche Grammophon in 1974, 1979 & 1970: "Como una ola de fuerza y luz" (1971-72); "... sofferte onde serne..." (1976), and "Contrappunto dialettico alla mente" (1968) for magnetic tape (great experimental tape-piece originally on a split LP with ROLAND KAYN); extensive booklet in English, German, French & Italian
|
1988 |
€13.00 |
|
| NORDWALL, JOACHIM |
MMXX-17: Before it gets better, it will get worse |
LP |
17th release in the series that presents 20 artists from the experimental sound-art scene with very nice design / concept => one-sided clear vinyl with laser engraved artwork by the artist on the B-Side, lim. 500 copies => JOACHIM NORDWALL created a sound poetry piece with the help of many friends / artists who whisper, speak, and sing the title-slogan, only sparse electronic sounds have been added... (VON HAUSSWOLFF, JOHN DUNCAN, DAVE PHILLIPS, LEIF ELGGREN, and many others are featured)..
|
2021 |
€23.00 |
|
| NORTHAUNT / SVARTSINN |
The Borrowed World |
LP & CD |
split album by two of the main Scandinavian dark synth & drone ambient acts, inspired by the novel 'The Road' by CORMAC Mc CARTHY, purest isolationism sounds for a post-apocalyptic hopeless world, with a special focus on sad harmonic tunes & melodies, ultra slow & endless, with a stream of deep pulses and drones underneath... the LP version lim. 300 comes with CD copy of the same album
|
2014 |
€20.00 |
|
| NORTHERN VALENTINE |
The Distance brings us closer |
CD |
band from Philadelphia doing mellow / warm guitar-driven ambient drone spheres with an experimental edge, feat. BEN FLEURY-STEINER (LIGHT OF SHIPWRECK); sounds similar to LABRADFORD, ULTRASOUND, ULTRA MILKMAIDS, AARKTICA, more quiet TROUM... very nice
|
2009 |
€12.00 |
|
| NOSTALGIE ETERNELLE |
Sans Fin |
LP |
first album (and first ever LP) after their re-union; very experimental minimal synth & industrial-pop between cold despair, weirdness & melancholy; NEW recordings made in Hamburg 2009-2011; numbered ed. 500 copies
|
2012 |
€14.00 |
|
| NOVAK, YANN |
Hollow.River |
mCD-R |
Drone Records artist (Drone-Mind 2 LP) with a ghostly one-tracker of highly minimal & quiet, immersive nature-drones; the processed material is based on field recordings made from a thawing river in Wyoming, USA: pure & somehow magic contemplation sounds !
|
2012 |
€5.00 |
|
|
Snowfall |
CD |
like MYSTERY SEA or ATTENUATION CIRCUIT, this 'fine ambience' label run by YANN NOVAK in Los Angeles just began to produce 'real' pressed CDs after a phase of CDR only releases; => this new recording by YANN NOVAK (also known from the "Drone-Mind Vol. 2" LP) tries to express the 'hushed stillness and isolation sometimes experienced during a snowstorm".. originally this was a 6 hour audio-visual performance presented in Los Angeles; a one-tracker (60min) of extreme meditative ambience..
|
2014 |
€13.00 |
|
| |
Ornamentation |
CD |
YANN NOVAK from L.A. appeared on Drone-Mind Vol. 2 LP with his slowly winding and highly resonating minimal drones, ORNAMENTATION is a beautiful one-tracker of 49 min. length, incorporating field recordings made in USA & Canada in the last 10 years... a high class experimental soundscape transforming natural and synthetic drones..
|
2016 |
€12.00 |
|
| NULL, K.K. |
Prime Radiant |
CD |
back in stock one of the definitely best NULL works, highly abstract electronic noise thunderstorms full of energy, but also more atmospheric 'pitch sculptures' creating unusual quasi-rhythmic structures, uncompromising stuff that directly attacks your brain!
|
2005 |
€14.00 |
|
| NURSE WITH WOUND |
Chromanatron |
pic-LP |
"a hallucination on the music of SAND by ANDREW LILES & STEVEN STAPLETON" - long awaited new NWW album that destroys (again) all expectations => a collage made out SAND material (incl. the legendary "Golem") with additional arrangements on guitar, french horn and "atmospheric grooves" feat. MATT WALDRON (IRR.APP (ext.), this is KRAUTROCK pushed to other / new dimensions! Pic-LP version lim. 500 in special die-cut window sleeve !!
|
2013 |
€24.50 |
|
|
Spiral INsana |
do-CD & BOOK |
and if you haven't already enough versions of this seminal NWW album classic from 1986, here's the definite one: two CDs with the same material as on the do-LP (the complete sessions plus "A Missing Sense", feat ANDREW McKENZIE (HAFLER TRIO), DIANA ROGERSON, DAVID TIBET, ROBERT HAIGH and others..), housed in a 30 page art book with silverfoil hardcover, presenting full colour screen prints !!
|
2017 |
€27.50 |
|
|
Changez Les Blockeurs And |
CD |
CD-version of the LP that sold out too fast, now with one LONG bonus track, named "AND"! For the 35 year celebration in 2017 of THE NEW BLOCKADERS "Changez Les Blockeurs" album (the story goes that S. STAPLETON was the first who listened to it) this is a glorious NWW re-work of it, with new artwork by Babs Santini; lim. 500 copies only!
|
2018 |
€14.50 |
|
|
Trippin' Musik |
do-CD |
CD version of last year's triple vinyl boxset that sold out very quickly - contains 35 min. of previously unreleased material - " Music For Tai-Chi. Best NWW album of the century. Contemplatif, psychédélique, Addictif, Dadaïste, Taoïste... " [Germainescalp] - comes in 6 panel double-digipak
|
2020 |
€28.00 |
|
|
To the Quiet Men from a Tiny Girl |
LP |
first LP 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 a replica of the original cover art but a newly designed insert, and comes on YELLOW vinyl
|
2020 |
€23.50 |
|
|
Merzbild Schwet |
LP |
first LP re-issue after 25 years of the NWW classic (third album) from 1980 - released at the same time as 'To the Quiet Men from a Tiny Girl' - "the first fully realized NWW record.." - this new edition comes with a replica of the original cover, with new designed inlay and on BLUE vinyl
|
2020 |
€23.50 |
|
|
TRIPPIN' MUSIK (black vinyl) |
3 x LP BOX |
re-issue (new master plates) of the stunning, trance-inducing 3LP box on BLACK 180gr. vinyl (as many of the first ed. coloured vinyls were badly pressed) - comes with NEW huge full colour inlay / mini poster - "There Is No Track Listing - No Side A, B Etc. This Music Is To Be Played In Whichever Order The Listener Wants To.".... "steeply psychedelic sonics that may well alter your breathing and heart rates and mental state.." [Boomkat]
|
2020 |
€51.50 |
|
|
Opium Cabaret |
CD |
expanded re-issue with 40 min. phantastic bonus material of last year's rare & immediately sold out new studio LP, a must for lovers of the spooky, ghostly 'gloom ambient' sound of NWW....- "This is a record that moves in slow motion. It unfolds into a floating nothingness to appease broken minds so drenched in opiates, time and place are but frivolous footnotes in a wider narrative of distorted reality.." - full colour 4 panel digipack with new artworks by BABS SANTINI
|
2021 |
€16.00 |
|
|
Gyllenskold, Geijerstam and I at Rydberg's |
CD + BOOK |
luxus re-issue of the album from 1983 / 1984 (L.A.Y.L.A.H.) with art book (silver metallic print, 24 pages of BABS SANTINI artworks), numbered ed..=> "vocal experiments, vintage LPs of easy listening music, demented nursery rhymes, lateral references to disposable pop music, avant-garde jazz and minimalistic piano composition, all glued together with evocative atmospheres redolent of things unholy, troubling and perverse.."
|
2021 |
€27.50 |
|
|
Salt Marie Celeste - Salt |
do-CD |
re-issue of one of the most important and beautiful NWW albums ('a drone-ambient masterpiece : one hour one-tracker filled with oceanic despair & sadness...' [DroneRec]), first released in 2003, which comes now as an expanded version with the original SALT source material, recorded for the "The Horse Hospital" exhibition in London in 2002 (so far only release as lim. LP), along with new artwork (six panel digipack)
|
2022 |
€17.00 |
|
|
Spaced Muzak |
do-CD |
a newly mastered version of "Space Musik" (LP on Beta-lactam Ring Records), now with three additional, previously unreleased pieces on CD 2 (the original mix of the same piece, a sleep concert version feat. TIMO VAN LUIJK, and a different new mix), comes in splendid 6 panel "double digipack" with new artworks...
|
2022 |
€18.50 |
|
|
The Ladies Home Tickler (And Other Exotic Devices) |
do-LP |
expanded edition of "The Ladies Home Tickler", originally the bonus LP of the 'Psilotripitaka' box (1990), feat. historical recordings with WILLIAM BENNETT and JIM THIRLWELL (1980) - now enriched with diverse rare bonus tracks or different versions: "Classic tape cut-ups, radio sludge, surrealism, and abstract chaos." - Gatefold Cover, RED vinyl with black splatters, art insert, new artwork by BABS SANTINI - lim. 500
|
2022 |
€39.50 |
|
|
The Ladies Home Tickler and Other Exotic Devices |
CD |
expanded edition of \"The Ladies Home Tickler\", now re-masterded and with over 40 minutes of extra material - \"Classic tape cut-ups, radio sludge, surrealism, and abstract chaos.\" - nice CD version / digipack with folded 10 panel insert (\"concertinaed insert of Tickler Models by Miss Santini.\"), with 10 DIFFERENT full colour artworks not included with the do-LP version!! UK import
|
2022 |
€15.00 |
|
| |
The Sylvie And Babs Hi-Fi Companion (expanded re-issue) |
do-CD |
re-press of the expanded re-issue of this classic NWW album from 1985 (originally LP on L.A.Y.L.A.H.) feat. the "MURRAY FONTANA ORCHESTRA" with DAVID JACKMAN, E. KA-SPEL, JOHN BALANCE, ROBERT HAIGH, WILLIAM BENNETT, etc. - re-mastered by DENIS BLACKHAM & with new 12 page booklet and bonus CD with outtakes, unreleased material and remixes from IRR.APP(ext.) and ANDREW LILES; 6 panel digipak matt laminated
|
2023 |
€20.00 |
|
| O YUKI CONJUGATE |
Sunchemical |
12inch |
re-issue of parts of the 12" from 1995 (Staaplaat, STLP005) with remixes of "Sunchemical" from the "Equator" CD - the long CHARLES WEBSTER remix became a club hit and is included here together with two other remixes (from the CD version) plus the original piece - almost 30 min. playtime... "Here, industrial, deep floating vibes from the ocean meet a rhythmic bouncy baseline supported by partially tribal percussion to allow a melodyline to dance like raindrops.." [Darafayen]
|
2021 |
€14.50 |
|
| O'MALLEY, STEPHEN |
Keep an Eye out |
LP |
back in stock this great one-sided LP on FIRE-RED vinyl in the GUITAR SERIES of Table of the Elements with etching on one side... "quicksilver-like" drones [Hellmut Neidhardt aka N]
|
2008 |
€18.00 |
|
| OFFTHESKY / PLEQ |
A Thousand Fields |
CD |
the highly praised ambient collaboration by the two projects from USA & Poland, finally in stock - "From the opening restrained "Ashes of America" with intermittant ominous strings through the industrial landscape of "drown under..." with it's glittering glass and harmonious drones breaking through, this work of ambient tapestry sees each artist pulling the best work from one another"... "A unique emotional experience in a genre usually given over to mere atmospherics." lim. 300 mini-LP style sleeve
|
2015 |
€14.00 |
|
| OJERUM (øJERUM) |
When Birds Fly, the Eyes of Heaven can Rest |
LP |
last copies of the debut LP for this Danish minimal ambience project (who always does the surrealistic hand-cut cover collages on his own) , the two side-long tracks were post-produced by ANDREW CHALK - "two extended tracks of aetherial, haunting and otherworldly beauty. " lim. 300 copies
|
2017 |
€27.50 |
|
| OLHON |
Lucifugus |
10inch |
processed field recordings from an abandoned water tank; first vinyl release for the project of BAD SECTOR & WHERE !! lim. 500 on orange vinyl, artwork by TILMANN BENNINGHAUS known from the CISFINITUM - Devotio 10" (SUB-04) and IGNIS SACER LP (TROUM vs. NID)
|
2009 |
€12.00 |
|
| OLIVEROS, PAULINE |
Accordion & Voice |
CD |
re-release of OLIVEROS first solo-LP from 1982 (Lovely Music) with two side-long solo Accordion pieces; "I wanted to hear the subtlety of a tone taking space and time to develop. The tones linger and resonate in the body, mind, instrument and performance space" now re-pressed!
|
2014 |
€15.00 |
|
|
The Wanderer |
CD |
re-release of OLIVEROS second solo-LP from 1984 (Lovely Music) feat. THE SPRINGFIELD ACCORDION ORCHESTRA on the title track (with 20 accordions, two bass accordions, + five percussionists!) and one her most famous piece 'Horse sings from Cloud' on Side B; now re-pressed !
|
2014 |
€15.50 |
|
| |
The Well & The Gentle |
do-LP |
six recordings from 1984, originally released as doLP on hatART in 1985, for OLIVEROS and ensemble, to bring out the very "essence" of musical interaction: "Players are asked to collaborate, focus, react and make imaginative choices. Only then can the performers 'pass through stages of awakening to the possibilities inherent in making music, working together, leading to the essence of what can shape musical impulses and individual freedom simultaneously.' " - gatefold cover, ext. liner notes
|
2023 |
€36.50 |
|
| OLSSON, KRISTIAN |
Att Vara Där Jag Var Innan Jag Var Jag |
CD |
re-issue of K. OLSSONs (known as member of SURVIVAL UNIT, ALFARMANIA, HEID...) debut solo LP from 2010 which gained cult-status through the years=>" Recordings were made with the expert operation of the usual electronic nightmare arsenal of the Styggelse satanic whore-lord, in addition to thighbone flutes, bowed cymbals, metal barrels, chains, whips, and just about every other abominable material or implement this filth-pig heathen could assemble from the recesses of his anti-human haunts." ed. of 250 c.
|
2016 |
€13.00 |
|
| ONE LAST REGION |
A Random Set of Sarcastic Implications |
CD |
free impro/space/noise/jazz/whatever rock band with RICHARD FRANECKI (known from space rock industrial pioneers F/I or VOCOKESH), 4 people on drums, guitars, electronics, saxophon who wipe away the mists from your mind... this is the re-issue of the lim. LP from 2016
|
2018 |
€10.00 |
|
| ONOMATOPOEIA (=ONOMATOPEIA) |
Irrelevant |
LP |
long active project (since the early 90's, also known as ONOMATOPEIA without the fourth "O") from the deepest UK underground with a nice 5-track LP, very minimal & pure experimental noise-ambience using analog electronics & instruments like horns, cymbals; limited & numbered edition of 300, each cover has a different flag on it!
|
2010 |
€15.00 |
|
| ORAM, DAPHNE & VERA GRAY |
Listen Move and Dance |
LP |
re-issue of this most obscure LP from 1962 : "programme music" for British schoolchildren to help them learning to dance; VERA GRAY arranged 10 short adaptions of "sweet" classical music pieces (BARTOK, STRAVINSKY, SHOSTAKOVITCH, etc), DAPHNE ORAM used also audio generators, ring modulators, filters for her 11 "sound patterns"... lim. / numb. ed. 500 copies, fully remastered
|
2019 |
€19.00 |
|
| ORCHESTRAMAXFIELDPARRISH |
Crossing of Shadows |
CD |
Ambient with a big "A", based on field recordings and with added guitar, piano, voices and electronics; lim. 300 mini-LP styled sleeve
|
2010 |
€13.00 |
|
| ORGANUM / THE NEW BLOCKADERS |
Der Graben |
7inch |
the fourth collaboration 7" by both projects, after "Pulp" (1984), "Wrack" (1990), and "Raze" (1994), a very short but fine example of their landmark " metallic scraping sounds and dissonant noise elements"... - 2nd ed. 200 copies w. different sleeve - last copies
|
2002 |
€8.00 |
|
| ORIGAMI REPLIKA |
Kommerz - MERZBOW in the Hands of Origami Replika |
CD |
radical deconstructions of old MERZBOW cassette & LPs while destroying nine Merzbow cassette cases, the session took place in Trondheim, Norway, already in 1997 and was performed by LASSE MARHAUG, CLOP NEPLAT and TORE HONORE BOE.. - a wonderful example of noise recycling and improvisation !
|
2005 |
€13.00 |
|
| ORPHANAGE COMMITTEE |
Continuities Vol. 1 |
CD |
debut release by this new project from Belgium (first LP to be expected later this year): lovely old school "ambient industrial" tunes, trancy analogue synth loops and various harmonic and obscure 'small sounds' above, with a slight ethno touch... reminded us on old DESACCORD MAJEUR or INTERNAL FUSION.. prof. CD pressing with jewel-case, lim. 100 copies
|
2022 |
€12.00 |
|
|
A Significant Change |
LP |
first LP by the \"minimal / experimental ambient / wave\" project from Belgium, creating here on 10 tracks a versatile sound spectrum from what could be ritual music from indigenous tribes filtered through rough effects, over ASMUS TIETCHENS-like processings, to more catchy \"PoP\" tunes.. hearing is believing, every track is different!! - Lim. 200
|
2022 |
€20.00 |
|
| |
Sol in Solus |
LP |
second LP for the Belgium based project, versatile and creative "handmade" electronic music with a light, spiritual, nature-woreshipping approach and expression.... - *Sol In Solus' is a concept album about nature and self-reflexion. An overall organic suite in ten parts comprising multi genres and instruments conceived and performed by this talented local electronic artist! * - lim. 200 copies
|
2023 |
€20.00 |
|
| ORSI, FABIO |
Wannsee |
LP |
single-sided LP with a side-long field recording piece made at the Berlin-based lake 'Wannsee' - a very droney, slow & nostalgic daydream.. lim. 200 with colour inlay
|
2012 |
€15.00 |
|
| |
Memory of a safe Place / La Forest a non fa pura |
LP + mag |
this new series from the Italian ambient label combines acoustic & visual art: a lim. LP + large A4 booklet (16 pages) with b/w photographs of the same artist; FABIO ORSI starts the series with time-suspending dense transcension drones & beautiful forest pictures; lim. 250 copies, white vinyl
|
2013 |
€18.00 |
|
| OSTERTAG, BOB |
Getting a Head |
CD |
lim. ed. in metal-box / originally released as LP in 1980 / with FRED FRITH & CHARLES K.NOYES |
1980 |
€14.00 |
|
| OUR LOVE WILL DESTROY THE WORLD |
Fucking Dracula Clouds |
LP |
second LP from the post BIRCHVILLE CAT MOTEL-project; lim. 400
|
2009 |
€16.00 |
|
| OVAL LANGUAGE, THE |
Hibernation |
LP |
in the early 90s THE OVAL LANGUAGE held a multi level performance about the irrational aspects of the "Völkerschlachtdenkmal", the original sound layers for this plus live recordings made at the Academy of Fine Arts Leipzig are now released on this LP, two half hour sides of extreme / orchestral / inudustrialized noise assaults made w. guitars, tapes, bass, percussion, samples.. inner sleeve with extensive documentation of this unique art project |
2017 |
€20.00 |
|
| P16.D4 |
Kühe In 1/2 Trauer |
LP |
first LP from early 1984 (Selektion SLP03) by the most radical German collective around RALF WEHOWSKY, using all kinds of sound sources and all kinds of analog techniques to create 'a form of sound art that was much more profound, varied, subversive, and potentially dangerous' (The Sound Projector) - *Arrhythmic and amorphous and capable at moments of becoming quite noisy and abrasive, while at others far more somber and quiet, Kuhe in 1/2 Trauer is quite a fascinating release.* [AMG]
|
2022 |
€20.00 |
|
|
Distruct |
LP |
This was the second LP from 1984 by the radical German expermental collective, a mail-art / tape exchange project that began already in 1982, using material from NURSE WITH WOUND, DIE TÖDLICHE DORIS, NOCTURNAL EMISSIONS, BLADDER FLASK, THE HATERS, MERZBOW and anonymous sources, mixing and recycling it with their own technques & noises in a completely analog way... - finally a re-issue of this legendary LP !
|
2022 |
€20.00 |
|
|
Kühe in 1/2 Trauer |
CD |
first LP from early 1984 (Selektion SLP03) by the most radical German collective around RALF WEHOWSKY, using all kinds of sound sources and all kinds of analog techniques to create 'a form of sound art that was much more profound, varied, subversive, and potentially dangerous' (The Sound Projector) - *Arrhythmic and amorphous and capable at moments of becoming quite noisy and abrasive, while at others far more somber and quiet, Kuhe in 1/2 Trauer is quite a fascinating release.* [AMG]
|
2022 |
€13.00 |
|
| |
DISTRUCT |
CD |
This was the second LP from 1984 by the radical German expermental collective, a mail-art / tape exchange project that began already in 1982, using material from NURSE WITH WOUND, DIE TÖDLICHE DORIS, NOCTURNAL EMISSIONS, BLADDER FLASK, THE HATERS, MERZBOW and anonymous material, mixing and recycling it with their own noises in a completely analog way... - finally a CD re-issue of this legendary LP !
|
2022 |
€13.00 |
|
| PACIFIC 231 |
Unusual Perversions |
LP |
re-issue of the very first P231 LP (1984) with recordings made 1981-1983; 16 tracks of raw industrial experiments, distorted beats & pulses, deranged voices, weird electronic sounds, simple but electrifying! Lim. 300 BLACK VINYL
|
2016 |
€19.50 |
|
| PALESTINE, CHARLEMAGNE |
GesammttkkunnsttMeshuggahhLaandtttt |
BOOK |
art book to document PALESTINE's solo exhibition work, including his early video works, sculptures, paintings, installations, and sound scores; feat. an interview with LUCA LO PINTO (director of Kunsthalle Wien) and an essay by JAY SANDERS; 80 pages, full colour illustrated, oversized hardcover book, english
|
2016 |
€26.00 |
|
| |
Dingggdongggdinggg Vs. Singggsonggsinggg |
LP + 7inch |
the very first release for this new label from Belgium, dedicated to mainly experimental drone forms, and starting with a pioneering drone artist: 5 studio tracks using carillon sounds and voice for the first time in this combination; this is the lim. ed. with bonus 7" (one track - one etching of a Palestine drawing), LP on yellow vinyl, only 240 copies with bonus 7" !! Numbered Edition !!
|
2018 |
€36.00 |
|
| PALESTINE, CHARLEMAGNE & RHYS CHATHAM |
Youuu - Mee = Weee (First) |
LP |
lim. LP version of the first CD (two side long pieces) from their epic collaboration; PALESTINE: voice, piano, yamaha organ CHATHAM: trumpet, loop pedal, electric guitar => floating minimal drones with great effect on the mind, all handplayed and sung and slowly shifting, these are acoustically painted Drone-Mandalas.... comes on translucent red vinyl
|
2015 |
€15.00 |
|
| PARMEGIANI, BERNARD |
Les Soleils de l'Ile de Paques and La Brulure de Mille Soleils |
do-LP |
two never-released-before soundtracks: "Les Soleils.." (1972: "hallucinatory cinematography, exploration of supernatural phenomenons and occult symbolism, and one hell of a trippy atmosphere") and "La Brulure de Mille Soleils" (1965), produced for films by PIERRE KAST (with help by CHRIS MARKER for 'La Brulure.'); sourced from the original tapes, comes in gatefold-cover and with extensive English/French liner notes
|
2018 |
€32.00 |
|
| |
Les Soleils de l'Ile de Paques and La Brulure de Mille Soleils |
CD |
two never-released-before soundtracks: "Les Soleils.." (1972: "hallucinatory cinematography, exploration of supernatural phenomenons and occult symbolism, and one hell of a trippy atmosphere") and "La Brulure de Mille Soleils" (1965), produced for films by PIERRE KAST (with help by CHRIS MARKER for 'La Brulure.'); sourced from the original tapes, with extensive English/French liner notes
|
2018 |
€15.00 |
|
| PARTCH, HARRY |
World of Harry Partch |
LP |
a classic HARRY PARTCH LP, orginally released in 1969 - this 2018 re-press is an exact reproduction of the original, feat. the side long "Daphne of the Dunes" (1967); "Not only are the rhythms complex, but they are performed at a frantic pace unequaled by any music I've heard... The World of Harry Partch is an excellent introduction to his works that comes highly recommended."
|
2018 |
€20.00 |
|
| PECORELLI, DANIELE / MARK SCHAUB |
& |
LP |
new LP series with philosophical approach, the two artists per side act completely independent and don't know the work on the other side: DANIELE PECORELLI aks what happens to the consciousness and our memory when we die - MARK SCHAUB (aka MAATH) reflects upon chemical transformations and the audible; both Italian artists create delicate electronic ambience pieces with strange animal (?) field recordings and waving organ synths... to discover! lim. 100 copies only
|
2019 |
€22.50 |
|
| PENDERECKI, KRZYSZTOF |
Kosmogonia |
CD |
re-issue of LP from 1974 with four of PENDERECKI's early orchester works: most intense, atonal, choir-filled, suspenseful compositions: KOSMOGONIA (1970) - originally composed for the 25th anniversary of the United Nations (!), ANAKLASIS (1960), FLOURESCENCES (1962), DE NATURA SONORIS II (1971) "...with aggressive barrages from brass and percussion, dissonant woodwind chords, spoken and hissing sounds, fervent strings, swirling organ, climactic choral and solo vocals."
|
2017 |
€12.00 |
|
| PHALLUS DEI |
Black Dawn |
CD |
the 7th album for this German industrial band (existing since 1988) showing a wide spectrum of different approaches from rumbling earthquake noise over distorted guitar ur-drones to massive electronic industrial soundscapes with hypnotic classic or jazzy touch, feat. guest musicians NIELS VAN HOORN (LPD), PETER BRÖTZMANN (!) and MERZBOW (!), as well as JACQUELINE HAMELINK on Cello... CD version with one long exclusive track "Stigmata"
|
2017 |
€13.00 |
|
| |
Black Dawn |
do-LP |
the 7th album for this German industrial band (existing since 1988) showing a wide spectrum of different approaches from rumbling earthquake noise over distorted guitar ur-drones to massive electronic industrial soundscapes with hypnotic classic or jazzy touch, feat. guest musicians NIELS VAN HOORN (LPD), PETER BRÖTZMANN (!) and MERZBOW (!), as well as JACQUELINE HAMELINK on Cello... vinyl version lim. 250 with 16 min. bonus track not on the CD
|
2017 |
€22.50 |
|
| PHARMAKON |
Contact |
LP |
third full lenght album by this impressive, vocal based female noise/industrial project from NYC, working on the four trance-states ("preparation", "onset", "climax", "resolution") as inspiration for the question how to transcend the physically body with your mind... "each track of the new Pharmakon LP can be heard as a violent scuffle between mind and body. Even when her visceral noise achieves moments of transcendence, it still strikes you in the gut." [Pitchfork];
|
2017 |
€20.00 |
|
| PHURPA |
Trowo Phurnag Ceremony |
CD |
recorded live at "Gazgallery" in Moscow, autumn 2008 = the same ritual that was recently re-issued on IDEOLOGIC ORGAN as do-LP by STEPHEN O'MALLEY! Lim. 500, hard to find, on very unknown Russian label
|
2009 |
€15.00 |
|
|
Rituals of Bön I |
LP |
authentic and purely acoustic ritual muzak from the Russian group around ALEXEI TEGIN, who explored the religious tradition of pre-Buddhist Tibetan culture for many years; on this LP with recordings from a 2013 Moscow live show there are mainly meditative/tantric vocal chants to find (very deep freq. throat singing), but on Side B it gets more louder, with huge wind instruments and metal clanging... lim. 300
|
2016 |
€20.00 |
|
| |
Trowo Phurnag Ceremony |
CD |
first rare studio CD (the same recordings were released later as SOMA01 double LP on Stephen O'Malleys newly established label), already recorded in 2005, by the ritual performance group around ALEXEI TEGIN, practising ancient Tibetan vocal / chanting techiques and sound... this is one of the few releases with STUDIO recordings, so the quality is much better; jewel-case + 6 page booklet
|
2010 |
€13.00 |
|
| PICK-UP |
Mouthless |
LP |
second (?) LP by the duo of FRANS DE WAARD & MARTIN LUITEN; part of the "Arts & Craft"-series w. handmade artwork, lim. 300
|
2009 |
€15.00 |
|
| PLEQ & PHILIPPE LAMY |
Gravitation |
mCDR |
the fine arts sculptor & painter from France PHILIPPE LAMY did already several collaborations together with PLEQ from Poland, on this almost 22+ min. one-tracker they form an ever changing drone-mass with lots of unidentifiable 'concrete' micro-details, not really noise, not really ambient, but very atmospheric, great piece !! "Spacious collage music, very energetic and one of the best in the Taalem catalogue" [FdW / Vital Weekly]
|
2014 |
€5.00 |
|
| PLOTKIN, JAMES & PAAL NILSSEN-LOVE |
Death Rattle |
LP & CD |
four pieces of energetic improvisation noise by PAAL NILSSEN-LOVE (hyper active free jazz drummer from Norway) and mythic doom noise figure (O.L.D.) and LOTUS EATERS (Drone DR-55!) member JAMES PLOTKIN on guitar, creating a fluid chaos: "Like a pair of clashing typhoons, they generate chaos, disturbance and a terrifying beauty in their first ever collaborative recording. Free jazz and metal-edged rock never chimed so exhilaratingly together before." lim LP version, last copies!!
|
2013 |
€22.50 |
|
| PORTION CONTROL |
Progress Report 1982-1986 |
do-LP |
the deleted do-LP from the "VOD presents 80's Minimal.Synth.Wave Vol.3"; lim. 200 re-issue.... "breaching the gap between UK industrial, early ambient and the formative signs of electronic dance"
|
2015 |
€27.50 |
|
| POST SCRIPTVM |
Variola Vera |
LP |
a surrealistic aural nightmare, inspired by the outbreak of smallpox in Yugoslavia in the 1970's... "Adrift in the sea of narcotic synth textures, discordant recitations, contaminated laboratory noises, misshapen fragments of charlatan sermons, cannibal ceremonies, voices of dying children and speeches of the moribund Eastern Blok dictators, Variola Vera navigates its wayward course amidst the bitter nostalgia, ritualistic fervency, lethargic dejection, and frantic anguish." - lim. 300, full colour inlay, mastered by THOMAS DIMUZIO !!
|
2019 |
€20.00 |
|
| POTTER, COLIN |
We Couldn't Agree on a Total |
CD |
jubilee release (# 100) on ICR, COLIN POTTER's label (and studio) that started in 1981 with a compilation LP entitled "We Couldn't Agree on a Title" = 2 live recordings made a Cafe Oto in 2016 + 2018, plus one splendid studio mix directly from COLINs magic hands, creating spacious, cosmic, droning synth landscapes.. - "Two sides of the master, and while I slightly prefer the controlled constructions, it's a great release." [FdW/Vital Weekly]
|
2023 |
€14.00 |
|
| PRIME, MICHAEL |
Requiem |
LP |
highly recommended album by MICHAEL PRIME, creating ghostly, otherworldy drown-drones with rich details and an unbelievable width and absorbing atmosphere; feat. GEERT FEYTONS (NOISE-MAKER's FIFES) and LEN LYE; back in stock the only LP of MICHAEL PRIME, lim. 700 gatefold-cover with insert
|
2002 |
€15.00 |
|
| PROPERGOL |
Paradise Land |
CD |
after a long break a new album for the French industrial project, leaving the apocyalyptic harsh noise behind to sculpture a mixture of orchestral / monumental drone ambience and experimental / industrial airplay using vocal samples, with a rhythmic climax.. amazing..10 tracks, 70 min. playtime, oversized cardboard cover with 3 large postcards
|
2012 |
€14.50 |
|
| PSEUDO CODE |
Europa |
CD |
re-issue of the vinyl-releases (2 EPs + 1 LP) of this industrial / electronic project around ALAIN NEFFE from the early 80's
|
2010 |
€13.00 |
|
| PSYCHIC TV |
Ov Power |
CD |
re-issue of a limited bootleg LP from 1985, rec. 16. Sept. 1984 in Hamburg, completely re-mastered; PTV on their "industrial highpoint" and maybe most active phase, incl. "UNCLEAN", "OV POWER", etc.. feat. GPO, JOHN GOSLING (ZOS KIA), PAUL REESON and ALEX FERGUSSON
|
2012 |
€10.00 |
|
| PYRAMIDS WITH WRAITHS |
Magpie & Raven |
LP |
one-sided clear vinyl LP with epic 25 min track - feat. members of BURIAL HEX as well as BEN FLEURY-STEINER (PARADIN) and TARA VANFLOWER; lim. 350 in clear PVC outer sleeve / vellum inner sleeve; incl. download code card
|
2012 |
€20.00 |
|
| R.O.T. |
Ceci n'est plus avioth / ils chantent pour vous |
LP |
one-sided LP with silkscreen-cover, lim. 175
|
2008 |
€12.00 |
|
| RADIGUE, ELIANE |
Songs of Milarepa |
do-CD |
MILAREPA was a legendary Tibetan saint from the 11th century, who is said to have composed up to 100.000 verses to spread his beliefs; this do-CD uses five of his pieces, combined with subliminal drone waves a lulling and extremely subtle and calm atmosphere is spread; this collects the LP with same title from 1983, the "Mila's Journey" CD (1987) plus two unreleased pieces; BACK IN STOCK! |
1998 |
€26.00 |
|
| |
Feedback Works 1969-1970 |
LP |
re-press of the LP with three tape-pieces / sound installations from 1969-1970 using processed feedback sounds, transferred to digital by LIONEL MARCHETTI ; no gatefold, but comes with booklet... "It is moreover continually amazing that she could build such formidably organic sonic edifices with the primitive machines which were hers: three tape recorders, a mixing board, an amplifier, two loudspeakers and a microphone." [Emmanuel Holterbach]
|
2022 |
€24.50 |
|
| RAIONBASHI |
In Teufel's Küche? |
10inch |
After the great "Kollekte" LP a new work from this outstanding Berlin-based experimental project; ed. of 500
|
2009 |
€10.00 |
|
| RAISON D'ETRE |
Daemonum + Daemoniacum |
3 x LP set |
inspired by the ANIMA / ANIMUS archetypes theory of C.G.JUNGian Depth Psychology, DAEMONUM marks the 30th anniversery of the project, a truly mesmerizing subconscious drone release.. - "By learning to listen for the voice of our subconscious self, we can call that voice our Daemon, our internal genius that provide guidance, we can find hidden potential within ourselves." - this the special 3 x LP ed. with bonus album "DAEMONIACUM", SOLD OUT from the label immediately !!
|
2022 |
€47.50 |
|
| RAMLEH |
It's never alright |
7inch |
a kind of sister release to the recent "The Great Unlearning" doLP, two tracks of powerful, hymnic industrial punk & trancy psych rock, short and to the point - comes on grass green heavy vinyl with tasteful "Bunny" cover
|
2019 |
€8.00 |
|
| RAPOON |
Pell Mell |
LP |
the wonderful CD from 2002 which came in a felt cover (Staalplaat 2002), is finally re-isussed, now re-mastered for vinyl and with bonus track "Scatter" => cascades of short-echo sounds create a mysterious, yet soaring "time stands still" atmosphere... lim. 300 w. nicely laminated cover + oversized postcard and DL code
|
2020 |
€18.00 |
|
| RAPOON / RELAPXYCH.0 |
Amplified Transparency Reflection / Lost Terrain |
LP |
Collector's item! Split & remix LP by RAPOON with this Swedish newcomer, lim / numb. 200 w. handpainted cover made by different autistic children, incl. large full colour photo insert and numbered insert with the name of the kid who painted the cover; this release serves a charitable purpose
|
2009 |
€20.00 |
|
| |
Amplified Transparency Reflection / Lost Terrain (standard ed.) |
LP |
standard cover version now available, special priced ! split & remix LP by RAPOON with the follower project of OBJEKT4
|
2009 |
€10.00 |
|
| RATKJE, MAJA S. |
Mara |
pic-LP |
limited pic-LP feat. a live recording made July 2018 in a church in Lockenhaus, Austria, very much vocal-based and melancholic, using backing material from Norwegian and American tradionals.. |
2020 |
€25.00 |
|
| RATKJE, MAJA S.K. / JOACHIM MONTESSUIS |
Janus |
LP |
last copies of this collaboration LP with two side-long pieces, most extreme and highly dynamic collages around RATKJE's vocal utterings and noises change with some great calmer and almost musical / shamanistic passages... dark & daring ! - "Experimental mouth music duet, free interlaced vocal noises, sonic poetry and free electronics. A convergent formal meeting of two complementary paths between poetry and music."
|
2013 |
€15.00 |
|
| RE-DRUM / B°TONG |
Hush! / Ascending in the Light of an alien Sun |
CD |
two albums on one CD (each 30 min.) - RE-DRUM excites again with somber but very lush & mellow drone ambient, B°TONG sounds here extremely unwieldy and eerie and more electro-acoustic, as usual excellent.. ; comes in mini-LP sleeve lim. 400
|
2014 |
€12.00 |
|
| REFORMED FACTION |
Save our Ghohsts Volume II |
CD |
the first release on this new label from Estonia is a two part edition (LP + CD ) by the prolific project of ex (2/3) ZOVIET FRANCE, filed under 'sophisticated delicate ritual ambient' as the labels names it... lim. 450 , 6 panel digipack
|
2013 |
€14.00 |
|
| REHBERG, PETER |
Peter Rehberg at GRM |
LP |
two posthumous, unreleased recordings made "live at GRM" (from 2009 & 2016 captured at the Présences Electronique festival) by the Austrian artist (and man behind E. MEGO) who died unexpectedly in July 2021, pure digital & modular synthesis sound / noise sculptures with mysterious atmosphere... - "... a layering of sonic abrasions, raw sensations and a sensitivity that is as much about formal awareness as it is about the invocation of overwhelming emotions." - 1st pressing 1000 copies
|
2022 |
€20.00 |
|
| REICH, STEVE |
Four Organs / Phase Patterns |
LP |
re-mastered re-issue of the LP from 1970, released by SHANDAR, feat. two of STEVE REICHs most famous (and true minimalist) pieces, feat. PHILIP GLASS: "Obviously music should put all within listening range into a state of ecstasy"; lim. 1000
|
2016 |
€22.50 |
|
| REIDY, JULIA |
In real Life |
LP |
Australian 12-string guitarist and composer (residing in Berlin) with first LP on Black Truffle, blending folk influences, electronics and her effected voice into a kind of 'electro acoustic dream psychedelism'.. - "long sequences of frenetic 12-string guitar shadowed and eventually overtaken by synth tones, passages of delicate chiming harmonics, electro-acoustic cut-ups - each flows seamlessly into the next.."
|
2019 |
€20.50 |
|
| RENALDO & THE LOAF |
Behind closed Curtains |
do-CD |
for the first time on CD: the "Tap dancing in Slush" EP and the "Behind closed Curtains" LP from 1978/1979 by the pre RENALDO & THE LOAF project, which were both never realized; plus bonus CD with very early previously unreleased recordings: "Rotcodism"
|
2014 |
€21.00 |
|
| |
Arabic Yodelling + Grain by Grain (for Accuracy) |
do-CD |
re-issue of their third album from 1983 (the second for Ralph Records), plus another CD of collected unfinished pieces and rare material rec. around the same time, all re-mastered from the original tapes
|
2015 |
€20.00 |
|
| RENOU, CHRISTIAN |
Transfer |
LP |
very dense & intense soundscapes by the ex- (& now again) BRUME, using bell / metal sounds in a genius way, dark elecro-acoustic drone & almost cinematic atmospheres, powerful & melancholic...just great ! Ultra-limited vinyl-only album, hard to find Russian import; special die-cut cover with holes, lim. 198 copies only. The very first RENOU LP !
|
2009 |
€25.00 |
|
| REPTILICUS & HAFLER TRIO |
Designer Time |
LP |
first vinyl re-issue of the obscure CD from 1994 (Staalplaat / Soleilmoon) - a collaboration by Icelandic duo REPTILICUS (who had some great releases in the 90's) and ANDREW MC.KENZIE, who lived in Iceland during that time... they recorded various sounds from a derelict slaugherhouse freezer that poured into this release of weird sample, rhythm and drone architecture... - comes on white vinyl, over 50 min. playtime
|
2021 |
€20.00 |
|
| RESIDENTS |
Meet the Residents |
CD |
re-issue of the legendary debut album from 1974 (Ralph Records)
|
2011 |
€12.50 |
|
| |
Metal, Meat & Bone (Six Songs Inspired By Dyin' Dog) |
LP |
rare six track (45 rpm) mini LP with RESIDENTS versions of songs originally recorded by ALVIN SNOW aka DYIN' DOG, somehow transmitted without their conscious will it seems.. - ."..but here is all the evidence we need that some special happened. Equal parts pan-dimensional projection and group exorcism.." - BLACK vinyl lim. 100 only!!!
|
2020 |
€28.50 |
|
| REUTOFF |
No One's Lullabies |
CD |
the 9th album by the deep melancholic / sophisticated electro industrial outfit from Moscow, an extension of the MC release with same title from last year... "So near perfection is No One’s Lullabies that while listening, one can’t help but feel that the album is a masterpiece for a project that has gone virtually unnoticed in the West for far too long now." [Heathen Harvest] lim. 333 copies
|
2015 |
€13.00 |
|
| REVELL, GRAEME |
The Insect Musicians / Necropolis, Amphibians & Reptiles |
CD + BOOK |
this CD release combines the first solo releases by the SPK mastermind, "The Insect Musicians" (LP from 1986) and his contributions to the "Necropolis, Amphibians & Reptiles" do LP (1986 - maybe the first ever album created with computer only!), now with 40-pages booklet about insect sounds and sampling technologies used for the recordings as well as extensive analysis about the life and work of Adolf Wölfli.... a very valuable re-issue!
|
2020 |
€18.00 |
|
| RIMBAUD, ROBIN |
The Garden is full of Metal - Homage to DEREK JARMAN |
CD |
ROBIN RIMBAUD (aka SCANNER) created a very personal & intimate sound-sculpture dedicated to the great British film-maker DEREK JARMAN, using many of his own recordings (voice & fields)... "This music operates a certain unsettling, eerie magic on the listener, sneaking out of the speakers surreptitiously and filling the room like a sudden burst of sunlight. Even those unaware of Jarman's flicks will be moved." [NME]
|
2014 |
€13.00 |
|
| RLW |
Fall Seliger Geister |
CD |
RLW continues his unique exploration into "unclassifiable" complex electronic music, finally a new full-length album, on the prolific DIRTER Promotions from UK; lim. 500 "japanese" mini-LP sleeve; |
2013 |
€13.00 |
|
|
Funeral Parties |
LP |
for his "Funeral Music" project RLW has taken sound snippets from the European tradition of composed Funeral Music (i.e.:ANTON WEBERN, HÄNDEL, SCHUBERT, PURCELL, SIBELIUS...) and transformed these with the help of BHOB RAINEY (saxophone sounds) into seven unsettling, deranged and fragmented tracks... => surrealistic, collaged music that sounds if it would come out of a very DIFFERENT dimension, intense !! Edition of 200 copies
|
2016 |
€16.00 |
|
|
Störungen |
LP |
after the great "Funeral Parties" LP here's another stunning work with a complete different focus: the sounds of 'resonating bodies' are used and transformed into crooked acoustic beauties, everything seems to be warped and heavenly deranged here, all related also to mental disorders.. lim. 150 copies; "Erneute musikalische Zuckungen führen zu Reibungsverlusten, durch Hirnrisse zischt und sirrt es, der azaphalische Körper leckt. Und vice versa. Kein Mensch ohne dys" [Bad Alchemy]
|
2016 |
€20.00 |
|
| |
Tunnel |
CD |
one of Germany's most hidden geniuses with a new work, working on female voice material as only sound source, Fasten your seat belts and enjoy! ' "Tunnel presents five pieces built using fragments of Annette Krebs’s voice. Far from being anecdotal, the work reveals a true alchemy. Vocal prints are converted into roaring metallic textures lost in an endless sonic vortex, both sculptural and masterful. "
|
2021 |
€10.50 |
|
| ROCHE, JEAN C. |
Birds of Venezuela |
LP |
JEAN C. ROCHE is a French ornithologist and wildlife field recordist, the definite expert in this area with over 130 releases so far; in 1973 he released this LP with simply amazing bird-sounds from Venezuela, now re-discovered by DAVID TOOP who is responsible for the new liner notes.. => really THE MOST INCREDIBLE BIRD-CALLS and SOUNDS we ever encountered - some could be human or even electric.. very much in the vein of CHRIS WATSON - a lovely record!
|
2018 |
€15.00 |
|
| RODEN, STEVE |
Flower & Water |
CD |
"Words in the Shape of a Tree": for this album STEVE RODEN used original sounds of the very first Dragon's Eye release (a flexi 7" by GEORGE WINSTON with a blues-piano piece) => by cutting & re-framing the disc or putting objects on it he started a very 'physical' and ritualistic process of creating source material with 'temporary sculptures'...
|
2014 |
€14.00 |
|
| RODEN, STEVE & STEPHEN VITIELLO |
The Spaces contained in Each |
CD |
a documentation of their installation work for the Cornelius Chapel in New York, a high-class ambient audio sculpture; "Distant bells toll at the edges of perception, field recordings flutter amid bursts of modular synth and other electronics. The sound field is constantly evolving and unfolding as layer upon layer of sound draws you deeper into their sound space"
|
2014 |
€15.50 |
|
| ROIGK, STEFAN |
PARKANLAGE |
BOOK & CD |
BACK IN STOCK this art catalogue (21 x 19 cm, 60 pages) with many colour pictures of installation works, plus texts in German & English, released on the occasion of the PARKPLATZ exhibition (Wolfsburg, Juli-September 2006) from this German soundart artist who was once active as KENOTAPH, K:EIM & SKALP! - On the CD 63 minutes of material with highly abstract and nice droning musique concrete. Still to discover !!
|
2008 |
€18.00 |
|
| ROIGK, STEFAN / FROMBERG, DANIELA / CLAUDIA HINSCH / PIT NOACK |
Habitat |
CD + leporello |
these four (sound) artists built a wondrous installation in Hannover at Galerie Kubus (Nov. 2018) with four sculptural "positions" in a large hall that were interconnected in many ways - also soundwise - like in a biological system a complex entanglement was produced, without centre...the obscure sculptures made from paper, foam, wood, ceramic, silicon, etc. build this soundtrack of drones and tiny ASMR micro-sonics.. comes w. large fold out cover w. many pictures and infos, very nice!!
|
2019 |
€13.00 |
|
| ROSSETTO, VANESSA |
The way you make me feel |
CD |
how special "pure field recordings" can be proves this release by VANESSA ROSSETTO (painter & composer from USA, known from LPs on Kye for example), who recorded lots of material during a stay in New York City, which was later assorted and arranged...=> a strange mixture of personal, normally unnoticed 'everyday life' recordings with amorph clouds of hissing and atmospheric noises... lim. 200, numbered, full colour cardboard cover & artcard
|
2016 |
€14.00 |
|
| ROZENHALL, DANIEL |
same |
CD |
material from the LPs "Eyeland" (2003) and "Miasmasun" (2001) with new liner notes
|
2008 |
€13.00 |
|
| RRILL BELL |
False Flag Rapture |
MC |
limited cassette-only release after the great "Ballad of.." LP, merging field recordings, subtle instrumental sounds and electronics in a most empathic, daydreaming way.. - "a complex amalgamation of acoustic source materials (metallophones, winds, strings, and brass), (cassette) tape treatments, and digital assemblages, which coalesced over a period of six years," - lim. 100 copies, luxus design (green cassette with full-color six-panel j-card in clear Norelco case, plus full-color outer o-card) + DL card
|
2021 |
€11.00 |
|
| RUNZELSTIRN & GURGELSTOCK / MAMA BÄR |
Mahnmal / Words are crying but don't English |
LP |
third part in the HJULER/MAMA BÄR split LP series with 12 different artist, each LP is limited & numbered to 177 copies with handmade / assembled cover
|
2009 |
€23.00 |
|
| RUTMAN, ROBERT |
1939 |
CD |
re-release of the long deleted Pogus LP from 1989, plus bonus-material! Ethno-tribal & droning pieces created with tablas, buzz chimes, and RUTMANs self build "Single String Steel Cello" & his Tibetan monk-like voice
|
1998 |
€13.00 |
|
| SAINTE-MARIE, BUFFY |
Illuminations |
CD |
the amazing album from 1969 by the US folk singer (with Native Canadian parentage) that was created with the help of the "Electronic Music Studios of the State University New York", using a BUCHLA synthesizer with lots of effected / psychedelic electronic sounds made up from BUFFYs voice and guitar... "It was the first totally quadraphonic electronic vocal album ever" [Wikipedia)
|
2000 |
€13.00 |
|
| SALOMAN, GABRIEL |
Movement Building Vol. 3 |
LP |
third and final Volume in the great LP series by the ex YELLOW SWANS => "Listeners will recognize the emotive bowed strings, militant percussion and searing guitar eruptions that evoked memory and trauma in that previous album. Joining this pallet are other familiar Saloman sounds: shoegaze washes of distorted guitar, minimalist piano attacks, melancholic appregiated melodies, and a patina of harsh noise.."
|
2017 |
€20.00 |
|
| |
Movement Building |
do-CD |
a double CD containing all three volumes of "Movement Building" released on LP before, a wonderful suggestive work for dance by the ex YELLOW SWANS, incl. bonus material ; "Saloman has taken the sweeping drones and fried electricity of his former band and embedded them within an expanding pallette of bowed strings, martial percussion and resonant piano."
|
2017 |
€17.00 |
|
| SALT |
Machiakari |
LP |
joint release by the re-established ANT-ZEN label and Raubbau from Berlin, this is indeed the very first full solo album / LP by the man and designer behind Ant-Zen, STEFAN ALT, comes with six awesome fine print inlays (12" x 12"), six tracks feat. GENEVIEVE PASQUIER (THOROFON) and a cover version of a JOHN CARPENTER piece ("Assualt on Precinct 13", all thematically strong connected to Japanese culture, with mastering by M. RICHTER (XABEC)
|
2019 |
€25.00 |
|
| SATORI |
Kanashibari |
CD |
re-issue of the LP release by Dogma Chase, includes bonus-track
|
2008 |
€13.00 |
|
| SAUNDERS, BRYAN LEWIS |
Near Death Experience |
CD |
re-issue of the LP from 2010, now with 7 bonus tracks from rare CD-Rs or completely unreleased=> spoken-word art and sound poetry with various artists supplying the sounds, such as JOHN DUNCAN, MARCELO AGUIRRE, JOACHIM MONTESSUIS, etc.. "The bastard son of William S. Burroughs, Antonin Artaud and Crispin Glover. Hilarious, awful, heartbreaking and brutally honest, his Stand Up Tragedy is some of the best shit I’ve heard in a decade" [LYDIA LUNCH] - lim. 300 with 20 page booklet feat. all lyrics
|
2018 |
€13.00 |
|
| SAVAGE REPUBLIC |
Varvakios |
CD |
new album by the Californian cult-group recorded February 2012 in Athens, Greece, feat. BLAINE REININGER of TUXEDOMOON - a kind of sequel to the legendary CUSTOMS LP from 1989 !
|
2012 |
€16.50 |
|
| SCATTERWOUND |
T.L. (Trilogy Live) |
3 x CD set |
HELLMUT "N" NEIDHARDT and DIRK SERRIES in full length concert collaborations, three performances from three festivals 2017-2019 (Platzhirsch, Roadburn, Moving Noises), slow moving guitar drones as sculpturals, psycho-active figurations... lim. 150 copies only - reverse board printed sleeve / 6 panel digisleeve
|
2023 |
€26.00 |
|
| SCHEICH IN CHINA |
IV |
LP |
already the fourth LP by this Hamburg-based project (all records and tracks and albums have no real title) with his pure and dry analogue minimal drone muzak, here especially subtle, pulsative, static, circling like a helicopter... just sound, no messages!
|
2016 |
€16.00 |
|
| SCHLIENZ, GÜNTER |
Book of Dreams |
CD |
re-issue of the LP from 2016 by this "old school - modular / cosmic electronics" artist from Stuttgart (also known from his project NAVEL), who builds instruments on his own; the whole album is inspired by notes about dreams he made after waking up, and quotes JACK KEROUAC... ed. of 250 copies, this CD version has 2 bonus tracks
|
2017 |
€12.00 |
|
| SCHLOSS TEGAL |
Oranur III. The Third and Final Report |
CD |
re-mastered re-issue of their maybe most well known album from 1995 (LP on Artware), influenced by WILHELM REICHs theories & experiments about the Orgon-energy, and UFO encounters... => dark droning masses of sound that seem to come from the otherworlds, cold, bleak & threatening... two bonus tracks are included.. BACK IN STOCK
|
2012 |
€12.00 |
|
| SCHWARZ, ROBERT |
The Scale of Things |
LP |
"Die Natur ist das einzige immerwährende Menschenunmögliche" - multilayered 'musique concrete' drones created from nature recordings, following only the compositorial settings of nature / chaos, with a special focus on unheard hidden details.. great LP with phantastic floating yet 'concrete' sound layers by this soundartist from Vienna, lim. 300
|
2015 |
€16.00 |
|
| |
Double Negative |
LP |
second LP of this promising soundartist from Vienna for Gruenrekorder - again, 7 pieces are grounded with unfocused field recordings from different places, conflating with strange modular synth tones and noises, for a stunning effect, dark and captivating! "Nature and electronics merge to compositions that reveal uncanniness and strangeness in the heart of the world as well as in ourselves." lim. 300, contains postcard
|
2017 |
€16.00 |
|
| SCHÄFER, HELMUT |
Thought Provoking III |
CD |
the final document by this Austrian composer (Graz) who died in 2007 and often collaborated with Z. KARKOWSKI => "Though Provoking III" is based on sounds coming from a self-built object/instrument made of church organ pipes and hair dryers (!), with help by percussionist WILL GUTHRIE & violinist ELISABETH GMIENER => slowly developing handplayed ambient noise with many concrete details, very nice.. the second track is a more noisy remix by KARKOWSKI!
|
2012 |
€13.00 |
|
| SCOTT, SIMON (SIMON SCOTT) |
Navigare |
LP |
debut full-length release for this ex SLOWDIVE-member with beautiful transcendental drone-spheres, very ethereal and experimental ! LP-version comes with bonus-track
|
2009 |
€18.00 |
|
| SECONDS IN FORMALDEHYDE |
A Shiver in Red |
do-LP |
very good first vinyl / LP release for this German experimental guitar-ambience project (also using piano, electronics, shortwave radiosounds..), unfortunately completely overlooked... - lim. 100 with one-sided bonus 12" !!
|
2009 |
€21.50 |
|
| SEETYCA |
Zwischenwelten |
CD |
this release shows SEETYCA further exploring and enhancing romantic 'intermediate worlds', for the nine compositions diverse guest-musicians (THOM YEESLAND, JULIAN ECKSTEIN, KRIS CAELIS) helped and many 'real' instruments were used (ocarina, zither, acoustic guitar, trombone), forming gracious, deeply multi-layered drones full of beauty and width, with tiny sounds and micro harmonies appearing.... definitely one of his masterpieces, 79+ min. playtime
|
2016 |
€13.00 |
|
| SERRIES, DIRK |
Microphonics VII |
LP |
collector's item (one-sided LP) in the "Microphonics" series, normally only available via mailorder from the label directly; recording from a live-show on the "Antwerp live looping festival" 31. May 2009; complete edition 300 copies, each 100 in white, silver & gold. We have silver & white at hand
|
2009 |
€16.00 |
|
| SHEARER, RACHEL |
Fakerie |
DVD |
highly praised visualy by ex LOVELY MIDGET from New Zealand, "a digital seance of aural and visual sculptures"; incl. 20 page booklet
|
2008 |
€16.50 |
|
| SHEFFIELD, COLIN ANDREW |
Don't ever let me know |
LP |
sounds from the city of EL PASO (TX) where Sheffield and his father were born, build the (sample) basis for this stunning, mostly abstract sounding LP: *A soundscape of a city, abstract it is, that feels like a sonic journey through the city, as seen through a mildly distorted lens. Sheffield applies collage-like techniques, and to stay with the analogy of the city, a hard cut is like turning a corner; the scenery might change completely. Dark at times, intense always..* - lim. 200 copies, spot tone print
|
2023 |
€20.00 |
|
| SHEFFIELD, COLIN ANDREW / JAMES ECK RIPPIE |
Variations |
LP |
back in stock this excellent LP by COLIN ANDREW SHEFFIELD (who runs the label Elevator Bath in Austin, TX) and JAMES ECK RIPPIE with three improvised pieces of experimental drone- and loopscapes using solely harp, guitar and flute for each one, weaving in crackles, breaks and curiously harmonized textures in a hypnotizing way... lim. 400
|
2001 |
€15.00 |
|
| |
Essential Anomalies |
do-LP |
COLIN A. SHEFFIELD and JAMES RIPPIE came finally together to re-activate their improvisational duo in 2015 - this double LP compiles 4 long, excellent tracks that were previously released as limited MCs => using turntables and samples from 'commercially available recordings', they create highly atmospheric, gloomy "abstract plunderphonics", extreme surrealistic soundscapes with unrecognizable sound sources, letting the original 'aura' shining through; lim. 293, over 90 min. playtime, great album!!
|
2017 |
€25.00 |
|
| SHIBALBA / PHURPA |
Teachings of Eastern Traditions |
CD |
split release with three new tracks of occult chanting invocations by SHIBALBA, plus one long track by Russians "tibetan ritual music" cult act PHURPA, also mainly based on long & deep vocalizations.. CD version of the LP released by COLD SPRING
|
2016 |
€13.00 |
|
| SIDHARTA, OTTO |
Kajang |
LP |
highly recommended LP with four newer works (2015-2020) by the Indonesian composer, a great organic and contemplative mixture of processed field and object recordings, multi-layered drones, traditional instrument recordings (gongs, etc.)...- *deeply inspired by Indonesia's multifarious styles of traditional music, that he tries to preserve, as in some remote places, they keep their own tradition very strongly.* Lim. ed. WHITE vinyl
|
2022 |
€17.00 |
|
| SIGMARSSON, SIGTRYGGUR (BERG) |
For Einar Jonsson (1874-1954) |
BOOK & CD-R |
"I'm on holiday - From what? - .. everyting" - another lovely weird item by the lovely weird SIGTRYGGUR SIGMARSSON: a self published, full colour printed catalogue / magazine collecting all kinds of art (photos, drawing, paintings, poems) by him collected 1997-2014; edition of 100 numbered copies, the first 50 copies incl. a CD-R with a 14 min. shimmering drone piece dedicated to the Icelandic sculptor EINAR JONSSON; 56 pages, A4 format
|
2014 |
€16.00 |
|
| SILK SAW |
Imaginary Landscapes |
CD |
the comeback for this experimental electronic(a) duo from Belgium, known from several SUB ROSA and ANT-ZEN releases; intelligently constructed IDM that is not really danceable, more hypnotic (like VROMB for example) and quirky and with a nice use of acoustic instruments and weirdo sounds....this is the expanded version of the "Parallel Landscapes" LP with bonus material
|
2015 |
€13.00 |
|
| SILVERMAN |
Time on thin Ice |
CD |
"... and there's an eternity with wings. It's short and it's sweet, it laughs at the mirror and always is now." Very poetic new solo-album by the second LPD mainman, feat. ALENA BOYKOVA on melodica & E.KA-SPEL on percussion, tapes & voice. Dense, melancholic ambient soundscapes..comes in beautiful oversized glossy mini gatefold-cover
|
2010 |
€14.00 |
|
| |
Finisterre |
CD-R |
three long new tracks showing the PINK DOTS ur-member SILVERMAN in a very surreal & experimental mode, alien drones with some folk-tune sideways.. edition of 399 copies, self-released by LPD !!
|
2013 |
€13.00 |
|
| SINN/RD |
One-legged tap Dancer |
12inch |
very subtle & smooth guitar-drone post-rock with electronica & Krautrock influences, a project with CYRIL MONNARD (LARKIAN) from Switzerland, feat. JON ATTWOOD (YELLOW6); to discover! long play 12" / mini-LP (25+ min.)
|
2013 |
€12.50 |
|
| SKELDOS |
Ilges |
MC |
most favoured release by Lithuanian drone-newcomer SKELDOS - two wonderfully breathing, resonating pieces based on accordeon, voice, Lithuanian zither and guitar, plinspired by a poem from the Lithuanian writer ANTANAS SKEMA; there's so much beauty and melancholy and sadness in here, it's almost unbearable.. lim. 75 copies in handmade/printed cardboard cover with bag & download code... SKELDOS will soon appear in the "Drone-Mind" LP series!!
|
2018 |
€9.00 |
|
| SKELETON CREW |
Learn to Talk / The Country of Blinds |
do-CD |
"No one sounded like Skeleton Crew, ever" - re-issue of the two famous LPs from 1984 & 1986 by this unique "Rock In Oppositon"-group (FRED FRITH, TOM CORA, + ZEENA PARKINS for the 2nd album), this do-CD contains 10 bonus tracks not on the original LPs!
|
2005 |
€19.50 |
|
| SKIN AREA / JARL |
La Petite Mort |
LP |
strong collaboration LP by Drone Rec. artist JARL (see MIND-01 LP) and the always impressing psycho-industrialists SKIN AREA both from Sweden => 4 tracks of eerie, minimal, pulsative industrial dronescapes with alienated/fragile voice, analysing the deepest drives, fears and guilt complexes of our unconsciousness.. really disturbing stuff! Lim. 220, comes with 13 thick/oversized colour artwork cards by MARTIN BLADH of IRM /SKIN AREA. Masterpiece!
|
2014 |
€20.00 |
|
| SKULLFLOWER |
Kino II: Form Destroyer |
CD |
re-issue of the the Broken Flag LP "Form Destroyer" from 1989 (6 tracks), plus two rare & two previously unreleased tracks
|
2013 |
€15.00 |
|
| SLEEP RESEARCH FACILITY/LLYN Y CWN |
Sargo / Posidonia |
CD |
nautical dark / deep ambient on this awesome split album, centered on the themes deap sea, ocean field recordings, subconscious perception: *The ultimate deep listening experience from two masters of dark ambient. A slow descent into the blackened watery abyss, where light cannot reach.* - CD in mini-LP sleeve, replicating the vinyl design.
|
2023 |
€15.00 |
|
| |
Sargo / Posidonia |
LP |
nautical dark / deep ambient on this awesome split LP, centered on the themes deap sea, ocean field recordings, subconscious perception => waves crushing against rocks, the sound of an acoustic sonar instrument, forms without structure, space as opposed to narrative... *music can reside in the very fabric of sound itself..* - first new material of SRF since 2012, most sublime drones from LLYN Y CWN, great cover art from ABBY HELASDOTTIR (GYDJA)
|
2023 |
€23.50 |
|
| SLITHER |
Alien Column |
LP |
debut full-length LP of Michigan based duo, a stunning mixture of rumbling dark drones, low-fi industrial & jazz-elements, very creepy & dark & well structured; lim. 240
|
2009 |
€17.00 |
|
| SMALL CRUEL PARTY |
Islands of Sleep |
CD |
re-issue of the first LP from 1998 - a great example of SCP's "micro-morphing" object sounds, frictional acoustics from stones, wood, metal, glass, etc. are combined with subtle drones... "Concrete music based on glass, wood and water manipulation : rubbing, tinkling, lisping, resonance, sharp & bass tones confrontation. Raw calm"; edition of 300 copies
|
2018 |
€12.00 |
|
| |
Cervorum Simulacra |
CD |
this CD collects two enchanting live recordings: The title track was performed in Paris, April 2008 (and released as very limited lathe cut LP), "Pour Eric S.W." was performed at Radio KSER, in Everett, Washington, back in April 1992 and has never been published before..:- "Feeding small sounds, manually controlled and manipulated, through a few sound devices, so that drones occur, growing slowly in intensity. Think of this as ants crawling in a giant anthill, very busy... " [Vital Weekly] - lim. 200
|
2022 |
€13.00 |
|
| SMALL THINGS ON SUNDAYS |
Searching for |
LP |
first LP for this promising Danish ambient project, opening up spaces for the inner phantasy, working extremely subtle with synths & guitars, turntables, viola, laptops - based on loopy improvisations most tracks have been carefully re-arranged, airy ambience with some abstract elements appearing, with a beautiful tranquilized basic mood... somewhere between OÖPHOI, FENNESZ and ZOVIET FRANCE? Lim. 250
|
2013 |
€15.00 |
|
| SMEGMA |
I am not Artist |
6 x LP-Box / DVD-BOX |
early releases (3 x 7"es and 2 LPs) and other rare stuff from compilations and MCs, plus DVD "10 years wasted" (originally released as Video 1983)
|
2010 |
€95.00 |
|
| |
Mirage |
LP |
NEW material, SMEGMA does "the impossible" again, 38 years after their start; LP features exclusive material
|
2010 |
€20.00 |
|
| SMEGMA / KOMMISSAR HJULER UND FRAU |
split |
LP |
second part in the HJULER/MAMA BÄR split LP series with 12 different artist, each LP is limited to 177 copies with handmade cover; this one is a painting from MAMA BÄR. SMEGMA has three tracks here, one from 1975 (!), others with JOHN WIESE
|
2009 |
€23.00 |
|
| SOLO ANDATA |
In the Lens |
CD |
the Australian duo is finally back after the great "Ritual" LP (2010) with 13 instrumental tracks full of atmospheric euphony, using snippets from old hard-drives and cassettes they add new handplayed low-fi material (acoustic guitar, piano, woodwinds, percussion) that really breathes and spreads sublimeness and nostalgy, touching jazz & folk elements but in a most dreamlike and narcotic manner.. think of slow NECKS, ELODIE, etc.. lim. 500
|
2016 |
€15.50 |
|
| SOLUMENATA |
From Gehenna to Elysian Fields |
CD-R |
Drone Records artist ALLAN ZANE(aka WYRM, see DR-99) is working now together with LIZ LANG and PBK as SOLUMENATA; after the "Aeriform" LP and "Aeriform Redux" CD this is the third release, a one hour one-tracker of spheric, choral experimental ambience with a special 'nautical', waving undertone... very nice! lim./numb. 100 copies only in slim plastic CD box
|
2015 |
€10.00 |
|
| SONDE |
En Ondes |
CD |
archive recordings made 1980-1986 by this legendary Montreal-based experimental collective (with ROBIN MINARD, etc.) => field recordings & object noises, sounds from sound-sculptures, contemplative-concrete improvisations..
|
2007 |
€15.00 |
|
| |
En Concert |
CD |
live 1977-1978 / re-edition of LP from 1978
- the Canadian impro ensemble working on self-buildt instruments, many made from metal sheets.. somewhere between BERTOIA, NOISE MAKERS FIFES & AMM?? excellent, daring, mysterious stuff! |
2007 |
€14.00 |
|
| SONIC YOUTH |
Goodbye 20th Century |
do-LP |
gatefold cover. pieces by CAGE, REICH, OLIVEROS, JAMES TENNEY, etc. performed by S.Y. with help by JIM O'ROURKE, C.MARCLAY, etc.
|
1999 |
€19.50 |
|
| |
Bad Moon Rising |
LP |
the intense second S.Y. LP from 1985, a milestone of dark & dangerous, guitarish noise & drone songs + soundscapes..- "Death Valley, Charles Manson, Brian Wilson, musicians, murderers, heroes and villains.' Its original eight-song tapestry of droning guitar feedback, distant clattering percussion, and sullen vocals, all held together with interstitial noise loops and shadowy haze, ambles through a long, dark night before.." - 2022 repress with 4 bonus tracks!
|
2022 |
€26.00 |
|
| SPECIMENS |
In the Dust of Idols |
LP |
difficult to find second LP by the London based "Drone-Mind" compilation artist, these are wonderful hazy, dusty atmospheric miniatures (based on guitars, voice, field rec., organ, synths, sax, cello..) full of beauty and melancholy, inspired by existentialist questions... recommended to fans of R.A. IRISARRI, TROUM, LAWRENCE ENGLISH (who did the mastering again); ed. of 300 copies on white-blue splatter vinyl, with inlay
|
2018 |
€20.00 |
|
| SPHERICAL DISRUPTED / CARSTEN VOLLMER |
Recluse / CSCP |
LP |
one sided 4 track LP with solo and remix tracks by SPHERICAL DISRUPTED from Jena, Germany (presenting slow moving atmospheric electro pulses and sequences), and the unbeatable noise-offender CARSTEN VOLLMER with concrete noise filled loops; the remixes bring these contradictions somehow together, so each track sounds completely different! Fold out cover, inlay + download code, lim. 100 copies
|
2017 |
€20.00 |
|
| SPK (S.P.K.) |
Live at the Crypt / London - April 25 1981 |
CD |
this is an authorized re-issue of the very first (very low fi) cassette-only full length release by SPK (1981, Sterile Rec.), from a live performance held at THE CRYPT in London, when SPK were fascinated with evisceration.. "an apparent fascination with dissection and display - how these specimens were more strange works of art: hyper-sexual BALLARDian exercises in cutting, scoring and shaping (sculpture) than creating any seriously useful educational too" [Graeme Revell]
|
2019 |
€15.00 |
|
| SRH |
Telomer[e] |
LP |
SRH stands for SASCHA ROSEMARIE HÖFER, this is his debut LP, delicate and outcomposed musical ambience on the label of ANDREAS USENBENZ => "telomer[e] is captivating due to its contrasts, it is playful, harmonic and atonal, creating a glamorous homogeneity, despite — or because of — these musically antagonistic efforts. Höfer brings the sounds to life, he nudges them into a conversation until they are fusing, but without losing their immediacy." ed. of 300 copies
|
2018 |
€15.00 |
|
| STABAT MORS / RICHARD RAMIREZ |
Hideous Bliss |
LP |
Finally out this split-LP feat. the last recorded piece from STABAT MORS (before the self chosen death of main member CHRISTIAN KÖHLER) named "HEGELS TOD" (2006) and "BILD UND TOD NACH DERRIDA", recorded live July 2004 at "Neues Museum Weserburg" in Bremen - unique "philosophical" harsh noise, incl. a cryptic text by C.K. on the inlay, who wrote his doctoral thesis in Culture Science around the PETER GREENAWAY-film "PROSPEROS BOOKS". Cover shows two of C.K.s paintings!! Lim. 289 copies
|
2010 |
€12.00 |
|
| STAPLETON, STEVEN & DAVID TIBET |
The Threats of Memories |
do-LP |
second vinyl release with collected TIBET / STAPLETON material, feat: "The Sadness of Things" (orig. 1991), "The Dead Side of the Moon" and "BubbleHead" (both from the 'Musicalische Kürbs Hütte' LP (1996), and "DreamBreath", an unreleased, side-long outtake from the "Musical Pumpkin Cottage"-sessions (CD 1996) ; the whole comes in a gatefold sleeve with insert containing all lyrics and credits, with an unknown amount pressed but probably only 500
|
2019 |
€32.00 |
|
| STRINGS OF CONSCIOUSNESS |
same |
LP |
nice drone improvisation LP, feat. members of PAN SONIC, SCHNEIDER TM, MUM... lim. 400 black vinyl
|
2008 |
€16.00 |
|
| SUBLAMP |
Orphan Horns |
CD-R |
newest self-released work by this "experimental digi-ambience" artist from L.A., eruptive & oceanic drone-waves & sculptures with enough mesmerizing rawness, somewhere between TIM HECKER and YANN NOVAK maybe...
|
2012 |
€9.00 |
|
| SUDDEN INFANT |
My Life's a Gunshot |
4 x LP |
collection of 49 rare & unreleased tracks from the last 20 years of this radical project; two fold out double LPs, cover-paintings by JOKE LANZ, plus 4 page essay by GX JUPITTER-LARSEN (THE HATERS); vinyl only release lim. 500
|
2010 |
€49.00 |
|
| SUNN O))) |
Kannon |
CD |
three new studio tracks by the drone metal gurus, coming back to their main characteristics: the massive guitar-bass work of STEPHEN O'MALLEY and GREG ANDERSON, continuing the path of the "classic" SUNN O))) sound.. "Abyssic atmospheres of vast grinding drones. Layered, liturgic cavernous ritual. Gorgeously sculpted feedback flowmotion" [AQ Rec.]
|
2015 |
€13.00 |
|
| SUPERSILENT |
11 |
CD |
re-issue of the "11" LP from 2010 which contains 6 tracks from the sessions that lead to the "8" CD, "an album that to a certain degree explored more abstract and mysterious pathways beyond categories and comparisons."...."wie eine Prellung, die schillernd aufblüht, gleichzeitig zeitlupig und gerafft auf eine Stunde, vielleicht weil der Bluterguss einen ganzen Raumquadranten verfärbt." [Bad Alchemy]
|
2014 |
€15.50 |
|
| SUTCLIFFE JUGEND |
Slaves no more |
do-CD |
as a final release a compilation with mostly unreleased SJ material and with a more "droning" soundsculpturing, all recorded after the "S L A V E S" box in 2016, as a kind of sequel to that release.... awesome, intense, widespread power ambience (with 2:20 h. playtime), ed. of 300
|
2020 |
€18.00 |
|
|
Campaign Volume I: 1979-2000 |
10 x LP BOX |
....celebrating Sutcliffe Jugend’s 44th Anniversary of their first music experiments in 1979, VOD-Records is proud to announce the release of an ultimate deluxe retrospective set, wooden box with booklet, certificate and t-shirt with special sleeves, lim. 500 - first 10 LPs in white box, covering the years 1979-2000, white T-shirt, booklet, lim. 500
|
2023 |
€225.00 |
|
| |
Campaign Volume II: 2007-2020 |
10 x LP BOX |
....celebrating Sutcliffe Jugend’s 44th Anniversary of their first music experiments in 1979, VOD-Records is proud to announce the release of an ultimate deluxe retrospective set, wooden box with booklet, certificate and t-shirt with special sleeves, lim. 500 - second batch of 10 LPs in BLACK box, covering the years 2007-2020, BLACK T-shirt, booklet, lim. 500
|
2023 |
€225.00 |
|
| SUZUKI, DAISUKE |
D.D.D. |
CD |
the very first solo LP of DAISUKE SUZUKI who runs SIREN RECORDS, very pure field recordings from ducks in Tokyo (D.D.D. stands for Duck Duck Duck) and crickets in an urban environment... - this is a the re-issue of the LP from 2001, now with a much longer version fo the B-Side, lim. 200 facsimile card sleeve of original cover art - *The clarity of each rustled feather and splish-splash is rendered life-like here, and the effect is transporting, like all good music should be.* [Andy Beta]
|
2023 |
€13.00 |
|
| SVARTSINN |
Of Darkness and Re-Creation |
CD |
re-issue of the second SVARTSINN-album from 2003; new artwork, new mastering & bonus-track, mini-LP styled sleeve, lim. 500 copies; re-listing for better price now! ".. SVARTSINN kreieren hier mit Samplern + Synths ruhige, einsame und eisige Klanglandschaften ohne Grund und Boden, das infinite Äußere oder Innere vertonend, mind-space oder space-mind?" [Drone Rec. info]
|
2010 |
€13.00 |
|
| TAEHA TYPES |
Mechanical Keyboard Sounds: Recordings of Bespoke and Customized Mechanical Keyboards |
LP |
rather incredible: this LP collects all kinds of keyboard (german: "Tastatur") mechanical typing sounds from the past until now, 12 tracks from the early Apple M0110A (1986-1990) over IBM until newer TGR and Zambumom keyboards, they all sound so different and somehow appealing; crazy idea - great result ! "This is classic ASMR/whisper porn; the gentle click and rattle of carefully lubed springy keyboards make the hairs on the back of the neck rise."
|
2019 |
€28.00 |
|
| TAKAHASHI, YUJI |
plays JOHN CAGE: Sonatas and Interludes |
CD |
re-issue of the first two FYLKINGEN LPs from 1966: CAGE's "Sonatas and Interludes" (1946-1948) performed by YUJI TAKAHASHI in 1965, "an attempt to express in music the 'permanent emotions' of Indian tradition"; radical prepared piano sounds & structures !
|
1997 |
€12.50 |
|
| TAPAGE |
Recursive Behaviors |
LP |
stunning first full length LP (as far as we know) from this dutch IDM / electro acoustic composer living in Bergen (Norway), who uses the interaction of acoustic (violin) tones and drones with algorithms and machines, in order to create a "self-balancing and self-generating chaotic system", the three tracks here move from dense 'breathing' drones into underlinings with unusual electronic repetitions and patterns.. - lim. 100 with excellent die-cut cover and thick inlay
|
2022 |
€26.00 |
|
| TAPE LOOP ORCHESTRA |
Interiors Three |
LP + CD + BOOK |
a meditation on empty rooms once inhabitated by humans, combining slowly fading keyboard sounds with cosmic and choral drift, creates a wonderful, thought-provoking space... three long tracks on LP + CD plus a 16 page art booklet with pictures "a metaphor for the plasmic, entropic energy of human spirits, and their referential ephemera, using the glimpses of other peoples lives" ed. of 300 copies
|
2019 |
€34.00 |
|
| TARAB |
An incomplete yet fixed Idea |
LP |
the beloved Australian field recording transformer EAMON SPROUD with his first LP! "Tarab explores re-contextualised collected sounds and tactile gestures formed into dynamic, psycho-geographical compositions inspired by discarded things, found things, crawling around in the dirt, junk, the ground, rocks, dust, wind, walking aimlessly, scratchy things, decay and most if not all the things he hears and sees." lim. 300, download code
|
2017 |
€21.00 |
|
| TASADAY |
L'Animale Profondo |
CD |
in 1986, this Italian collective released their second LP "L'Animale Profondo" with a very 'handplayed' industrial style, touched with a ritualistic flair.. "free and uncontrollable sounds that tell of an ensemble that was years ahead in European experimental music. Echoes of Einstürzende Neubauten but also of Throbbing Gristle... and beyond, in a deep, almost free jazz universe. Post-industrial sounds that turn into tribal moments with absolutely no control. Without rules. Total freedom of expression."
|
2017 |
€13.00 |
|
| TAZARTES, GHEDALIA |
Les Danseurs de la Pluie |
4 x CD BOX |
Anthology-box collecting the three CDs Alga Marghen has released before: "Diasporas-Tazartes", "Transports", "Une Eclipse totale de Soleil" (which include the first four LPs released 1979-1987, plus bonus material), plus a mini-CD with previously unreleased material with two tracks from 1977, and new tracks rec. 2005 - a must for fans or newcomers to TAZARTES unique musical universe
|
2015 |
€50.00 |
|
|
Une Eclipse totale de Soleil |
CD |
these first album recordings from TAZARTES were made in 1979 but appeared only in 1984 as LP (Celluloid); the CD re-print has a 23 min+. bonus track from the 90's, only to be found here.... "a unique record, utilizing collage, strange vocals by tazartes, trance-ethno backing splices, droning organ and childish naivete, in a spirit all of its own."
|
2015 |
€15.00 |
|
| |
Quoi qu'il en soit |
CD + BOOK |
first posthumous release by the French artist who died in Feb. 2021 => a small 48 page fullcolour book showing pictures of TAZARTES studio curiosities ("Wunderkammer") filled with sculptures and art objects... on the CD is a document (35+ min.) of the only live performance by the trio of TAZARTES, JEROME LORICHON and QUENTIN ROLLET, recorded in Paris 2019; ed. of 300 copies
|
2021 |
€20.00 |
|
| TBC / REZNICEK |
6 Hydrografien / Naßklickersprudel |
CD-R |
now available the CDR-version (very handmade jewel-case covers) from the deleted LP / MC from 1998
|
2009 |
€10.00 |
|
| TEAR GARDEN, THE |
Have a nice Trip |
do-LP |
first vinyl re-issue of album from 2009, the project of EDWARD KA-SPEL and KEVIN KEY (SKINNY PUPPY) worked together with diverse remixers such as RAYMOND STEEG (LPD), PHIL WESTERN (DOWNLOAD), HIWATT MARSHALL, etc.. to design these 12 most psychedelic, free floating sci-fi electronic space-pop tracks.., gatefold sleeve, green vinyl, download card
|
2017 |
€36.00 |
|
| TELEPHERIQUE |
Bionik / Biomimetik |
LP & CD |
lim. 499 on the now defunct LAUB RECORDS label, with CD-cover sticked on LP sleeve; special price !
|
2004 |
€10.00 |
|
| TERUGGI, DANIEL |
Sphaera |
LP |
first re-issue of this tape work inspired by the 4 Elements, composed between 1984-1989 : ETERA - AQUATIQA - FOCOLORIA - TERRA => "....transcending matter with the help of novel digital audio techniques so as to draw out forms, trajectories, layers, and musical objects, all of which result from the merging or sublimation of primordial sounds" - remastered by G. IEALASI, stunning sleeve design STEPHEN O'MALLEY
|
2023 |
€20.00 |
|
| TEXT OF LIGHT |
Un Pranzo favoloso |
CD |
the experimental impro / noise - project of LEE RANALDO (SONIC YOUTH), ALAN LICHT, TIM BARNES and ULRICH KRIEGER played live to STAN BRAKHAGE movies in May 2005 in Pordenone, Italy => on guitar-electronics-sax-drums-percussion unusual and irrecognizable rough sounds were created, forming a most abstract & dynamic soundsculpture...
|
2006 |
€10.00 |
|
| TEXT OF LIGHT / MY CAT IS AN ALIEN |
Cosmic Debris Vol. 1 |
CD |
CD-reissue of the deleted LP !
//
www.asilentplace.it
|
2007 |
€13.00 |
|
| THALASSA |
Bonds of Prosperity |
LP |
stunning first release of a new project formed by the never sleeping AARON TURNER (HYDRA HEAD, ISIS, LOTUS EATERS, MAMIFFER, etc.) with WILLIAM FOWLER COLLINS, spreading highly contemplative and elemental acoustic drone muzak on 4 LP sides, creating subtle resonances, ethereal sirenes, noise dissolvements..." The ocean, blood, rain, sand, the desert, heat, fog -- all of these elemental / environmental forces are at play in the heavily sedimental drones and crumbled noise " lim. 300
|
2017 |
€27.50 |
|
| THE FORCE DIMENSION |
Early Recordings 1985-89 |
4 x LP BOX |
early material by this dutch EBM / electro industrial duo, who had a well known album out on KK Records in 1989; 4 LPs in box with T-Shirt, certificate and 16 page booklet, black vinyl lim. / numbered 400 copies
|
2023 |
€95.00 |
|
| THE LORD |
Forest Nocturne |
LP |
doom laden debut LP from the other half of SUNN O))) and man behind SOUTHERN LORD, GREG ANDERSON! => this is dark and heavy cinematic music, especially JOHN CARPENTER and BERNHARD HERMANNs soundtracks come to mind...- "it feels less like an album and more like the score to some dark psychological thriller/horror fillm. There is an eerie vibe throughout, and the songs creep up the back of your neck like skeletal fingers reaching for your throat" [Kirk Gauthier]
|
2022 |
€20.00 |
|
| THE NORMAN CONQUEST / AGNES SZELAG |
nadir / ZENIT |
LP |
on this split LP, two artists from the U.S. (also known as DOKURO) are working ONLY with vintage analog monophonic synthesizers recorded to analog tape - resulting in layers of warm & harmonic cosmic ambiences, carefully pulsing & evolving.... lim. 300, with download code
|
2012 |
€15.00 |
|
| THE NORTH SEA |
Bloodlines |
LP |
dark experimental electronics from BRAD ROSE with help from MIKE WEIS (drummer of ZELIENOPLE)
|
2010 |
€16.50 |
|
| |
Bloodlines |
CD |
dark experimental electronics from BRAD ROSE with help from MIKE WEIS (drummer of ZELIENOPLE) - "... the record is a gloriously spacious excursion, with the fizzing Radiophonic blips, drones and tones set against gongs, scrapes and clanks."/ special priced now
|
2010 |
€6.00 |
|
| THE ONE ENSEMBLE OF DANIEL PADDEN |
Wayward the Fourth |
LP |
first LP by VOLCANO THE BEAR member DANIEL PADDEN as "ONE ENSEMBLE", feat diverse guest musicians: "Blissful free jazz, delicate acoustic out-folk, tape collages, Eastern raga and mystical modern minimalism all peacefully coexist in the One Ensemble's unique and beautiful universe" lim. 300
|
2007 |
€10.00 |
|
| THE RITA |
Queen Sheets |
do-LP |
last copies of this do-LP with source sounds from MEGAN MILLER recorded during two installations of her - a brick rubbing against different materials - the perfect material for the Canadian "Harsh Noise Wall" and fetish project to work with... - comes in a silver on black silkscreen cover, with insert and 4 photographs of the installations, lim. 199 copies
|
2021 |
€26.00 |
|
| THE RITA / TRERIKSRÖSET |
Keep Industrial out of Harsh Noise |
LP |
split LP that lives up to its title (no beats, no synths, no vocals, no real structures, just cascades of granular noises, elegant feedback and distorted piano found sounds;), with a the recording of a THE RITA live performance (Berlin, November 2018) on one side, and a side long (studio?) attack from Swedens TRERIKSRÖSET (one of the Segerhuva masterminds) on Side B; lim. 300, comes with sticker and stamped white labels
|
2020 |
€18.00 |
|
| THE STONE TAPES (PINK DOTS, BIG CITY ORCHESTRA & FRANS DE WAARD) |
Revolutions in the Head |
CD |
a unique experimental ensemble "live in the studio" recording by members of BIG CITY ORCHESTRA (DAS and NINAH PIXIE), LEGENDARY PINK DOTS (EDWARD KA-SPEL and PHILIP KNIGHT) and FRANS DE WAARD (BEEQUEEN, KAPUTTE MUZIEK, FREIBAND, MODELBAU, QUEST and countless other projects..), improvised at LPD-studios in Nijmegen 10/2018; 7 pieces between daring experiments and trance-inducing strange drones.. ed. of 300 copies
|
2019 |
€13.00 |
|
| THE WORK |
Slow Crimes |
CD |
Re-Issue der ersten THE WORK LP von 1982 ! - "First LP by The Work, formed in 1980 by Tim Hodgkinson and Bill Gilonis with Rick Wilson and Mick Hobbs. Song based, noise backed, tight-drum-riff-driven, complex, strange and edgy music, with a life-is-short basement aesthetic. Takes no prisoners. Reissued re-mastered." [label info]
- feat. CATHERINE JAUNIAUX on vocals !!
|
2006 |
€15.00 |
|
| THIS HEAT |
Deceit |
CD |
re-issue from second regular LP from 1981. Remastered 2001 |
2006 |
€14.00 |
|
|
same |
CD |
re-release of groundbreaking first THIS HEAT-LP from 1979. re-mastered. digipack |
2006 |
€14.00 |
|
| |
same |
LP |
luxus re-issue of the first LP from 1979, a true classic of TRUE Avantgarde-'rock' of that time..."Was diese so Band so ausnehmend macht und selbst unter heutigen Maßstäben so ungemindert bestechend, ist in meinen Ohren der Thrill zwischen schwebenden Momenten, in denen die Musik die Luft anzuhalten oder garottiert zu werden scheint und sich enorme Energie aufstaut, und den unglaublich intensiven Eruptionen in Gestalt des ostinaten Drummings und sich ins Gehirn fressender Loops." [Bad Alchemy]
|
2016 |
€26.50 |
|
| THISQUIETARMY X N |
Zerfall / Zerfallen |
LP + CD |
archaic guitar droner "N" (HELLMUT NEIDHARDT) in collaboration with ERIC QUACH (TQA), awesome live and studio recordings where 2 guitars seem to be multiplied into various layers and build one lava stream of morphing, psychedelic drone monuments at the end.... "All in all, you get 2 hours of massive drone doom ambient noise guitar fulmination." - 6 long tracks on LP + CD, lim. 222 copies
|
2022 |
€27.50 |
|
| THOUGHT BROADCAST |
Swarm Structure |
LP |
fifth LP by this New York City low fi industrial project, operating more in rough / threatening ambient fields than in pure noise, slow and swampy, granular pulses... definitely recommended!.- "Swarm Structure is an intense step for the project's vision of urban nocturne and apocalyptic concrète; it is a raw demonstration of covert and lysergic minimal electronics and pure industrial rhythm, all rendered in TB's signature hazy, grey-area dubplate texture.." - comes with A4 inlay
|
2022 |
€20.00 |
|
| THROBBING GRISTLE |
Heathen Earth |
CD |
re-release of 'Heathen Earth' LP from 1980 plus 2 7"-only bonus- tracks (Adrenalin & Subhuman)
|
1991 |
€15.00 |
|
|
The Second Annual Report |
do-CD |
re-issue of the first TG-LP from 1977 (Industrial Records IR0002), the very first "Industrial"-album, inventing a new music-style & subcultural movement! Re-mastered by CHRIS CARTER, comes with bonus-CD with a selection of live recordings from the TG24 archive
|
2011 |
€18.50 |
|
| |
20 Jazz Funk Greats |
do-CD |
re-issue of the third TG-LP from 1979 (Industrial Records IR0008), their "electronic/rhythmic" album that influenced generations of techno-artists; re-mastered by CHRIS CARTER ; third in a series of five TG-albums to be released this winter, comes with bonus-CD with a selection of live recordings from the TG24 archive, and the DISCIPLINE 12"
|
2011 |
€18.50 |
|
| TIETCHENS, ASMUS |
Geboren um zu dienen |
CD |
re-release of LP from 1986 (Discos Esplendor Geometrico), his legendary "Industrial" album; incl. three bonus tracks and new liner-notes from TIETCHENS |
2006 |
€15.00 |
|
|
In die Nacht |
CD |
fourth part in the rerelease-series of all early vinyl albums by Asmus Tietchens on CD. This is the third of the SKY albums from 1982 incl. three bonus tracks of unreleased material not included on the original LP. Comes with a poster booklet feat. the original cover artwork.
|
2004 |
€15.00 |
|
|
Litia |
CD |
re-release of LP from 1983 w. bonus material |
2004 |
€15.00 |
|
|
Zwingburgen des Hedonismus / Mysterien des Hafens |
CD |
re-release of these two one-side / split-LP pieces from 1987/1988. First ed. 600 copies |
2006 |
€15.00 |
|
|
Aus Freude am Elend |
CD |
11th part in the re-issue series; originally as LP on DOM in 1988; includes two previously unreleased tracks, ed. of 600
|
2008 |
€13.00 |
|
|
Das Vieh und sein Vater |
CD |
hard to find CD with 18 tracks ranging from 1981-1995 that appeared on MC-only and LP-compilations, many rare tracks!
|
1996 |
€13.00 |
|
|
Adventures in Sound / Nachtstücke |
do-CD |
re-release of "Nachtstücke" LP (1980) and very early material from 1965-1969. First part of re-release series
|
2003 |
€18.00 |
|
|
Marches Funebres |
CD |
re-issue of LP from 1989 (& 13th part of re-release series); comes with full colour poster booklet, reproduction of the original artwork & bonus-track "Grünschattiger Nachmittag" from 1979; lim. 600
|
2010 |
€15.00 |
|
|
Stupor Mundi |
CD |
re-issue of LP from 1989 (Discos Esplendor Geometrico), plus 4 previously unreleased bonus-tracks, lim. 600 (part 14 in the ongoing series of re-releasing all TIETCHENS vinyls 1980-1991)
|
2012 |
€15.00 |
|
|
Nachtstücke |
LP |
finally a vinyl re-issue of his very first solo LP from 1980 with recordings from 1975-1978 made on MOOG Sonic Six and Minimoog, produced by PETER BAUMANN (TANGERINE DREAM); strange harmonic ghostly synth-music, revealing even a dark romantic character...
|
2014 |
€19.50 |
|
|
Dämmerattacke |
CD |
a new issue of TIETCHENS superb ambient work from 1997, now with a new bonus track ("Franz-Joseph-Land") that was not on the CD re-issue from 2002; "....It reminded me of the very first Werkbund LP, Skagerrak, with that very same submarine below sea surface sound..." [FdW/Vital Weekly]
|
2017 |
€15.00 |
|
|
Der fünfte Himmel |
CD |
previously unpublished material / outtakes from 1980-1983 = the early 80's "Pop" phase when TIETCHENS released the 4 LPs on SKY that sound completely different from the rest of his works.... special low priced now! "... fusing rhythmic set pieces and off-kilter sounds into gaudy escapades of saccharine artificiality...."
|
2014 |
€10.00 |
|
|
Ptomaine 1 |
CD |
PTOMAINE was a 3 x LP release from 1996, a genius re-working of 40 lock grooves from the legendary RRR100 7\" that ended themselves again in a lock groove... => this first ever CD version holds 22 versions of those 40 lock-grooves, now all about 2 1/2 minutes in length, named after three substances playing a role in the intoxication and decomposition of dead bodies: Atropin, Lysin, and Neurin
|
2021 |
€15.00 |
|
| |
Ptomaine 2 |
CD |
PTOMAINE was a 3 x LP release from 1996, a genius re-working of 40 lock grooves from the legendary RRR100 7\" that all ended themselves again in a lock groove...=> this 2nd part of the first ever CD version holds another 24 tracks based on 3 lock grooves, named after three organic substances with poisonous effects: PUTRECIN, OMITHIN, CONIIN (Ptomaine means \"cadaveric poison\") !!
|
2023 |
€15.00 |
|
| TIETCHENS, ASMUS & ROLF ZANDER |
Tarpenbek |
CD & 12inch BOX |
collectors item! LP-box with 12 high quality prints of etchings (+ some more inlays) by visual artist ROLF ZANDER ~ for each of the 12 tracks on the CD ~ inspired many years ago by the structures of the small north-german river TARPENBEK, the visuals were used by TIETCHENS as grounding for his hyper minimal & subtle compositions ~ very nice project comining "real nature" topography, visual & acoustic art; lim. 300
|
2012 |
€45.00 |
|
| TIETCHENS, ASMUS & TERRY BURROWS |
Watching the burning Ride - Burning the watching Bride |
do-CD |
the two existing collaborative works (LPs from 1986 & 1998) by TIETCHENS and TERRY BURROWS (THE CHRYSANTHEMIUMS, etc.) now on one double CD; comes with bonus tracks and new essay by TERRY BURROWS
|
2017 |
€17.50 |
|
| TIETCHENS, ASMUS + CV LIQUIDSKY |
Monoposto |
CD |
the 17th issue in the 18part re-issue series of Die Stadt & Auf Abwegen presents the 1991 collab LP with German artist CV LIQUIDSKY, a work with a more improvised, repetitive/rhythmic and almost playful approach, with wonderful track titles such as "Schlotzen" or "Junge Hoden", and a cover version of a NEIL YOUNG song (!); comes with 3 bonus tracks and new liner notes by ASMUS TIETCHENS
|
2020 |
€15.00 |
|
| TIETCHENS, ASMUS / FRIEDER BUTZMANN |
NNOI#02 |
LP |
second release in a new series connected to our yearly favourite NNOI-festival in Zernikow, Germany => ASMUS TIETCHENS spreads on 9 short pieces his 'Stenogramme, Folge eins' series ("abstract structures that force a space that transforms its floating hardness and beauty into the clear outlines of a sculpture"), FRIEDER BUTZMANN presents the "SinusToneSuite", composed with sinus-tones found between generators, vocal chords and wooden tubes; excellent gatefold cover design, lim. 300
|
2020 |
€19.50 |
|
| TIETCHENS, ASMUS / OKKO BEKKER |
E |
CD |
re-issue of the remarkable collab LP from 1988 with the two tracks from the bonus 7" and two more unreleased tracks; lim. 600 with poster-booklet, new photos and liner notes; lim. 600
|
2015 |
€14.00 |
|
| TO / THOMAS TILLY |
A Semiotic Survey |
CD |
the great Parisian label (ex G.M.B.H.) is back with a new work by the field recording sculpteur THOMAS TILLY, who immersed again deeply into an exotique aural environment (French Guiana) - what makes this special is the incorporation of glitches like dysfunction sounds of the microphones and electronic sounds of the devices, thus the recording artist and his gear becomes an integral part of the audio result, merging the nature-sounds with the human sphere... lim. 200 copies
|
2019 |
€12.00 |
|
| TOOP, DAVID |
Lost Shadows: In Defence of the Soul (Yanomami Shamanism, Songs, Ritual, 1978) |
do-CD |
recordings from 1978 of YANOMAMI ritual songs, shamanistic ceremonies and rainforest sounds, when DAVID TOOP was travelling to the Amazon jungle to meet the fascinating tribe...comes with 40 page booklet with text by DAVID TOOP about the journey, and pictures & lots of additional audio compared to the LP version
|
2015 |
€16.00 |
|
| TORAL, RAFAEL |
Space Solo 1 |
LP |
LP-version of the Quecksilber CD from 2007; edition of 500, 200gr vinyl
|
2008 |
€13.50 |
|
| TORTURING NURSE / EZCATON |
Eternal Foreshadowed / In Humana Ombra Solitaria |
7inch |
split 7" on this French underground noise label by the Chinese masters of harsh noise from Shanghai & the "nekronoise" project EZCATON from Italy; sick sounds for sick braincells! Orange vinyl, lim.200 , handmade wallpaper cover
|
2012 |
€7.00 |
|
| TOY BIZARRE |
kdi dctb 071 (TB plays DSM) |
CD-EP |
TOY BIZARRE remixes old basic material from DAS SYNTHETISCHE MISCHGEWEBE for a truly fascinating sound-collage with changes and transforms with every second, very rough electronic sounds are somehow tamed and sculptured, all the time filled with a vivid inner movement and energy... a one-tracker of almost 20 min. - lim. 100 only - professionally duplicated CDR and cover
|
2014 |
€10.00 |
|
| TREPANERINGSRITUALEN |
Yours is a Kingdom of Death |
CD |
collection of rare vinyl-material: three tracks from the split LP with BODY CARGO (Autarkeia, 2016), one long track from the split LP with DEATHSTENCH (Malignant Records, 2013); "A renunciation of the created world; a glorification of the New Man; he who is beyond life and death, existing as pure flame alit in eternal void."
|
2017 |
€13.00 |
|
| |
Yours is a Kingdom of Death |
LP |
collection of rare vinyl-material: three tracks from the split LP with BODY CARGO (Autarkeia, 2016), one long track from the split LP with DEATHSTENCH (Malignant Records, 2013); "A renunciation of the created world; a glorification of the New Man; he who is beyond life and death, existing as pure flame alit in eternal void." Vinyl version lim. ed. 300 copies on white vinyl
|
2018 |
€23.00 |
|
| TRICOLI, VALERIO |
Clonic Earth |
do-LP |
after his great "Misery Lares" do-LP on the same label VALERIO TRICOLI is back with five long new compositions => experimental transcension drones with breathtaking streams of mind-absorbing microsounds flowing magnetically through the space, often voice material is processed, and there also weird collages with field recordings and silent interruptions... so abstract, surrealistic, mysterious and unique!
|
2016 |
€27.50 |
|
| TROUM |
Autopoiesis / Nahtscato |
CD |
finally a CD version / re-issue of the two vinyl-only releases AUTOPOIESIS (pic-LP from 2004) and NAHTSCATO (12" from 2005); plus two unreleased versions / bonus-tracks recorded 2003; 6-panel digipack, edition of 500 copies
|
2010 |
€12.00 |
|
|
Autopoiesis / Nahtscato (re-press w. different artwork) |
CD |
re-press with slightly different cover (glossy spiral on backside) of about 300 copies: the re-issue of the two vinyl-only releases AUTOPOIESIS (pic-LP from 2004) and NAHTSCATO (12" from 2005); plus two unreleased versions / bonus-tracks recorded 2003;.."When suspending their drones as lugubrious slabs of sound, Troum emerge as a brooding doppleganger of the shoegazer ethos." [Jim Haynes /The Wire]
|
2021 |
€12.00 |
|
| |
Symbiosis |
LP |
first ever vinyl re-issue of deleted mini-CD, with solo-tracks by both memnbers based on guitar-harmonies and structures.. - this LP contains a sixth new bonus-track based on older material; lim. 300 violet vinyl, artwork by SALT, using x-ray brain scans of both members ; comes with DL code |
2024 |
€22.00 |
|
| TSUNODA, TOSHIYA |
Landscape and Voice |
LP |
TOSHIYA TSUNODA became a specialist in recording vibrations and environmental nature sounds from the inside of vessels (like bottles, pipes, plants). with the aim of reaching a "subjective relationship" than staying an "objective" outside observer; on this LP he combines human vowels with fragments of field recordings in a special way, with astonishing effect - " this meeting between subject and object becomes an almost mystical union between the natural and the human"
|
2022 |
€23.50 |
|
| TUMORCHESTER |
Autohimmelfahrt |
LP |
the one and only LP for this remarkable 'free style/industrial/avantgarde/impro/punk/no wave" band from Hamburg feat. SEEMANN (now in CZEPOKS), using bass-saxophon-percussion-stylofon-violin-voice-guitar-electronics, they had german vocals and the angryness and directness of early 80's German New Wave & Punk; A must have for everyone interested in the Hamburg experimental & noise underground!
|
2002 |
€12.00 |
|
| |
Feng Shui Katastrophen |
CD-R |
this rare album appeared shortly after their excellent "Autohimmelfahrt" LP - the free jazz/noise/industrial collective recorded 9 pieces at the "Free Radio Kombinat" F.S.K. in Hamburg, all entitled with shortcuts for FSK like "Früh Sport Kadaver", "Fliegen Schiss Katapult", etc.. - these are highly demanding impro and collage noise pieces with roaring drums, guitars, sax, all kinds of found sounds, emerging powerfully from the chaos.. full colour 7" cover
|
2004 |
€8.00 |
|
| TURNER, AARON & DANIEL MENCHE |
NOX |
LP |
drifting transcension drones based on the voice of AARON TURNER (ISIS, LOTUS EATERS, SUMAC, etc..) with additional percussion, field recordings and electronic treatment by DANIEL MENCHE - this first single collaboration by two of the main U.S. drone- & rock noisers comes as a (wonderful) surprise, the 31 min. piece - stretched over 2 LP sides - reminds on classical contemporary choir pieces or otherwordly drone ambient art... lim. 400 on clear & black vinyl, letterpress cover
|
2017 |
€23.00 |
|
| TUXEDOMOON |
Dark Companion / 59 to 1 remix |
7inch |
the bonus 7" that came with some copies of the legendary "Half-Mute" LP, the title track is not on the LP; ORIGINAL copies with plain white sleeve, 45 RPM
|
1980 |
€7.00 |
|
| TWICE A MAN |
The Sound of a Goat in a Room |
CD |
re-issue of TWICE A MANs cassette-album from 1983 - the missing link between the "Music for Girls" and "From a Northern Shore" LPs - absolutely stunning cold wave ambience from Sweden... incl. CD_ROM track feat. lyrics, infos photographs and two video files in Quicktime format ! last copies!!
|
1997 |
€13.00 |
|
| TWIG HARPER |
New Lost Knowns |
LP |
JAMES TWIG HARPER's LP for the Alga Marghen sublabel, full of unclassifiable + strange low fi noises, silkscreen cover, ed. of 200 copies, white vinyl, last copies! - *There's an animalistic or perhaps even plant-like bio-logic to its devolved, dubbed-out arcana, a grunting, scraping, grubbing ecological complexity of sounds that grows, twists and bifurcates at seemingly haphazard junctions to catalyse chain reactions of constant change and multiple layers of surreality.*
|
2013 |
€21.50 |
|
| TZESNE |
Asimilacionismo |
LP |
12 years after the "Huffduff" 7" on our own label (DR-74) the first LP by the favored Basque project: field recordings and vintage synth drones+tones+pulses+sequences serve as basis for the mysterious, somehow drone-based compositions, which use lots of unrecognizable sounds, there are flickering passages, synthetic scrawls and glittering environmentals, all carefully constructed for a wonderfully inspiring brain-ride... lim. 200 copies only, on white vinyl, finally BACK IN STOCK !
|
2016 |
€20.00 |
|
| UBEBOET |
Haereo |
CD |
Drone Rec. artist UBEBOET (see "drone-mind vol. 1" LP) from Spain (who also runs the CON-V label) with three new tracks, culled from field recordings a sublime and mysterious acoustic realm is created, with recognizable and unrecognizable sounds,interchanging and interfering in slow waves, building nice contrasts... lim. 200 full colour cardboard cover w. inlay
|
2014 |
€13.00 |
|
| UNDER THE SNOW |
The Background Noise |
LP |
collector's item, lim. 86 only - the project of Italians STEFANO GENTILE & GIANLUCA FAVARON on a one-sided (grey marbled) LP with intimate / concrete micro-sounds, raw single guitar tones & subtle drones.. nice fold out cover & postcard
|
2013 |
€16.00 |
|
| UP-TIGHT |
The Night is yours |
CD |
heavy and dark psychedelia from Tokyo, this is the CD edition of a sold out LP from 2011... "Fuzz and reverb drenched jamming sounds from the basements of Hamamatsu evoking the always welcomed ghosts of Amon Düül and Les Rallizes Denudes"; mini-gatefold cover + insert, lim. 200
|
2014 |
€15.50 |
|
| URBAN SAX |
Urban Sax 1 |
LP + DVD |
re-issue of the legendary first LP (from 1977) by GILBERT ARTMANs Saxophone & Multimedia orchestra: two side-long tracks of a droning saxophon-orchestra, with minimal structures and harmonies appearing in the mix.. just great ! Comes with a full bonus DVD with unreleased audio & video material, and 24 page colour booklet 12 x 12cm !!!
|
2016 |
€24.00 |
|
|
Urban Sax 2 |
LP + DVD |
re-issue of the second LP (from 1978) by GILBERT ARTMANs Saxophone & Multimedia orchestra, a continuation of the debut-LP...."It features parts 2 and 3 of the pieces contained on 'Urban Sax 1', and shows similarities to the music of La Monte Young, Phil Niblock, Glenn Branca, Steve Reich and Terry Riley." comes again with a full bonus DVD feat. unreleased audio & video material, plus 24 page full colour booklet
|
2016 |
€24.00 |
|
| |
Fraction sur le Temps |
LP + DVD |
re-issue of the third LP (from 1985) by GILBERT ARTMANs Saxophone & Multimedia orchestra, on which they sound especially psychedelic and ethereal, including also gongs, electronics, a large choir, percussion & guitar into the orchestra, reviewers mentioned LIGETI and MAGMA at the same time! Comes again with a full bonus DVD with unreleased audio & video material, + 24 page full colour booklet, lim. 500
|
2016 |
€25.50 |
|
| US STEEL CELLO ENSEMBLE |
Noise in the Library |
LP |
legendary Berlin-based sound sculptor BOB RUTMAN (nowadays 87 years old and still giving concerts) with the US STEEL CELLO ENSEMBLE (one Steel Cello and three Bow Cimes) recorded live at Passionskirche in Berlin, May 1989; all instruments were made by RUTMAN himself (of large flexible sheets of metal) - the rich overtunic, strangely harmonic resonances are supported by STEPHANIE WOLFF with overtune-singing; three long pieces with more than 45 min length
|
2018 |
€18.00 |
|
| USENBENZ, ANDREAS |
Bells Breath |
LP |
highly recommended LP for this sound art / drone minimalist who recorded for this installation project the 10 different bells of the famous minster of Ulm (Germany), creating a hypnotic 'metallurgic' ambience; all different tones of the bells have been stretched and layered and form clouds of pure resonances and overtones with gradual shifts in the shapes and pitches, adding more subtle electro-acoustic processing on Side B; very nice edition with diverse inlays, on clear vinyl
|
2017 |
€16.50 |
|
| USENBENZ, ANDREAS & PETER SCHUBERT |
Plaque |
CD |
a field recording 'sound art sculpture' that was produced for the 200th birthday event of DANIEL STRAUB, an important economic and culturual figure in the region of the composers => quite masterful ambience elevations and mechanical abstract drones, multi-layered and evolutive.. "It is an independent piece of sound art, which deserves the same form of attention and appreciation as a painting or a sculpture." lim. 200 copies
|
2017 |
€10.00 |
|
| UTON |
The Source has its rare Beauty |
MC |
UTON is a Finnish "bizarre psychedelia / ambient / noise" project, active for over more than 20 years now (remember 3 LPs on DEKORDER) - thisC-49 (lim. 55 copies) is out on Canadians OULTIER and based on acoustic guitar performed with an electronic massager to create resonating minimal drones...- "That noise penetrates from and into the depths; from and into The Source - to our life and form - and continues this loop eternally. It's an esoteric energy bank, a power charger for the inner batteries"
|
2022 |
€9.00 |
|
| V.A. (VARIOUS ARTISTS) (COMPILATIONS) |
Construction Sonor |
do-CD |
on one CD field recordings made in swiss alpes underground-railway tubes & shafts by BERND SCHURER (ex DAS ERDWERK, etc..) , 2nd CD remixes by LUIGI ARCHETTI, BORIS BLANK / YELLO, ERIK M., FENNESZ, SEELENLUFT, GUENTER MUELLER / TOMAS KOERBER, etc... comes with poster & nicely designed !! back in stock, still to discover !! |
2003 |
€17.50 |
|
|
Floating Foundation Vol. 1 |
CD |
back in stock, sound sculptures by artist who are working in the field of "plastic arts" too:
JANEK SCHAEFER, MAIN, C. CHARLES, STEPHEN VITIELLO, KURT RALSKE |
2002 |
€13.00 |
|
|
Myths 3 |
CD |
re-issue of this legendary comp. originally released as LP in 1987 / CD in 1989 / JON HASSELL, HAROLD BUDD, GAVIN BRYARS, LES ARCHIVES SONORES SUB ROSA |
1989 |
€13.00 |
|
|
Oscotarach |
do-LP |
1 band per side: SKALPELL, SPHERICAL DISRUPTED, CARSTEN VOLLMER, HIDDEN TECHNOLOGY. lim. 500, heavy vinyl, special sewed tissue-cover. back in stock this collection of german / swiss
industrial tunes..
|
2005 |
€16.50 |
|
|
Radiation |
CD-R |
lim. 300 / oversized cardboard-cover / STABAT MORS, BARADELAN, NARBENERDE, DAWN PROJEKT, GOVERNMENT ALPHA, I.S.ISABELLA, XOTOX, SEKTOR, etc..
|
2005 |
€10.00 |
|
|
RECORDS ARE NOT FOR BAKING [RANFB] (Full Subscription) |
12 x 12inch |
subscription ed. lim. 200 / 6 x 12" plus 6 picture LPs only for subscribers!!! Contains also poster & original artwork. with: NURSE WITH WOUND, IRR.APP(EXT.), LA STPO, FRIDAY GROUP, BRUNNEN, CHRISTUS & THE COSMONAUGHTS.
LAST FULL COPY IN STOCK - SPECIAL OFFER NOW!
(the cover image shown here is from the IRR.APP(ext.) pic ed!!) |
2005 |
€300.00 |
|
|
Text-Sound Compositions. A Stockholm Festival |
5 x CD-Box |
re-release of deleted LPs released between 1968 to 1977. With LARS-GUNNAR BODIN, HENRI CHOPIN, BOB COBBING, FRANCOIS DUFRENE, STEN HANSON, BERNHARD HEIDSICK, AKE HODELL, and many more... incl. 60 page booklet, comes in nice box !! |
2005 |
€45.00 |
|
|
Abschied aus Berne |
MC |
cassette-version of this long deleted LP from 1995. Exclusive material from the experimental Hamburg-scene: ASMUS TIETCHENS, TBC, KLANGKRIEG, Y-TON-G, G. REZNICEK, and others..
|
1995 |
€6.50 |
|
|
Roulette Russe pour un peu de Caviar |
CD |
russian compilation for the "Bruit de la neige"-Festival April 2007: NOISES OF RUSSIA, KRYPTOGEN RUNDFUNK, HUM, INSTANT MOVIE COMBINATIONS, CISFINITUM, EXIT IN GREY, BARDOSENETICCUBE, MOSCOW LAPTOP ORCHESTRA, ALEXEY BORISOV, INTERIOR DISPOSITION, CD-R, KOLPAKOPF...
|
2007 |
€13.00 |
|
|
FRANNCE |
3 x CDR |
3 CDRs of exclusive tracks by 45 international artists from the "experimental drone folk & beyond" scene:... UTON, SILVESTER ANFANG, FURSAXA, TANAKH, TOM CARTER, BLACK FOREST/BLACK SEA, BEN REYNOLDS, VOLCANO THE BEAR, GIANLUCA BECUZZI & FABIO ORSI, etc etc.. ed. of 300, comes in a wallpaper-cover, sold out at the label !
|
2007 |
€18.00 |
|
|
This Infernal Love of Life |
CD |
re-issue of an LP from 1989 feat. swedish artists only (TOPYSCAN) (except Karkowski), feat. OMALA (who worked with JOHN FRYER - THIS MORTAL COIL, and GRAHAM LEWIS - WIRE, as HE SAID OMALA), WHITE STAINS (who collaborated with PSYCHIC TV often), PHAUSS, Z. KARKOWSKI. Edition of 500
|
2008 |
€13.00 |
|
|
The Recommended Records Sampler 1982 - 25th Anniversary Edition |
do-CD |
re-issue of this historic milestone collection - the first compilation Recommended Records released (do-LP in 1982)t, now a collectors item, with exclusive material by: FAUST, ART BEARS, THE HOMOSEXUALS, UNIVERS ZERO, AKSAK MABOUL/HONEYMOON KILLERS, THE WORK, HENRY COW, ART ZOYD, THIS HEAT, THE RESIDENTS, PICCIO DAL POZZO, ROBERT WYATT, HECTOR ZAZOU, and many more... 2 hours of material, BACK IN STOCK
|
2008 |
€17.50 |
|
|
TESTAMENT |
CD |
CD-version of the legendary Industrial & Noise-series (LP from 1988 with different material); tracks by ARTIFICIAL MEMORY TRACE, THOMAS DIMUZIO, MICHAEL PRIME, RLW, JOHN WIGGINS, KOJI MARUTANI, JEROME NOETINGER, etc.; soon to be rare
|
1993 |
€12.00 |
|
|
Risveglio Di Una Citta (In Memory of Luigi Russolo) |
6 x CD-R / book |
another RUSSOLO memorial release but this one is really special: a handmade full-colour A4"book" with many photos, paintings, two essays (one by JEAN-MARC VIVENZA) on the subject, and 6 CDRs with new material by CRIA CUERVOS, LIEUTENANT CARAMEL, BIG CITY ORCHESTRA, HEAD58m, GOVERMENT ALPHA, HYWARE. Numbered. ed. 160 copies
|
2008 |
€33.00 |
|
|
Things that happened |
do-CDR |
five complete recordings from concerts that have happened in Hamburg 2005 & 2006: AUDIBLE PAIN (harsh ponding analogue industrial noise), NOTSTANDSKOMITEE vs TBC (chaotic anarcho-noise impro), WÄLDCHENGARTEN (great 35 min recording of their show at HÖRBAR in May 2005!), GOVERNMENT ALPHA (piercing analogue Jap harsh noise), PRAYING FOR OBLIVION (short but extreme voice-processions); comes in silk-screened LP cover with cardboard plate & 4-panel A4 inlay poster; numbered ed. of 100 copies
|
2010 |
€17.50 |
|
|
Ekhnaton |
CD |
re-mastered re-issue of LP compilation from 1984 presenting the Italian experimental scene at that time: T.A.C., TASADAY, MAZE 1066, EVITAXAL |
2010 |
€12.50 |
|
|
I.D. Art # 2 |
CD |
re-issue of very early / rare LP (1976) from the LOS ANGELES FREE MUSIC SOCIETY (not included on the 10 CD set released some time ago); 44 pieces, lots of obscurities
|
2007 |
€13.00 |
|
|
DRONE-MIND // MIND-DRONE Vol. 1 : HALO MANASH, UBEBOET, JARL, B*TONG (SOLD OUT) |
LP |
the NEW LP-series from Drone Records, dedicated to the Drones of the World, and the Drones of our Minds. Each LP features four artists from the international drone-scene and is limited to 500 copies, pressed on four different vinyl-colours. Volume 1: UBEBOET (Spain), HALO MANASH (Finland), B°TONG (Suisse), JARL (Sweden). Stunning artwork paintings by British artist PETE GREENING, design by NINA KERNICKE (ALL SIDES). RELEASE-DATE: 5. DECEMBER 2011 !!
|
2011 |
€15.00 |
|
|
Japanoise of Death I+II |
do-CD / metal box |
collectors item in a die-cut metal-box! Only Japanese noise acts, compiled by KOJI TANO & SHINICHI SHIKADA, with: MSBR, KK NULL, INCAPACITANS, K2, MASONNA, HIJOKAIDAN, GOVERNMENT ALPHA, AUBE, ASTRO, NORD, etc. etc. - 26 tracks of ecstatic noise ! Lim. 300 - original released in two parts in 2003
|
2008 |
€29.00 |
|
|
INVENTIONEN VII : 30 Jahre Inventionen 1982-2012 |
do-CD & DVD-BOX |
great jubilee edition of the Berlin based 'new music' festival with 310 min.(!) of dolby surround material on the DVD feat. mainly exclusive long pieces / recordings by HANS TUTSCHKU (genius!), IANNIS XENAKIS (from 1982!), FRANCIS DHOMONT, HANNA HARTMAN, GILLES GOBEIL, etc.. + a 75 min. recording of a TREVOR WISHART piece (2010), plus CD re-issues of three very early deleted Ed. RZ LPs: RICARDO MANDOLINI (1982) and the two INVENTIONEN LPs from 1985; comes in nice box with 68p. booklet !!
|
2012 |
€29.00 |
|
|
Presque Rien |
CD-R |
42 artists were asked to compose a piece under 2 minutes based on the words "presque rien" (= "almost nothing"), taken from a phrase by FRANCIS PONGE ('Le verre d'eau', 1948) - a curious compilation with curious results, and many unknown names to explore, for example: BRUNO DUPLANT, D'INCISE, DARIUS CIUTA, DELPHINE DORA, EVA-MARIA HOUBEN, JAMIE DROUIN, KEITH ROWE, LUCIO CAPECE, MICHAEL PISARO, etc. etc.. numbered ed. of 120 copies, 80 min. playtime!!
|
2013 |
€11.00 |
|
|
A Taste of MOLOKO PLUS / 1996-2016 |
do-CD |
20 year jubilee compilation for this interesting German label, which offers a wide range of styles from post industrial/ experimental/ambient to avant-Pop and poetic Rock, Impro and IDM, nowadays also publishing books with poetry: COLUMN ONE, MIMETIC, DE FABRIEK, JÜRGEN PLOOG, DE FABRIEK, DELPHIUM, ALFRED23HARTH & WOLFGANG SEIDEL, HERBST IN PEKING, R. STEVIE MOORE, etc. etc.. 21 tracks
|
2016 |
€15.00 |
|
|
Fluxus Anthology : A Collection of Music and Sound |
LP |
a collection of various incredible soundworks 1956-1989 that could be labelled as part of the Fluxus movement, by: JOSEPH BEUYS, JOHN CAGE, LA MONTE YOUNG, NAM JUNE PAIK, PHILIP CORNER, YOKO ONO, EMMETT WILLIAMS, MILAN KNIZAK, WOLF VOSTELL, etc.. first released as LP in 1989, comes with replica of the original sleeve design featuring excerpts from various Fluxus writings
|
2017 |
€28.00 |
|
|
Visions of Darkness (in Iranian Contemporary Music) |
do-CD |
a colllection of Iranian "majestic, heavy, dark ambient, ritual, drone and noise" underground material with 21 acts/tracks, curated by MOREGO DIMMER and RAFFAELE PEZZELLA (SONOLOGYST); names are completely unknown but the variety of creative approaches is stunning, illustrating the the boundlessness of non-meanstream music; our favourites incl. RHONCHUS, ALPHAXONE, POO YAR,.. two full CDs to discover !!
|
2017 |
€16.00 |
|
|
Decay, Death and Darkness: Aural Visions of BEKSINSKI's Art |
CD-R |
"Apocalyptic and dystopian art" - compilation dedicated to the Polish painter and sculptor ZDZISLAW BEKSINSKI (after the great collection on Wrotycz Records in 2007).. "His creatures are misshaped wretches that might have been human once, his landscapes are painted orange and red by some unseen fires; eerie monstrosities stride in the mists surrounding foreboding monuments"; with: SONOLOGYST, PSIONIC ASYLUM, NIHIL IMPVLSE, CORDIS CINCTI SERPENTE, any many more unknown and fresh names...
|
2018 |
€11.00 |
|
|
CHANGEZ RETRAVAILLE (Changez les Blockeurs) |
3 x CD |
"A warehouse symphony in which workers pile scrap metal in on honour of BEETHOVEN’s Ode To Joy. A masterpiece." [ND review on the original TNB LP] - more anniversary re-workings of the one and only "Changez Les Blockeurs" LP (1982) with some interesting new and exciting collisions: TIETCHENS, THURSTON MOORE, JEROME NOETINGER, RLW, IDEA FIRE COMPANY, DAISUKE SUZUKI, JIM O'ROURKE, IRR.APP.(ext), etc... lim. 300 + new liner notes, manifesto, interview..
|
2019 |
€26.00 |
|
|
Princess Nicotine |
LP |
one of the earliest (and very successful) releases on Sublime Freq. was a CD re-issue of "Folk and Pop Music of Myanmar (Burma)", originally a sought-after vinyl LP from 1994, containing 9 tracks of material from the last decades, the first true compilation of really bizarre (for western ears) and completely "over the top", high-pitched and speedy pop tunes... gatefold-cover w. liner notes by ALAN BISHOP
|
2011 |
€22.50 |
|
|
F/EAR THIS! |
BOOK + 2 x CD |
re-print of 1987 do-LP compilation about the theme "FEAR" that came with 48page 8 x 8" booklet as a benefit for a monthly Anarchist magazine! => NURSE WITH WOUND, DIE FORM, POSSESSION (project with S. THROWER of COIL & CYCLOBE!), PAROKSI-EKSTA (project with both TONIUTTI brothers) EMBRYO (!), THE BLECH, LOOK DE BOUK, LA1919, ANNIE ANXIETY, THELEMA, DOCTOR NERVE, and many more, a wonderful true underground compilation with various styles and approaches + collages + texts, etc. in the booklet
|
2020 |
€20.00 |
|
|
Made to Measure Vol. 1 |
LP |
Brussels was one of the hotspots for innovative, avantgardish, experimental music in the 80's, and CRAMMED DISCS a central label of this movement.. this is a re-issue of a classic CRAMMED LP comp. from 1984 which became a cult series, with not so easy to find material from MINIMAL COMPACT, TUXEDOMOON, AKSAK MABOUL and BENJAMIN LEW...> "the aural equivalent of a collection of art books" - remastered, comes with DL code
|
2021 |
€18.00 |
|
|
Miniatures 2020 |
do-CD + BOOK |
the 40th anniversary tribute to the "Miniatures" LP, compiled by MORGAN FISHER it contained 51 pieces that lasted max. 1 minute... => this new collection based on the same idea has contributions from 124 artists (!), with some incredible names and legends from the Avantgarde & more: THE RESIDENTS, FRED FRITH, ALTERNATIVE TV, MX-80 SOUND, BEVIS FROND, BILLY BRAGG, MATMOS, HENRY KAISER, HALF JAPANESE, etc. etc + lovey 64 page booklet, DVD sized
|
2021 |
€25.00 |
|
|
NEKROPHILE REKORDS 1983-1990 |
10 x LP BOX |
the eight cassette releases by the legendary Austrian label (many for the first time on vinyl, like the LASHTAL, KORPSES KATATONIK, THE BEAST666 compilation...) plus unreleased material on two LPs by METGUMBNERBONE and COMING TO NOW: 10 LPs in luxus wooden box, plus 2 x 7"es and T-Shirt with incredible 240 pages book, feat. hundreds of documents, pictures, texts, from the "occult underground of the post industrial area"; lim. 666 copies
|
2022 |
€299.00 |
|
|
\'Музыкальное Приношение\' (Musical Offering) - |
CD |
historic recordings (1971) made with the fascinating Soviet AMS synth (you can 'draw' music wiithout notes) from contemporary Russian composers ALFRED SCHNITTKE, EDWARD ARTIEMIEV (Tarkowsky film music was produced on the ANS! ), E. DENISOV, O. BOLUSHKIN, and SOFIA GUBAIDULINA: *MUSICAL OFFERING demonstrates a 'musical' machine unlike any other and has long fascinated cutting edge, modern electronic composers, notably COIL and THE ANTI GROUP (TAGC) / CLOCK DVA..." - re-issue of Russian LP 1991!!
|
2023 |
€15.00 |
|
| |
In Fractured Silence |
CD |
re-issue of the legendary Unitied Dairies LP compilation from 1984 (UD 015) with long tracks from UN DRAME MUSICAL INSTANTANE, HELENE SAGE, SEMA (the early solo-project of ROBERT HAIGH), and NURSE WITH WOUND... - this is a great document showing S. STAPLETON's love for the French avantgarde of that time..
|
2023 |
€14.00 |
|
| VAINIO, MIKA & KOUHEI MATSUNAGA |
split |
LP |
first release in a four record feature on the work of Berlin based artist KOUHEI MATSUNAGA; here sharing one LP with the PAN SONIC half
|
2010 |
€20.00 |
|
| VAINIO, MIKA / PAN SONIC |
Last Live |
do-LP |
this release documents the last ever live performance of MIKA VAINIO (2.2.2017 at Cave12. Geneve, Switzerland), who died sadly only few days later... - with the help of C.M. VON HAUSSWOLFF (mixing, artwork), STEPHEN O'MALLEY (editing), DENIS BLACKHAM (mastering) and FRANZ GRAF (artwork) and others a most compelling memorandum has been created, almost exactly 60 min.long & spread on 4 vinyl sides.. comes with DL download card
|
2021 |
€26.00 |
|
| VASILISK |
Whirling Dervishes |
LP |
re-mastered re-issue of the very first VASILISK LP from 1987 (Eskimo Rec. Japan) - a true collectors item, the perfect link between post-industrial, ethno and soft ambience; lim. 150 copies on coloured vinyl, containing one rare bonus-track
|
2014 |
€20.00 |
|
|
Whirling Dervishes |
CD |
re-mastered re-issue of the very first VASILISK LP from 1987 (Eskimo Rec. Japan) - a true collectors item, the perfect link between post-industrial, ethno and soft ambience; containing one rare bonus-track; lim. 350
|
2014 |
€13.00 |
|
|
Mkwaju |
LP |
re-mastered re-issue of the second VASILISK LP from 1988 (Eskimo Rec. Japan) - a masterpiece of experimental ritual music - lim. 150 copies coloured vinyl, contains one rare bonus-track
|
2014 |
€20.00 |
|
|
Mkwaju |
CD |
re-mastered re-issue of the second VASILISK LP from 1988 (Eskimo Rec. Japan) - a masterpiece of experimental ritual music - CD version lim. 350 copies
|
2014 |
€13.00 |
|
|
Acqua |
LP |
re-mastered re-issue of the third VASILISK LP from 1989 (Musica Maxima Magnetica) - great percussive ethno-ambience, now developed to its full beauty... lim. 150 copies coloured vinyl, contains one so far unreleased bonus-track
|
2014 |
€20.00 |
|
| |
Acqua |
CD |
re-mastered re-issue of the third VASILISK LP from 1989 (Musica Maxima Magnetica) - great percussive ethno-ambience, now developed to its full beauty... lim. 350 copies
|
2014 |
€13.00 |
|
| VERNUSKY, MIKE |
Aatma |
LP |
interesting first LP by this sound artist from Austin, TX, who "works with archetypal symbolism and found sound ' - the album meanders slowly between pure field recordings of Mumbai / India, and re-worked material shaping multi-formal drones... "Aatma is a tribute to Mumbai’s wonderful people and culture, and in the hope of representing different and altered states of listening, living, and celebrating.." - lim. 150 copies only, to discover !
|
2021 |
€18.00 |
|
| VIBRACATHEDRAL ORCHESTRA |
My Gate's open, tremble by my Side |
CD |
"A CD reissue of VIBRACATHEDRAL ORCHESTRA's My Gate's Open, Tremble By My Side album originally released in 1999 as an LP by Roaratorio in an edition of 250 copies. Includes all the monolithic sheets of organic, repetitive drones and subtle rhythm and groove explorations of the original along with three bonus tracks recorded during the same sessions. Australian import." [label info] - LAST COPY; SEALED
|
2004 |
€18.00 |
|
| |
Joka Baya |
LP |
one of three new LP released simultaneously by the "ecstatic drone" cult project from UK !! Lim. ed., act fast if interested!!
|
2009 |
€16.00 |
|
| VIKTOR, KNUD |
Ambiances / Images |
do-LP |
official re-issues of the only two albums from 1972, now rare collectors items, by this Danish ambient sound artist, who also was a painter & filmmaker (1924-2013), using lots of self recorded nature sources ; "Light became sound. The most fascinating aspect of Knud Viktor’s world is perhaps that there is a universal coalescence of all things: of artistic expressions and natural science, of painting, sculpture and installation. A paintbrush becomes a microphone. Music becomes sound."
|
2017 |
€32.00 |
|
| VIPCANCRO |
Tropico |
CD |
second album (after the XAX LP) by this Italian drone-noise / ambient collective; very low fi & flowing feedbackin' stuff that morphs & shifts, based on guitar-sounds, synths, voices, etc... raw drones with a touch of mystery, drifting more and more into otherworlds... recommended !
|
2010 |
€12.00 |
|
| VIVENZA |
Veriti Plastici |
LP |
third part of the first works of VIVENZA (originally MC from 1983), based on the theory of RUSSOLO's bruitism; comes with text "LE PROGRAMME FUTURISTE DE RETOUR A LA REALITE MATERIELLE"; this luxus LP re-edition (very thick oversized cover) in white or red vinyl, numbered ed. 333 copies
|
2012 |
€22.50 |
|
|
Fondements bruitistes 2 |
LP |
the best pure machine noise you can find!! The complete sessions from 1984 with many unreleased bonus tracks, spread on two single LPs - sounds still incredible!! lim. 200, red vinyl version, filed under: bruitism drones
|
2014 |
€22.00 |
|
|
Fondements bruitistes 1 |
LP |
the best pure machine noise you can find!! The complete sessions from 1984 with many unreleased bonus tracks, spread on two single LPs - sounds still incredible!! lim. 200, red vinyl version, filed under: bruitism drones
|
2014 |
€22.00 |
|
| |
Realites Servomecaniques |
BOOK / CD |
" Sounds are machines - machines are Sounds" - one of the true "Industrial" records (originally as LP 1984), this is the real machine-sound - now as deluxe CD re-edition with 32 pages hardcover book, with texts in english / french / japanese + pictures
|
2015 |
€20.00 |
|
| VOGEL, MICHEL |
Une petite musique de Nuit |
LP |
first LP by this French painter and sound-sculpturist, using various sized gongs & cymbals to create a deeply resonating spheric drone music; rec. live with no over-dubbing Jan. 2002; lim. 300
|
2009 |
€19.50 |
|
| |
Ronde Matutinale a Amilis / Berenice |
LP |
second LP by this French painter and sound-sculpturist; two long tracks using prepared gongs and self built metal-instruments without any further processing = pure resonances, overtunes, metal-drones, highly meditative & pure... lim. 270 copies
|
2011 |
€19.50 |
|
| VOGEL, MICHEL / PHILIP CORNER / PHOEBE NEVILLE |
Musiques des Ailes / Winged Music |
LP |
listen to the gongs of MICHEL VOGEL, played by him, PHILIP CORNER and PHOEBE NEVILLE, recorded at "Archipel" (l'atelier of Polska), Paris, Oct. 3, 1999; 4 pieces of improsived gong-drone muzak, performed on gongs, bells and sound sculptures, so far unpublished recordings, lim. 300 on black vinyl with full colour cover w. inlay. nice document of improvised contemplation-drones
|
2012 |
€17.00 |
|
| VOICES OF THE COSMOS |
IV |
CD |
ambitious Polish project formed by Drone Rec. artist RAFAL IWANSKI (HATI, X-NAVI:ET) - together with WOJCIECH ZIEBA (ELECTRIC URANUS), and astronomer SEBASTIAN SOBERSKI - they use extraterrestrial sounds and signals from radio telescopes, and combine it with electronic instruments and objects.. "noises, vibrations, pulsations, shreds of melody, grunts, as well as chaotic and mysterious sounds, often difficult to determine.." - CD version of the "Interstellar" LP + 3 bonus tracks! Great cosmic pulse drones!
|
2021 |
€10.00 |
|
| VOLCANO THE BEAR |
Volfurten |
CD |
re-issue of rare LP from 2006 (the first release at that time on their own label) by the band who had their first proper CD album out on STEVEN STAPLETON's UNITED DAIRIES label in 1998... " A calculated hysterical melting pot of This Heat, Robert Wyatt, Faust and The Residents, of musique concrète and ethno-folk, all seen through a prism of theatrical improvisations and unhinged set pieces"; luxuriuos gatefold cover, lim. 444 copies
|
2018 |
€13.00 |
|
| VOMIR |
Musique de l'Indifference |
LP + CD |
last copies of this LP by the radical Harsh Noise Wall (HNW) pioneer and anti-artist from France, lim. 350; "The individual no longer has any alternative but to completely reject contemporary life as promoted and preached. The only free behaviour that remains resides in noise, withdrawal and a refusal to capitulate to manipulation, socialisation and entertainment" [Vomir]
|
2012 |
€18.00 |
|
| VON HAUSSWOLFF, C.M. (CARL MICHAEL) |
Squared |
CD |
two new pieces: "Circulating Over Square Waters" (recorded at ZKM Kubus in Karlsruhe, won the Karl Sczuka Prizes for Radio Arts), and "Cementerio del Norte", a film soundtrack with original material recorded at a Cemetery in Montevideo ( Uruguay), extracting frequencies from the ground with a technique called 'Emission Spectroscopy'.. minimal 'radiating drones' & slowly moving sound sculputures, perfect for concentrated / contemplative listening..
|
2015 |
€13.00 |
|
| VOSTELL, WOLF |
De-coll/age Musik |
LP |
re-issue of collector's item LP from 1982 by the German painter, sculptor and happening artist, who co-organized the "Festum Fluxorum" festival 1962 in Wiesbaden, seen as the birth of FLUXUX => we find here recordings from 1959-1981: radio collages, happenings, soundart ambients, environment actions, and an extract from a Fluxus-Opera! lim. 400 black vinyl
|
2017 |
€25.00 |
|
| VRESNIT |
Seed Solar |
CD |
"primary being experience" - drone music, dedicated to the "Culture Solar beginnings", another very good psychedelic & cosmogonic album by the Russian project, with help by KSHATRIY, HLADNA and NEZNAMO. Very nice "neo-primitive" artwork incl postcard
|
2010 |
€13.00 |
|
| WADA, TASHI |
Gradient |
7inch |
two pieces of ultra minimal glissando tone/drone sculptures by the son of YOSHI WADA; somehow limited
|
2012 |
€10.00 |
|
| WAKHEVITCH, IGOR |
Hathor |
LP |
re-issue of WAKHEVITCHs 3rd full LP from 1973, subtitled LITURGIE Du SOUFFLE POUR LA RESURRECTION DES MORTS, his most occult work full of ritualistic & dark vocal parts, sinister & droning... original cover replica, gatefold, incl. insert
|
2013 |
€23.00 |
|
|
Les Fous d'Or |
LP |
re-issue of WAKHEVITCHs 4th full length LP from 1975, the first in collaboration with American dancer/choreograph CAROLYN CARLSON, sounding partly more lyrical & dreamy than before with its use of lighter electronic/synth sounds, but also still has a strong ritualistic & esoteric & noisy side with its 'new musical' instrumental arrangements, archaic horns, clanging bells & crazy female chants, laughter & sound poetry....
|
2013 |
€23.00 |
|
|
Nagual |
LP |
'a bewitched musical journey'.. re-issue of WAKHEVITCHs 5thLP from 1977, the second collaboration with American dancer/choreograph CAROLYN CARLSON, inspired by CARLOS CASTANEDA's writings, more calm & relaxed as before, still stepping into otherworldly places => 12 shorter tracks & fragments with a wide range of always varying sounds & ideas; acoustic instruments, synths & electronics, field recordings & found sounds...like being in a haunted fairyland...
|
2013 |
€23.00 |
|
| |
Let's Start |
LP |
re-issue of WAKHEVITCHs 6th and last LP from 1979 => his most meditative record, created for the 'Batsheva Dance Company' in Israel => a multi-layered synth journey with the very long title-track, going through numerous stages of sounds & meaning, from lyrical moments to more ambient 'cosmic' atmospheres, adding some odd vocal chants & hypnotic loops... masterful experimental keyboard music
|
2013 |
€23.00 |
|
| WARDROBE MEMORIES |
Life after Suicide |
LP |
first ever LP for this ambitious (always conceptually working) German ambient project, who created with "Life after Suicide" a mournful cinematic soundtrack => subtle piano & synth figures with voice samples expressing despair and hopelessness, very intimate and emotional... "a virtual post-life-construction in ghosty environments"; lim. 200 with half of the edition pressed on coloured vinyl
|
2015 |
€18.00 |
|
| WASM [= JOS SMOLDERS AND FRANS DE WAARD] |
Een |
CD |
FRANS DE WAARD and JOS SMOLDERS have united for another musical project - written "WaSm" - (after the legendy THU20, etc.), following a "flexible score" for each of the five compositions: various electronic sound forms that shift and morph into different shapes, more like audio sculptures, with a good portion of analogue ingredients coming from cassettes, walkman and radio sources... very skillful and fresh!! edition of 300 copies
|
2016 |
€12.00 |
|
| WATERCOLOURED WELL |
Arsonist's Rebirthday Audition |
CD |
8 people experimental / post-industrial / impro ensemble from Germany with debut-album, feat. MR. EBU and RONNIE OLIVERAS (DATASHOCK), recorded in Mainz in January 2011 (Walpodenakademie)
|
2012 |
€12.00 |
|
| WATERMANN, JOHN |
The dead calm of bashing Coca Cola |
CD-R |
digitally remastered re-issue of LP from 1989 (Nightshift Rec. NR002) , numb. ed. of 120 copies
|
2009 |
€9.50 |
|
| WATSON, CHRIS |
Locations, Processed |
LP |
New York City field recordings by CHRIS WATSON processed and filtered through the MOOG Sound Labs System 55 (there's no synth tone to be heard on this LP!) - "an immersive journey through reverberant halls and clanging streets, punctuated by snatches of quotidian conversation and startling intrusions.... Locations, Processed manages the impossible: Amid a deluge of energy, Watson records the empty space that surrounds the people who fill it." [Pitchfork]
|
2018 |
€20.00 |
|
| WERDER, FELIX |
The Tempest - Electronic Music |
CD |
three pieces from the 70's (re-issue of an LP), one newer piece from 1992
|
2007 |
€13.00 |
|
| WESOLOWSKI, STEFAN |
Kompleta |
LP |
first album on Ici D'Ailleurs for this Polish composer, who works in the fields of beautiful but also dark and droning neo-classic chamber music, refined with influences from religious and spiritual elevated sounds... "Kompleta is mainly based on strings (violins, viola, cello) but also manages to distance itself from traditional compositional methods by including subtle electronic touches to help anchor the work in a resolutely progressive dynamic."
|
2015 |
€18.00 |
|
| WESTBERG, NORMAN |
The All most quiet |
LP + CD |
the SWANS guitarist (since 1983!) with his first widely available solo-LP, spreadening hypnotic, subtle guitar drones which slowly change... "The introduction of new layers, textures and tones, shifts in the scale and pace of oscillations change the mood, subtly, inconspicuously, but no less definitely..." [Aural Aggravation] contains CD copy of the same material
|
2016 |
€22.50 |
|
| WETTERLÄUTEN (WETTERLAEUTEN) |
same |
LP |
excellent debut LP for this South German trio, creating evocative and visionary dronescapes with great suction and width, using electro-Cinese Guqin zither, guitars, electronics, synths, organs, gongs... "from dreamy sunset drones to heavy pre-storm electricity to apocalyptic orchestral deluge"; lim. 272 copies, comes with lovely full colour fold out sleeve and 6 full colour postcards showing landscapes, geological forms, plants and animals in a surrealistic way
|
2014 |
€7.50 |
|
| WHEN |
Black, White and Grey |
CD |
third WHEN-album, plus "Death in a blue lake" LP from 1989 as bonus ! |
1990 |
€14.00 |
|
| WHITEHOUSE |
Dedicated to Peter Kurten |
CD |
the extremely provocating industrial milestone from 1981, inspired by Germanys most well known serial killer from the Weimar Republic... - "its transgressive themes and wild electronic harshness became a critical defining influence on, indeed often template for, the noise and power electronics genres of the mid/late 80s and long beyond." - 40th anniversary edition with 12 page booklet packed with photos, information, plus the original LP inserts and artwork
|
2021 |
€15.00 |
|
| |
Buchenwald |
CD |
re-issue of LP from 1981 - comes with 12p. booklet incl. photos, info, orig. artwork.. - "incredibly bleak and chilling, an album demonstrating a raw, haunting electricity following the direct harshness of Dedicated To Peter Kurten.."
|
2021 |
€15.00 |
|
| WHITELODGE |
same |
CD |
digipack, Cd version of debut-LP, 5 bonus tracks ! |
2005 |
€13.00 |
|
| WIESE, NICOLAS |
Unrelated |
LP |
second solo-LP for this German artist under his real name (once known as [-HYPH-] ) who works in the field of gallery sound-art, taking samples from various sound sources to treat them "live" with his technique of 'modulated feedbacks' => challenging collages in various shapes, from fast changing, overloaded craziness to abstract drone-scaping, these are highly sophisticated compositions full of microscopic details... comes on clear vinyl, lim. 200 copies
|
2018 |
€22.50 |
|
| WILTZIE, ADAM BRYANBAUM |
Salero (Original Motion Picture Soundtrack) |
LP |
original soundtrack by the STARS OF THE LID-half to the film by MIKE PLUNKETT about the "Saleros" in the Bolivian salt desert 'Salar de Uyuni'; recorded with the help of the Budapest Art Orchestra, this is the adequate ambient music for the endless widths and surrealistic places of the desert; lim. 500 clear vinyl |
2016 |
€25.00 |
|
| WISHART, TREVOR |
Machine |
CD |
re-issue of first major composition of WISHART, released in 1972 as 3 LP Box; no instruments used, only voices & choirs, machine sounds, musique concrete !
|
2008 |
€13.00 |
|
| WOLFSKIN FEAT. OBJEKT4 |
The hidden Fortress: A Revisitation |
CD |
the esoteric / ritual dark ambient project from Portugal; this is a re-mastered / re-worked re-issue of the first WOLFSKIN release (MC) from 1995, done with help from OBJEKT4
|
2008 |
€13.00 |
|
| WYRM FEATURING KENJI SIRATORI |
Artificial Sun |
CD-R |
WYRM is ALLAN ZANE, with help of MYKEL BOYD, JOHN MURPHY..
|
2007 |
€8.00 |
|
| XX COMMITTEE |
Network |
CD |
early project of SCOTT FOUST (IDEA FIRE COMPANY), re-issue of LP from 1983 (Termidor), lim. ed. 250 copies (numbered), digipack
|
2008 |
€13.00 |
|
| Y-TON-G |
Klangspiegel einer vergessenen Wesenheit |
CD |
back in stock, Y-TON-Gs debut CD, performed only on self-built metal / scrap sculptures, back in stock last copies! - "Endlich die Debut-CD des Hamburgers Sound-Skulpteurs. Die Stücke heissen z.B. 'Geomorphologe Beweggründe' oder 'Grenzen der Räumlichkeit' und verbreiten eine kühle, metallische, völlig fremdartige Atmosphäre (alle Sounds sind auf Y-Ton-g's selbstgebauten Instrumenten entstanden), der perfekte Rauchsound zum wegtreten." [Drone Rec.info]
|
1996 |
€8.00 |
|
| YANAGISAWA, EISUKE |
Into the Cave |
CD-R |
field recordings from a big cave in the high mountains of Japan, strange metallic sounding water droppings & more on 6 tracks... 'the cave itself can be regarded as a huge Suikinkutsu. Once stepping into the cave, I became a part of the natural sound sculpture, listening to it and resonating with it.'; comes in nice handmade photo/paper cover, factory replicated CDR, lim. 100 copies
|
2012 |
€9.00 |
|
| Z'EV |
Production and Decay of spacial Relations vs. Reproduction and Decay of Spatial Relations |
do-CD |
re-release of first Z'EV-album from 1981, plus new material from 2005. Comes in originally reproduced LP-sleeve, first ed. 500 contains bonus-CD with rare early archive-material from 1982 !! BIG 12" COVER !! |
2006 |
€16.00 |
|
| Z'EV & RAMONA PONZINI |
Ankoku |
CD |
...eine filigrane, düstere Reise zwischen flirrenden Feedback-Drones, den für Z'EV typischen, aber sehr zurückgenommenen Stahlpercussions und der traumwandlerischen Stimme Ponzinis, die klingt, als ob es sich dabei um eine Geisterbeschwörung einer japanischen Yurei oder um mit Schattenwesen aus der Zwischenwelt bevölkerte Filmsequenzen handeln würde: Wenn schon Magick, dann so etwas wie »Ankoku«, dessen spirituelle Kraft an COIL erinnert und auf der die italienische Sängerin ihr Debüt gibt."[Skug]- BACK IN
|
2008 |
€12.00 |
|
| ZENI GEVA & STEVE ALBINI |
Maximum Implosion |
do-CD |
this double CD collect all collaborative pieces between ZENI GEVA (KK NULL's 'noise-rock' band together with MITSURU TABATA of ACID MOTHERS TEMPLE) and STEVE ALBINI (of BIG BLACK and SHELLAC fame): "Nai-Ha" (LP 1986) , "All right you little Bastards" (CD 1993), plus the ultra rare 12" 'Superunit' - "With a huge sound reminiscent of Godflesh in its heavy bottom and impossibly high-end guitar tones, resulting in almost no mid-range, it's hard to believe that there are only three people in the band."
|
2018 |
€16.00 |
|
| ZGA |
Riga |
CD |
recordings from 1985-1988 by the legendary Latvian/Russian avantgarde band around NICK SUDNICK- this is a re-issue of the first LP from 1989, with bonus material.. powerful and demanding industrial object noise, mainly created on self-build instruments, ecstatic, noisy, crossing genre borders...
|
2004 |
€13.00 |
|
| ZNR |
Traite de Mechanique |
CD |
'If Captain Beefheart had been Erik Satie..." - re-issue of the second LP from 1978 (after their very experimental / avantgardish 'Barricade 3' ) by this French band (from Marseille) consisting of HECTOR ZAZOU, JOSEPH RACAILLE and PATRICK PORTELLA, who created a hard to pin down mixture of chamber-like mediterrean folk and jazz-avantgarde... many year unavailable, here's a new re-mastered edition with new artwork
|
2017 |
€13.00 |
|
| ZOVIET FRANCE |
Digilogue |
CD |
back in stock the re-release of the limited LP from 1995, with bonus-material... "the layered textures increase the tensions of exotic darkness. This music is definitely exotic and definitely erotic -- not pleasantly but disturbingly. The sinister timbres are seductive and jarring.." [All Music.com]
|
1998 |
€16.00 |
|
|
The Tables are Turning |
do-LP |
re-issue of the album from 2013, now with additional, unreleased fourth side (3 tracks) and coming in a standard cover: "The Tables are Turning" is a soundtrack to 'Designer Body', a dance-theatre work by 'ballatLORENT' that toured in England 2008/2009, exploring the relationship between humans and their clothing... (this do-LP is also part of the Chasse 3 box)
|
2022 |
€31.50 |
|
| |
Chasse 3 (as set) |
16 x LP SET / bundle |
the third and final part of the Z.F. story and the third incredible VOD release in this trilogy, containing releases 1996-2013 (most of them for the first time on vinyl) from \"In.Version\" to \"Third Collusion\", plus a full unrelased album \"A Long Walk\" and rare compilation material, extended versions + bonus tracks - this is the \"SET\" or bundle version with eight double LPs, no box, booklet and shirt, just the records !! Lim. 300 \"stand-alone\" copies outside the box-sets
|
2022 |
€260.00 |
|
| ZOVIET FRANCE & FOSSIL AEROSOL MINING PROJECT [ZFAMP] |
Flexible Pooling |
7inch flexi |
the additional release to "Patina Pooling" (from a heavy steel cover now to a hyper fragile paperbag artwork) - comes on a lovely WHITE flexi disc with two tracks, inlay and bonus download = together a 29 min. "mini-LP"; archaic shimmering low fi drones with mysterious voices & backward sounds that fit perfectly to this strange artefact
|
2015 |
€18.00 |
|
| ZUCCHERI, MARINO |
Parete '67 |
LP |
electronic piece created by ZUCCHERI (who was sound eng. for RAI) for the Italian Pavillion at the Montreal Expo 1967, re-found and first time published by DIE SCHACHTEL in 2005, this was installation music for the glass slide sculpture / painting of EMILIO VEDOVA..."a spectacular and intense 30-minutes loop of pure and intense electronics, a magmatic cascade of harsh sounds and deep drones, and a fantastic counterpart to the harsh and expressionistic painting of Vedova."
|
2018 |
€25.00 |
|
| 3/4HADBEENELIMINATED |
Theology |
CD |
Die Band mit STEFANO PILIA & CLAUDIO ROCCHETTI, filed under: seltsame atmosphärisch-melancholische Improvisationen im (entfernten) Post-Rock-Gewand [mit späterer effektvoller Nachbearbeitung im Studio ohne das improvisatorische Feeling zu zerstören]; zwei lange Stücke füllen THEOLOGY, schwebend und unfokussiert aber stets im Wandel, unter Einsatz von vielen "echten" Instrumenten (Gesang, Drums, Gitarren, Piano), mitunter blitzen Ähnlichkeiten gar mit A SILVER MT. ZION auf... die ist der "Schwester-Release" zur LP "Religious Experience".
"Soleilmoon Recordings is proud to announce the simultaneous release of 3/4HadBeenEliminated’s new CD and LP, titled “Theology” and “The Religious Experience”, respectively. 3/4HadBeenEliminated was founded in 2002 in Bologna, Italy as a trio, with Stefano Pilia, Claudio Rocchetti and Valerio Tricoli. An eponymous album was released in 2003 by Bowindo. In 2004 the group welcomed Tony Arrabito and became a quartet. The next year Hapna put out their second album “A Year of the Aural Gauge Operation”, and in 2006 the band self-released a 7 inch single “DimethylAtonalCalcine”. The group straddles the line between live improvisation and studio experimentation, blending and shaping raw sounds into living pieces, then gently dissecting the delicately structured songs into disruptive sonic excursions more evocative of moving shadows and swirling leaves than recognizable tunes. Stasis and stability are nowhere to be found here. Instead, an ever-changing dialogue between structure and chaos shifts from one performer to the next, never resting long before launching again into shuddering flight. Accoustic instruments and vocals form a familiar reference point, but studio treatments take the music into psychedelic and cinematic realms. In their words , “Improvisation is a way to experiment without thinking. When our improvisations ‘work’, the music just happens on its own. It reveals itself as if guided by its own logic, its own desire. In fact we don’t even feel like we are actually playing the music. It’s more like a stream that moves and changes autonomously. With composition (editing, overdubs, etc. etc.) we then remodel this stream, trying to make it more complex, ‘forever lasting, forever changing’, in the sense that every hearing will reveal a new perspective of the music. As a live band, we improvise 100%, and it's really risky, but when it ‘happens’, it’s the greatest satisfaction.” “Theology” is presented in a wooden box with a hinged cover decorated with layers of hand-painted tracing paper, and is limited to 450 copies on CD. The companion vinyl LP “The Religious Experience” is a reinterpretation of the recordings made for the CD. The LP is limited to 225 copies. The two albums – and their music – should be considered as mirror opposites. Where theology is a completely artificial system of belief, a religious experience is the immediate experience of the thing itself. Likewise, the music on “Theology” is complex and elaborate, while “The Religious Experience” is much simpler, going directly to the heart of the material comprising “Theology”. Thus, the two works are independent, yet relate to each other as mother and daughter." [press release]
"....and with some imagination you could say that they are a rock band. Well, an expanded rock band that crosses many lines: post rock, singer songwriter, improvisation and above all musique concrete collage techniques. Maybe the stage isn't their place but they should be safely stuck in the studio, where they can freely experiment with sound. Each member plays a wide variety of instruments, except Arrabito, who is just credited for drums. Inside the studio they find a safe place to improvise their music, but not as an end, but as a start. Recordings are separated, deconstructed and rebuilt into something. These two new releases, both lavishly packed with all sorts of nice paper, are best heard together, as mirrors of each other. The CD (limited to 450 copies) and the LP (limited to 225 copies) have however their differences, but the provide a nice view in the kitchen of 3/4HadBeenEliminated. The CD is perhaps more complex in approach. We hear lots of processed guitars, percussive sounds, organ like drones but also contact microphones scratching the surface alongside humming vocals. Not really rock by any rock standard, even when things seems to hint that way. Seemingly things move from atmosphere to atmosphere, gradually, slow, but without doubt moving.." [FdW / Vital Weekly]
"...you'll know to expect fractured and mysterious soundscapes, a densely textured drone-zone constructed from field recordings, record crackle, improvised acoustic instruments, radio static, fragments of piano melody, electronic treatments, whispered Italian voices, turntable scratchings, reel-to-reel tape manipulation, synthesizer sinewaves, scattered percussion, and more. That's a zone we LOVE to visit. There's two long tracks, lots to explore, all manner of curious creakings and cracklings, shifting rhythms and rumblings abounding within 3/4hadbeeneliminated's carefully crafted and/or improvised music. At times quiet and meditative, at others noisier and distorted, but always (to our ears) utterly gorgeous and compelling. Aligns quite nicely with the likes of the Jewelled Antler collective, the Finnish forest foraging of Kemialliset Ystavat, and of course others in the experimental underground Italian scene of which the members of 3/4hadbeeneliminated are a part." [Aquarius Records review]
www.soleilmoon.com
|
2007 |
€19.50 |
|
| |
Speak to me |
LP |
"Black Truffle present Speak To Me, the sixth full-length release from 3/4HadBeenEliminated, the Italian trio of Stefano Pilia, Claudio Rocchetti and Valerio Tricoli. Based on source material recorded in Bologna and Berlin over the course of several years, the album is made up of two side-long pieces meticulously constructed in post-production by Tricoli in his singularly dense and unpredictable style. Although their live performances have always been entirely improvised, in their recorded work the group focuses on using improvised recordings as source material for compositions built up through layering, editing and analog manipulation, extending the practices of Teo Macero, Faust and This Heat. Melancholic instrumental ruminations sit alongside cracked electronics, concrete sounds and Tricoli's whispered vocals, drawn together into dense assemblages animated by gradual transformations and sudden jump cuts. Beginning from the abstractions of their self-titled debut release in 2004, the group embarked on a trajectory that saw them move toward near-song structures, Tricoli's voice becoming a dominant element amid an increasingly dense and layered production style. On Speak To Me, however, the listener feels confronted by the ghost of music, sonic memories echoing across a psychedelic expanse. Evacuated of any clear structure, the music becomes a reverb-saturated morass, from which crystalline details momentarily emerge: shimmering echoed guitar, bowed double bass, tactile hand percussion, skittering electronics. Suffused with a darkly pensive atmosphere, Speak To Me is an elegant summation of the distinctive blend of electroacoustic techniques, instrumental improvisation and contemporary psychedelia pioneered by 3/4HadBeenEliminated over the last decade. LP design by Stephen O'Malley with striking artwork by Stefano Pilia. Vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin."
www.blacktrufflerecords.com
|
2016 |
€17.50 |
|
| 300 BASSES |
Sei Ritornelli |
CD |
"Alfredo Costa Monteiro (accordion, objects), Jonas Kocher (accordion) and Luca Venitucci (accordion, objects). Recorded on november 23th-25th 2011 during a residency at l'Arc Romainmôtier, Switzerland. Mixed by Alfredo Costa Monteiro and mastered by Giuseppe Ielasi. Consisting of Alfredo Costa Monteiro, Jonas Kocher and Luca Venitucci, the trio 300 Basses transforms the conventional accordion approach, and enhances new practices leading to creative and innovative musical paths. 300 Basses states that accordion is ' a box with bellows and buttons. The box was for the resonance, the bellows for vibration and the buttons for building a sonic identity that has remained virtually frozen for centuries. But what would happen if the buttons began to vibrate, the bellows would resonate and the box should start to deconstruct this identity? ' Focusing on a collective sound approach, the three accordionists have a strong fascination for noisy static sounds, complex textures, and their powerful physicality. The trio was formed in 2010 and has performed concerts in Rome, Lyon, Geneva, Biel/Bienne, Lausanne, Zürich, Milano. Alfredo Costa Monteiro. After having studied sculpture/installation with Christian Boltanski at Les Beaux-Arts in Paris, Alfredo Costa Monteiro moved to Barcelona in 1992 and became involved in improvised music, concentrating on electric guitar and accordion. His installations and sound pieces, all of a low-fi character, have in common an interest for unstable processes, raw materials and gestures, where the manipulation of objects as instruments or instruments as objects has a strong phenomenological aspect. Alfredo Costa Monteiro runs several ongoing projects: Cremaster (with Ferran Fages), i treni inerti (with Ruth Barberán), Atolón (with Ferran Fages and Ruth Barberán), and duos with Tim Olive or Pascal Battus. Jonas Kocher. Accordion player and composer born in 1977, Jonas Kocher collaborates regularly in improvised and conceptual contexts with musicians such as Michel Doneda, Christian Wolfarth, Olivier Toulemonde, Duo Diatribes, Jacques Demierre, Burkhard Beins, Bertrand Gauguet, Thomas Lehn, Urs Leimgruber, Lee Patterson... Jonas Kocher's work explores the relationships between tone, noise and silence and the processus of listening. As a composer, he realises projects which are situated between composed theater, installation and concert pieces. Jonas Kocher is also involved as an organizer of different events in Switzerland and runs the label Flexion Records. Luca Venitucci. Living in Rome, Luca Venitucci started from the end of the eighties to take part to the activities of the improvised music scene in Italy and Europe. During the next decade, he played with a large number of musicians, among which Mike Cooper, Peter Kowald, Otomo Yoshihide, Thomas Lehn, Axel Dorner, Tim Hodgkinson, John Butcher, Mario Schiano, Alessandro Bosetti, Michael Renkel... In 1995, with Fabrizio Spera, Elio Martusciello and Maurizio Martusciello, he co-founded Ossatura a major electroacoustical improvising group. From 1996 to 2002 he has been part of Zeitkratzer ensemble, with whom he did performed and recorded contemporary music partitures (Cage, Glass, Stockhausen, LaMonte Young, Tenney) and made original projects and collaborations with several experimental musicians and composer such as Butch Morris, Carsten Nicolai, Keith Rowe, Masami Akita, Mario Bertoncini, Phill Niblock, Radu Malfatti, Thierry Thaemelitz, Lee Ranaldo. In 2001 he realised together with Ulrich Krieger the transcription and arrangement of an ensemble version of Lou Reed's Metal Machine Music." [label info]
www.potlatch.fr
"A trio of accordion players from the world of improvised music - that's perhaps something new. For me it is. The unknown player here is Luca Venitucci, who was from 1996 to 2002 a member of Zeitkratzer, and before that a founding member of Ossatura. The other two players I think should be known if you read these pages every now and then. Alfredo Costa Monteiro and Jonas Kocher have regularly new releases. Maybe you think its cheating, but both Venitucci and Monteiro are also playing objects on their accordion, which seems to expand the sound quite considerably. If you think that this trio will focus on playing sustaining, lengthy pieces of drone music, then you are wrong. In 'Abbandonato' and 'Mala Carne' for instance they sound like an all acoustic noise ensemble, with lots of scratching, scraping and bending of the bellows. Its followed by 'Maledetto', in which the accordion sing like sine waves, carefully but also piercingly loud as the piece progresses. In 'Gira Bile' and 'Fantasma' they reach for a beautiful piece of drone music. Six pieces and almost as many approaches to the world of the accordion. Six pieces of a wonderful great, improvised music on a single instruments, times three." [FdW/Vital Weekly]
|
2012 |
€15.00 |
|
| 87 CENTRAL |
Formation |
CD |
Sanft-dynamische ambient-tunes auf dieser neuen CD von Jeff Carey alias 87 CENTRAL, einigen vielleicht von der ERS LP bekannt. Er benutzt diverse, auch konkrete field-recording Soundquellen und bearbeitet sie digital, hat ganz eigene Atmosphäre und Charakter...
“ Bridging the gap in time and sound between the debut self titled release on ERS Records (ERS003) and the recent release of Saxmower (JDK Productions), Formation (Staalplaat) builds on the tuned listening characteristic of 87 Central's no-input mixer work as its foundation while increasingly incorporating varied sound materials. Formation presents seven vector components coming from different origins and arriving into a singular sound space of evolving organic sonic life cycles. These systems exhibit growth and decomposition of layered feedback, computer processes and sample manipulations around concrete sound material.
Fragments of tangible experience set the listener on a trajectory through a soundscape of impressionistic imagery punctuated by clearly indexed natural detail. Using environmental recordings and electronics, these tracks present more than the directness of documentary field recordings and recreate experiences of active listening: the warning beacon on a jetty in the North Sea during a winter night as container ships arrive in port; the intensity and activity of crackling rhythms and the continuous energy of fire; and the night life of an urban power plant in the heat of summer.” [press release]
“ Bird calls and fire sounds in combination processed feedback and the washy sounds of Dan's guitar (only in one track though), make this into a kind of ambient record, in which happens more then the usual washes of digital synths and plundered sound effect CDs. 87 Central plays around with environmental, concrete and abstract sound, and does it with great care. The glitchy elements present on "Saxmower" are not apperent on this release, so I recommend this to all ambient hearts out there. Strong stuff.” [FdW, Vital Weekly]
|
2003 |
€8.00 |
|
| 9T ANTIOPE & SIAVASH AMINI |
Harmistice |
LP |
9T Antiope have made a name for themselves in the vibrant experimental music scene of Iran over the past years. Now based in Paris, Sara Bigdeli Shamloo and Nima Aghiani are expanding their stylistic scope and team up with long-time friend Siavash Amini for their debut release on Hallow Ground. After 2017's "TAR" and "FORAS" the year after 2018, "Harmistice" is Amini's third LP for the Swiss-based label and his first in collaboration with other artists. Recorded in Paris and Tehran, the four tracks are the result of "all the long hours of speaking online, being kilometres away, it is a love child of those short times we actually got to be physically in one place." Vocalist and lyricist Shamloo enters a dialogue with Aghiani and Amini's sound art, which is from restrained but interlocks voice and noise with striking subtlety. "Harmistice" seamlessly blends the visceral with the sublime, the abstract with the oh-too-real. From the very first second of "Blue as in Bleeding", "Harmistice" evokes a sense of suspended terror. Shrill frequencies and aleatoric bursts of feedback give way to a hardhitting bass drum until Shamloo's voice arises from the chaos with an uneasy clarity. It's the perfect opening for a record that is built upon stark contrasts like this one. Amini and Aghiani bring together synthetic sounds with acoustic instruments, creating a tangible tension on which Shamloo's sometimes sensitive, sometimes emotionally detached delivery thrives. "It's all based on a dream, a nightmare about war," she says in regards to her lyrics that move between poetic abstraction and first person prose, blurring the lines between lived experience and sinister premonition. "Harmistice" takes inventory after the oneiric damage has been dealt in real life. As a whole, "Harmistice" is thus as ambiguous as its title suggests. As an all-too-lucid dream about unspeakable things that are being lent a voice it overwhelms the senses with an unheard-of volume. Drawn from the depths of the subconscious, "Harmistice" may just be the most challenging album in either 9T Antiope or Amini's discography.
|
2019 |
€22.00 |
|
| A CASA |
Escaleras abajo de los Arboles |
LP |
"A CASA is one of the numerous projects of proteiform argentinian artist José De Diego. A CASA offers a meditative odd to nature on this first LP of the « Synesthetic Alchemy » serie curated by 213 Records and dedicated to free music and improvisation. Limited to 213 copies with silkscreened insert.
FOR FANS OF :NEU, CAN, NURSE WITH WOUND, ELIANE RADIGUE, POPOL VUH"
www.213records.com
|
2015 |
€15.00 |
|
| A WINGED VICTORY FOR THE SULLEN |
same |
CD |
"Debüt des gemeinsamen Projekts der Neoklassiker Adam Wiltzie und Dustin O’Halloran.
A Winged Victory For The Sullen sind Adam Wiltzie (Stars Of The Lid) und der amerikanische Komponist Dustin O’Halloran. Mit verschiedenen Klavieren und Droneklängen experimentierten die beiden auf ihrem selbst betitelten Debüt in extrem tiefen Frequenzbereichen. Aber auch traditionelle Instrumente wie Waldhorn, Fagott und Streicher sind zu hören, immer durchdrungen allerdings von Gitarrenmelodien. Die Aufnahmen begannen mit einer nächtlichen Session auf einem alten Bösendorfer-Imperial-Klavier in der berühmten Grunewaldkirche in Berlin. Die Streicheraufnahmen stammen aus den Ostberliner Räumen des einstigen DDR-Radios. Eine letzte Session gab es auf einem handgemachten Fazioli-Flügel in einem Privatstudio in Italien. Das Ergebnis sind sieben Klanglandschaften harmonischer Wiederkehr, Late-Night-Music, von der man immer geträumt hat. Zu den Gastmusikern gehören die isländische Cellistin Hildur Gudnadottir sowie Erased-Tapes-Labelkamerad Peter Broderick an der Violine. Die Vinylversion erscheint mit einem Download-Code.
//
A Winged Victory for the Sullen is the first installment of the new collaboration between Stars of the Lid member Adam Wiltzie and composer Dustin O'Halloran. The duo agreed to leave their normal home studio comfort zone and develop the recordings with the help of large acoustic spaces, and to hunt down a selection of 9ft grand pianos that had the ability to deliver extreme sonic low end. Other traditional instrumentation was used including string quartet, French horn, and bassoon, but always juxtaposed is the sound of drifting guitar washed melodies. The recordings began in one late night session in the famed Grunewald Church in West Berlin on a 1950s imperial Boesendorfer piano and strings were added in the historic East Berlin DDR radio studios along the River Spree. One last final session in a private studio deep in the northern cusp of Italy on a handmade Fazioli piano, and the final mixes took place in a 17th century villa near Ferrara, Italy, with the assistance of Francesco Donadello. All songs were processed completely analogue straight to magnetic tape. Their secret to harvesting new melodic structures from the thin air of existence was for the duo to push themselves to live dangerously, realizing that clear thinking at the wrong moment could stifle the compositions. The final result is seven landscapes of harmonic replicating ingemination. In 'Requiem for the Static King Part 1' (created in memory of the untimely passing of Mark Linkous) they have taken the age old idea of a string quartet and then shot it out a cannon to reveal exquisite new levels of mellow bliss. Of the 13 minute track 'Symphony Pathetique,' Wiltzie says 'after almost 20 years of struggling to create interesting ambient drone music, I feel like I have finally figured out what I am doing.' Notable guest musicians include Icelandic cellist Hildur Gudnadottir, and violinist Peter Broderick. A Winged Victory for the Sullen is not a side project. This is the future of the late night record you have always dreamed of." [label info]
www.brainwashed.com/kranky
|
2011 |
€14.00 |
|
| A.G. (AGHIS GIANNOULIS) |
Colours in Black & White : 2017-2018 |
DVD |
Colours In Black & White (DVD / HD AV), consists of five parts, is the new audiovisual artwork by A.G created from 2017 to 2018. This project is an approach of - Digital Visual Music - in linear process, intersecting the aesthetics of new media art and post-minimal composition, as well as experimenting with the bounds of static and moving imagery next to the music in slow motion. The visuals were developed by the transformation and multiplication of a single video signal through digital post-production, resulting into an abstract black & white video synthesis.
Titles :
Colours In Black & White I : 2017 (Duration 25:00)
Colours In Black & White II : 2017 (Duration 30:15)
Colours In Black & White III : 2018 (Duration 25:33)
Colours In Black & White IV : 2018 (Duration 28:15)
Colours In Black & White V : 2018 (Duration 18:50) __________________________________________________________________________________________________________
A.G is a media artist based in Athens & Paris. He has released studio albums and audiovisual works under the names of ANIKA and A.G. In 2015 he reinterpreted three compositions of Erik Satie in the 3CD compilation ERIK SATIE ET LES NOUVEAUX JEUNES 2 (incl. Max Richter, Peter Broderick, Sylvain Chauveau, Rachel Grimes & Dustin O'Halloran), released by french label Arbouse Recordings. He has participated in various collective exhibitions where he presented audiovisual artworks and has collaborated with Free103Point9 Transmission Arts organization for Noise!2009 Festival (Ontological Hysteric Theater) in New York.
A.G Works :
2005 ANIKA:A:0304 (MLP)
2008 ANIKA:A:0507 (LP/CD)
2009 ANIKA: 33 RECORDING SESSIONS, NOT INCLUDED IN A:0507 (CD-R)
2010 A.G:POLYGON:08 (CD)
2014 A.G:VIDEOS:2003-2013 (DVD-R)
2015 ERIK SATIE ET LES NOUVEAUX JEUNES 2 (3CD Compilation)
2018 A.G:COLOURS IN BLACK AND WHITE:2017-2018 (DVD-R)
Videos :
Colours In Black & White I (25:00) : https://www.youtube.com/watch?v=dhf0LEUunfU
Colours In Black & White II (30:15) : https://www.youtube.com/watch?v=m8DK3WZgGts
Colours In Black & White III (25:33) : https://www.youtube.com/watch?v=gs6VaQjEL0k
Colours In Black & White IV (28:15) : https://www.youtube.com/watch?v=25dV70HXzJY
Colours In Black & White V (18:50) : https://www.youtube.com/watch?v=ztCprALWI3Q&t=336s
Links :
A.G:POLYGON:08 http://agpolygon08.blogspot.com
ANIKA:A:0507 http://anika-a0507.blogspot.com
A.G:VIDEOS:2003-2013 http://ag-videos2003-2013.blogspot.com
A.G:LIVE AT FENAILLE MUSEUM. RODEZ:20.05.17 https://www.youtube.com/watch?v=FLRD4yPV0J4
FREE 103 POINT 9 / TRANSMISSION ARTS https://wavefarm.org/ta/artists/xnc29y
RE:VOIR http://re-voir.com/shop/en/film-revoir-experiemental-film-dvd/786-ag-videos-2003-2013.html
_
|
2018 |
€12.00 |
|
| AALFANG MIT PFERDEKOPF |
Mutatis Mutandis |
MC |
"The three tracks are based on sound material by Frans de Waard published on a tape compilation for the 25th anniversary of the Korm Plastics label, which can be heard at the beginning of the album. As Frans de Waard explains in a spoken introduction to this album, listeners were invited to remix the material, preferably with 4-track cassette recorder. The music on “Mutatis Mutandis” is Mirko Uhlig’s response to this invitation, so it is a fitting gesture that the album is also released as a cassette in tribute to the important role that 4-track machines and the tape distribution scene have played in the development of experimental musics. Thanks to Frans de Waard’s guest vocal intro, the cassette is a “tape with the sound of its own making” similar to Robert Morris’s seminal sound sculpture “Box with the Sound of its Own Making”, but the music also makes for very pleasant listening on the CD version." [label info]
www.wix.com/attenuationcircuit/attenuation-circuit
|
2012 |
€10.00 |
|
| |
Mutatis Mutandis |
CD-R |
"The three tracks are based on sound material by Frans de Waard published on a tape compilation for the 25th anniversary of the Korm Plastics label, which can be heard at the beginning of the album. As Frans de Waard explains in a spoken introduction to this album, listeners were invited to remix the material, preferably with 4-track cassette recorder. The music on “Mutatis Mutandis” is Mirko Uhlig’s response to this invitation, so it is a fitting gesture that the album is also released as a cassette in tribute to the important role that 4-track machines and the tape distribution scene have played in the development of experimental musics. Thanks to Frans de Waard’s guest vocal intro, the cassette is a “tape with the sound of its own making” similar to Robert Morris’s seminal sound sculpture “Box with the Sound of its Own Making”, but the music also makes for very pleasant listening on the CD version." [label info]
www.wix.com/attenuationcircuit/attenuation-circuit
"Of course I am not the right person to say anything about Aalfang Mit Pferdekopf's 'Mutatis Mutandis', since a little silly thing from me as Freiband was the basis of this. An one minute piece released on a cassette, which people could use to remix, preferably using a four track cassette. There is an unreleased piece by Z'EV, but only Mirko Uhlig has spend a lot of time with it. He's back to using his old bandname, Aalfang Mit Pferdekopf, and there are three pieces here. One seems a straight remix of the original, followed by the title piece, which takes up thirty eight minutes. Here Uhlig takes the hiss of the original apart, adds sound effects, time stretches bits into long form drones, making an absolute great piece, ending a nice up in your face drone bit and even a short noise bit at the end - but hey of course I am not the right person to write such things. Close to the fire and such things. But to know such a short and hissy piece of loosely formed sounds can make such a great piece, I didn't know. Excellent, but of course I am not etc. And, best coup about it, its also released on cassette. Now there is something to bring to your four track machine. I know I will!" [FdW/Vital Weekly] |
2012 |
€8.00 |
|
| ABBILDUNGEN VARIETE |
same |
CD |
"We discovered this incredible multimedial experimental collective from Maribor (Slovenia) on the “84” LP compilation a long time ago. After almost fourty years since these unique artists started their activities, we decided to release their very first CD with all their best recordings.
Little is known about Abbildungen Varieté. We know they existed in the years between 1982 and 1984 and that besides their eponymous cassette release (“Abbildungen Varieté”, Galerija ŠKUC Izdaja-Ljubljana, 1983), their contribution with the track “Evolucija” to the “84” LP compilation (ZKP RTVL-Ljubljana, 1984) and a couple of cassette-demo, there were no other recordings by Abbildungen Varieté. Their eponymous cassette release came out in November 1983, in an edition of 230 copies: for the most part, it is a live recording, plus a couple of studio tracks.
Tracks 01.02.04.05.06 are taken from the "Abbildungen Varieté” cassette C-40,
recorded in August-September 1983, released in November 1983 in 230 copies by ZKP RTVL – LD 0933
Track 03 is taken from the “84” LP compilation, ZKP RTVL – LD 0933, 1984
Abbildungen Varieté (1983-1984) were:
Marko Ornik, Goran Majcen, Branko Mirt, Igor Zupe, Darko Senekovič alias Leonard Rubins.
Reissue project by Igor Zupe and Final Muzik.
Images taken from a 1983 promotional video (archive Škuc-a).
This CD reissue is part of the Final Muzik's “Eighties” series. Limited edition of 200 copies, in Digi-slim cardboard sleeve.
https://finalmuzik.bandcamp.com/album/abbildungen-variete
|
2023 |
€14.00 |
|
| ABRAHAMS, CHRIS |
Play Scar |
CD |
" Chris Abrahams ‘Play Scar’ inhabits a sound world that’s entirely uncharted. It’s a zone of in-betweens – juxtapositions and parallel lines – a realm in which nothing is certain and at any moment dynamic shifts might occur. In this unusual electro-acoustic landscape, Abrahams has crafted by far his most complex and epically beautiful record to date. It’s a series of pieces that in many ways demonstrates the full scope of Abrahams’ work as a musician and composer. ‘Play Scar’, like Thrown before it is both exotic and unfamiliar. Pieces like ’Twig Blown’ hint at Abrahams’ interest in musique concréte, ‘Lieiden’ pulses with a distinctly electronic flare, whilst ‘There He Reclined’ shimmers in a hazy procession of organ, guitar and electronics. At its core, ‘Play Scar’ is an album of unrepentant diversity, united through Abrahams astounding sense of composition and focus. In another artist’s hands these elements might be rendered too divergent and too esoteric, but sculpted by Chris Abrahams, each piece is a continent of sound, in an auditory world of his making. ‘Play Scar’ is unique, compelling and most of all visionary." [label info]
www.room40.org
"Various works of Chris Abrahams have been reviewed before, but as far as I could judge they were recordings with other people. According to the press sheet this is his fourth solo release, but the first to be reviewed then by Vital Weekly. Abrahams is, as a musician part of the Necks, which are described as an avant-jazz trio, but that's not shown in his solo release. Abrahams plays piano, hammond, rhodes, church organ, guitar, tambourine, bells, Yamaha DX7, Nord Waldorf Q+, prophet vs kurzweil, auto harp and field recordings. Mostly things with keys that is. Its not an album that is easy to pin down. The electronics are mostly atmospheric, but there are some interesting variations to be noted. For once, this is not an album of droney ambient music. A track like 'Twig Blown' for instance revolves around samples drum sounds, and owes much more to musique concrete than ambient music, while 'Running Out' has sudden bursts of guitar like sounds, amidst a bed of low humming electronics and piano sounds. The (too) lengthy 'Birds And Wasps' is a piece of more loudly sounds than quietness. The fairground sounds of 'Jellycrown', while the opening 'There He Reclined' reminded of the obscure A-Tent release on Cherry Red (still not on CD, damn it!). See: a curious hybrid of electronic music which offers a great deal of variation, but then also a great sense of unified approach. A very refined album." [FdW/Vital Weekly]
|
2010 |
€13.00 |
|
| ABSOLUTE BODY CONTROL |
Tapes 81-89 |
5 x LP Box + 7inch |
VOD37.RE ABSOLUTE BODY CONTROL Tapes 1981-89 5Lp Box with 7inch)
Reissue of the 2007 released Box-Set VOD37 including all 5 cassettes released on Body Records between 1981-89 incl. Untitled“ (Body001,1981), „Numbers“ (Body002,1982), „Figures“ (Body003,1983), „Live“ (Body004,1984), and „Tracks“ (Body006,1989) plus the 7inch Is there an Exit from 1981
https://www.vod-records.com/-1-432-671.htm
|
2020 |
€85.00 |
|
| ACHELOO |
Cycle |
CD-R |
" 'Cycle' is the fourth album of Carlo Luzi under the alias Acheloo. This is a wonderfully dark ambient album, the mixture of electronics and guitar create wonderful soundscapes.
The sound cyclicity in every track is the recurring element and the thematic constant, as in the tracks titles, is present in various cultures and various ambits: an ancient Chinese numeral system ("ten"), the basic units of time -60 seconds, 60 minutes, 24 hours- can all perfectly divide by twelve ("twelve"), the Tonalpohualli, the Aztec Calendar, has cycles of 13 numbers ("thirteen"), in Christian symbolism there are 9 orders of angelic choirs in 9 circles of heaven and 9 orders of devils within 9 rings of hell ("nine"), the sun spot cycle is 11 years ("eleven")." [label info]
www.acheloo.com
|
2009 |
€10.00 |
|
| AEOGA |
Obsidian Outlander |
LP |
"We are proud to present the new Aeoga album ‘Obsidian Outlander’ through our Sublunar series. The album also carries the honour of being the very first vinyl release of the label.
‘Obsidian Outlander’ slowly weaves together droning fabric of guitars and analog synths that melt together with abstract sounds and field recordings. Whereas earlier works have been more holistic in nature, 'Obsidian Outlander' is maybe the most narrow-focused thus far - bound to only certain frame and concept. The album exhales its nocturnal essence upon the listener and inhales this sensory experience back into Aeoga's mythopoetical dimension, crystallizing into a vision of a vigil standing before a slowly throbbing corpsecloth, while the black loom weaves the fabric of UN-inverse-OM. Total running time: 29:08.
The golden edition of the ‘Obdidian Outlander’ LP is enclosed in a customised and screen printed cardboard covers & inner sleeve, including three A5-sized insert cards. Limited to 350 copies.
The silver edition of the ‘Obsidian Outlander’ LP is enclosed in a customised and screen printed cardboard covers & inner sleeve, including three A5-sized insert cards. Limited to 130 copies." [label info]
www.auralhypnox.com
|
2017 |
€20.00 |
|
| AESTHETIC MEAT FRONT |
Essence of Rituals |
LP |
"After 12 years of total silence finally here comes the new opus by AESTHETIC MEAT FRONT!
AMF is the musical project of LOUIS FLEISCHAUER, well known multi-media artist: Sulpted Skin, Transformed Flesh, Human Instruments, Fleshexplorer.
LOUIS is also the man behind AMF Korsets, incredible sculptured leather corsets
AMF combines body art rituals with primordial soundscapes.
ESSENCE OF RITUALS: In contrast to previous releases this album reflects more of the raw energy from the public rituals of AMF instead of being a separate concept release that is born in the studio. Only source for “Essence of Rituals” are sounds selected from 9 puplic rituals over the course of 7 years. Those sounds are dissected and forged into a sonique dreamscape.
Most of the instruments used at the rituals of Aesthetic Meat Front include the human body in one way or another.
For example the heartbeat of Louis Fleischauer during suffocation, brainwaves at the moment of piercing and thereafter, amplified springs that are connected to the skin via hooks, the ultrasonique sound of an embryo.
Thus the euphoria and agony on stage can be shared with the audience in form of sound."
|
2019 |
€20.00 |
|
| AETHENOR |
Betimes Black Cloudmasses |
LP |
Zweites Album dieses Projektes mit ihrem instrumentell-improvisierten "Psychedelic Noir", überwiegend ruhig & dronig & minimal, durchbrochen von vielerlei konkreten Objekt- und Instrumenten-Geräuschen, sowie ekstatisch-perkussiven Zwischenparts... hat was verwunschenes, fabulöses, bannendes...
"Betimes Black Cloudmasses is the highly-anticipated second album from Vincent De Roguin (Shora), Stephen O'Malley (SUNN0))), KTL), and Daniel O'Sullivan (Guapo). Like their genre- and audience-confounding debut Deep In Ocean Sunk the Lamp of Light, Betimes is an atmospheric, constantly changing piece that encompasses a mind-boggling array of different performance and processing techniques. The deeply psychedelic and moving results present a soundstage that is continually evolving, with new elements entering and leaving the fray every couple of seconds.
Betimes includes significant contributions from free percussionists Nicolas Field and Alex Babel, who sprinkle the sound field with an almost FMP-style rush of splattering drum sound, raising the intensity of the music (without resorting to bashing). The album also features a brief but affecting vocal from Ulver mastermind Kristoffer Rygg, who made his first live appearance in over a decade when Aethenor played the Roadburn Festival in April 2008. Aethenor's third LP, featuring vocals and lyrics by David Tibet, will be released in Autumn 2008.
'Musically, Aethenor summon the most somnolent examples of Bernard Parmegiani, Organum, Nurse with Wound, Klaus Schulze, Igor Wakhevitch, Coil, Iancu Dumitrescu, and Charlemagne Palestine. Acousmatic drones ebb and flow into crackling and bubbling sonic clusters. Lulling piano motifs and lamenting chants shimmer into distant lunar horizons while oscillators spin and drove serenely into unchartered audial regions. Sometimes as calm as a silvery sea, so that every gentle cat's-paw and lapping wave is deafening. Sometimes as tempestuous as a fuming lava beach, spitting and popping at the surface.' -Daniel O'Sullivan " [label info]
www.vhfrecords.com
|
2008 |
€17.50 |
|
|
Faking Gold and Murder |
LP |
"... Diese drei Urprinzipien, das sind hier gleichermaßen STEPHEN O'MALLEY (SUNN O))), KTL), DANIEL O'SULLIVAN (GUAPO) und VINCENT DE ROGUIN (SHORA), die sich mit ihrem neuen Werk nun ein drittes Mal im Æthenor zusammenfinden und mit “Faking Gold And Murder” ein dunkles Manifest alchemistischer Transmutationen niederlegen. Begleitet wird das Trio von den beiden Perkussionisten NICOLAS FIELD und ALEX BABEL, dem Gitarristen ALEXANDER TUCKER und dem hier bereits als ANOK PE auftretenden DAVID TIBET. Was immer sich aus dieser Zusammensetzung bereits herleiten ließe, nichts bereitet einen wirklich auf diese von okkulter Ritualistik geprägten Kompositionen vor, durchsetzt von Tibets apokalyptischen Inkantationen. Tosend setzt in dem ersten der vier übergangslosen und unbenannten Kapitel ein Schlagwerkgewitter ein, umbrodelt von den unterirdisch anmutenden Klängen des Keyboards und der Gitarre, während Tibet zu sphärischen Klängen des Beckens und des Glockenspiels seine mitunter zweistimmig intonierten albtraumhaften Visionen in die Komposition hineinwebt, nur um nach einigen Minuten wieder vom zeremoniell anmutenden Lärmen der Perkussionisten übertönt zu werden. Selbst in seinen leisesten Momenten ist das Ganze so komplex und durchdacht arrangiert, dass es an keiner Stelle seine hypnotisierende Wirkung einbüßt. Längst hat vollkommen unbemerkt das zweite Stück begonnen, traumhaft übergleitend in minimal intonierten Ambient, der nach und nach mit dem Einsatz der regengleichen Klänge des Rhodes und eines anhaltenden Drones an Intensität weiter zunimmt, bis Tibet das Stück mit einer wie aus weiter Ferne gesprochenen Passage zu einem von tiefen Bassfrequenzen dominierten düsteren Ende führt. Spätestens mit dem Beginn des dritten Kapitels wird man gewahr, dass dies alles unaufhörlich in einem stärker werdenden Sog in eine Tiefe zieht, deren Boden unabsehbar geworden ist und in der man längst die Orientierung verloren hat. Eine durch wellenartig geschlagene Handtrommeln aufgebaute Spannung liefert hier die Grundstimmung für die Verstörendste von Tibets Inkantationen, unterstützt und bald überrollt vom infernalischen Rumpeln und Brausen des Schlagwerks und der anderen Instrumente, sich verdichtend zu einem vor apokalyptischer Brachialgewalt starrendem Ende. Wie in einem Nachwort endet mit dem vierten Kapitel das Album im erdigen Drone des Harmoniums und sphärisch darüber flirrenden Keyboardklängen, die den Hörer, zu Tibets fast schon gesprochenem Epilog, auf eine beruhigende Weise erden und das erste Mal nach 35 Minuten wieder frei durchatmen lassen. “Faking Gold And Murder” ist ein für den aufmerksamen Zuhörer ungemein lohnenswertes Machwerk. Wer sich darauf einlässt, dem offenbaren sich die komplexen Kompositionen in einer an Greifbarkeit grenzenden Dimensionalität, der hat Teil an einem archaischen Ritual von schauderhafter Schönheit, gekonnt in Szene gesetzt durch das mal fragile, mal tosende Zusammenspiel der Musiker und intoniert von Tibets geisterhaften Deklamationen. Letztere sind es auch, die “Faking Gold And Murder” eine Dimension verleihen, die die beiden Vorgänger nicht aufweisen konnten und das Album so zum eingängigsten und wertvollsten aller bisherigen Æthenor-Alben machen." [Stefan O. / NONPOP]
"Third earth shattering outing for Vincent De Roguin (Shora), Stephen O'Malley (Sunn0))), KTL) and Daniel O'Sullivan (Guapo). For Faking Gold and Murder, the core trio is joined by percussionists Nicolas Field and Alex Babel, as well as renown guitarist Alexander Tucker and the inimitable David Tibet. Faking Gold is Æ’s heaviest outing, driven by a weighty low end and the full fury of Babel and Field’s free-wheeling drums. The trio’s electronics, guitar, Rhodes, and organ ride the waves of sound in a tightly-controlled blare, leaving plenty of space for Tibet’s declarations of the mystical and supernatural. Tibet is on top form here, rising out of the tempest at just the right moment, almost plain-spoken in places – grounding the squall at times, voicing the apocalypse at others.
“Brooding, primeval, dark alchemical epics are full of a ferocious intensity, sounding more like a starlit night being ripped open by lightning than a musical group. Intelligent and primal, like a dæmonic workshop, battering up Pandemoniums and dreaming of gold and murder, Æthenor are spectacular.”- David Tibet
Cover design by Nicola Todeschini and Vincent De Roguin. CD is in a tri-fold letterpress folio, printed on heavy black art paper by Stumptown. Deluxe LP is 180 gram, pressed at RTI, in letterpress cover on heavy black art stock by Stumptown, with custom gold on black inner. Cut by John Golden. A fantastic sounding and looking item." [label info]
www.vhfrecords.com
|
2009 |
€20.50 |
|
| |
En Form For Bla |
do-LP |
"Aethenor is comprised of Stephen O'Malley (Sunn0))), KTL), Daniel O'Sullivan (Ulver, Mothlite, Guapo), Kristoffer Rygg (Ulver) and Steve Noble (N.E.W., Company, etc.). En Form For Bla documents the continued evolution of this unlikely collective, a collision of players from various avant, improv, metal, and "other" threads who together make a unique and arresting sound. Documenting three gigs in Oslo recorded in 2010, the album is deep and weird, with liquid sounds juddering around the occasionally identifiable percussion or Rhodes motif. In the evolution from a side project / studio group to a frequently working live act, Aethenor kept their sound intact, taking the musique-concrete-style transitions and "what's that sound" ethos of their three previous efforts directly to the stage. Noble, having spent a couple of decades playing drums with Derek Bailey and other well-known UK improvisers, moves the music along subtly, keeping much of the focus on the burbling sound mass. O'Malley's guitar, an instrument of extreme viscera in Sunn0))), is used with restraint, providing occasional low menace but mostly mixing it up with O'Sullivan's thematic lines and Rygg's sound treatments. The overall effect is atmospheric rather than sedate--something like a modern, small group version of Miles Davis' classic "He Loved Him Madly" or Nurse with Wound's Spiral Insana. Other than perhaps Supersilent, no one else is working this sonic vocabulary today. Designed by O'Malley, the deluxe double-LP version is pressed on white vinyl and packaged with printed inner sleeves; the CD is in a card folio. Aethenor will continue to tour extensively in support of their catalog, with ten dates in Italy in December 2010 and additional shows in the works." [label info]
www.vhfrecords.com
|
2011 |
€21.00 |
|
| AF URSIN |
Trois Memoires Discretes |
LP |
"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]
|
2012 |
€20.00 |
|
| AGUIRRE, MARCELO |
Contes d'Etonnement |
LP |
Voices, percussion, drums, and rather spooky electronic processing. A minimal structure onto which uncanny atmospheres become kind of interwoven. A sort of heterophony, in the manner of Japanese Gagaku or Indonesian Gamelan. An intriguing inversion seems to unfold, when the drum set takes the lead in the composition's development. We could even say the drums court the shadow of a melody, whilst the voice delivers a litany, enhancing atmospheres that are, to my ears, less sinister than they are elegiac: the longing for a primitive age, a meaningful world now lost and irrecoverable in its healthful entirety. This invocation works by way of an overlapping of sounds, always finding their source in the percussion set and in the vocal intonations.
It becomes apparent that time is the very question here, a time that is intangible and yet ‘absolute’ (if I may incur in this oxymoron), giving up any stringent historical temporality in favor of a sort of sedimentation in geological layers. Just listen to "Malaria C", a post-industrial landscape in the style of Lustmørd that brings to mind images of a universe in stasis, forever frozen in an ancient phase, while the voice underlines this ominous scenery, and the sound of tiny bells towards the end conjures a unique form of consolation as an ephemeral corollary.
In "Krakatoa", an extensive and vast sense of time lingers morosely in aural repetition, varying only slightly in intensity before the layered singing voices invoke an unlikely fulfillment. Those unmistakable chants may also resound in "Only A Mother", sort of a psalmody framed by a vehement and rhythmic acceleration which emphasizes how exacting and unavoidable is time's call.
Yet elusive, ungraspable time, resists being dissected into discrete and symmetrical units, escaping the prison of human perception; the drums go on and on, scanning their disparate metrics in an integral, unrestrained use of every component in the drum kit.
'I will follow the Time' could be guessed within "In Eternal Life". It is the only song which foregoes the drums. However, gongs recorded by close-miking bring to mind and ears the rumble of a synthesizer, coalescing with a jeremiad sung in a somber dialect that is cryptic, never discernible as intelligible language. The voice is merely another instrument, overlapping in disparate layers and warping polyphonic textures as its frequencies collide and clash, one against each other. While a voice recites an eerie mass, an incantation from another world, then punctuated by chants which resound like undulating drones.
It is difficult not to acknowledge the overall effect of some healthy dispossession, of a deliberate shedding of fineries, aimed at reducing everything to minimal expression. It is as if Marcelo Aguirre turns a cold shoulder to the weight of tradition and to the classification of musical experience with definite labels and overwrought categorization, as if he wanted to go beyond any accepted distinction of rhythm and melody, prose and poetry, or noise and harmony. Is his an appeal which knows of no precedent, a longing for an unheard form of music? A music able to transcend time and place while not relinquishing its human and historical fate? I cannot help taking note of a certain kinship that this musical inquiry of Aguirre's crisscrosses the time-honored obsession with Time, held by European philosophers from the late XIXth and early XXth Century. For instance, William James and his brother Henry's 'stream of consciousness', the 'durée' of Henri Bergson, and the transcendental subjectivity understood as an absolute by Edmund Husserl. What Aguirre may share with this company is the search for a language adept to communicate the indefinable, the flow of a temporality that does not allow itself to be captured in any given moment, instead it is music at the service of a primordial intuition. Therefore recovering an original order, harmonizing in a fullness of sense the flow of sounds. An attitude which positions itself at the antipodes of some developments in current electronic music, with its disassembling of the sound reality into beats (or bits and bytes), and an everlasting reiteration of artificial rhythmic structures, always monotonous and symmetrical even in their angularity. It is in this context of predominant musical tendencies nowadays, which blesses in a paradoxical marriage the once hostile fields of pop and experimentation, that these 'Contes d'Étonnement' reinvent a fresh appeal to the liberal imagination; a force as ancient (and eternal?) as the human species is.
[from the inlay, text by NORBERTO CAMBIASSO]
https://marceloaguirre.bandcamp.com/releases
|
2018 |
€17.00 |
|
| AHTI, MARJA & JUDITH HAMANN |
A coincidence is perfect, intimate attunement |
LP |
After their distinguished duet ‘Portals’ for Cafe Oto\'s Takuroku label, ‘A coincidence is perfect, intimate attunement’ is a wonderful sophomore collaborative work pieced together over two years of changing seasons, ideas, moods, and feelings. The release is formed from a shifting field of sound correspondence that pivots on moments of coincidence, of a tuning in.
What are we opening ourselves to when we tune in to sound? How can one be truly open to a sound? How can the activity of recording move beyond notions of capture and release into more generative frames? Rather than a tool purposed for preservation or ‘conservation’ of memory, of time and place, can recording sound instead form new vibrant or vibratory spaces of attunement?
‘A Coincidence..’ is an LP length composition of multiple interlocking parts, created through exchange, alignment, unpredictability: the title borrowed from poet Fanny Howe falling right into place, a flock of birds in flight, pitches matched and moved across different geographies and temporal frames. Marja & Judith have created an intuitive, lyrical longform piece that considers the idea of attunement itself as, in some sense, the smallest form of measure or denominator connecting their respective practices: across field recording, just intonation, electronic sonorities and instrumental bodies. ‘A coincidence..’ reflects a sense of a willingness to tune in to impulses given, or gifted to the other, a position that embraces an intimate synchronicity.
Judith Hamann: cello, voice, field recordings, synthesizer, organ
Marja Ahti: field recordings, synthesizers, organs, piano
Recordings & correspondances between 2020-2022. Mixed by Marja Ahti & Judith Hamann. Mastered and cut by Anne Taegert at Dubplates & Mastering in Berlin, 2022. Title quotation from Night Philosophy by Fanny Howe, Divided Publishing, 2020. Photogrpahy by Joshua Bonnetta. Thanks to Nino Bulling, Niko-Matti Ahti and leo. The work was supported by Kone Foundation, Akademie Schloss Solitude and NEUSTART KULTUR.
Second Editions 011 / LP / Edition of 300 / November 25 2022
https://marjaahti.bandcamp.com/album/a-coincidence-is-perfect-intimate-attunement
|
2022 |
€24.50 |
|
| AKATOMBO |
Trace Elements |
CD |
" In common with all swim releases this album is hard to pin down to a genre. One could define this as a very urban sound with it's roots in hip hop and close observation would reveal this statement to be entirely true BUT without listening this would create an entirely erroneous view of what this album is. The author & main protagonist Paul Kirk is in fact an ex-patriot Scot living in Hiroshima and the album crackles with the urban displacement of a stranger in a strange land. It is a music which is not separated from the place in which it is made, disembodied voices, street sounds, telephones, bad connections and urban detritus are constant reminders of the Japanese cityscape. Paul Kirk says - "Trace Elements came about through a fascination with the layering of sound - any type of sound - from any source. Not necessarily those that most of us think of as musical". He goes on to say - "Each song on the album was written, recorded and mixed on the same day of it's conception - in Hiroshima, in a studio that specializes in soundtracks for TV adverts with the help of an engineer who didn't speak English." Paul also employed a few musicians to add to the effect those include the former bass player of Long Fin Killie, Colin Greig and some mates from his days running the Human Condition label (which actually put out Idlewild's first single but we won't hold it against them!) Grant MacNamara & Gavin Henderson. Meanwhile, guitarist Masaru Saeki actually toured with Japan & Roxy music!"
[label info]
www.swimhq.com
|
2003 |
€14.00 |
|
| AKERLUND, LARS |
Xenon |
CD |
"Swedish composer Lars Åkerlund releases Xenon, his second album on the Firework Edition Records label.
Xenon is based on recordings of machinery and activities of everyday life. The sound has been analyzed, treated and reconstructed; building a new framework.
Xenon is a chemical element that occurs in the Earth's atmosphere. Some of the properties of xenon are anaesthesia, transposition and levitation. Anesthesia is the condition of having sensation blocked or temporarily taken away. The speed of sound in xenon gas is slower than that in air. Xenon lowers the resonant frequencies of the vocal tract when inhaled. This produces a characteristic lowered voice timbre (an effect opposite to the high-timbred voice caused by inhalation of helium). Xenon gas at high pressure has a density exceeding that of some solids and can be used to levitate objects through buoyancy. These features relate to ideas that were important during the process of making this music.
Curriculum Vitae:
Lars Åkerlund is a composer and performer of electronic and computer music. Starting as a guitarist he increasingly got more and more involved into the contemporary art scene of the 90's and was one the founding members of the Lucky People Center (LPC) and has since then been working in collaborations with other artists, choreographers, and filmmakers as well as a solo artist. Lars Åkerlund's work includes solo electronic music, live-electronics, instrumental music, films, videos and performance.
Discography
Some previous releases:
"Ur/Volt", Lars Åkerlund (FYCD 1028) 2008
"Rivers of Mercury/Via Styx", Lars Åkerlund (FER 1025) 2001
"Welcome to Lucky People Center", LPC (MNWCD 234) 1993."
www.fireworkeditionrecords.com
|
2011 |
€13.00 |
|
| AKITA, MASAMI |
Wattle |
pic-LP |
Elevator Bath's series of picture disc LPs (each record being adorned with full-color artwork by the recording artist) comes to its conclusion with a top-notch new release from the great Masami Akita.
Wattle is a new, two-part composition featuring Akita's traditional soup of unidentifiable metallic clanging, crushing feedback, jagged white noise, and various effects. It does not disappoint. There are no drums, no guitars, no vocals; just scorching electronic mayhem of the highest quality.
The colorful images here are based on photographs shot and subtly manipulated by Masami Akita, who sends the following message:
"Turkey is beautiful animal and do not eat them."
Agreed.
Masami Akita is, of course, the artist behind the seminal, vegan, straight edge, noise project, Merzbow. He lives in Tokyo.
This picture disc LP has been released in an edition of 270 copies. Every copy purchased directly from Elevator Bath will include a download code for high quality files of the entire audio content of this LP.
www.elevatorbath.com
"Masami Akita (aka Merzbow) dedicates this album to the turkey, following numerous explosive noise albums in homage to various animals. While frogs, fish, and dolphins have appeared throughout the Merzbow menagerie, birds in particular seem to the object of fancy for Akita, and here he offers the following: "Turkey is beautiful animal and do not eat them." How his vegan beliefs co-exist with the feral electric screams that is the Merzbow / Akita aesthetic has long been a mystery to us; but that does not diminish the psychedelic intensity and kaleidoscopic overload heard here. Akita is focused (or appears to focus) on the analog systems of closed-circuit noise construction that dominated his work up through the mid-'90s. Wattle squiggles and noodles with an electronic squawking that could be Akita's mimicking of the titular bird, with these sounds (un)settled above a scorching roar of jet-engine tumult and clattering demon-pulse frenzy. Limited edition picture discs of just 270 copies!" [Aquarius Records]
|
2016 |
€20.00 |
|
| AKIYAMA, MITCHELL |
Mort aux vaches |
CD |
Wieder ein kleines Verpackungswunder in der MORT AUX VACHES-Serie: glänzendes, 2fach gefaltetes Kupferblech mit Prägung, sieht einfach genial aus! Und auch musikalisch ist dies ein Schmuckstück: Ein one-tracker (43+ min.) mit äusserst zarten, stimmungsvollen Gitarren-Drones, die digital aufbereitet tänzeln und feinste innerliche Resonanzen spürbar werden lassen....
“Packaging comes in embossed copper (no printing). Akiyama's contribution to the Mort Aux Vaches series is an unedited improvisation recorded for VPRO radio in April, 2004. Consisting of guitar washes and digital interruptions, the set was recorded without any use of samples or prepared material. In keeping with Akiyama's ethic of spontaneous composition this recording is a document of a moment. Akiyama's music is a study in fiction and texture. He records compositions and improvisations for piano, strings, and other instruments, and restructures them in his studio in a post-facto montage. Playing on the distortions in causality that recording technology can effect, Akiyama creates music that lays claim to a moment of creation that never happened. Imperfections - fingers scraping strings, breaths and other signs of humanity - are underscored resulting in a digital simulacrum of performance. Located somewhere in the interstices of classical, electronic composition and post-rock, his works vacillate between delicate melodies and confrontational bursts of noise.” [press release]
www.staalplaat.com
|
2004 |
€14.50 |
|
| AKSAK MABOUL |
Charles F. Bleistift |
7inch |
This limited-edition 7” EP follows the release of Aksak Maboul's acclaimed new double LP 'Figures' (out May 22, 2020), which is the legendary experimental pop band’s first real new album in decades.
These four tracks are reworks, which don’t appear as such on the album. They expand on the imaginative world of the 'Figures' album, with its unique instrumentation, its sound collages and diverse, enigmatic moods.
Tout a une fin (short version)
A tight 3-minute track including a song part (in which Véronique Vincent’s voice performs sinuous variations around the words in the title) and a section featuring electronic, rock and orchestral instrumentation rising to a wild, crescendo finale.
Blaue Bleistift
Unveiling some of the more electronic and experimental aspects of the new LP, with its criss-crossing keyboard lines and sound collages. Kind of a mysterious, ambient cousin of Aksak Maboul’s Saure Gurke?
C'est Charles (edit)
An edited version of a song which ends on the sound of a crowd chanting slogans (“What we want… Is…”)
Silent Silhouettes
This almost-instrumental track might be evoking a kind of electronic tango, or a dream scene in a Fellini movie?
'Tout a une fin' was also released in the shape of a dizzying music video directed by animator/collagist Yoann Stehr (whose recent work includes short films for fashion designer Paul Smith).
Just like the Figures album, this EP was written and produced by Marc Hollander & Véronique Vincent (respectively founder of Aksak Maboul & Crammed Discs, and former vocalist with The Honeymoon Killers). The tracks were performed by the protagonists with contributions by the rest of band’s current line-up of Faustine Hollander, Lucien Fraipont (Robbing Millions), Erik Heestermans, and by guest such as Fred Frith and members of Aquaserge.
From the press on Aksak Maboul’s Figures:
The long-running Belgian avant-garde band explore complicated gender dynamics on their ambitious new double album. (Pitchfork, US)
Hollander’s inventive arrangements and programming make Aksak Maboul’s music so exhilarating and durable. Mischievous and purposefully eclectic… wide-ranging appeal… (The Wire, UK)
A masterful lesson in contemporary pop. Across 22 tracks, Figures jumps from the craziest experimentations to irresistible pop songs, with joyful ease (Les Inrockuptibles, FR)
The focus is on playfulness and the joy of experimenting. And these delights are contagious. Album of the Week (ByteFM, DE)
credits
released September 18, 2020
https://aksakmaboul.bandcamp.com/album/charles-f-bleistift-ep |
2020 |
€10.00 |
|
| ALE HOP |
The Life of Insects |
LP |
Ale Hop is an artist, researcher, and experimental instrumentalist. She composes electronic and electroacoustic music, by blending strains of noise, pop, avant-garde, ambient and a complex repertoire of extended techniques for electric guitar and real-time sampling devices which she uses as her sound vocabulary to craft a performance of astonishing physical intensity, saturated of layers of distortion and stunning atmospheres.
Her body of work includes immersive multichannel installations, live performances, sound sculptures, video, 3D, composition and sound design for theater, dance and film, releases, academic publications, and workshops. The Life of Insects is her fourth studio album.
The composer began to craft the album The Life of Insects after spending one month living with different types of insects in her home studio, which she bought from a local insect dealer in Berlin and built little terrariums to record them for the sound design of a film she was working on.
Nonetheless, the album is not comprised of compositions based specifically on sound recordings of the insects, but it unfolds as an imagined world recomposed through speculated narrative and abstract elements that seek to portray their lives, assembling sounding stories that could be re-constructed in the mind of the active listener.
For this purpose, the artist came up with a musical language that could hold this fictional universe, comprised principally of several layers and textures of guitars that mimic environmental and atmospheric sounds.
The Life of Insects will be released October 23 on Buh Records
Watch the psychedelic video for the album opener 'La procesión' below.
Listen & Watch: Ale Hop - La procesión (Official Music Video)
www.youtube.com/watch?v=-v4Tqm8wk8E&feature=youtu.be
Side A
1 La procesión
2 The Life of Insects
3 Pollinators
Side B
4 The Way to the Ocean
5 Someday We'll Dance Again
6 The Pearl Diver
7 Jungle Depredation
Supported by Initiative Musik gGmbH with project funds from the Federal Government Commissioner for Culture and Media
All music composed, recorded and produced by Ale Hop
Mastered by Manmade Mastering, Berlin, Germany.
Mastering Engineer: Tim Xavier
Artwork by Ale Hop
https://buhrecords.bandcamp.com/album/the-life-of-insects
|
2020 |
€21.50 |
|
| ALGOL |
All these Worlds are yours |
CD |
A fifth full-length album by _Algol_ brings to you digital and analog sounds combined with some soothing guitar tunes. A conceptual and contemplating album for virtual cosmic journeys. Enjoy!
Instruments and mastering by Daniil Kazantsev.
Album Design SeasofBlack & Kati Astraeir (inner layout)
Released by Ksenza Records
www.infinitefog.ru
_Algol_ is a project name belonging to Siberian soundscaper (scientist, traveler, photographer...) Daniil Kazantsev, who is currently based in the UK. "All These Worlds Are Yours" album is out since the middle of June 2016 as a collaborative release between Russian labels Ksenza Records and Infinite Fog Productions. My attention was immediately caught by a catchy 4-panel digipak featuring splendid artwork by Italian artist Michele Carnielli working under his moniker of Seals Of Blackening (also a vocalist and guitarist with doom metal band Kröwnn) and by our kindred soul from the Sonoran Desert, Kati Astraeir, who is credited for additional inner layout. Nice work, guys!!!
4 and a half minutes long "Accelerated Descent" reveals the journey with slightly balladic, nearly medieval-like tides, where persistently spiraling patterns commingle with aeonianly emerging, droning and evanescing, intangibly rawer vistas. "Under The Starlit Sky", clocking to 7 minutes, glides gracefully towards nocturnally fascinating realms, masterfully bridging ethereally enrapturing dronescapes with quietly permeating transcendental glimpses. "Hidden Behind The Light" is invaded by monochromatically immense expanses, intricately guarded by clandestinely sneaking ambiguous siren calls. Breathtakingly infinite sceneries fully unfold here! "Frozen Plateux" safely remains on the path of utterly enveloping amorphousness, splendorously diving into the deepest ends of atmospheric tranquility, meticulously reinforced by occasional cyber-tech breaths. Exquisitely monumental magmas, jaw-droppingly flatlined, are insistently counterpointed by warmly undulating mirages, while intriguing desolate dissonances percolate here and there. A stunningly immersing 10-minute composition, one of the pinnacles!!! The next piece, "The Sands Of Tatooine", dives into enigmatically labyrinthine domains, merging calmly enveloping panoramic quietudes with sinuously twisted reverberating vestiges. A deep space voyaging at its most engrossing continues! "The Windswept Terrain", with 11:33 the longest piece, attracts wit its mysterious dronesculpting, where static surroundings commingle with intenser nuances, displaying evocatively enveloping passages, slightly disruptive hissing undercurrents and euphorically climaxing epic magnitudes. A very good one! 8-minute closer "The Dune Sea" delves deeply into unfathomable depths, superbly amalgamating majestically droning monochromatism with spellbindingly growling and buzzing traceries and thrillingly mind-bending meridians. Enter now the gates to abyssal nothingness!!! Obviously a grand finale!
"All These Worlds Are Yours" CD, which is limited to 333 copies, is certainly a very strong debut by _Algol_ on a glass mastered format, so don't hesitate to grab your own copy, I guarantee you won't be disappointed!!! And the digital version includes 7-minute bonus track "A Fading Planet". If I am right, discography of _Algol_ features another 5 digital albums, one of them "Heaven Debris" (2011) was released also on a CDr format via Snowy Tension Pole label from Poland, but I believe this one is sold out already. And one of the digital albums, "Goldilocks Zone" was released on earthMantra. Not to forget, Daniil Kazantsev is also the mastermind behind dark ambient project Stuzha with two acclaimed albums, "Siberian Sketches" and "Butugichag". The first one was released as a CDr by Snowy Tension Pole during 2011 and now, few days ago, reshaped and reissued on CD format in a 4-panel digipak on Ksenza Records. Limited collector's wooden box is available as well. On the same label is available also "Butugichag" CD album (2015), which elaborately deals with Kolyma Gulag labor camp theme. If you are a connoisseur of venturous dark ambient explorations, don't miss these two powerful works!!! And to make the story complete, Daniil has most recently released via earthMantra his newest digital album entitled "67P" under his newest moniker Black Wanderer. A batch of exciting releases awaits to be carefully examined!
Richard Gürtler (Nov 01, 2016, Bratislava, Slovakia)
|
2016 |
€12.00 |
|
| ALIO DIE |
Aura Seminalis |
CD |
Auf AURA SEMINALIS verwendet ALIO DIE vokales und chorales Material, welches elektronisch verfremdet oder mit elektronischen Effekten angereichert wird. Dabei entstehen zwei lange Stücke von unglaublicher Emotionalität und Tiefe, frei fliessend & sanft wirbelnd um imaginäre Zentren....Die sakralen Choräle verschmelzen auf eine einmalige Art und Weise mit akustisch-elektronischen Sound,
vielleicht das beste ALIO DIE -Album bisher, auf jeden Fall aufregend anders als vorherige Arbeiten !
"The new work by Alio Die it is part of the Castle's sonorisation series, titled AURA SEMINALIS. The first track 'Sine Tempore part I-III' it's an epicentre of mystic music carachterized by a gold cathedral's atmosphere, while 'Aura Seminalis part I-II' displays an ascensional soundworld of arcane purity and rare beauty. One of the best works by Alio die so far. CD packaged in an elegant three sides digipack!! HSL 045" [label info]
"This latest release in a recent outpouring of creativity from Italy's master of organic drones is possibly the most unique in this artist's long career as a sound sculptor. While most of his recent releases on his own Hic Sunt Leones label have been collaborations, this is his first solo effort since the release of the 10 inch vinyl Aurea Hora. As the elaborate Renaissance style artwork on the cover suggests, this music points in the direction of a more "classical" sound insofar as the utilization of Gregorian style chants. These are successfully incorporated into Musso's customary drones comprised of field recordings, acoustic instruments, and electronic processing, giving this disc a particularly reverent ambience. Don't think Enigma or Delerium, because as one listens to this they may be inclined to bow their head and meditate or pray rather than nod or chill. I imagine that if today's sound recording abilities were available during those times evoked by the artwork or chants, they too would have then added the organic elements that Alio Die does, creating a balance of both the heavenly and the earthbound. Fans of his music may or may not find this approach a departure from what they are accustomed to, but it is certain that this artist is going beyond his previous huge body of work to encompass a broader sonic pallette." [Pauldient / Discogs.com]
www.aliodie.com
|
2008 |
€15.00 |
|
| |
Deconsecrated and Pure |
CD |
"Deconsecrated and Pure is an evocative liturgy from the realm where electronic music meets acoustic drones, found objects, sacral voices and field recordings.
Italian ambient-acoustic sonic sculptor Stefano Musso returns for his first solo Alio Die release on Projekt in 20 years. Don't get the idea he's been on vacation, however! Since 1992 he has released 37 collaborative CDs and 19 solo CDs; this makes Deconsecrated and Pure Alio Die's 20th solo release! Welcome back!
The processed traditional instruments and natural textures float alongside rich electro-organic drones, creating a perfect introspective soundtrack with a medieval and sacral atmosphere. Serene and meditative textures combine in a chorus of circular and interwoven sounds, reflecting the harmony of the cosmos as an opus of inner stillness.
Processed and layered into the mix are vocal pieces by Claudio Merulo. The work of this 16th century Venetian Renaissance composer was performed by Paolo Tognon and Quoniam Ensemble di Dulciane and De Labyrintho Ensemble Della Rinascenza, creating the essence of a historical religious feel. The gradual evolution of the arrangements create a strong impression that the listener has been carried across time and space. Elements such as sonically-tampered Middle East horns (The dulciana, a sort of early basoon/oboe), solemn atmospheres of the courts of the Italian Renaissance, and evocative soundscapes cosmic and ethereal combine for holiness and trascendence.
To create this work, Stefano selected fragments of sessions recorded with the acoustic instruments, modifying them through multi-layered loops. Pitch and frequencies changed, effects were added, other sound objects were played and processed into the mix. This was further augmented with the electronics and field recordings adding more layers metamorphosizing the whole atmosphere into a deep trance mood. What makes Alio Die's compositions glow is the attention to detail and fluidity; something from the background floats to the foreground as it is slowly modified, or perhaps it's the gentle addition of a bagpipe or stringed instruments. It all intertwines through constant modulation, addition of atmospheric sounds, and re-contextualization.
Marvelously floating and hauntingly expressive, Deconsecrated and Pure feels like a liturgical poem within an archaic mausoleum distorted by time." [label info]
www.projekt.com
|
2012 |
€15.00 |
|
| ALIO DIE & FESTINA LENTE |
Il sogno di un piano veneziano a Parigi |
CD |
“With Il Sogno di un Piano Veneziano a Parigi Alio Die and Festina Lente creates together a place of the memory where the past rest with a filmy nostalgia.. it is a dramatically joint that finally extinguish itself to the become.. there at the border where the personal moment ends, and the taste of an impersonal experience starts, with a longer breath. Like life belongs to the cosmos, and time belongs to the seasons.
After a long friendship a pianoforte met a zither, their incorporating sounds brought on wings of an ancient and lully dream, in foggy layers of impalpable feelings and in a wayward journey towards the inland. The field recordings were collected in Paris, East-Asia, and America by Alio Die, kimsonJa and Francesco Paladino such as rituals, animals, objects and spontaneous voices in the street... surround and conduce towards parallel worlds.
The ambient tracks are alternated with more intense and obscure moments, without breaking the solution of the continuum, through the organic elaborations of the sound's dye... loops of notes and silences, subtle presences of the field recordings that spy both: mankind and nature… So the treated piano and the nipped and scrubbed cords, the voices and noises, the resonances of metals... calls back the memory's body, that comes to the surface with great glangour. Dissolvent bright and dark colours, putting voices together to a poetical inspiration and a glamorous and precise lyricism of the entire inside.” [label press release]
|
2005 |
€13.50 |
|
| ALIO DIE & MARTINA GALVAGNI |
Eleusian Lullaby |
CD |
"Oasen-Ambient" auf dieser Zusammenarbeit von ALIO DIE mit der italienischen Sängerin MARTINA GALVAGNI, hell klingend & klar, eine paradiesische Schönheit und Geborgenheit heraufbeschwörend, zärtlich, warm & sinnlich. ALIO DIE benutzt wieder diverse Instrumente wie Zither & Sitar und field recordings, die er auf seine typische Art und Weise verwebt...
"Eleusian Lullaby is a sensual ethereal-ambient collaboration between Italian soundsculptor Stefano Musso (aka Alio Die) and Italian singer Martina Galvagni. It is the third release in Projekt's series of Alio Die's vocal collaborations following 2001's Apsaras (with Amelia Cuni) and 2005's Mei-Jyu (with Jack or Jive). Eleusian Lullaby blends the natural, warm and earthy ambient compositions of Alio Die with the elegant, neo-classical voice of Martina, merging notes and silence into an expanded dreamscape. This is lullaby music like an aural caress from darkness into the light. The combination of the vocal melodies with the abstract qualities of the loops and instruments creates a suspended near-dream space, intimate and sensual at the same time.
The opening track, 'The Oniroid Sleep,' displays a foggy atmosphere where the voices wash beneath the acoustic layers of the cithara, sitar, kalimba and field recordings. On the second track, 'A Drone Song for Alienor,' the voice is clearer and more upfront with all its powerful beauty apparent creating an intense and fragile song with a neo-classical approach. The third song, 'Eleusian Lullaby,' was created as a totally free improvisation of psaltery and voice; the text is sung in a dialect of the Engadina language (Switzerland). Drones and loops were added later from the original recordings.
60 minutes of music, composed by acoustical improvisations with voice, psaltery, zither, cithara, bells, metals and field recordings. The original recordings were made in locations in the woods and in ancient medieval places then processed and layered by Alio Die at Temple Studio in 2005-2006.
Listen to this trance music in the dark and be lead to a tranquil earthly garden. Like in the best lullabies, you are caressed as you are transported to a mysterious parallel soundworld of peace and harmony." [label notes]
"Three elongated tracks making up a full length album of arty, filmic experimental soundscaping. Delicate and subtle, yet slightly discordant, melodies from archaic stringed instruments interweave with ambient drones, tinkling bells, and wordless vocals with Middle Eastern, medieval and folk touches, as well as sophisticated and evocative neoclassical vocals that are used as more of a focus of the track rather than the other styles that put in briefer appearances. Less song-oriented than many Projekt releases, but its ethereal nature, coupled with the slightly dark take on folk/world/classical music, fits right in with much of the label's other output. Combining elements familiar from the ambient/drone/experimental genre with creative, intellectual ideas of their own, the album is relaxing yet slightly unsettling at times, and goes beyond music and into the realms of aural art." [Bliss / Aquamarine]
www.projekt.com
|
2008 |
€14.50 |
|
| ALOG |
Amateur |
do-LP |
"Double LP version, deluxe gatefold sleeve. Alog are duo Espen Sommer Eide and Dag-Are Haugan, and this is their fourth full-length release for the Rune Grammofon label. Since forming in 1997, Alog have been among Norway's leading performers of experimental electronic music. They are mainstays at Rune Grammofon and have been with the label since their debut album Red Shift Swing was released in 1999. They have increasingly worked with various acoustic instruments and in collaboration with other musicians for long recording sessions in special locations. Travelling around the west coast of Norway with Nicholas H. Møllerhaug and Nils Økland sidekick Sigbjørn Apeland, they recorded in music schools in an attempt to capture the unique sound of each selection of instruments found. Because of bad weather they could be stuck for days on islands off the wild northern coast recording themselves playing any instruments they could find and building more of their own. These sessions were subsequently worked on in the studio to bring out the unique spirit of this release, characterized by a curious and fresh approach to playing that is often lost in the process of becoming a virtuoso on a singular instrument. The word "amateur" originally denotes a person who is motivated by a passion or love for their activity. It has been the goal of Alog on this album to preserve and enhance this special energy in their songs, and to do this they use their "augmented acoustics" technology and bring out the hidden "amateur" energy of each song." [press release] |
2007 |
€22.00 |
|
| ALTIERI, CORRADO / GIANLUCA FAVARON |
The System of Objects |
CD |
"Silentes presents a new collaborative effort between two prominent artists of Italy's electronic and experimental scene, Corrado Altieri (Candor Chasma, Monosonik, Uncodified) and Gianluca Favaron (ab'she, Under The Snow, Z'been). Inspired by Jean Baudrillard's essay of the same name, "The System of Objects" offers seven compositions combining field recordings, analogue textures, computer music and concrète sounds. Altieri e Favaron dig deep in the unconscious of the french philosopher, devising a hypothetical music score of his manifesto on the relations between objects universe and consumer society ideologies: drones and digital pulses, processed tapes and multi-layered frequencies make for a voyage to the borders of ambient, noise and radical experiments." [label info]
www.silentes.net
"Releases on Silentes are getting a bit more sparse these days, perhaps because of the economic tide etc, but I am also happy to note that they do more and more LPs. However the first new one is a CD with Gianluca Favaron on computer and one Corrado Altieri, who gets credit for electronics and tapes. Favaron is a man whose work appeared a lot on Silentes (as we'll see here too), and I never heard of Altieri. The eight tracks on 'The System Of Objects' are relatively short: the whole album doesn't last more than thirty-five minutes and it's inspired by the book of the same name by Jean Baudrillard. In much of Favaron's work ambient and drones play an important role, even when they are created with the use of the computer. In this particular work however we find him in a somewhat more noisy role, owing more to musique concrete than to ambience. The whole thing has some heavily treated acoustic feel to it, creating seven quite densely knitted pieces of electronic music. Be this field recordings, be this acoustic sounds created with contact microphones, or whatever else, it's treated into great monolithic blocks of sound. In only a few pieces this kind of minimalism is left behind and more things happen at the same time, such as in the opening piece 'Objects And Time 1'. An excellent release of highly vibrant electronic music. Quite raw and intense, exactly the kind of noise I like. Not meaningless and pointless carrying on forever, but seven sharp, contrasting blasts." [FdW/Vital Weekly]
|
2013 |
€12.00 |
|
| ALU |
Autismenschen |
CD |
Späte Veröffentlichung des ersten, bisher unveröffentlichten Album von 1980 von dieser deutschen Paranoia-Elektronik / „New Wave“-Gruppe, die aus zwei der drei Mitglieder der Krautrockband SAND bestand (deren LP „GOLEM“ auf World Serpent wiederveröffentlicht wurde!) . Liner-Notes von DAVID TIBET!
“About the band: Alu was a seminal German synth-punk band active 1979-83. This CD is their unreleased first studio album from 1980.
This is the unreleased first studio album by one of the pioneering German synth / electronic projects. Liner notes by David Tibet. The project of some of the members of Alu were in prior to Alu, Sand, enjoyed a fantastic revival a few years back (thanks in great part to David Tibet).
Unearthing this release will bring much joy to anyone interested in the pioneering sound of German electronic music from the late 70s to mid 80s. Alu released two live LPs, a 7", and a small quantity of cassettes; all of these releases are, tragically, out of print. For those to whom Alu is a new name, comparable audio would be Suicide, Throbbing Gristle (circa 20 Jazz Funk Greats), Esplendor Geometrico, or Algebra Suicide, not to mention myriad electronic German bands who existed concomitant to Alu and have enjoyed recent reissues of their own, including Phonophobia, Die Todliche Doris, and Thorax-Wach. Labels with similar artists include Zick Zack and Twisted Knister. For the young'uns who like Wolf Eyes, this may be considered a worthy ancestor...
Alu was born from the ashes of the seminal project Sand, whose releases were issued a few years ago through the persistence and passion of David Tibet. Not coincidentally, David Tibet also provided liner notes for this release. This release comes with a booklet of lyrics (in German), photos, plus a short biography (in English) of the band. Translations of the lyrics and other information on the band will be up soon at their recently created website, alugenerator.com.
“....you may call me a retro freak, I prefer the old stuff, like Alu, or The Screamers or Suicide, with whom Alu has in common that they both combined the speed and energy of the punk rock, combined with analogue synthesizer stuff. Some of the more lengthy pieces, such as 'Halt Dich Fest' sound, with lenghty guitar doodlings show their krautrock background, but Alu is at their best in their shorter pieces: a screamy voice, full of doomsday paranoia, a continuous rhythm-box, simple melodies on the organ and guitar in a distorted mood. The real stuff that can't be beaten by a groove-box and microphone. The best re-discovery of 2005!” [FdW / Vital Weekly]
|
2005 |
€20.00 |
|
| AMBARCHI, OREN |
Raga Ooty / Nilgiri Plateau |
LP |
"Raga Ooty unearths three previously unreleased works (each titled with reference to the area in south India where his mother was born) from Oren Ambarchi's archive, showcasing the rawer side of his solo work between 2006 and 2011. The side-long Raga Ooty unspools a twisting, skittering thread of gritty guitar harmonics over a bed of buzzing tambura drone, creating the same paradoxical impression of simultaneous stasis and forward propulsion achieved by minimalist masters such as Henry Flynt, to whom this work is dedicated. The Nilgiri Plateau generates an 8 minute wash of gleaming overtones from a 12 string acoustic guitar played with motors, continuing the experiments first made public on the 2007 Stacte Motors LP. The closing Raga Ooty (Slight Return) returns to the distorted guitar harmonic hysterics of the opening piece, this time elaborated over a wash of Ambarchi's signature Leslie cabinet tones, building relentlessly over the course of 12 minutes recorded live in Basel late last year." [label info]
www.boweavilrecordings.com
|
2012 |
€20.50 |
|
| AMINI, SIAVASH |
TAR |
LP |
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
|
2017 |
€21.50 |
|
| |
A Mimesis of Nothingness |
LP |
"Siavash Amini returns to Hallow Ground with A Mimesis of Nothingness, his fourth album for the Swiss label. Following up on Harmistice (HG 1902LP, 2019) together with fellow Iranian artists 9T Antiope, the six tracks were conceived in close collaboration with another artist and see the prolific composer intensify his interdisciplinary approach. The six tracks enter a dialogue with the photographs of Nooshin Shafiee, an acclaimed artist whose work capturing their hometown Tehran becomes the starting point for one of Amini's most visceral and haunting records. A Mimesis of Nothingness translates the ephemeral situations and melancholic moods of Shafiee's pictures into suspenseful soundscapes that masterfully navigate between the concrete and the abstract. A Mimesis of Nothingness is a disquieting record precisely because it is a quiet one. Working with field recordings, Amini sculpts dynamic portraits that create an atmosphere of tangible suspense that is never fully released. Even when string-like sounds enter the picture as they do on the third track "Moonless Garden" or when the abstract and glacial noise on "Observance (Shadow)" demand the listener's attention, the six pieces take hold of the subconscious rather than trying to be direct and confrontational. It is sound conceived not as a description, but a circumscription of spatial relations and the eeriness embedded in them. Includes eight-page booklet."
"Zu den interessantesten Versuchen, einen Ort im künstlerischen Medium, sei es Bild, Text oder Klang, erfahrbar zu machen, zählen jene, die den Blick auf eher untypische Aspekte lenken. Ein solcher Fokus richtet sich an ein aktives Publikum, das die präsentierten Details mit dem vorhandenen Wissen zu einem kaum festschreibbaren, hypothetischen Rahmen synthetisiert, und er umschifft ganz nebenbei eine Menge Klischees. Das ganz seiner Heimatstadt Teheran gewidmete neue Album von Komponist und Producer Siavash Amini befasst sich mit Details des Ortes, die zunächst wenig zu den Projektionen passen, die der Medienkonsument abrufen kann, seien diese den Nachrichten oder den Resten eines verklärenden Orientalismus geschuldet. Amini, den Leser unserer Seiten sicher von seiner Zusammenarbeit mit 9T Antiope kennen, ist zudem ein leidenschaftlicher Kollaborateur, und so ist „The Mimesis of Nothingness“ erneut eine Gemeinschaftsarbeit, diesmal mit der ebenfalls in Teheran lebenden Fotografin Nooshin Shafiee.
Amini und Shafiee trafen sich vor einigen Jahren zum ersten Mal in der Emkan Gallery im mit diversen Art Spaces gespickten Zentrum der Stadt. Sie stellte dort gerade eine Reihe digitaler Fotografien aus, während Amini im Raum nebenan Soundevents organisierte. Aufgrund ihrer gemeinsamen Ansätze – ein Sinn für Raum, fürs Fragmentarische und Experimentelle – ließ die Idee zu einer Kollaboration nicht lange auf sich warten, und so wurde der Grundstein zu „A Mimesis of Nothingness“ gelegt: Die Stadt sollte sich quasi selbst porträtieren mit wie zufällig aufgeschnappten “nichtigen” Objekten und Soundschnipseln, aber auch mit der diffusen Atmosphäre, die sie zu erzeugen weiß. Die beiden Künstler sollten dabei mehr wie Medien fungieren, durch deren Ohren und Augen der Ort spricht. Dass Teheran dabei weder als romantischer Sehnsuchtsort, noch als Schauplatz weltpolitischer Konflikte erscheint, mag mit einigen westlichen Vorstellungen brechen, den Nerv der Einheimischen trifft das aber sicher umso mehr.
„A Mimesis of Nothingness“ führt sein Publikum in ein Teheran, durch dessen Häuserschluchten und Alleen, über dessen weite Plätze, Parks, Fabrikgelände und Ruinen ein eisiger Wind weht, ein Wind, der Hagelklötze und Staub und Erinnerungen transportiert und all dies sprunghaft in die unterschiedlichsten Richtungen weht. In den Fotos mag die kühldunkle Atmosphäre impliziert sein, im langsam heranschleichenden Dark Ambient-Sound Aminis ist sie mehr als deutlich im gesampleten Wind und Regen zu hören, und doch scheint dies und das Echo undefinierbaren Donnerns und Detonierens eher das Innenleben des Ortes und seiner Bewohner wiederzugeben. Auf den Bildern sind Objekte zu sehen, die Kontext und Charakter erst beim genaueren Hinsehen implizieren: Zeltplanen, Vorhänge und andere ausladende Textilien kehren leitmotivisch wieder in den dunkel ausgeleuchteten Tableaus, hängen auf Wäscheleinen oder bedecken Treppen, Möbel und manchmal auch den ganzen Schauplatz, und alles, was unter ihrem Stoff verdeckt wird, wirkt außer Betrieb, im Standby, und jede direkte menschliche Präsenz würde deplatziert wirken.
Die Musik und die Bilder arbeiten (auch) immer wieder sehr stark mit dem, was sie gerade nicht präsentieren. Immer gibt es Aussichten auf ein diffuses Dahinter, auf Baum- oder Häusergruppen, diffuse Übergänge auf weitere Räume sind zu sehen. Wohin führen diese Öffnungen, Wege, freien Flächen, was ist oder passiert dahinter oder daneben? Die Frage nach dem größeren Rahmen des nur ausgeschnittenen Raumes ist so evident wie ein eingeblendeter Schriftzug oder eine Stimme aus dem Off. Auch bei den kreisenden, rauschenden, rumpelnden Bewegungen der elegant gestalteten Musik kommt immer wieder die Frage nach dem Was, dem Woher und dem Wohin auf, doch geheimnisvoll ist das Szenario nicht nur wegen des fragmentarischen Charakters und der nur gelegentlich ortbaren Sounds, sondern auch wegen des immer wieder Spannung überzeugenden Wechsels von melancholischen und harschen, gewaltsamen Passagen, die meist recht plötzlich in Form bohrender Loops oder eisiger Lärmlawinen einbrechen.
Die Streicherparts im unromantisch betitelten “Moonless Garden” halten die schönsten, aber auch die desolatesten Momente des Albums bereit, und letztlich sind es doch die Anzeichen des Lebens, die die Szenerie auflockern: zeternde Vögel, deren Krächzen keineswegs betulich wirkt, Schritte, die von einer tiefernsten Klangfläche begleitet eine Treppe herauf oder herunter gehen, gegen Ende sogar menschliche Stimmen, die den Hörer sofort, trotz Sprachbarriere, in einen anderen kommunikativen Modus bringen.
An der meist nur bedingt fassbaren Stimmung, die selten mit derart klaren und eindringlichen Mitteln hervorgerufen wird wie hier, ändert auch das nichts – auf „A Mimesis of Nothingness“ fühlt man sich an einem unbekannten Ort ausgesetzt, den man über das zufällig vorgefundene erkundet. Wenn es so etwas wie ein Wesen eines Ortes gibt, so kann man dieses vermutlich so besser erfahren, als durch ein vorgefertigtes Set an Dingen, „die man gesehen haben muss“." (U.S.) AFRICAN PAPER
africanpaper.com/2020/08/29/siavash-amini-the-mimesis-of-nothingness/
|
2020 |
€22.00 |
|
| AMINI, SIAVASH & EUGENE THACKER |
Songs for Sad Poets |
do-LP |
Composer and sound artist Siavash Amini collaborates with author Eugene Thacker on »Songs for Sad Poets.« The collection of eight pieces draws its inspiration from the legacy of the so-called cursed poets (»poètes maudits«) as well as the German-language tradition of song cycles and expands the structure of the classic art song through a process of lyric abstraction. Amini is no stranger to interdisciplinary collaboration, as seen in »A Mimesis of Nothingness,« his 2020 collaboration with photographer Nooshin Shafiee, also released through the Swiss Hallow Ground label. But whereas in Amini’s previous collaborations music and other media are set in dialogue, with »Songs for Sad Poets«, Thacker’s poems and Amini’s soundscapes are deeply enmeshed with each other. In fact, none of the words printed in the record’s booklet are being said out loud on this double LP, but rather made tangible through the use of sound. Poetry and music do not so much correspond with each other as they conspire together—as songs without words, words without song.
»Songs for Sad Poets« was born out of a mutual admiration of each other’s work and it is easy to see how the musician and the writer could relate to one another artistically. The Tehran-based Amini has released over 20 albums in the past decade—among them »TAR« and »FORAS« on Hallow Ground—that probe the physical world but also search for something beyond it. His compositions draw on field recordings as well as acoustic and electronic sounds, blurring the lines between what is conventionally perceived as real or authentic and the abstract or otherworldly. The New York-based Thacker on the other hand is known as a writer whose philosophical works like »Infinite Resignation« read like poetry while his poetry and other literary writing is inherently philosophically charged. What unites them on this project is an interest in the idea of the fragility of the human being set against the vast horizon of climate, planet, and the cosmos that produces a »sadness without cause.« The pieces on »Songs for Sad Poets« translate this nearly inexpressible ambient melancholy into dense and sometimes claustrophobic pieces that are marked by internal tensions and slowly unfolding dynamics.
The eight poems are neither only the starting points nor just the byproduct of the compositions, or vice versa. Instead, the entire record is one single result of a coherent creative process. Thacker’s writing—dedicated to the poètes maudits Gérard de Nerval, Chūya Nakahara, Sadeq Hedayat, Alejandra Pizarnik, Giacomo Leopardi, Mário de Sá-Carneiro, Zhu Shuzhen and Jean-Joseph Rabearivelo—is marked by a stunning formal rigour, but also a wide-reaching evocativeness. All it needs to conjure up an all encompassing sense of cosmic sorrow is a few lines with even fewer words in them. The rhythmic character of the poems is reflected in Amini’s music which puts an emphasis on tone and mood, but also on movement and density. All of this makes »Songs for Sad Poets« a work of art that directly addresses its listeners’ affects, expressing an underlying melancholy while evoking an air of dread by transcending the borders between music and literature.
https://hallowground.bandcamp.com/album/siavash-amini-eugene-thacker-songs-for-sad-poets |
2022 |
€32.50 |
|
| AMM |
AMMMusic 1966 |
CD |
“74 Minuten Material der AMMMUSIC-Session, die jeweils am 8. und 27. Juni 1966 stattfand. Die CD ist um zusätzliches Bonusmaterial erweitert, welches aus derselben Session stammt. It „allows the listener to hear prefigurations and continuities of the music which makes for a new and a more enhanced experience than the original album material.“ (from the booklet) Die Improvisationen von AMM schaffen lange ruhige Distanzen zwischen Eruptionen krachiger E-Gitarre und begleitend bis störend eingesetzten Transistorradios. Piano und Perkussion im Zusammenhang mit Cello, Saxophon, Akkordion und Klarinette steigern sich wellenförmig höher und lassen die Musik urplötzlich in ruhige Passagen fallen. Es scheint, die Zeit sei stehen geblieben, während die Musiker kleine Punkte und schmale Linien in diesen konstanten Strom eines Stillebens zeichnen. Im Original 1967 als LP
veröffentlicht.
This CD contains 74 minutes of AMMMUSIC recorded on the 8th and 27th june 1966. Some unreleased material made at the same session is inclused. It „allows the listener to hear prefigurations and continuities of the music which makes for a new and a more enhanced experience than the original album material.“ (from the booklet) Improvisation music with pretty long distances between eruptions of noise streams from electric guitar and transistor radio. Cello and percussion together with piano, saxophon, accordion and clarinet culminate in waves and suddenly remain in quiet parts. It seems the time has stopped, while the musicians are painting small dots and lines in this constant stream of a standstill. Originally released as an LP in 1967.“ [Peter Schlewinski for Drone Records]
“Repressed. Monumental debut recording (originally issued by the Elektra recording company in far different times). "The classic first recording from 1966, with Cornelius Cardew, Eddie Prevost, Lou Gare, Keith Rowe and Lawrence Sheaf. One of the first attempts to bring Noise improvisation (radios, scraped guitars, prepared pianos) into popular culture. Essential and historic." [label info]
|
1989 |
€13.00 |
|
| ANAKRID |
Banishment Rituals of the Disenlightened |
CD |
Tolles Album dieser Neuentdeckung auf Beta-Lactam: sehr dichte, dunkle, geräuschhäft-mysteriöse Klänge, elektronisch unterfüttert & stets in dynamischer Bewegung, ein weites Spektrum auf den 11 Stücken austestend... sehr eigener Stil!
"..A very dark, often unsettling and intense album of electronic experimentation." [Side-Line]
"First ed. of 500 copies in a book bound CD case. Anakrid a day keeps the doctor slurred in a trove of fish-tallowed sling slong. This is what it sounds like when doves cry because the mother ship crashes into their nest in the 6th dimension. With this symphony of sickness comprised of scraped palpitations, pitched whooshes, roaring cathodes and syncopated metallics, Anakrid have another breakthrough chart topper on their bruised hands! These avant-garde hit-makers have real crossover potential, combining the best, most dynamic experimental noise with the very latest drones. This exciting NOW sound is OUT OF THIS WORLD! The long awaited fusion of ritualistic tribalism with the tweaked electro-tech of ancient alien cultures is finally here. Hey kids! If you love Nurse With Wound, Genocide Organ, Hafler Trio, Muslimgauze, Pierre Henry, Nadja and Harry Bertoia and confusing your parents, then you’ll want to get in on the Anakrid craze before it’s too late. They’ve got a whole new way of kickin’ it old school. With electronics AND home-made instruments, Anakrid CREATES an exploratory atmosphere WITHOUT all those boring, go-nowhere improvisational hang-ups. Everything sounds fresh, progressive and weird!!! It’s just that good. Let’s face it; outsider music has gotten plain boring. Anakrid is just the electrodes to the testicles that left field music has been weeping for since, like, forever. Ex-punks hang up their Mohawks and make good mayhem." [press release]
www.blrrecords.com
|
2008 |
€13.00 |
|
| |
Banishment Rituals of the Disenlightened |
LP |
Tolles Album dieser Neuentdeckung auf Beta-Lactam: sehr dichte, dunkle, geräuschhäft-mysteriöse Klänge, elektronisch unterfüttert & stets in dynamischer Bewegung, ein weites Spektrum auf den 11 Stücken austestend... sehr eigener Stil! Dies ist die superlimitierte Vinyl-Version, wie immer wie bei Beta-lactam speziell verpackt!
"..A very dark, often unsettling and intense album of electronic experimentation." [Side-Line]
"LP edition of 100 copies in a hand printed heavy gatefold sleeve. The inside gatefold sleeve is hand painted by Anakrid (each unique). Anakrid a day keeps the doctor slurred in a trove of fish-tallowed sling slong. This is what it sounds like when doves cry because the mother ship crashes into their nest in the 6th dimension. With this symphony of sickness comprised of scraped palpitations, pitched whooshes, roaring cathodes and syncopated metallics, Anakrid have another breakthrough chart topper on their bruised hands! These avant-garde hit-makers have real crossover potential, combining the best, most dynamic experimental noise with the very latest drones. This exciting NOW sound is OUT OF THIS WORLD! The long awaited fusion of ritualistic tribalism with the tweaked electro-tech of ancient alien cultures is finally here. Hey kids! If you love Nurse With Wound, Genocide Organ, Hafler Trio, Muslimgauze, Pierre Henry, Nadja and Harry Bertoia and confusing your parents, then you’ll want to get in on the Anakrid craze before it’s too late. They’ve got a whole new way of kickin’ it old school. With electronics AND home-made instruments, Anakrid CREATES an exploratory atmosphere WITHOUT all those boring, go-nowhere improvisational hang-ups. Everything sounds fresh, progressive and weird!!! It’s just that good. Let’s face it; outsider music has gotten plain boring. Anakrid is just the electrodes to the testicles that left field music has been weeping for since, like, forever. Ex-punks hang up their Mohawks and make good mayhem." [label info]
www.blrrecords.com
|
2008 |
€26.00 |
|
| ANDEL, LAURA / ELECTRIC PERCUSSIVE ORCHESTRA |
In::tension:. |
CD |
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 |
2005 |
€6.00 |
|
| ANDERSSON, PETER |
Music for Film and Exhibition 3 |
CD |
"This is a different experience! It's very concrete and descriptive, and in some cases almost natural, but always with some twists making it much more magic and enigmatic than just the plain sounds alone. Exhibition music can be difficult to describe because they really need to be presented and experienced in their original context. It's about sound design and soundscape composition. The key to understand the exhibition music presented here lies in the order of sounds and their combinations in layers and alterations through time. It makes the listener coming closer to the sounds, to investigate in their meanings and roles within the given frames. It's like being a sound detective.
'Music for Film and Exhibition 3' is, as the name suggests, the third album with film and exhibition music by Peter Andersson. It contains music for various exhibitions from 2011 to 2013 and also some recently found sketches for the 'Tulpa' soundtrack, which was released in their full and final versions on the 'Music for Film and Exhibition I'. Technically 'Music for Film and Exhibition 3' is the first album by Peter Andersson which is mastered according to the so called K-level standard, specifically to K-14. The K-standard will ensure that the highest dynamical range will be preserved in the music. It will benefit the listener because the music will simply sound much greater than a hot or over-compressed album. All one need to do is to give an extra push one the amplifier volume control to match the gain of a hot mastered album." [label info]
www.wrotycz.com
|
2013 |
€12.00 |
|
| ANIMA SOUND |
Underground Altena |
LP |
Alga Marghen returns with an absolute stunner, the LP “Underground Altena”, comprising a never before heard or released series of recordings capturing Anima - the duo of Limpe Fuchs and Paul Fuchs - in 1973. Largely rendered on a striking array of instruments, invented and played by the couple, its otherworldly, visionary sounds upend nearly every perception held about underground music transpiring in Germany during this period. Wild, wonderful, truly free, and inspiring as records come.
** Edition of 300. ** Over their decades of activity, the Italian imprint, Alga Marghen, has illuminated a near countless number of historical artefacts within the field of experimental sound. Their latest, a previously unreleased body of recordings from 1973 by Anima - the duo of Limpe Fuchs and Paul Fuchs - entitled “Underground Altena”, encounters them casting their gaze toward a fascinating juncture between the krautrock scene, free jazz, and experimental music. Beautifully pressed on vinyl, comprising two visionary long form works, its incredible sounds - radically pursuing freedom with every texture, tone, and beat - entirely redefine the terms through which understandings of German 1970s musical experimentation has been historically approached.
Founded at the periphery of the kraut / kosmische scene by then husband and wife team, Limpe and Paul Fuchs, during the late 1960s, Anima was easily one of the most singular and unique projects to have ever emerged from the European sonic counterculture. At the time of its inception, Paul was an avant-garde sculptor, while Limpe was a conservatory trained percussionist, violist, and vocalist. In addition to emboding a radical form of free living, and farming in the small Bavarian village where they lived, their collaboration centered upon a meeting of their respective creative worlds; Paul’s work and understanding of objects, and Limpe’s musical understanding.
Anima’s distinct sound was largely the result of the pair’s invention, building, and playing of unique instruments, notably the Fuchshorn, Fuchszither, Fuchsbass, and a ‘pendulum string’ based on a Pythagorean monochord, alongside regular instruments and vocals, within a radical approach toward the achievement of freedom through creativity. The result, which appeared across eight full lengths documenting their activities until they disbanded during the 1980s, as well as a handful of more recent archival releases, are some of the most remarkably experimental and sought-after releases to have emerged from Germany during those years. Describing that period’s activities, Limpe recalls: «In the Anima duo with Paul Fuchs beside the drum set I used iron tools and metal sheets from the workshop. Instead of the hi hat cymbals I had a metal ring with five strings and plucked them by foot with a plectrum. Paul had built the Fuchsharp with two pickups and glided up and down the scale.»
“Underground Altena”, comprising the contents of a tape recently discovered by Limpe Fuchs in her archive, gathers two long form works - “Underground” and “Altena” - recorded by the duo in 1973. The title may be a reference to the legendary jazz festival in Burg Altena, Germany, that they played at during this period (the documentation of which can be found on B.Free’s “New Jazz Meeting Burg Altena 1972-1973” box set, issued back in 2016). Heavily guided by Limpe’s unique approach to percussion playing and vocals, with Paul delivering a striking arsenal of tonal interventions on his invented instruments, “Underground” and “Altena” plays like the outer reaches of free jazz dropped in an alien landscape. Howling and clattering, entirely free and spontaneous, while never losing the sense of a deep sense of consciousness, purpose, and control, it’s hard to think of anything else quite like it before or since.
As is widely known, since the disbanding of Anima, Limpe Fuchs has gone on to have a solo career that has positioned her as one of the great legends of experimental sound and musical practice. The absolutely incredible recording - never before heard or issued - that make up Alga Marghen’s release, “Underground Altena”, return us to where it all began, and one of the most incredible musical projects to have emerged from the 1960s and '70s German scene. Available as a stunning vinyl LP, we struggle to find the words to recommend it enough. Otherworldly, visionary, and inspiring as records come.
|
2022 |
€21.50 |
|
| ANKERSMIT, THOMAS / JIM O'ROURKE |
split |
LP |
Der Niederländer THOMAS ANKERSMIT beeindruckt auf der A-Seite mit einem spannenden mikrotonal vielfältigen Stück, welches auf Computer, EMS Synth & Saxhophon basiert, sehr ruhig anfängt und ungeahnte dronige Brisanz entwickelt, am Ende werden Kaskaden von hochfrequent-dynamischen Klangwellen auf den Hörer geworfen....
auf der B-Seite ein älteres Stück von JIM O’ROURKE von 1992 aus seiner „dronigen“ Phase, ein low-fi-fuzz-drone Leckerbissen, wo verzerrte Gitarrendrones auf Oszillatorenwellen treffen - und wie!
Beide Stücke sind so um die 18 Minuten lang...
“Finally! Side one features 'Weerzin' by Thomas Ankersmit, composed & recorded in 2004 (Computer, Serge & EMS Synthesizer). Side two composed & recorded by Jim O'Rourke in 1992 (Oscillators & Guitars). Edition of 750 copies.” [label info]
“Limited edition split LP from two of the most regularly interrogating modern avantists. Ankersmit’s side is a fuzz-encrusted investigation of non-linear routes through the solo saxophone, with wildly dislocated sounds modulated by computer, serge and EMS synths. O’Rourke’s side is an absolute beauty, a monolithic 1992 recording that matches massive cycles of minimally-repeating fuzz guitar with the brain-bombing chatter of rapid-firing oscillators. Sounds somewhere between Sunroof, Folke Rabe and Faust. Edition of 750 copies, recommended.” [Volcanic Tongue]
|
2005 |
€12.00 |
|
| ANTIKATECHON |
Woe is the Reward |
CD |
Davide Del Col has been working in the specific and uncompromising ritual dark ambient genre since the end of the 90s, this firstly under the moniker of Ornament for a couple of very rare limited editions then as Antikatechon which now represents the highlight of his artistic and stylistic creativity. A first full length album has been published on Silentes Minimal Editions back in 2011, this one provides a very accomplished effort in the realms of hauntingly dark ambient music with a touch of melancholic-spiritual inflected nihilism. Signed on Rage in Eden, "Chrisma Crucifixorum" is an other eloquent and complex release which oscillates between stately gazing drone sequences and original audio treatments, the whole thing surrounded by a sacral aura. 2013 saw the rise of a collaborative effort with the pioneering ethno-noise ambient act Nimh, also from Italy. This musical meeting gave birth to a passionate and typical dark ambient offering. The conceptual-visual background is connected to the visions and powerful painting works of Goya. Davide Del Col presents here his new catchy electronic dark ambient release entitled "Woe is the Reward", welcomed by Rage in Eden Records. A tremendous, entrancing and blasting dark ambient odyssey full of majestic sound sculptures, huge resonances, bleak noises, metallic reverbs and many more. This sonic, soundtracky and "acoustically haunted" ambient symphony will totally enthrall and ravish the listener. Be prepared to this intense sonorous adventure. -- Philippe Blache |
2014 |
€12.00 |
|
| APOPTOSE |
Ana Liil |
CD |
"Ana Liil doesn't want to be your friend – she lives in an entirely separate world. Maybe at night you see her shape behind a grimy window in the neighbourhood, or you hear her singing from afar. But you will never get closer to her. “I don't know who she is,” Apoptose says. “One day she just emerged. Like a thought that sounds logic in your dreams but completely strange in daylight.” Apoptose’s “ana liil” plays with your expectations. This album spins within close range of those dark ambient realms that Apoptose became known for since the early 2000s. Songs like “meer der ruhe” or “schnee” still bear this signature. But at the same time they show a new quality of songwriting. Both feature the frail singing of a girl who keeps the dusty shadows at bay . On “forget your face”, “adrenalin” or “ich verbrenne” Apoptose replaces the reverb charged tracks by songs full of voices and haunting melodies. But beware: all is not as it seems. The album will be available on CD, vinyl+CD and download. The CD is housed in a stylish spot varnished six-panel cardboard pack including a twelve-pages booklet and a separate CD-sleeve. The LP+CD version comes in an altered design with copper foil blocking and printed inner sleeve. Don't miss!" [label info]
www.tesco-germany.com
"Wer ist ANA LIIL? "Sie will nicht mit Dir befreundet sein – sie lebt in ihrer ganz eigenen Welt." So steht es in der kurzen Beschreibung zum neuen APOPTOSE-Album. Ich könnte mir gut vorstellen, dass ANA sich diese Eigenschaft mit RÜDIGER, dem Mann hinter APOPTOSE teilt. Wohltuend zurückhaltend präsentiert sich der Musiker, den wir seit einiger Zeit begleiten. Rund vier Jahre nach "Bannwald" (Besprechung und Interview) legt er, ganz unaufgeregt, im Mai mit "Ana Liil" auf TESCO ein neues Album vor; wir durften es vorab schon hören.
Trotz vieler Änderungen in den vergangenen Jahren – von den rituelleren Alben "Nordland" (2000) und "Blutopfer" (2002) über das industrielle "Schattenmädchen" (2007) und den Post Punk-Ausflug "Warrior Creed" (2008) wieder zurück in waldigere Gefilde auf "Bannwald" (2010) – blieb ein gewisser APOPTOSE-Sound immer erkennbar. Dies gilt auch für "Ana Liil", hier finden sich erneut die leicht orgeligen, langgezogenen Synthietöne. Ansonsten hat sich allerdings eine ganze Menge getan. Zum Beispiel arbeitet RÜDIGER auf einigen Songs mit Gesang, die Trommeln von früher liegen wohl endgültig im Keller, und die Musik mit eingängigen, starken Melodien könnte als minimaler Synthiewave durchgehen.
Schon "Meer Der Ruhe" (01) birgt die erste Überraschung: Zu einer ruhigen, traurigen Synthiemelodie mit neoklassischer Anmutung singt eine Kinderstimme, anrührend und auf Deutsch. Gemeinsam mit dem angesprochenen, speziellen Klang ergibt sich etwas Märchenhaftes – wir reden allerdings von den düsteren, morbiden Märchen, in denen es um Geister, Tote und andere Dimensionen geht. So kommt der Song trotz der Kinderstimme sehr gut am Kitsch vorbei. In "Ich Verbrenne" (02) wandelt sich die Sängerin vom Mädchen zur Frau. Die weiterhin ruhige Synthie-Ambientmusik mit dezentem Rhythmus im Hintergrund erinnert mich – hier und an anderen Stellen – an elektronische Musik der 1980er/90er, zum Beispiel an die frühen WOLFSHEIM. Der Titeltrack (03) schlägt zum ersten Mal wirklich düstere Töne an: dronige E-Gitarre, Percussion und englische, gesampelte Vocals. KRAFTWERK oder deren aktuelle Version ATOM™ scheinen in "Fernsehen" (04) zu grüßen (und auch das nicht zum letzten Mal): sanfte, jetzt sehr modern wirkende Elektromusik mit TV-ähnlicher Ansagerstimme ("Fernsehen macht dumm ..."). Die moderne, computerisierte Anmutung bleibt für die nächsten beiden Tracks bestehen: "Adrenalin" (05) mit mächtigem BACH-Chor im Hintergrund und "I Say Seven" (06) mit einer dronigen, mächtigen Melodie, analogem Schlagzeug, Synthielayern und der technisierten Frauenstimme, welche Zahlen präsentiert – mein Favorit. "Hiding" (07) ist eines von zwei Stücken, bei denen mir "Twin Peaks"-Lieder von JULEE CRUISE in den Sinn kommen (mit mehr Drive und Rhythmus), auch die Kinderstimme im Abschlussstück "Schnee" (09) bringt mich dorthin zurück. Dazwischen liegt mit "Forget Your Face" (08) ein Track, bei dem ich kurz – ich hoffe, RÜDIGER verzeiht mir das – an die PET SHOP BOYS denken musste.
Extrem packende Ambientmusik, die inhaltlich durchaus an frühere Alben von APOPTOSE anknüpft, vor allem "Schattenmädchen" und "Bannwald". Auch Kinderlieder und Gesang gab es vor allem schon auf letzterem. Musikalisch allerdings geht "Ana Liil" in eine andere Richtung. Die Nähe zur Natur ist nicht mehr so deutlich hörbar, die starke rituelle Komponente fehlt, die Trommeln spielen überhaupt keine Rolle mehr. Das aktuelle Werk ist in seiner fast ausschließlich elektronischen Anlage durchgängiger, die Stücke sind sich ähnlicher und häufig mit Gesangsstimmen versehen. Nach und nach umspinnt die Hauptdarstellerin den Hörer mit Einsamkeit und Verlorenheit – und trägt ihn davon.
Das Album erscheint als CD, LP und als Download und kommt laut Beschreibung von TESCO mit aufwändiger Verpackung..." [Michael We./NONPOP]
|
2014 |
€14.50 |
|
|
Ana Liil |
LP + CD |
"Ana Liil doesn't want to be your friend – she lives in an entirely separate world. Maybe at night you see her shape behind a grimy window in the neighbourhood, or you hear her singing from afar. But you will never get closer to her. “I don't know who she is,” Apoptose says. “One day she just emerged. Like a thought that sounds logic in your dreams but completely strange in daylight.” Apoptose’s “ana liil” plays with your expectations. This album spins within close range of those dark ambient realms that Apoptose became known for since the early 2000s. Songs like “meer der ruhe” or “schnee” still bear this signature. But at the same time they show a new quality of songwriting. Both feature the frail singing of a girl who keeps the dusty shadows at bay . On “forget your face”, “adrenalin” or “ich verbrenne” Apoptose replaces the reverb charged tracks by songs full of voices and haunting melodies. But beware: all is not as it seems. The album will be available on CD, vinyl+CD and download. The CD is housed in a stylish spot varnished six-panel cardboard pack including a twelve-pages booklet and a separate CD-sleeve. The LP+CD version comes in an altered design with copper foil blocking and printed inner sleeve. Don't miss!" [label info]
www.tesco-germany.com
|
2014 |
€24.50 |
|
|
Blutopfer |
LP |
"Blutopfer is back - for the first time on vinyl! In 2017 we celebrate the long overdue return of Apoptose's second album which originally surfaced in 2002. In the 15 years since its release, Blutopfer has become a classic album of the industrial/ritual-music genre. It combines raw ambient electronics with drumming footage of the Easter processions in the village of Calanda in Aragón, Spain. This album is still unique in its attitude and effect. A "must have" that has been unavailable for quite a while.
Now, the Blutopfer LP edition brings back all the emotions and even more. The sound was remastered with great care to wake the spirits hidden in the tremendous drums. The LP comes in new artwork with liner notes by both industrial music legend Jordi Valls of Vagina Dentata Organ and Apoptose. So even fans who know the album by heart will be able to discover new aural and visual facets. While the original CD was made of purple plastic to mimic a colour vinyl LP, here is the real thing: the LP is pressed on drummer robe violet vinyl in an edition of 300 copies. Included is a free download code for a special 8-track digital version. It features a bonus track, recorded in 2016 with original source material that hadn't been used before."
www.tesco-germany.com
|
2017 |
€21.50 |
|
| |
Die Zukunft |
CD |
„Wir sitzen in unseren Zimmern und draußen wird unsere Zukunft zerstört.“ We sit in our rooms and outside our future is destroyed. This line sets the tone for Apoptoses’s sixth longplayer „Die Zukunft“. Sometimes you don’t have to travel far to see and feel desolation. Your hometown, your room or even your head can turn into an overwhelming world full of fear or confusion – from initial alienation to the unsettling moment when just the voices in your head seem to know what is right or wrong. All this is palpable in the songs of „Die Zukunft“. Instead of painting these voices in colours of terror, Apoptose shows their inherent beauty in super dark electronics with slow motion rhythms.
In the four years of production Apoptose selected a wide range of different singers for this album. Most outstanding is classical trained tenor Daniel Sans. He sings „What Power Art Thou“ – a song that was composed by Henry Purcell in the late 17th century. Apoptose and Sans preserve the complex harmonic structure of the original translating it into a breathtaking five minute ride in apoptotic soundspheres. They succeed in conjuring up Purcell’s „cold genius“ that had already fascinated legendary countertenor Klaus Nomi in the 1980s. Other voices on „Die Zukunft“ include the gloomy spoken words of the advance single „Time-lapse City“, the lost girl’s voice on the title track and two female singers on „Dornen“. Consistent with the album title Apoptose does not look back, but is heading for novel territories within the dark ambient music genre.
Tracklist:
Two Hours
What Power Art Thou (Cold Song)
Time-lapse City
Medizin
Dornen
Das Jenseits
Au Ciel
Die Zukunft
Format: CD, six-panel cardboard pack including a separate CD-sleeve
Release: October/November 2018
|
2018 |
€14.00 |
|
| ARASTOO & AEMAE |
Ostrakon |
LP |
"Two side-long ice sculptures built on piano and processing, the piano coming strictly from Arastoo Darakhshan, while both add their effects but Brandon Nickell as Aemae delivers digital doctoring as his primary outlet. The title track is a wonderful splintering of sound, with glacier cracking in on the stark black and white keys. Aemae’s timing with noisier nuance is excellent on this, and he has at least one treatment like a frozen train going off the tracks! Here the sum decimates the parts, Arastoo’s delicate hesitance almost dances around a ghost of Clara Rockmore. A very open piece with rays of mourning and crystal shards of electronics, it captures that ever-important balance of order and chaos. If the first piece is Nickell plating Darakhshan, then perhaps the second is a reverse, with a layer of Aemae cast out and the piano imposed on top? Just a guess, maybe I’m too concerned without tallying yin and yang. The first piece really is a stunner with a fascinating name that wiki shows as the derivation for ostracism. Yeah, this is outsider music but I suspect readily acceptable to many ears, of course we too at KFJC have been happily exiled beneath main street for decades of decadence. Limited release on Nickell’s own label."
[Thurston Hunger / KFJC]
"A long in the works collaboration from two aQ favorites, Aemae and Arastoo. We've listed both Aemae releases, but Arastoo has been a bit more elusive, with tons of super limited vinyl and cd-r releases, of which we've only ever managed to review 3. Well, the two have come together, to produce this, the first in a new salvo of Bay Area sound art from Aemae, aka Brandon Nickell's Isounderscore label. And a pretty fantastic start. Arastoo plays the piano, and then the two shape and mold the piano into two side long pieces, both quite impressive.
The A side is mostly straight piano all the way through, some gorgeous fluid playing, some stunning arrangements, but the two subtly shape and twist throughout, adding mysterious little music box flourishes, sudden squalls of super high end skree, but those moments are actually quite controlled, the sounds sculpted onto dog whistle melodies, and haunting upper register textures. The subtle production tweaks really only augment, creating complimentary sounds, or add bits of ambience, allowing the piano to drift and sway and unfurl its melody, seemingly oblivious to what's going on around it.
The B side however, finds the sound of the piano obliterated, transformed completely into long shimmering streaks of layered metallic reverberation, a bit industrial sounding, layers of constantly shifting whir and rumble and hiss and roar, like a choppy sonic sea, building to a buzzing crescendo before settling back down into a tranquil sea of black ambience, as the piano returns, unfurling gentle, yet ominous minor key melodies, all very creepy and cinematic, but also quite lovely. LIMITED TO 320 COPIES. Super striking silkscreened covers, with original artwork by Arastoo." [Aquarius Records]
www.isounderscore.com
|
2008 |
€14.50 |
|
| ARC |
13th |
mCDR |
ARC ist die 3köpfige “Band” von AIDAN BAKER, der ja schon mit einigen fantastischen solo-releases auf sich aufmerksam machte. Bei ARC vermischen sich ethno-Einflüsse mit ambient-drones, alles live eingespielt. Sanft schwingend & pulsierend, melancholisch-schön..
Schon die Nr. 10 in der schönen low-priced Serie das Pariser Label (ex Harmonies) !
“ Arc is a Canadian trio comprised of Aidan Baler, his brother Richard and Christopher Kukiel. It was formed spontaneously in 1999. Arc's music is based on drones and melodic loops created by Aidan's heavily-treated guitar. Add Richard and Chrisopher's tribalish rhtyhms made with various percussive instruments and you get the picture. When we, at taâlem, first heard Arc, we couldn't help thinking of Life Garden and Voice of Eye, those great US tribal ambient bands from the 90's. But Arc is no copycat !”
[label info]
http://taalem.free.fr/ |
2003 |
€5.00 |
|
| ARCANA |
Raspail |
CD |
"Die CD kommt in einem hochwertigen Artwork, das sowohl ein 8-seitiges Leporello, als auch ein 12-seitiges Booklet enthält!
Arcana sind seit Jahren über alle Grenzen hinweg stilprägend und eines der großen Aushängeschilde der weltweiten Gothic Wave Szene. Ihre Musik umfasst eine einzigartige, kraftvolle und verzauberte Anmutung, der sich kaum jemand entziehen kann. Mit ihrem neuen Werk Raspail schlagen Arcana nun das nächste Kapitel ihrer einzigartigen Karriere auf und verschmelzen die filigrane Romantik ihrer früheren Werke, um ihr erfolgreiches Album Inner Pale Sun, mit bahnbrechendem Gothicwave der Neuzeit. Raspail begeistert durch die außergewöhnliche Mischung aus orchestralen, mächtigen Soundcollagen, natürlich instrumentierten Arrangements, und den himmlisch klaren Stimmen des Baritons Peter Bjärgö und der Sopranistin Ann-Mari Thim, die das Album in einen mystischen Klangzauber verwandeln der alles bisherige in den Schatten stellt.
Die inzwischen sechste Veröffentlichung des schwedische Quintetts ist ein magisch, geniales Glanzstück, getragen von zarten Pianotupfern und intensiven Klangwelten aus Streichern und Hörnern. Klassisch, melodramatisch und kaum zu überbieten!" [label info]
"Arcana has turned another page in the book and the next chapter will be a meeting between the old and the new. As before, we hear the many instruments that vary the music, but this time the vocals parts have taken more room. The medieval sound from Dark age of Reason and Cantar de Procella is there, the majestic sound from... The Last Embrace appear along with the serene notes from Inner Pale Sun and the oriental instruments from Le Serpent Rouge. Blend this with the new sound once again created by Peter Bjärgö, and you will have Raspail, the next chapter in the book of Arcana." [label info]
www.kalinkaland.de |
2008 |
€14.50 |
|
| ARCANE DEVICE |
Devices 1987-2007 |
do-CD |
Texturen aus Sirenen-Klängen und Sinuston-Feedbacks, repetitive Patterns aus Extrem-Frequenzen, Effektgerät-Übersteuerungen bilden seltsame Klangkegel aus, elektronische Cut-Ups formen Kaskaden aus befremdlicher Rhythmik. Und alles basiert nur auf einer Soundquelle: Feeback! Auf dieser russischen Kollektion des emsigen MONOCHROME VISION-Labels findet sich älteres rares Material von längst vergessenen Compilations, aber auch neue Stücke von 2007, welche nahtlos an die Vergangenheit anknüpfen, insgesamt aber weniger noisig & offensiv klingen. Very special stuff!
"Anthology of rare and previously unreleased tracks by Arcane Device, recorded within the 20 years. It is divided into two parts. The first one consists of tracks from compilations issued by Subterranean Records, Tragic Figures, SFCR Tapes, and Generations Unlimited, but also unreleased material remastered and/or remixed in 2007. The second one is subtitled as "Feedback symphony" and based on various recordings, presented in four movements and finished in 2007. One more chance to approve the exceptional skills and compositional/ technical talent of David Myers who can control the electrons by will, creating fantastic soundscapes. Arcane Device is the unique project of american graphic designer and musician David Myers, active between 1987 and 1995. His creative output is going beyond any categorization, because it’s possible to re-arrange and demonstrate such many styles of modern music with only one thing that is feedback. This effect usually happens when you shortcut the input and output of any electric device. It’s hard to believe but this almost uncontrolable beast became the driving force for Arcane Device music, armed by self-made bank of delays and filters. Looking like inward sound research, decorated with finest web of random processes and microvariations, it becames the peculiar feature. Endless circulation of electrons, never repeating routes and always having some chance for individual life inside of any macrostructure." [label notes / credits]
"....I might be wrong, but the oldest guy here is David Lee Myers, also known in the mid eighties as Arcane Device and one of my heroes of the time. Myers created his own feedback machines long before someone thought of 'no input mixers'. Myers controlled his feedback with all sorts of sound effects, which made him sound differently than say the average industrial musician. No wonder his first release was on Recommended/ReR records, known for improvisation rather than noise. In the time span of less than eight years Arcane Device released a bunch of CDs, a LP, a double 7" pack and some cassettes (many of them these days available from http://www.pulsewidth.com). For Monochrome Vision, Myers went to his archive to pick some rare (from various compilations on Subterranean Records, Tragic Figures, SFCR and Generations Unlimited) and unreleased for his double CD. I admit straight away that it has been a while since I last played a CD by Arcane Device, but hearing this feast of recognition, prompts me to pull them all out and play them again in the next weeks, when time allows me. The strength of Arcane Device, to work with such unmusical sounds in such a musical form, hasn't lost any of his magic to me. Unlike say the current wave of no input mixers, who like to be microsound, minimal or overtly harsh, but nothing musical, I only know of one equivalent to Myers and that's Marco Ciciliani, who I once saw play a no input mixer in such a musical manner. Great stuff!" [FdW / Vital Weekly]
www.monochromevision.ru
|
2007 |
€17.00 |
|
| ART BEARS |
Revisited |
do-CD |
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]
|
2004 |
€19.00 |
|
| |
Winter Songs |
CD |
Re-Release of second LP from 1978 !
„Die Songs von "Art Bears" haben mit Rock-Idiomen kaum was gemein, das Trio bedient sich auf "Winter Songs" überwiegend der Konzepte der Avantgarde und der Klassik des 20ten Jahrhunderts. Kalt, dunkel und dissonant, nur beiläufig mit den allseits beliebten Schönheitsidealen flirtend ("The Hermit"), beschwören Art Bears eine Stimmung unterschwelliger Spannung herauf. Dazu trägt maßgeblich der unvergleichliche Gesang von Dagmar Krause bei. Die sparsame Instrumentierung besteht aus ungemein kreativem Schlagzeugspiel von Chris Cutler, der bekannterweise auch verschiedenste Effekte, wie z.B. präparierte Tonbänder einsetzt, und aus songdienlich eingesetzter Gitarre, Keyboards und Geige des Multiinstrumentalisten Fred Frith, der gelegentlich auch zum schrägen Gitarrensolo ansetzt. Nur selten bricht hier offene Aggression aus, wie beispielsweise auf "Rats&Monkeys".
Inspiriert durch die Skulpturen der Kathedrale von Amiens, vermittelt "Winter Songs" mit der schön-bizarren Gnadenlosigkeit etwas von der Atmosphäre des Mittelalters, allerdings anders als man es vielleicht gewohnt ist. Allen Henry Cow/Canterbury-Sympathisanten zu empfehlen, Gentle Giant-Jünger dürfen auch mal ruhig reinhören.“
[Siggy Zielinski / Babyblaue Seiten]
“New digipak version; originally released 1978. "The Art Bears' second album consists of twelve songs of various tensions: rest vs. speed, improv vs. pulse, space vs. density, Dagmar Kraus' vocals vs. everyone else. As usual, Chris Cutler's lyrics tell political allegories through medieval-tinged stories: slaves, castles, and wheels of fortune (and industry) dominate. Fred Frith explores discordance through his guitar, and European folk figures through his always enjoyable violin. Though not as confrontational as their other work, the centerpiece has to be the frantic 'Rats and Monkeys' with three minutes of teeth-gritting, out-of-control insanity as all three players are plugged into a wall outlet and let rip." [label info]
|
2004 |
€14.00 |
|
| ART ZOYD |
Musique pour l'Odyssee |
LP |
"Released almost three years after Art Zoyd's first LP, Symphonie Pour le Jour où Brûleront les Cités (SR330), Musique Pour l'Odyssée (Music for the Odyssey) presented a slightly different version of the band. The nucleus of
Gérard Hourbette (violin), Thierry Zaboïtzeff (bass guitar, cello, vocals), and Jean-Pierre Soarez (trumpet) is joined by percussionist Daniel Denis (who would remain a core member of the band for two decades), oboist/bassoonist Michel Berckmans (of Univers Zero and Von Zamla), saxophonist Michel Thomas, and a second violinist, Franck Cardon. This lineup recorded an album much more cinematic than the first. The band finds a new dimension in their sound, one that would remain present on through to their next releases.
Art Zoyd's early and great works have been unavailable for such a long time that it's too easy to forget what a strikingly original and amazing band they were in their prime." [label info]
www.subrosa.net
|
2013 |
€20.00 |
|
| ARTEMIEV, EDWARD / ANDREY TARKOVSKY |
Solaris. Sound and Vision |
LP-BOX |
"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/
|
2018 |
€120.00 |
|
| ARTIFICIAL MEMORY TRACE (AMT) |
Boto [Encantado] |
LP |
"ini.itu is releasing a new vinyl LP, composed by Artificial Memory Trace. Artificial Memory Trace is the long standing musical project of Slavek Kwi, who was born in Czechoslovakia, lived for 14 years in Belgium, and since 2000 has been based in Ireland. Slavek has been
making music for more than 20 years under the label Artificial Memory Trace. His works are precise combinations of restructured (mostly) environmental sounds, where the notions of perception, sensation, cognition, and ultimately reality are questioned, notably through the use of musique concrète techniques
and graphics scores, sometimes combined with elements of performance. He has collaborated with many other musicians, working on the articulation of industrial music, field recordings and musique concrète, among them PBK, Brume, Eric La Casa, Das Synthetische Mischgewebe. Since 2007 Slavek has assisted Francisco López in his Mamori workshops in the Amazonian forest, which is where some of the
source material present on this LP originates. Coupled with being a sound artist and composer, Slavek Kwi also facilitates workshops for autistic children, based on sound experiencing.
What Artificial Memory Trace proposes here is 2 sides of “decomposed and recomposed” landscapes and details, mostly centred around the Boto ( Inia geoffrensis geoffrensis ) also known as Amazon River Dolphin or Pink Dolphin. Just as the Boto is rumoured to undergo human-like transformations, most of this record is about transformation: sounds are isolated, cut, scaled up or down, modified and finally reassembled in a delicate and quite peaceful
collage. Slowly twirling around its object, time is taken to examine and explore the environment, including all other sound sources, creating a cubist perspective which is thoroughly unfolded. At times enigmatic, intimate and pastoral, it is a work that will slowly reveal its nuances. For those who need to know, the liner notes include extensive descriptions of the source sounds and a short essay on metamorphic animals." [label info]
www.iniitu.net
"On the backside of this LP you can read: 'you have the choice to consult or not some extra information on the insert. This information would influence they way you are experiencing the sounds. No comprehension whatsoever is required to access this work'. Which is actually something I like. You can choose to take in the information, or not. The information on the insert is printed in mirrored writing, so I am sure if its not really necessary to read it anyway. For the reviewer there is of course a small summary on the press text, and I learn that the sound sources are from the Boto, the Amazon River Dolphin or Pink Dolphin (making it one of the first records on ini.itu to move away from the Indonesian context that the previous records have). This record is another fascinating look in the world of Slawek Kwi, the man behind Artificial Memory Trace. Much of his work sounds like a collage of sounds, long moves and some abrupt changes. None of that on this record. The sounds are just in
long moves, and it seems a bit silent - of course that is intentional. I have no idea how the Boto sounds in the natural environment, nor any clue of the kind of processing applied by Kwi here, and oddly enough the music here sounds like insects, cicadas, chirping at night. A very meditative work, ambient if you will, slowly moving around, revealing some of its beauty only if you turn up the volume a bit more. Maybe also a strange record, for both Artificial Memory Trace and maybe also for the label. In a way I am reminded of the excellent record by Francisco Lopez for the same label. Quite mysterious, but a very good one. One of things were you keep wondering." [FdW/Vital Weekly]
|
2011 |
€12.50 |
|
|
Tidal |
CD |
"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] |
2013 |
€13.00 |
|
| |
Attracted by Light (Collection 7) |
CD |
"Track 1: Originally the 4-channel composition was constructed from sounds of crustaceans, mollusks and soniferous fish (rec. underwater in Tasmania, Australia 2011), army ants attacking recording device and walking inside machine, termites and ants recorded with contact-microphone from inside tree-nests, inside nest of stingless bees (rec. Xixuau Xiparina and Mamori, Amazon, Brazil 2008-2009; inside ant-nest rec. with Francisco Lopez and inside bee-nest by Chris Fleeger and Kwi), inside of bee-hive (rec. with Vlastislav Matousek, 1994 in Novy Bydzov, Czechie), wind in chimney, fire and ice (rec. 2003-2008, Ivy Cottage, Ireland) and New Year 2008 fireworks (UK). Dedicated to Vlastislav Matousek and his beloved shakuhachi.
Track 2: Based on underwater recordings from Mamori and Yuma 2007–2011: subaquatic insect (recorded in ultrasonic range, some detected only in ultrasonic spectrum), fresh-water crustaceans (probably Decapods, crackly sounds) and electric field of Gymnotiform fish (the tonal-like sounds reminiscent of electronic sine and square waves), includes also sounds of water-pump, propellers, boat-engines and dolphins "tucuxi" (Sotalia fluviatilis).
Track 3: Based on ultrasonic echolocation and social calls of various micro-bats and insects recorded in Mamori, 2007–2011.
All sounds in Track 2+3 (and partially in Track 1) were recorded during Mamori Sound Project of Mamori ArtLab in Amazon, Brazil by Slavek Kwi. Special thanks to Francisco Lopez and Asier Gogortza for kind support." [label info]
www.semperflorens.net
"The year ended with Artificial Memory Trace and it starts with it, now on a CD release from Russia's Semper Florens. Three pieces of quite varying lengths, six, twenty and forty seven minutes, and all deal with field recordings, like almost all of Slavek Kwi's work. Much of this was recorded during the Mamori Soind Project in the Amazon, Brazil but also, in the title piece, from Tasmania and Czech Republic and even fireworks from the UK. The music from Kwi may be based on field recordings, it's never a purely, untreated piece of sound. Artificial Memory Trace uses his recordings as bricks to build a place, palace perhaps, of sound. Sometimes he treats these sounds, by fiddling around with the EQ and gets out more bass or more high end, whatever is required, and collages these chuncks together into a fine piece of musique concrete. It's quite minimal music at that. You can listen for a few or more minutes to chirping insect sounds, bees, waters, ants or what have you, but then slowly
something else is added to this biotope and without chnaging the scenery too much these two co-exist and the other may take over. You could hear in all of this the survival of the fittest perhaps, but I rather take a more positive view and would rather think of this as a journey. A journey which takes you as easily from the amazonian rain forest in summer time to the new year's eve fireworks in the UK, only to find yourself, within minutes, to be diving to the world of crustaceans, mollusks and soniferous fish in Tasmania - while along you may still hear a bit of that rain forest, which you will find on the map totally somewhere else. That's what this music does: create artificial journeys to various places at the same time. There is hardly human interference here, except for the role of the composer himself, who creates this journey. It's the natural world at the same time. In the shortest piece here, 'Pegamorsego', even in a fine musical fashion of glissandi from insects and bats, made audible in nicely gliding scales. A long journey, at some seventy-five minutes, but a most rewarding one. Excellent!" [FdW/Vital Weekly]
|
2013 |
€13.00 |
|
| ASHTORETH |
Rites I & II |
LP |
We’re glad to welcome Belgian artist Peter Verwimp and his shamanistic guitar driven soundscapes. The first instalment for the Rites series touches on the importance of ceremony and ritual in our daily lives. It deals with our interconnectedness with nature as a whole and the necessity to acknowledge and use this connection as an amplifier of thoughts, ideas and emotions. Minimal, meditative ambient drones with layers of meandering guitars and voices mixing elements of doom, drone and ambient experimentation. Rites I & II take a shamanic and animistic approach to our surroundings, unveiling inner and outer visual landscapes, a journey through flesh, sound and spirit.
CD Edition of 500 copies in 6 panels Digisleeve. 2 Tracks. Running Time 37:51
LP Edition of 300 copies on Black Vinyl. Matt Lamination and black Paper Sleeve. 2 Tracks. Running Time 37:51
https://cycliclaw.bandcamp.com/album/rites-i-ii
|
2019 |
€20.00 |
|
| |
Rites III & IV |
CD |
Awaited follow up to the 2019 album Rites I & II, we're presented with 2 subsequent aural rituals from Peter Verwimp intricate guitar driven soundscapes. The Rites series touches on the importance of ceremony and ritual in our daily lives. It deals with our interconnectedness with nature as a whole and the necessity to acknowledge and use this connection as an amplifier of thoughts, ideas and emotions. Minimal, meditative ambient drones with layers of meandering guitars and voices mixing elements of doom, drone and ambient experimentation. Rites III & IV expand on the shamanic and animistic path, an ongoing journey through flesh, sound and spirit.
CD Edition of 500 copies in 4 panels Digisleeve. 2 Tracks. Running Time 37:24
LP Edition of 300 copies on Black Vinyl. Matt Lamination and black Paper Sleeve. 2 Tracks. Running Time 37:24
https://cycliclaw.bandcamp.com/album/rites-iii-iv
"Ashtoreth is Belgian Peter Verwimp, and this release is a follow-up to 2019’s Rites I & II. Here, Verwimp uses overlapping electric guitar, percussion, and voices to create menacing soundscapes. Of note is his broad palette for each of these instruments. The guitar provides heavily distorted chords, drones, and brief melodies with cleanly-picked notes. The voices are both male and female, often wordless or unintelligible, and can be beautiful, poignant, or painful. The percussion is largely based on bell-like sounds. This instrumentation blends into a wafting and moody ambiance. Rites III & IV explore humankind’s relation to nature, evoking ancient rituals and a connectedness that is largely missing from the modern world." [Avantmusicnews] |
2021 |
€13.00 |
|
| ASIA NOVA [=ASIANOVA] |
Magnamnemonicon (SOLD OUT) |
10inch |
Die Nr. 2 in der neuen 10“-Reihe SUBSTANTIA INNOMINATA von Drone Records zum Thema „das Unbekannte“ ist von ASIA NOVA, dem US-Duo aus San Francisco mit URE THRALL: Experimentelle, dunkle ethno-ambience mit Frauengesang. Abgründig und ätherisch, gepresst auf pinkem / rot-weiss marmoriertem Vinyl !
“Info about this release SUB-02: ASIA NOVA is a project of Californian artist URE THRALL [ex VOICE OF EYE, etc.] and PAMELA PASSMORE with guest musicians. Paul Valsecchi and Marlon Porter "Magnamnemonicon" contains 6 parts of music spread on 2 sides, more
than 30 minutes of material: The mind as an abyss of supressed memories. Voices & sounds arise from the own dark continent, materializing in strong emotions of loss & yearning for the un-reachable. The Unknown as an eerie entity in our selves? Artwork by Gregor Schultz. Red-white / pink marmorized vinyl in a first edition of 500 copies. 33 rpm.
General info about this new series: „Substantia Innominata” is the brand new release-series from Drone Records. We are proud to present this as a 10” VINYL series along with subsequent re-releases on CD. This new series doesn’t focus on a special concept or ideology regarding the music, but on a certain theme. The theme for this 10” series is based on “The Un-known, The Un-nameable, The Un-speakable, The Un-thinkable, etc.: Various aspects related to “The Unknown”. Basically the grey matter (psychic or physical, which are bound to result the same) surrounding us / within us, but can’t be understood or recognized through the normal senses (though some may perceive it on a subconscious level). We could name it “The Unconscious”. The chosen name for this series, “Substantia Innominata”, was inspired to the fact that this Latin name represents a certain region of the brain which has unknown functions and remains a mystery for its role and existence. Therefore this name reflects well the intense fascination for this impalpable concept of “the unknown”. The invited artists for this series were asked to work around this theme, to let themselves be inspired by its abstraction. The artwork for this series will be created by the various visual & graphic artists. All in full-colour or silkscreen covers. The 10” vinyl pressings will come in an edition of 500 copies for each title.” [press release]
www.substantia-innominata.de |
2006 |
€12.00 |
|
| ASPHODEL |
Aokigahara, the Black Sea of Trees |
LP |
"Aokigahara, The Black Sea of Trees is an abstract visual and sonic story-telling which takes place in a forest located in Mount Fuji, Japan. The forest of Aokigahara, has a world-wide fame for the thousands of suicides which took place there and now has an almost mythological statue.
The forest is spread all through with ephemera and items such as photographs, letters and instruments left behind by the leavers, all untouched due to respect. almost entire forest is covered with long ribbons people used to be able to return if they changed their mind. therefore, the entire land is embodied with the vicarious objects that depict the sense of memory, loss and hope.
The auditory side of this album can be related to musical genres such as ambient and drone, but also of importance to this album is film and film abstraction; the experience of light moving in time, as for example the work of Stan Brakhage. An audio story-telling which derives from the contrast between dark and intense sounds to more delicate and quiet auditory landscapes, where the sense of an intrinsic lament is always present, and stepping into the oblivion gets distilled into pure sensation, that of belonging to life and hope. Asphodel puts an emphasis on the romantic, that of life relived through the forest.
Asphodel is a musical and visual project of Atay Ilgün and Alper Yildirim. Asphodel focuses on textural music and it's combination with experimental film. Atay Ilgün and Alper Yildirim run the Turkish label Wounded Wolf Press."
[label info]
A spooky ambient recording from this Turkish project who conceptually based this album on Aokigahara, a forest near Mount Fuji in Japan which has achieved notoriety because of the large number of people who have committed suicide amongst the trees, leaving behind considerable ephemera of their lives. Notes, pictures, objects all litter the forest floor as the final tracing of a human life. While a cascading horror is evident on the first half of this album, evinced through dynamic, tumultuous roars of caustic rumble and desolate pools of isolated tone, Asphodel conjure a shifting internal drama of emotion not limited to sadness, hope, and loss through flecks of wooden guitars and flutes, eerie reflective modulations from feedback manipulation, disembodied voices crackled through ghostboxes, and a ton of reverb. This is a very complex piece of abstraction that honestly confronts the topic at hand while not forgetting to draw from the existential bleakness in mapping out these very impressive recordings. Originally released on Asphodel's Wounded Wolf imprint as a cd-r, now issued on swank vinyl via Invisible Birds, limited of course. (Aquarius Rec) |
2017 |
€18.00 |
|
| ASTROWIND |
Kaidanovsky |
CD |
"Astrowind Sound designer from Latvia Kriipis Tulo creates an amazing, deeply emotional and romantic music with help of vintage analog synthesizers and open-reel tape recorder. There is a feel of acroamatic escapism, there are these huge chords of hissing analogue synthesizers and you can even find this special kind of Slavonian melancholia (or Baltic, respectively) people use to rave about. Astrowind bring up a lot of references in their beautiful and, well, obsolete music.
Astrowind Project got the harmonies and the sound to become one of the most interesting Baltic acts to emerge from a scene rich of innovative musicians (Muschraum, Joel Tammik, Selffish, to name just the most obvious).
This first Astrowind pro-CD album is a tribute to Aleksander Kaidanovsky, worldwide well known and seminal russian actor and film director. The album consists is eight tracks filled with mind-floating contructions and de-contructions that will bring the listener to a wider dimension.
”Kaidanovsky” sounds like an oppressive, yet captivating, music experience surfing from a lysergic and mutant electronic textures to a degraded samples and hypnotic voices of the universe. A really amazing and impressive album for one of the most talented artist coming from baltic area." [label info]
www.greytone.eu
|
2012 |
€12.00 |
|
| ASUNTA |
Landscapes |
CD |
"Landscapes enthält Klarinettenkompostionen von Slawomir Golaszewski, Begründer und Mastermind von Asunta, der hier von Wojciech Karwacki auf dem Harmonium begleitet wird. Aufgenommen und produziert wurden die faszinierende Mischung von Ethno drones, Ambient-Psychedelia und slawischer New Age in Warschau von Alik Dziki (http://dziki.net), dem ehemaligen Bassisten der polnischen Reggae-Legenden Kultura und Izrael sowie in der Frühphase Mitglied bei den Mystik-Punks von Armia. Die Erstveröffentlichung in Polen war 1996 lediglich eine Kassette-Edition beim Label "Fly Music", der 2001 eine limitierte Cdr-Version beim polnischen "Nefryt"-Label folgte. Diese Wiederveröffentlichung auf Lollipoppe Shoppe stellt insofern die erste internationale Würdigung des außergewöhnlichen Asunta-Sounds von Landscapesdar.
Slawomir Golaszewski ist eine legendäre Figur der polnischen Off-Kultur: Er gehörte 1985 zu den Mitbegründern der mit transzendentaler Wucht und mystischer Poesie agierenden Hardcore Punk- Institution "Armia", auf deren Platten er mehrfach unter dem Pseudonym Merlin mitwirkte, und war zu dieser Zeit zugleich aktiv im Umfeld des sich auflösenden "Teatr Laboratorium" (http://www.grotowski.net) des großen Theatererneuerers Jerzy Grotowskis in Wroc³aw/Breslau (zu seinen Lehrern zählten hier Zbigniew Cynkutis, Zygmunt Molik und Ludwik Flaszen). Grotkowskis Forschungen zum psychophysiologischen Einfluß ritueller Gesänge und die Anwendung auf die experimentlle Theaterarbeit haben Go³aszewskis Arbeit geprägt.
Seit den frühen 1980er Jahren ist Go³aszewski außerdem als Radiomoderator, Journalist und Autor tätig; er hat unter anderem früh die Verbreitung von Reggae- und Rastafari-Kultur in Polen betrieben und mehrere Generation des polski Reggae geprägt. Darüberhinaus war der "musizierende Philosoph" (Alexander Pehlemann, "Zonic" http://www.zonic-online.de) selber künstlerisch in der Szene aktiv. Die Liste seiner Kollaborationen wie auch seiner publizistischen Beiträge ist unüberschaubar.
Über Go³aszewskis künstlerische und esoterische Interessen erklärt sich letztlich auch die Zusammenarbeit mit den ebenso legendären "Atman", einer seit den Mitt-Siebzigern aktive Gruppe von Musikern, die erfolgreich die Integration von Klangkunst und Ökologie betrieben und deren Label "Fly Music" das Album Landscapes 1996 als Kassette veröffenlichte und Asunta im folgenden Jahr auf ihrem "Festival in der Landschaft" (Muzyka w krajobrazie http://pathman.republika.pl) im mittelpolnischen Inow³ódz präsentierten. Mit diesem völlig akustischem Konzert in einer romanischen Kapelle manifestierte sich endgültig die Reputation des Projekts in der alternativen Musikszene Polens.
Nach einer lebensbedrohlichen Gehirnoperation 2010 und Rekonvaleszenz meldet sich Go³aszewski nun zurück: 2012 wurde seine Graphic Novel "Moja Terapia" (mit Zeichnung von Szawe³ P³óciennik, Central Europe Comics Art, http://centrala.org.pl) veröffentlicht und eine erweiterte, 400 Seiten starke und um ein Audiobook ergänzte Neuauflage von Go³aszewskis Schriften zu Reggae und seiner spezifischen Rezeption in Polen von dem Label und Verlag "Manufaktura Legenda" besorgt, das federführend ist bei der Aufarbeitung von polnischer Subkultur ("Reggae Rastafarie - Regementarz" http://manufaktura-legenda.pl).
This release contains clarinet compositions by S³awomir Go³aszewski, founder and master-mind of the project, and harmonium works by Wojciech "Kaktus" Karwacki. Landscapes was recorded and produced by Alik Dziki, former bass player of the Polish Reggae legends Izrael and Kultura, as well as an early member of the mystic punk group Armia. The album was released on tape in Poland in 1996 under project name Asunta on the "Fly Music" label and in 2001 released in a limited edition on Cdr by the "Nefryt" label. Landscapes features a fascinating blend of ritual ethno drones, ambient psychedelia and Slavonic New Age. The cover painting by Lithuanian artist Linas Domarackas was designed for the original release.
S³awomir Go³aszewski is a legendary figure of Polish off- and counter culture. In 1984/85 he co-founded the seminal punk rock group Armia and contributed to their albums under pseudonym Merlin. At the same time he was active in the shadow of Jerzy Grotowskis's dissolving "Teatr Laboratorium" in Wroclaw/Breslau (Zbigniew Cynkutis, Zygmunt Molik, and Ludwik Flaszen being his teachers). Grotowskis's research on rituals, its psychophysiological impact, and his expanded concept of theater has coined Go³aszewski's artistic work.
Since the late 1980's, Go³aszewski is active as a radio presenter, journalist and author; among other things he was crucial for the early popularisation of Reggae music and Rastafarian culture in Poland and thus influencing an entire generation of fans and musicians alike. His contributions both artistic and publicistical to the Polish alternative music scene are numerous. His artistic and esoteric quest also lead to the collaboration with the legendary Atman group, a collective of musicians dealing with the integration of sound and ecology. The group's self-managed label "Fly Music" released Landscapes in 1996 on cassette. In the following year, Atman also invited Go³aszewski to present his project at their Music in the Landscape Festival [Muzyka w krajobrazie] in Inow³ódz, a small medieval village in central Poland. This entirely acoustic performance in the Romanesque St. Giles church in Inow³ódz in July 1997 brought Asunta lasting reputation among Poland's alternative music circuit.
After a life-threatening brain surgery in 2010 and a period of convalescence Go³aszewski is back and active again: 2012 saw the publication of his graphic novel "Moja Terapia" (with drawings by Szawe³ P³óciennik, Central Europe Comics Art) as well as a 400-page volume of his collected writings on Reggae music and Rastafari culture published by "Manufaktura Legenda", the leading label and publisher for the reappraisal of the legacy of Polish subculture." [label info]
www.lollipopshop.de
|
2013 |
€12.00 |
|
| ATAVIST |
II:Ruined |
do-LP |
"Gatefold double-LP limited to 500 copies featuring Justin Greaves (ex-Iron Monkey ) and Rose Kemp on guest vocals. ATAVIST "II:Ruined" defines pure epic suicidal sludge doom metal. The band's second album, "II:Ruined", is a massive, monolithic, introverted chapter of audial suffering and torment. It sees ATAVIST plunge further into the audial abyss by incorporating more layers and substance to their art (not unlike the way Japan's Corrupted portray their immaculate aesthetic). Heavier, more diverse, intricate, and melodic, "II:Ruined" is just that; an unforgiving observation of selfreflection, repentance, and desperation. It is interesting to note that this was the final album for this line up of the band, one can only wonder at the self-fulfilling prophecy of such and immense and bleak work. Perhaps its a wonder they are all still alive. This double vinyl edition of II:Ruined on Aurora Borealis marks a long overdue vinyl release for this important milestone of extreme doom, and stands in monolithic testament to their achievement." [label info]
www.aurora-b.com
|
2009 |
€16.00 |
|
| ATOMINE ELEKTRINE |
Archimetrical Universe |
CD |
"Eternal Pride Prod. presents re-mixed version of "Archimetrical Universe" + bonus tracks from extra limited CDr boxed version of the album "Nebulous". New edition like DIGI-CD with new design. Space is an illusion. Peter Andersson (Raison D'Etre, Stratvm Terror, Svasti-ayanam, Necrophorus) is one of the handful of finest sound manipulators in the world. Period. Archimetrical Universe showcases Peter’s dissection of the sky, a Caesarean section that births massive, geometrically perfect sonic diversions, all spheres and angles, burnished metal dreams and pristine sonic caresses that reconfigure sound into smooth surfaces. To counterbalance the exactness of the sonic development, light rhythms emerge, huge slabs of disrupting tones puncture, the scattered remnants of all of Peter’s projects utilized in the creation of the music here. Everything seems to be in perpetual motion, evolving, revolving, reinvented at the mercy of Peter’s deft hands and devious whim. The clarity of production and meticulous restructuring of the known (space, stars, planets) with the unknown (space...stars...planets...) only heightens the journey upon which he guides us, an alluring venture into the cavernous realm of space...but not a space most of us would imagine. Whether he is sonically scrubbing the architecture, or just mesmerizing us with another sound sculpture at the edge of forever, Archimetrical Universe is, quite possibly, Peter’s finest release yet, which says a lot because his sonic portfolio runneth over with intoxicating, mind-altering sound manipulations that inspire one’s imagination with conflicting emotional responses (sorrow, desolation, awe, wonder) at all times. Space is an illusion...but Peter has brought it to life. Essential!" [label info]
www.eternalpride.ru
|
2009 |
€12.00 |
|
| |
The Antikythera Mechanism |
CD |
"A container of all the knowledge about the universe. The motion of the gears deeply intertwine a link between micro- and macrocosm. A mechanism that simulates cosmology and senses characteristics of an eclipse, with color, size and associated winds.
Define a question, and there will be a calculated answer, even capable of astral divination. Is it an all-seeing eye, or perhaps something beyond even that; a magic entity capable of creating the cosmic events that it is supposed to measure and foretell.
If so, is it by nature auspicious or ominous. Or is it merely a representation and extension of ourselves and our senses, trying to reach both the celestial and the intrinsically unobtainable.
Winter-Light warmly welcomes Peter Andersson to our label, with his 'Atomine Elektrine' project and a stunning new studio album 'The Antikythera Mechanism'.
Here we are invited or compelled even, to delve deep into the intricacies and finely tuned mechanics of this mysterious, all-encompassing machine.
Infinitely extending it's influence across multi-dimensions of time and space, constantly calculating, cogs ever turning, gears whirring, mapping, learning, storing and moving ever onwards. Leaving in it's wake, a vast ocean of unimaginable cosmic events, left to ripple through time until they too fade away to become yet another click in the eternal cycle of 'The Antikythera Mechanism'.
Difference between the CD/Digital and vinyl version
'The Antikythera Mechanism' has a small degree of randomness built-in to the sounds which means that the output of each rendering becomes slightly different. The tracks on the vinyl are of a different rendering than the tracks for the CD/Digital version. This is a natural glitch in 'The Antikythera Mechanism' and it is more or less noticeable.
The sounds are the same but the positions in the sounds are time offset in an arbitrary mode. Any further inequalities are due to the fact that a different mastering technique has been utilised for the vinyl version, than for the CD/Digital version.
As well as there being a different final rendering for the vinyl version, the DLP also comes with an additional and exclusive track, which clocks in at 19:52."
https://winter-light.bandcamp.com/album/the-antikythera-mechanism
"This mechanism Peter Andersson is referring to in the title of the new Atomine Elektrine offering is considered as the first analogue computer. The device was constructed by the ancient Greeks to predict future astronomical occurrences and phenomenas. Even this day it’s an object of scientific researches and studies as its technological sophistication is still unexplained for XXI century scientists and scholars. One of the greatest enigmas in the history of mankind and… what an inspiring theme for a dark ambient artist to explore through music.
It’s not a secret that Peter is a truly versatile musician within the electronic underground, always efficient, no matter if he seeks more noisy approach or more atmospheric one. Atomine Elektrine was born of his fascination of science and instead of wandering through lost cathedrals and desolate wastelands we explore the secrets of space and quantum physics. Clearly, it’s not just the words in the titles and press releases, but the music is unlike his other projects as well. For 25 years the foundation of Atomine Elektrine sound was the use of analogue synthetisers, the old-school instruments cherished by the German masters from the 70s. His music was constantly developing over the years, in all projects, apart from Atomine Elektrine also Raison d’etre, Necrophorus, Bocksholm and several others. Often the inspirations were morphing one through another (for example Necrophorus’ “Imprints” has a one hundred percent Atomine Elektrine vibe), but in general high quality is practically always guaranteed.
I have to admit that while my favourite Peter’s “non-raison” release is “Drifting In Motion” by Necrophorus, it is Atomine Elektrine I value the most as a whole. Maybe not exactly the very first albums, like “Elemental Severance” where it was Jean Michel Jarre a godfather rather than Klaus Schulze, but “Nebulous” or “Laniakea” are very frequent guests in my CD player, up to this day.
Can’t declare today that “The Antikythera Mechanism” will also regain its place in my personal pantheon of all Peter’s releases as it is quite crowdy over there, but yes, it is good, it is goddamn good! The opening dark space of “Arcturus Alpha Boo” made me think of the cosmic vacuums generated by some of the Loki Foundation maestros as the deep rumblings and the feeling of an infinite expanse made me feel small and irrelevant. It calms down after a few minutes and brings a mystery of a titular mechanism to the forefront. From the universe entirety to this tiny device that can capture its secret.
I’m in love with “Metonic Spiral”. You know why? Because it’s like taken straight from “Drifting In Motion”, those delicate synth passages combined with weird bubbling and swirling sounds recall the atmosphere of that masterpiece. Yet while that one had this overwhelming aura of sadness and solitude, in “Metonic Spiral” I hear… a hope that the wonder of what hides behind the ionosphere can be comprehended by the human mind. That feeling is intensified by the second half of the track where these slow melodies and analogue sequences take it one step closer to the old-school German electronica.
In the following track, “The Exeligmos Pointer” all these rhythmic pulsations may recall a working mechanism, while the majestic background textures compliment the structure as a subject of that work. They’re huge and beautiful, they can be compared to the sun/moon eclipse, watched by you, predicted by the device. Subtly disturbing “Time Dislocated By The Mechanism” is. It may sound bizarre, but this piece have something in common with what Penjaga Insaf did on their “Sama Sadja”. While conceptually both projects couldn’t be more distant one from another.
The organic aura of “Epicylic Gearing” is represented by these cyclic sequences, coming and going, pulsating like a bloodflow, later that bass rumblings appears, like a heartbeat. And that simple repeated melody, combined with the mentioned elements develop a tremendous track, which brings another name to my mind. Predominance. Remember that one? Yes, as you can see, that Loki reference few paragraphs ago wasn’t accidental.
Such albums like “The Antikythera Mechanism” deserve an epic ending, yet one must have in mind that Peter Andersson doesn’t really like to finish his albums with a bang. “Fragment F” is not a praise of a human mind, the awe of its endless powers and capabilities. No, it’s a cosmic space, quiet, soulless, without beginning nor end.It’s like the blackest shade of black, it’s probably Peter’s most oppressive finale since “The Eternal Return And The Infinity Horizon”.
And probably one of his best works, at least within the last couple of years. This reference may sound funny, but he’s like Stephen King of dark ambient and I know that a lot of folks grumble that “it’s not the same, his older novels were classic and now he’s just reaping the benefits of his older efforts.” Not true, “The Outsider” or “Sleeping Beauties” are as good as the novels from his so-called “golden era”. Same goes with Peter Andersson, I heard more than once that what he does now is not the same as 20-25 years ago. Wrong. Don’t let nostalgia speak for you. He’s still in a very good shape and the astounding sound of “The Antikythera Mechanism” is its brightest, or rather darkest example." [Santa Sangre]
|
2019 |
€13.00 |
|
| AUME (SCOT JENERIK & ALEPH OMEGA) |
Agere Urendum Mentis Epode |
LP |
"Immersive, dark ambient, soundscape, sound art collaboration by Scot Jenerik (solo, F-Space, 23five) and Aleph Omega (Chrome, F-Space, Altar De Fey). The soundtrack for falling through a wormhole on your way to creation. Foil-stamped, die-cut linen jacket. 180-gram vinyl. Numbered edition of 555 copies.
Scot Jenerik: Composer and multidisciplinary artist. Performed, lectured and distributed works extensively in the United States, Europe and Japan, as a solo artist and member of F-Space. Co-owner of Mobilization Records, has an MFA from the San Francisco Art Institute, founded 23five Incorporated and co-hosted the No Other Radio Network on KPFA.
Aleph Omega: Composer, multi-instrumentalist and artist. Performed and toured extensively throughout the United States, and Europe as a member of Chrome, Helios Creed, F-Space and pioneering Deathrock band, Altar De Fey. Owner/operator Unicursal Studios."
https://aume.bandcamp.com/album/agere-urendum-mentis-epode
www.mobilization.com
"Not releasing many records means that you move out of sight. Scot Jenerik is such a person. He never released much music anyway, and spends his time as a conceptual artist, doing a record out of cement and a CD in an edition of five copies. You should check out his bandcamp. He also runs 23Five and Mobilization Records, the first well-know, I should hope, to the readers of Vital Weekly for their many interesting releases (Karkowski, Chop Shop, Gum, G*Park and many others) and the latter for their releases by Savage Republic and F-Space, a group of which Jenerik is also a member. Much to my surprise this LP landed on my desk, packed in a beautiful black cover, with a die cut silver foil print and it looks dark, stark and great. The music is credited to Jenerik and Aleph Omega and no instruments are mentioned on the cover, but I would think percussion is certainly the place to be for this music; that, and a lot of studio trickery, which works out to using quite a bit of reverb and delay, but I must say it’s not very much in the way of the music; the effects don’t take over. There might also be a guitar in play, but maybe not. Each side has one piece and they last exactly 21 minutes and 12 seconds, according to the timing on bandcamp; the LP cover says it’s 18 minutes and 0 seconds. It opens up with more drone based sounds, hence the guitar I thought, but somewhere half way through the first piece, ‘Praeludium’ it becomes more percussive, and it’s from then on that one has the idea of this being two pieces of sound collage, albeit of long forms. It’s not a quick cut ‘n paste, but it uses various longer blocks with overlaps in various lengths. There are drum parts that end up with much effect treatments but these effects don’t take over. The overall mood of this record is quite dark, but I found ‘Epilogue’ on the second side a tad bit lighter in tone. Whereas ‘Praeludium’ is a dark beast, this side reminded me from time to time of zoviet*france in the mid to late 80s; lots of delay used, a bit string instruments being plucked, percussion and more delay, but here too darkness is never far away. Overall I was very pleased with this album; the music was great, the production excellent and, despite it’s blackness, it was not without light and not entirely focussed on a wall of sound, as the cover maybe indicates. Let’s hope there will be more of this." [FdW/Vital Weekly]
|
2016 |
€25.00 |
|
| AUTOPSIA |
Colonia |
CD |
"Autopsia's latest release for Staalplaat is compilation of long deleted tracks from CD's released by Hyperium in the mid-nineties. Tracks are culled from Humanity Is The Devil, The Birth Of Crystal Power, Secret Christmas History, The Silence Of The Lambs, Palladium and Mystery Science plus a previously unreleased track from 1999. Autopsia, from former Yugoslavia, now in exile in Prague have been producing mysterious orchestral music since the late '80s. Dealing with orchestral tunes from the 19th century which are sampled, they have created an unique sound of their own. In their own words, it goes like this: Colonia is a project that implements death as its theme in order to represent the epoch: the colonial age. Death is not a mere event in the epoch -- terror or genocide, conflict or destruction -- the epoch itself is at stake here: death as time, the age of its reign, death from perspective of faith that encompasses the totality of any being which is founded in metaphysical construct. The structure of Autopsia's sound is syncretic, composed of multiple levels that on one hand refer to liturgical forms and on the other to paradoxical junctures of sub-cultural products of elite technology with proto-urban mythologies." [label info]
www.staalplaat.com
|
2002 |
€8.00 |
|
| AXOLOTL |
Chemical Theatre |
LP |
Zwei lange Stücke auf dieser feinen LP des Projekts aus San Francisco: Auf Seite A wunderbar sanfte Drone-Wolken, hell & schimmernd, die sich im Raum verteilen wie akustisches Frühlings-Parfüm, die Sounds kommen etwas taumelnd vor und zurück wie langsam anbrandende Wellen... Seite B hat mehr Druck & Noise und fast schon sowas erkennbare Strukturen im betörenden Drone-Chaos...
Schweres Vinyl, dicke "glossy" Inlays, hand-nummerierte Auflage, auf einem neuen belgischen Label.
"Two long sides of KARL BAUER's best work so far. "Here Bauer uses violin, vocals, electronics and percussion to assemble huge fields of strafing white light that somehow reconcile the all-night flights of Terry Riley and the clouds of lung generated by Yoshi Wada with flickers of microdot vision and stoned oblivion poems... This is another great blast of rigorously thought-out modern American sound. Highly recommended." [Volcanic Tongue].
|
2006 |
€12.50 |
|
| B*TONG & BEYOND THE ELLIPSE OF TIME |
same |
CD-R |
"Bºtong & Beyond the Ellipse of Time have united efforts to provide us with a split release revolving around a sphere of influenza where the mind dyonisically roams within a wicked and ecstasic momentum. A finer and subtle state of consciousness conceived through dark ambient and sinister elements that spreads huge amounts of sulphur and unmoral individualistic imagery deriving in a supreme and energetic de-humanistic conceptualization." [label info]
www.msk-productions.org
|
2013 |
€12.00 |
|
| B.E.F. |
Music for Stowaways |
LP |
The first reissue of seminal early 1980\'s electronic recordings from the British Electric Foundation (B.E.F.), aka HEAVEN 17 / ex-THE HUMAN LEAGUE\'s Martyn Ware and Ian Craig Marsh, with Adi Newton (CLOCK DVA / THE FUTURE), and John Wilson (HEAVEN 17), originally a cassette-only release (1981).
Following two groundbreaking albums (\'Reproduction\' and \'Travelogue\'), the original line-up of Sheffield-based The Human League split in half in late 1980. The two primary musicians in the group, Martyn Ware and Ian Craig Marsh, formed a new production company - the British Electric Foundation (B.E.F.) - and signed a deal with Virgin Records to write and produce up to six albums a year. The artists they were to produce would include Heaven 17, their own new band formed with vocalist Glenn Gregory.
B.E.F. would also release their own material, commencing with the music on this collection, which was issued in various permutations in 1981-82. Its initial release in March 1981 was a limited edition numbered eight song cassette entitled \'Music for Stowaways\', with \'Stowaways\' being a reference to the original name for the then-new Sony portable cassette player - later renamed the Walkman - of which B.E.F. were great fans. \'Music for Stowaways\' was intended to be listened to on such a device. The cassette was followed by a seven song LP, \'Music For Listening To\', which had a slightly different tracklisting, while other B.E.F. music was utilised for B-sides of early singles by Heaven 17.
This music was among the first recorded by Martyn and Ian directly after their departure from The Human League. Some tracks had evolved from other recordings they were working on at the time, such as \'Groove Thang\' - an instrumental version of the debut single by Heaven 17 - and \'The Old At Rest\', which derived from a version of \'Wichita Lineman\' by Jimmy Webb, their very first recording with Glenn that would subsequently appear on B.E.F.\'s \'Music of Quality and Distinction, Volume One\' covers album in 1982.
Supporting musicians on \'Music For Stowaways\' included Adi Newton of Clock DVA (who had been a member of The Future with Martyn and Ian pre-Human League) on the track \'Uptown Apocalyse\', with John Wilson (who provided incredible guitar and bass for Heaven 17) appearing on Groove Thang.
The innovative sounds heard on \'Music For Stowaways\' were an inspiration to many aspiring electronic artists. In 2015, Uncut magazine included it in a list of the \'50 Greatest Lost Albums of All Time\'.
credits
released April 21, 2023
\"One of the most innovative and important electronic albums of all time\" Electronic Sound
★★★★ Mojo
★★★★ Record Collector
★★★★ Classic Pop
8/10 Uncut
All tracks composed, arranged, performed and produced by Ian Craig Marsh and Martyn Ware for the British Electric Foundation, except for:
Uptown Apocalypse - written by Ian Craig Marsh, Martyn Ware, Steven James Turner (bass) and Adi Newton (synthesizer).
The Optimum Chant - produced by B.E.F. and Glenn Gregory.
Groove Thang - features bass and guitar by John Wilson.
B.E.F. Ident - composed and performed by Malcolm Veal in the style of Bach/Purcell.
license
all rights reserved
https://coldspring.bandcamp.com/album/music-for-stowaways-csr310cd-lp
|
2023 |
€23.50 |
|
| BAD ALCHEMY |
No.53 (02.2007) |
mag |
"BA 53/07): the hub !!!!!!!!!!; pere ubu‘s erben in cin city: by-products of america - the wolverton brothers (bernd weber); stürmischer wind? totenkopfbriefkasten? menschliche stimme: rene lussier - bob drake - alig pierce (m. beck); imaginäre folklore - possible worlds; das al maslakh ensemble; die vorwärtsverteidigung des historischen drone-pop: brennende ohrwaschl - quermeer (frank apunkt schneider); dorit chrysler und die tiny thrills des theremins (frank apunkt schneider); das erste wiener gemüseorchester (frank apunkt schneider); ralf siemers + chaos through programming (frank apunkt schneider): la société des timides à la parade des oiseaux; Das Pop-Analphabet " [BA]
|
2007 |
€3.00 |
|
|
No.36 (Aug. 2000) |
mag/7 |
"Ganz neu, inkl. Seelenstriptease des Herausgebers & Betrachtungen über die "Konformisten des Andersseins" (Norbert Bolz), von Klaviermetzgern und Maulwerkern, Eselskadavern und Einsiedlerkrebskadavern, auch von Heuschreckenkadavern, sowie DAVID GARLAND, POISON CABINET, und die ausführlichen, aufschlußreichen & kritischen Reviews z.B. über neue Werke von Drone, Ant-Zen, Prion, Mille Plateaux, Staalplaat, Touch, Moloko+, Soleilmoon, Die Stadt, und vieles aus dem Jazz-Avantgarde-Improvisations-Bereich.." [Drone Rec. 2000] |
2000 |
€7.50 |
|
| |
No. 89 (April 2016) |
mag |
FREAKSHOWS: WILD AND WINDY = LE REX - LENT ET SEXUEL = COAX ORCHESTRA - NAGUAL, SHAPESHIFTERS AND DOGSBODIES = ALBATRE + AVA MENDOZA'S UNNATURAL WAYS; LABELPORTRÄT 10 YEARS ALTROCK; SCHLAGLICHTER: JULIEN DESPREZ; SEAMUS CATER; CARATE URIO ORCHESTRA; MARK DRESSER VIRTUAL TOUR; PNL LARGE UNIT; MAJA S. K. RATKJE; REIDEMEISTER MOVE; TORBEN SNEKKESTAD; FRANK ROTHKAMM; KONSTRUKTIVISTS; MOONDOG COUPLETS; THIRD REICH'N'ROLL: STEVE REICH IN KÖLN; LIBERA ME: MONTEVERDICHOR 16.03.2016
www.badalchemy.de
|
2016 |
€3.50 |
|
| BAD SECTOR |
Plasma |
CD |
"Endlich die zweite CD des fantastischen italienischen Projektes: Hier wurden diverse elektro-atmosphärische Originalsounds (VLF-recordings, Pulsare, Neon Tubes radio signals, High Voltage Transformer rec.) mit den sphärisch-melodisch BAD SECTOR-Klängen vermischt, die eher im Hintergrund stattfinden. Eine unvergleichliche Atmosphäre aus Hochspannung und Schönheit entsteht hier..." [Drone Records info 1998]
“Great conceptual work! sound sources : Magnetosphere, Vostok + Salyut + Soyuz original recordings, Pulsar, High Voltage, Neon... all this sounds are building a unique powerful & pulsing sound sculpture, a great mind experience! Ltd. to 747 numbered copies, cover presents a series of interesting "electricity / energy " historical photos.”[label info]
Now re-pressed & back in stock, the great second album ! Different Cover !
www.oldeuropacafe.com |
1998 |
€13.00 |
|
|
CMASA |
CD |
In jeder Hinsicht ungewöhnlich und doch unverkennbar BAD SECTOR! CMASA beruht auf älteren Fragmenten, die MASSIMO MAGRINI aka BAD SECTOR für eine Kunstausstellung in Pisa 2005 einspielte (zum Thema "River's end" - dort wo der Fluss aufs Meer trifft), darunter Klavier- und Gitarrenbearbeitungen sowie Feld- und Objektaufnahmen von Wasser und Metall. In Verbindung mit BAD SECTORs typischen (und nach wie vor unerreichten) Synth-Sounds entstehen fünf lange "Movements" voller industriell-poetischer Traum-Atmosphären; digital verfremdete "technische" Klänge in einem Meer von Nostalgie, Einsamkeit & Melancholie. Gänsehaut-erzeugend. Grossartig.
"In 2005 Massimo Magrini was invited to provide a soundtrack for the M3M art exhibition in Pisa/Italy. The exhibition was based around images of the seaside and the rivers estuary of Pisana area with CMASA airplane factory built there in it's centre vis a vis of archaic marine cottages. This marvelous seaside scenery mixed with vintage industrial locations, together with some kind of nostalgia, created an unexpected but amazing mood. To sculpture a soundtrack of this scenery Massimo Magrini was asked to use acoustic and natural sounds too and so he added for this work treated piano and snippets of acoustic guitars together with water sounds and metal samples. This may sound unusual for a BAD SECTOR release but all those new elements are perfectly blent into the massive and ambient soundwaves for what previous releases are known for and making CMASA probably to the most emotional album of Massimo Magrini to date. All initial exhibition sounds where regenerated, remastered and re-assembled during 2007-2009. Digipack.(LOKI/PAS 23)" [label info]
www.loki-found.de
www.loki-found.de
|
2009 |
€13.00 |
|
|
Anthology (collectors ed.) |
3 x LP + 2 CD |
https://bad-sector.bandcamp.com/album/anthology
Anthology: A complete compendium of the project in 25 years of activity, in a selection of tracks from 1997 to 2022, remastered in a 3 LP edition.
Released via independent Garsu gelmes label, based in Ukmerge, Lithuania.
Beautifuly coloured 180g heavyweight 3xLP in an exclusive Trifold sleeve made out of 100% recycled material. This edition comes with 2 CDs, 20 pages 30x30 cm Art booklet and beautiful A3 print to frame it on the wall.
Limited edition to 80 copies.
|
2023 |
€85.00 |
|
| |
Anthology (fan's ed.) |
3 x LP |
https://bad-sector.bandcamp.com/album/anthology
Anthology: A complete compendium of the project in 25 years of activity, in a selection of tracks from 1997 to 2022, remastered in a 3 LP edition.
Released via independent Garsu gelmes label, based in Ukmerge, Lithuania.
180g heavyweight 3xLP in sleeve made out of 100% recycled material. Comes with beautiful insert inside the package.
Limited edition to 200 copies. |
2023 |
€47.50 |
|
| BAKER, AIDAN |
Gathering Blue |
do-LP |
Doppel-LP im Gatefold-Cover, edelst designed von ALAN McCLELLAND. Eine Sammlung von neuem (erste LP) und in Kleinauflagen bereits erschienenem Material (zweite LP), die beiden mCDRs "Cicatrice" (Dreamland, 2003, vier Stücke die alle mit CI beginnen) und "The Taste of Summer on your Skin" (Taalem, 2004), zwei Remixe von BAKER-Stücken von der "Remixes"-CDR (Arcolepsy, 2005) von BUILDING CASTLES OUT OF MATCHSTICKS und TROUM, sowie eine JOY DIVISION-Coverversion von "24 Hours" !!
Die Auflage von 444 Stück kommt in insgesamt drei Vinylfarben!!
"A work of blissful delight. Aidan Baker provides 4 sides of enchantment in this long-in-the-making 2xLP set. Gathering Blue provides new original material plus a stunning cover of the Joy Division track "24 Hours" as well as an extended work-out of the amazing remix of "The Cicada Sings Our Love Song" by Building Castles Out Of Matchsticks which was originally released in 2005 on the ultra-limited and long-deleted Arcolepsy Records CD "Remixes". This really is Aidan Baker at his very best and a record that is sure to charm. Comes in a gatefold sleeve, numbered card insert and pressed on heavy 180g virgin vinyl in 3 editions (55 copies on black vinyl, 95 on sky blkue vinyl [with white blend] and 294 copies on mottled peacock blue vinyl)." [label info]
"It's been a (little) while since we've had some brand new Aidan Baker / Nadja for the store, thankfully this week heralds two new
releases. To be reviewed next time, there's long awaited Nadja all- covers disc (which we'll tell you right now is great), and then
there's this, a brand new, limited double lp from Baker solo, and as always it's a doozy, sprawling and shimmery and expansive, that sort of blissed out ambient dronemusic he does so well. But it's far from more of the same. The first track we threw on was almost jungle, with skittery beats buried beneath softly undulating layers of warm whir and deep drifts of soft swirling sound. There's also a bit of Spacemen
3 like processed psych guitar, which gives way to some buzzing raga like blur, draped over still more dreamlike dronescapes, although
here, it's laced with chunks of processed alien crunch, and weird little bits of scrape and fragmented riffage. Long stretches of underwater Oval-like wooziness, shot through
with streaks of space-y effects and muted bits of glitch and buzz, some of the most washed out and wondrous space (not quite) rock ever! Warped warbly organs are stretched and smeared into warped Philip Jeck like doomy drifts, one of which is apparently a cover of Joy
Division's "Twenty Four Hours", although we could only tell by the vocals, and even then, they're so hushed and barely there, that any
sense of the original seems to melt into a gorgeously oozing expanse of thrum and shimmer and softly warped rumble. Another fantastic and gorgeous and of course WAY too limited
chunk of droney dreaminess from Mr. Baker. Released on the always amazing Equation Records, who really go all out with the packaging as well. Thick swirled/splattered blue vinyl, thick full color gatefold jacket, and a printed full color postcard, each of which is hand numbered, LIMITED TO 444 COPIES!" [Aquarius Records review]
www.chronoglide.com/equation.html
|
2009 |
€24.00 |
|
|
Liminoid / Lifeforms |
CD |
"While Alien8 Recordings has had the pleasure of releasing three full-length albums by Aidan Baker's ambient doom project Nadja, as well as his collaborative effort Fantasma Parastasie with Tim Hecker, this marks our first solo release with the artist. Although we consider Liminoid/Lifeforms to be a solo effort, there are in fact no less than eight guest musicians helping out on the recording. These include Canadian noise legend Knurl (a.k.a. Alan Bloor) who has been released three times on Alien8 Recordings prior to this recording, as well as members of Arc, Picastro, Forest City Lovers and Whisper Room. Liminoid is a composition for large ensemble exploring sonic immersion in drones and textures, rhythms and pulsations. Incorporating composed and improvised segments, the piece uses elongation of sound and layered polyph- ony in an attempt to create a liminal and/or numinous state. This recording of Liminoid is from its premier at The Music Gallery's X-Avant Festival in Toronto, October 25, 2008. The piece features a powerful vocal performance with every member sharing the vocal duties. The lyrics have been adapted from 5th-8th century Coptic Christian texts and inspired by the book Ancient Christian Magic by Marvin W. Meyer & Richard Smith. The ensemble members for this performance were: Aidan Baker (guitar/ voice), Clara Engel (guitar/voice), Nick Storring (cello/voice), Jakob Thiesen (drums/voice), Richard Baker (drums/voice), Tillman Lewis (cello/voice), Laura Bates (violin/voice) and Jonathan Demers (guitar/voice). Lifeforms is a composition for strings, prepared/effected guitar, and amplified metal works. Likewise incorporating written and improvised material, the piece was originally commissioned and performed by The Penderecki Quartet in 2003. This recording was made in August 2008 at Commonwealth Studios in Toronto. The performers were: Aidan Baker (guitar), Nick Storring (cello), Mika Posen (violin) and Alan Bloor (metal works). This recording has been both skillfully mixed from multiple recordings and mastered by James Plotkin." [label info]
www.alien8recordings.com
"The latest from the always impressive, and always prolific Aidan Baker, who creates thick wall of sound doomgaze in the duo Nadja, and much more personal, hushed drone music under his own name, but more and more has been expanding his scope with various collaborations and large ensembles. This might be the biggest ensemble he's worked with, 8 players, all contributing vocals, three guitars, two drummers, violin and two cellos. And it does sound like what you might imagine, a sort of Aidan Baker drone record / chamber music
hybrid, long languid tones, plenty of cymbal shimmer, the strings moan and sing, the sounds ebb and flow, swelling ominously, building to
swirling crescendos, before slipping back into something more minimal and contemplative, "Liminoid" is split into 4 movements, and is about as close to classical music as Baker has come, at least in the first part, the second part shifts gears dramatically, transforming into something more jazzy and propulsive, a sort of krautrock thing, but with a jazzy slow shifting Necks vibe, eventually building to a dense tribal workout, before slipping into part 3, all shimmery blissy drift, soft focus and sun dappled, the drums an understated slowcore
shuffle, leading up to the 15 minute final movement, where the vocalists team up for a haunting bit of choral drama, which explodes
into full on free jazz freakout wall of sound, finishing off with a long form spaced out drone jam, that definitely reminds us of a super
stripped down White Hills, psychedelic and washed out and very hypnotic.
The second piece, the nearly 30 minute "Lifeforms" is a smaller ensemble, Baker on guitar, with violin, cello and 'amplified metal works', the metal works had us expecting something clangy and bombastic, but instead, it's almost all warm whirling ambient shimmer,
much more in keeping with Baker's solo sounds, near the end, the sounds shift, and the strings move to the fore, weaving dramatic melodies over the slow burning drone underneath, the result very cinematic. Quite nice." [Aquarius Rec.]
"One of my favorite noise albums, "Frequency LSD" by Japanoise artist Masonna was released on Alien8 Recordings in the mid-90's. With this in mind, and in combination with the release of present two albums, there shouldn't be any questions about the the great span of styles released by Alien8 Recordings - Canada's probably most interesting label of the underground. Aidan Baker is a Canadian multi-instrumentalist and sound artist that creates music in the field from post-rock across drone ambient to modern classical. His latest release "Limonoid / Lifeforms" roughly comes across all aforementioned styles. On the album Aidan Baker has allied with concrete noise artist Alan Bloor alias Knurl / Pholde, Richard Baker on drums plus a number of other acoustic members on instruments such as cello, violin and guitars. As the title suggest the album is divided into two main sections: A section called "Limonoid" consisting of four intersections and the long and final piece titled "Lifeforms".
"Limonoid" is as mentioned earlier an interesting crossover between neo-classical chamber music, noise-rock, post-rock with associations of earlier Krautrock (first of all Amon Düül I + II) and neo-folk with elements of middle-age expressions. Quite interesting and very trippy psychedelia with vocals from Clara Engel is what the first four chapters of the albums presents. But in my opinion, the true gift is the second main section of the album titled "Lifeforms". "Lifeforms" is a lengthy piece clocking approximately 30 minutes. Where the aforementioned section was a crossover of a number of styles "Lifeforms" mainly focus on ambient-expressions but with clear interventions of classical instruments such as violin and cello meanwhile aforementioned noise artist Alan Bloor controls his usual ultra-aggressive sound equipments being amplified steel and metal as sound sources into more subtle and very attractive noise drones. The piece is quite repetitive with a long hissing drone of amplified strings but with organic interventions of concrete sounds of aforementioned instruments. Halfway though the track, hissing drone fades away giving way to more plain acoustic ambience until another drone appears. The atmosphere is hypnotic and very intense through out the running time of the piece. Very interesting album showing the wide span of Aidan Baker." [NM / Vital Weekly]
|
2010 |
€13.00 |
|
|
Lost in the Rat Maze |
CD |
"Aidan Baker needs no introduction: this prolific Canadian classically trained multi-instrumentalist has generously contributed to the doom/drone/ambient genre. Nadja, Arc and Whisper Room are just a few of his manifestations.
As a solo artist he also composed quite an impressive backcatalogue. Consouling Sounds is proud to add another release to that list, as we're quite confident this one will stand out in this discography.
With Lost in the Rat Maze Aidan Baker produces an unconventional album - even to Baker-standards. Having been known for his extensive ambient soundscapes, Baker chose a different approach to his sound weaving - albeit true to the "Bakersound".
In stead of a densely layered and broad sound palette, Baker has almost embraced a "postrockish" method of composing. More compact, pointed and clear progressions can be discovered, together with a diverse array of instruments, sounds and techniques. Expect the classic Aidan Baker elements: captivating, fascinating and repetitive mesmerizing sounds - but with a different twist to it.
Limited to 900 copies." [label info]
www.consouling.be
"Over the last years Aidan Baker has proven to be highly prolific, which resulted in a large catalogue of releases, of which many are solo, but also with his bands Nadja, Arc and Whisper Room. It also brought him some fame, so that his recent releases are on CD and LP only. To be honest, I didn't keep up with all of his releases, only dipping in when it lands on my desk. Consouling, a label from Belgium, tells us that this is an unconventional album in such a way that its not the massive layers of guitar sounds and effects, seemingly waving on end, but in stead its a more compact sound and somewhat shorter pieces, eight in the timespan of fifty some minutes. Baker plays electric & acoustic guitars, electronic drums (provided by Richard Baker), vocals, piano, flute and tapeloops. The music is still highly atmospheric, as one could expect from Baker of course, but somehow it all seems a bit more opener, with 'more air' as it where. Instruments fly in and out, sometimes held together with the tick of drums, sometimes stuck in a loop of unknown kind, with the guitar(s) neatly tinkling away. Surely still a matter of improvising freely around a small set of themes, but Baker doesn't explore them ad infinitum, and rather just for a few minutes. Nicely spacious head music. A new form of old psychedelic music. Trippy." [FdW/Vital Weekly]
|
2011 |
€13.00 |
|
|
Only Stories |
LP |
"Only Stories is Aidan’s second release on The Kora Records. The album continues in the “drone folk” style first heard on his (nearly out of print) Kora release, Scalpel. All of the sounds on the record were created by voice and 6 and 12 string acoustic guitars. Aidan penned the three long compositions featured on Only Stories a long time ago, but they were never properly recorded until the fall of 2009, and Kora is ecstatic to release them now in a beautiful fold out letterpress vinyl release limited to 500 copies." [label info]
www.thekorarecords.com
|
2011 |
€18.50 |
|
|
The Sea swells a bit |
do-LP |
"As a Canadian musician currently living in Berlin, Aidan Baker got first famous as half part of the prolific project Nadja, playing along with Leah Buckareff. LP after LP and collaboration after collaboration (A Storm of Light, Atavist, Year of no Light....), Nadja never ceased to explore the different aspects of ambient, noise and drone music. Also a prolific solo composer, Aidan Baker is well-known by experimental and alternative music fans as much for his solo albums as for his prestigious collaborations with some artists (Tim Hecker, Thisquietarmy, Noveller...) and famous music labels (Denovali, Important, Lattitudes, Gizeh...). Today, Mind Travels is very proud to present the first vinyl edition of one of his key records, A Sea Swells a Bit...., first released in 2006. Three long ambient titles that will likely make you shiver and lose your senses. A live version of the eponymous title is also joined as a bonus.
The artwork, again designed by Francis Meslet (Urbex), intensifies in the most admirable manner the depth of this dizzying music." [label info]
www.icidailleurs.com
"AIDAN BAKER besingt die tiefe See, den Ozean, sterbende Seemänner. Dicht und undurchdringlich, dunkel gefärbt & geheimnis-umwebt sind seine drei langen Stücke auf dieser CD für den SMALL VOICES-Ableger. Wie so oft arbeitet BAKER mit urlangen Gitarrenloops, schichtet Zirkel auf Zirkel und sich allmählich aufbauenden Crescendos.... ab dem zweiten Stück durchziehen sanfte Perkussion und Bass-Grooves die Flächen, und das ganze erhält einen leichten Psychedelic-Touch...." [Drone Records text zur CD version 2006]
|
2015 |
€20.00 |
|
|
Dualism |
do-CD |
After different collaborations between Aidan Baker and other musicians, we are finally presenting you the first solo release by Aidan Baker on Midira Records. We are very proud to bring you this little piece of art called “Dualism”.
The album starts like an untamed beast with dark drone and doom sounds and it morphs into a very gentle floating ambient body. Aidan plays guitar, bass and drums, what makes the tracks sound structured but also disengaged at the same time. The all-instrumental tracks have Nadja-like moments when the sound is darker and doomy and then they transform to beautiful melodies and rhythms. So you can hear the album moving from darkness to light, from heaviness to easiness and from interlaced to clear textured. Sometimes you feel like dancing, sometimes you feel like head-banging, sometimes you feel just relaxed and all sounds and moods fit perfectly together.
The album is based on the theory of dualism. A theory enfolding several books and explanation, including different meanings. That´s what Aidan Baker thought about the Dualism theory referring to this recording:
“Dualism in philosophy refers to the theory that the mind and body are different things and while the body is necessarily part of the physical world, the mind (and thoughts) may or may not be associated with a physical, concrete reality… and the notion of a ‘consciousness bridge’ is the way one might attempt to bridge the gap, so to speak, between body and mind.”
We thought that is a nice concept, but then something unforeseeable happened. The Dualism theory overgrew the whole release project. After we decided to press the music on CD, the master tapes got lost. We were talking about what we can do, because everything was set up to be released. So Aidan Baker decided to re-record the album. After he recorded the album, the original recordings showed up again by coincidence. So we had two Dualism albums sounding completely different, both worth to be released. We decided to release both sessions as Session A and B. A circumstance fitting perfectly into the dualism theory. Then we were waiting for the CD to be finalized with a matt finished artwork. The parcel arrived from the plant, but accidentally with glossy artwork. We started to believe that there is a hex of dualism covering this project. But finally, we finished the album with 2 CDs and a handsome matt lamination.
To perfect the album package, we added a letterpress inlay including a poem by Aidan Baker (from Passing Through) and an antithetic version of the cover artwork. Manufactured by Letterjazz with some very old letterpress machines.
Some more dualism trivia in this context: The alphabetic characters A and B of both sessions does not only fit to the artist name but also to the name of our contact person at the letter press studio. Dualism fortuity.
Dualism comes as a double CD album in an edition of 200 copies housed in a 6 panel digipack, including a letterpress inlay on 650 gram LeNaBoard (grey cardboard).
|
2016 |
€18.50 |
|
|
There / Not There |
LP |
An album combining minimalist postrock with washes of ambient shoegazery noise...released on CD and LP by Consouling Sounds. Mastered by Simon Scott. Cover photograph by Leah Buckareff.
www.consouling.be
credits
released October 2, 2020
Aidan Baker - guitars, vocals
Fiona McKenzie - drums
Dana Schechter - bass
'https://aidanbaker.bandcamp.com/album/there-not-there
|
2020 |
€16.50 |
|
| |
There / Not There |
CD |
An album combining minimalist postrock with washes of ambient shoegazery noise...
released on CD and LP by Consouling Sounds. Mastered by Simon Scott. Cover photograph by Leah Buckareff.
www.consouling.be
Aidan Baker - guitars, vocals
Fiona McKenzie - drums
Dana Schechter - bass
'https://aidanbaker.bandcamp.com/album/there-not-there
|
2020 |
€13.00 |
|
| BAKER, AIDAN (WITH RICHARD BAKER) |
Smudging |
LP |
"Backwards proudly presents a new Aidan Baker vinyl LP, issued in a edition of 450 copies. For this release AIDAN BAKER, co-founder of Nadja and member of Arc, is aided by his brother, Richard Baker, at drums. Recorded variously in Toronto and Berlin, 'Smudging' includes six songs comprised in two long epic tracks, with guitar textures and hypnotic rhythm structures to create a beautiful and dreamy listening experience. In the wake of his most experimental and characterized by dilated atmospheres works, as it happened for example in "The Sea Swells A Bit...", Aidan Baker is back to exercise his hypnotic power on the listener. The guitar drones succeed one another, alternating with more rhythmic and structured brackets, thanks to the involvement of Richard, who divides his time between more consistent raids, which almost tend to evolutions near to improvisation (as in "Sweetgrass 1"), and softer and occasional interventions which leave full space to the landscape drifts created by Aidan with his guitar effects and enveloping electronic sound-carpets (as in "White Desert Cedar").
"Smudging" is a work that, both in the execution and in the structure of the six tracks that comprise it, represents another confirmation of the stylistic code reached by the eclectic Canadian musician, who's determined in his aim to drag the listener, with extreme elegance, into the multiple parallel worlds created by his unlimited sounds. Another excellent album from this marvelous artist!
"Smudging" is released as a limited edition of 400 copies in a beautiful designed sleeve. First 45 copies come with an original painting done by Aidan Baker; each one is unique." [label info]
www.backwards.it
|
2012 |
€15.00 |
|
| BAKER, AIDAN / JÖRG SCHNEIDER |
Schneider Baker |
LP |
https://aidanbakercollaborations.bandcamp.com/album/s-t
Limited edition collaborative LP of minimal abstract guitar / drums experimental jazz.
schneidercollaboration.bandcamp.com
Aidan Baker - guitar
Jörg Schneider - drums
|
2022 |
€20.00 |
|
| BAKER, AIDAN / NOVELLER |
Colorful Disturbances |
LP |
"aidan baker ist hier einfach wolfgang voigt: gas, bei einem der reinen ambient stücke ohne beat. ungefähr genau so viele schichten statischer akkorde und weit, weit unten / hinten passiert dann doch dauernd etwas. und erst viel später merkt man, dass auch die statik nicht statisch ist... perfekter nachschub für alle, die genau diesen typischen, weit ausgebreiteten sound an ihm (und anderen) mögen. sarah lipstate ist mit ihrem instrumentarium auf der gleichen baustelle unterwegs; hier auf der split-LP mit „under the color cave" und „white rabbit" jedoch intimer im sound und etwas kammermusikalischer, dabei in den einzelsounds auch konkreter als aidan baker. melancholisch, abwartend, die gitarre wie ein cello. unbedingt empfohlen und trotz split zweier unterschiedlicher künstler und trotz der unterschiedlichen soundhaltung homogenes ganzes. schönes cover auch, dessen finesse sich erst beim genauen hinschauen erschließt (und hier, in der abgebildeten größe, nur durch hochgedrehte kontraste) und: sehr gute vinylqualität dann auch noch." [N, Unruhr]
"Guitars warped so hard they dissolve into pure consciousness! Seriously, this record had to happen because these two are the NOW of transcendental guitar weirdness. In families like ours where deformed music of one kind or another pours out of the speakers all day long, Toronto's Aidan Baker is a household name. He is no doubt one of the most imaginative experimental musicians of the new generation, quickly creating a universe of limitless sound with his bursting discography. He offers this record an extensive piece which mixes drone, texture, and an ever-bowing foundation -- imagine the sound of falling backwards... forever. The new blood on this split is guitarist Sarah Lipstate from Brooklyn, New York (aka Noveller). Sarah's prepared twin guitar works up a slow hypnotic force, gently pulling way out to the furthest deep end of pulses and patterns. Beautiful repetitions effortlessly skirt over a dark undercurrent. A+++ listen. Edition of 600 copies." [label info]
www.divorcerecords.ca
|
2009 |
€14.00 |
|
| BAKER, AIDAN WITH CLAIRE BRENTNALL |
Delirious Things |
LP |
An album of cold wave, synth pop inspired tracks, released on limited LP from Pleasence Records and limited CD from Gizeh Records. With guest vocals by Claire Brentnall (of Shield Patterns). Mastered by Brandon Hocura.
www.pleasence.com
www.gizehrecords.com
https://aidanbaker.bandcamp.com/album/delirious-things
"Aidan Baker is a classically trained flutist and a self-taught multi-instrumentalist. He is a Canadian musician who currently resides in Germany. Baker is prolific and his music wide-ranging, but central to all his releases is a practice in deconstruction as he explores experimental sounds and tones based primarily, but not exclusively, in guitar. Brentnall, who joins Baker here on some tracks, provides vocals and is a member of the experimental duo Shield Patterns. On Delirious Things, Baker explores his ambient side, primarily with interludes, but his pieces with Brentnall evoke 80’s style dark-wave, post-punk, cold-wave, and shoegaze. The pair work as a wonderful duo, with Baker’s acumen at creating emotive soundscapes playing alongside Brentall’s angelic and otherworldly vocals.
The album opens with fuzzy tones and tapping drums. “Delirious Things” is slow and sparse, with an almost drone-like quality. Brentnall instantly mesmerizes with her vocals as she sings hypnotic lines over Baker’s guitar playing in your right ear. Another guitar enters the mix in the left as the bass plays in stereo. The mix gives it a brilliant depth and a sense of conversation between the instruments. Percussion has a thick layer of reverb as the fuzz still is the floor of the track. Backward tracking plays among the fuzz as the layers begin to peel away to leave a rather inorganic tone. “Interlude I (Shivers)” begins with a high-toned synth sound and various bright layers that dance around it in variations. It is brief but beautiful piece. “Dead Languages” begins with more reversed tones and a humming line floating above them. Electronic drums kick and dark, fuzzy tones come into the speakers creating a dark-wave mood. Brentnall’s ethereal vocals are given a different feel in this darker space. They are angelic but are almost dissonant against the march of a moodier background. The darkness of it all is unrelenting and Brentnall’s vocals a constant force of light throughout.
“Interlude II (Tongues)” has an almost eerie voice floating around in it with backward tones over a bright drone. The voice moves from speaker to speaker and comes into the mix at different volumes. There are shimmering tones, almost like a drop falling into water and then creating a ripple effect. Slight fuzz rumbles underneath but never quite makes it above the surface. “Interlude II (Tongues)” flows into “Wingless” without pause. Swirling synth rises to create a very subtle wall of sound and then the percussion and guitar kicks in. This track feels most like post-punk 80’s music, with a Siouxsie Sioux meets Cocteau Twins vibe. Brentnall’s vocals create an almost desperate feel or at least one of earnest longing. The bass work provides a consistent backbone which also has an almost Hooky/Gallup feel. Eventually, the keys soar and begin to bury Brentnall under a swell and then the synths play out as a drone, winding down into an osculating tone. “Interlude III (Wax)” brings fuzz back into prominence, but the guitar work is bright and the fuzz no long ominous in any way. If Baker proves anything, it’s that he can take tones, place them in other contexts, and then completely redefine how they feel. Warm, deep rumbles flutter in and out of the speakers, creating and immersive experience.
“Always Leaving” has a slightly reverbed bass playing at first, repeating a singular note. Electronic drums bring in that 80’s feel and the bass line then becomes more expressive and complex. There is a Roxy Music vibe floating around in this piece that is just exquisite. About 3 minutes in, Brentnall’s vocals come leaping forth and they are the most prominent they are on the whole album. Baker clearly knows how to mix vocals because they move in and out of speakers as Brentnall sings various pieces simultaneously as if in conversation, echoing one another here and there. It creates a pleasing array of angelic, ethereal vocals that blend together to create a choral feel. As the title suggests, there is a longing here and perhaps a sense of loss in both the vocals and the feel of the composition. “Shivering” is the finale to Delirious Things and it begins with a bright, aggressive fuzz that has several layers to it. A comforting hum floats among the prickly sounds and sparse percussion punctuates the soundscape. The track begins to take form and then moves back into buzzing drone territory as it pauses before resuming and Brentnall begins to sing. The pace of the piece is medium tempo but there is an urgency to it as the vocals swell and move up and down in volume. “Shivering” reaches its outro as synths hum, buzz, and crackle until there is silence.
The duo of Baker and Brentnall is one made in heaven. After spending many hours with Delirious Things, my hope is that there will be much more of this collaboration to follow. Baker’s compositions move from ambient brilliance to dark-wave decadence, changing the backdrop to Brentnall’s angelic, ethereal, and otherworldly vocals throughout. Context, if anything, proves to shape the feel of her vocals here and Baker is a master composer, giving Brentnall a myriad of spaces in which to interpret her vocal prowess. Delirious Things is a gorgeous album demonstrating Baker’s compositional expertise and Brentnall’s ability to evoke deep, emotional moments with her captivating voice." [Jason / Somewherecold] |
2017 |
€16.00 |
|
| BALESTRAZZI, SIMON |
Ultrasonic Bathing Apparatus |
CD |
Simon Balestrazzi is an electronic/electroacoustic composer and sound artist active since the 80's and one of the leading figures of italian post-industrial scene. In 1981 he co-founded T.A.C. (Tomografia Assiale Computerizzata), a long-lived and outstanding Italian band operating on the border between experimental music, leftfield rock and post-industrial. Between 1986 and 1988 he created the dark-chamber ensemble Kino Glaz while in 1991 he joined Kirlian Camera, with whom he worked for seven years releasing several albums and performing live throughout Europe.
He has so far performed live or recorded with the following musicians and groups: Gianluca Becuzzi, Maurizio Bianchi/MB, Bron Y Aur, Marco Cappelli, Elia Casu, Fabio Cerina, Paulo Chagas, Mattia Coletti, Compoundead, Sylvie Courvoisier, Deison, Max Eastley, Andrea 'Ics' Ferraris, Forbici Di Manitù, Henning Frimann, Hermetic Brotherhood Of Lux-or, Tim Hodgkinson, Dalila Kayros, M.S. Miroslaw, Ikue Mori, Clara Murtas, Phill Niblock, Noisedelik, Victor Nubla, Alessandro Olla, Plasma Expander, Maja Ratkje, Paolo Sanna, Damo Suzuki, TH26, Uncodified, VipCancro, Z’EV, Francesco Paladino.
He's currently working as a solo artist and with experimental duos Dream Weapon Ritual (with Monica Serra), Candor Chasma (with Corrado Altieri), Sarang (with Enrico Marani) and the improv ensemble A Sphere Of Simple Green (with Adriano Orrù and Silvia Corda).
Ultrasonic Bathing Apparatus is an apotheosis of the deep sound. Built around the concept of numbness and sensorial deprivation, the album unfolds in seven movements. An ideal path that alternates between dives alienating themselves from external tension and re-emergences, where the sounds become palpable and consistent. A continuous transition from deep tense drones, making you feel disconnected from body perception, and actual sounds, that make you fall quickly back into the outside world. Until the last dive, a massive final drone, where you get lost and can only concentrate on your own self. A work composed with surgical precision and great arrangement care, supported by a very skilled composition and containing a touching poetics of progressive estrangement. Psychological tension constantly on! Are you ready for this?
https://sincoperec.bandcamp.com/album/simon-balestrazzi-ultrasonic-bathing-apparatus-cd |
2015 |
€10.00 |
|
| BARBIERI, CATERINA |
Fantas Variations |
do-LP |
Fantas" is the epic opening track on Caterina Barbieri's acclaimed 2019 release Ecstatic Computation (EMEGO 259LP, 2019). The original "Fantas" laid out a magical path of patterns leading the listener on a journey into the sound itself. Fantas Variations maps out eight new potentials sprung from this initial path as constructed by a diverse mix of artists lending to a wide spectrum of new works extrapolated from the original work. For this project Barbieri invited friends and long-time collaborators from a variety of musical backgrounds to create a more sustainable and inclusive landscape in terms of stylistic, geographical, gender, and generational balance. The results are a diverse array of approaches and instrumentation which blur the boundaries between the acoustic and electronic. Fantas Variations embraces a platform for mutual exchange and support between like-minded artists, where active and collective re-imagination is prioritized over the traditional model of remixes, which is often strategic, functional and more passive. Longtime friend and collaborator Kali Malone rearranged "Fantas" to a slowed-down, austere and eerie version for two organs. Evelyn Saylor created a piece for a vocal ensemble consisting of her, Lyra Pramuk, Stine Janvin, and Annie Garlid, joining forces to express the choral, psychedelic and vital nature of the piece. Barbieri's former guitar professor at the Conservatory in Bologna, Walter Zanetti, composes "Fantas" for electric guitar, by translating every single gesture of the original electronic piece into a personal, nuanced and detailed interpretation. Bendik Giske's reinterpretation for saxophone and voice captures the atmospheric essence of "Fantas" and its psychic meteorology. Longtime collaborator and along with Barbieri the other half of the outfit Punctum, Carlo Maria, resynthesizes "Fantas" for TR808 and MC202, bringing a more club-oriented dimension of the piece to life whilst unveiling the sonic continuum between rhythm and pitch through a sensitive timbral approach. Jay Mitta's Singeli reinterpretation of "Fantas" transpires with pitched-up percussion and turbo-fast polyrhythmic patterns unleashing the frenetic, shifting, transformative matter within the piece to a higher plain of euphoric dance. Baseck's variation is a rave fantasia, where the prismatic trance of the original is channeled into fierce, uncompromising hardcore, whilst Kara-Lis Coverdale's take is a phantasmagoria for piano that gently, yet inexorably, captures the relentlessness chimerical qualities of the original, unveiling its spectral backbone. Mastered by Rashad Becker, February 2021. Cut by Andreas Kauffelt at Schnittstelle, Berlin, February 2021. Artwork and typography by Ruben Spini. Lettering by Alice Fiorelli.
01. Evelyn Saylor (feat. Lyra Pramuk, Annie Garlid and Stine Janvin) - Fantas Variation for Voices (7:38)
02. Bendik Giske - Fantas for Saxophone and Voice (7:31)
03. Kali Malone - Fantas for two Organs (10:21)
04. Walter Zanetti - Fantas for Electric Guitar (7:27)
05. Jay Mitta - Singeli Fantas (12:03)
06. Baseck - Fantas Hardcore (4:44)
07. Carlo Maria - Fantas resynthesized for 808 and 202 (4:29)
08. Kara-Lis Coverdale - Fantas Morbida (3:04)
https://editionsmego.bandcamp.com/album/fantas-variations |
2021 |
€25.50 |
|
| |
Spirit Exit |
do-LP |
"Double-LP version. Silver vinyl. The musical vortexes of Caterina Barbieri rewire time and space. Listening to the Italian composer and modular synth virtuoso has felt like traveling at light-speed and slow-motion all at once since 2017's breakthrough Patterns Of Consciousness. 2019's acclaimed Ecstatic Computation pushed even further with the lead single "Fantas". Far beyond any new age trope or modern synth trend, her music stands alone in its ecstatic intensity and cataclysmic emotional impact. Marking the debut album on her new label light-years, Barbieri now delivers her most profound work yet -- a journey through inner-space as vast as a universe and as intimate as a heartbeat. Spirit Exit is Caterina Barbieri's time machine, primarily composed with a modular synth rig she thinks of more like a mechanical fortune teller. Whereas previous releases were constructed on lengthy tours, capturing only snapshots of continually evolving works, Spirit Exit represents the producer's first album fully written and recorded in her home studio amidst Milan's two-month pandemic lockdown in 2020. It was during this extended isolation she found inspiration from female philosophers, mystics and poets spread across time, but united in their strength at cultivating vast internal worlds. St. Teresa D'Avila's foundational 16th century mystical text The Interior Castle, philosopher Rosi Braidotti's posthuman theories and the metaphysical poetry of Emily Dickinson act as thematic anchors throughout Spirit Exit. Spirit Exit crystallizes Barbieri's densely layered, blindingly bright synth arrangements while introducing stunning new elements that feel as if they've always belonged. Strings and guitar flawlessly thread into the composer's web of modular patches, while her revelatory singing voice often cuts right through them. Melodies remain Barbieri's great passion and obsession and on Spirit Exit they grow as large as planets before cracking into atoms. The sweeping "At Your Gamut" perfects the producer's dramatic, slow-burning openers, but in her first ever use of sampling, it later gets crushed, accelerated and unrecognizably transformed into the ghostly hook surging through "Terminal Clock". As the album closes on "The Landscape Listens" -- a song that approaches death with all the gentle grace of Brian Eno's "An Ending (Ascent)"."
https://caterinabarbieri.bandcamp.com/album/spirit-exit
|
2022 |
€31.50 |
|
| BARDOSENETICCUBE |
XXX (Dedicated to Nika Turbina) |
CD |
BARDOSENETICCUBE gehören inzwischen zu einer der bemerkenswertesten russischen Experimentalprojekte; mit fast jeder neuen Veröffentlichung vermögen sie zu überraschen, sie verlassen und überschreiten ständig verschiedenste Genre-Grenzen; man könnte fast von einer Art "russischen BIG CITY ORCHESTRA" sprechen, was Einfallsreichtum & die Fülle an Releases betrifft (auch musikalisch gibt es manchmal Überschneidungen, beide Projekte setzen gerne weirde hypnotische loops ein). Auf XXX dominiert bearbeites / verfremdetes Sprachmaterial einer ominösen NIKA TURBINA, das zusammen mit field recordings aller Art zu einem dissoziertem Trip in eine abgründige
Welt zusammengebraut wird... viele akustische Objekte überlagernd sich gleichzeitig und erzeugen hypnotischen Sog, kein Stück gleicht dem anderen, eine rituell-dronige Atmo herrscht vor...wieder sehr gut. 12 tracks, fast 65 Minuten.
ed. of 509 numbered copies / SPECIAL OFFER !
"New Bardoseneticcube album is inspired by life and works of Nika Turbina - a poetess who started to write grown-up tragic poems when she was only 4 years old. "This is not me writing, this is God leading my hand", - the small girl used to say. First Nika's book of poems came out when she was only 9, and was later translated in 12 languages. After living pathologically strange life, receiving the most prestigious poetic prize "Golden Lion", and being held in mental hospital, at the age of 27 Nika tragically died falling down from the 5th floor window. The musical dedication of Bardoseneticcube is presented in 12 untitled tracks filled with surrealistic feelings and some childish morbidity. Obscure loops and industrial soundscapes are buried under a pile of rhyme wreckage, melody fragments and almost chaotic manifold of strange sounds." [label info]
|
2006 |
€7.00 |
|
| BASINSKI, WILLIAM |
A Shadow in Time |
CD |
"World-renowned as one of experimental music's most vital and impressionistic composers of the past few decades, William Basinski’s tape loop works have been especially influential, particularly on the historic series, The Disintegration Loops, where distorted, orchestral tape samples burrow deep into the listener's psyche through meditative repetition. On his new album, A Shadow In Time, Basinski plunges deeper than ever for the plaintive, solitary eulogy to David Bowie, aptly titled “For David Robert Jones.” Conversely, the title track, “A Shadow In Time,” is a subtle, celestial escalation of melody and drone. The result is one of the most truly transcendent pieces of music he has ever committed to – or wrung from – tape." [press release]
"Basinski's new album A Shadow in Time contains some of his strongest work since The Disintegration Loops introduced him to the world at large.
In the fifteen years since William Basinski released the debut installment of his Disintegration Loops series he has been rapidly, and rightly, lionized. But for two decades prior to that, he was just another eccentric artist in New York, a tinkerer who built his own instruments, ran a venue and experimented insatiably with tape loops. He would tune in to the easy listening piped out by CBS and record snippets of it, creating a massive archive of schmaltz that, through the alchemy of sampling, could be transfigured into something infinitely more haunting. “I would set up loops, get them going, put on the tape recorder and let it go for the length of the cassette because if it was going, it captured this eternal moment,” he told The Quietus in 2012. That eternal-moment is quintessential Basinski; his work has been uniquely fixated on time and loss, his compositions heaving with longing, melancholy and a sense of impenetrable mystery.
At its best, Basinski’s music inspires the sort of rapturous testimony usually reserved for peak experiences, cult leaders and the dead. When it’s not working as well, it can feel not unlike so-called “ruin porn” or the photography of Edward Burtynsky: lovely aestheticizations of late-capitalist collapse that comfort more than they confront. Thankfully, his new album A Shadow in Time contains some of his strongest work since The Disintegration Loops introduced the world to the artist.
The two pieces on A Shadow in Time offer contrasting entry points into his work. The title track is a richly layered composition for the archaic Voyetra 8 synthesizer that was a year in the making and showcases Basinski at the height of his compositional powers. David Bowie tribute “For David Robert Jones,” on the other hand, is an off-the-cuff tape loop piece commissioned by LA’s Volume gallery in the weeks after the artist’s death. Built with re-purposed tape fragments that had been chewed up by a former roommate's cat (“this big, fat motherfucker,” he called it) “For David” exemplifies the entropic decay he’s most known for while adding specific, Bowie-riffing details.
As with all Basinski’s work, there’s a tantalizing juxtaposition between chance and intention (the Voyetra 8 wasn’t even guaranteed to turn on, and when it did, it “was already doing some weird shit so we used it and more”). But on “A Shadow in Time” this tension plays more of a supporting role than a lead. The piece opens with a slow-motion cascade of shimmering high harmonies and murky, shifting lower tones. In its austere beauty, it calls to mind Pauline Oliveros’ landmark Deep Listening, but with an added dash of dread. Clocking in at just shy of 23 minutes, “Shadow” spends its first half stretching towards infinity and its second collapsing on itself.
Around the seven minute mark (amazingly it only feels like three), the piece begins to hollow out. Gradually those glassy high notes drift away like the dust tail of a comet, and tape hiss overtakes the piece. The sense of deterioration is palpable, made more dramatic by distant synth moans and weird bursts of chirping noise that poke through just as “Shadow” drifts into silence. It’s the kind of ending that makes one feel less like a listener and more like a witness.
In the wake of the A-side’s descent, “For David Robert Jones” feels like a cool down for the audience and a victory lap for Basinski. An orchestral clip that could easily be a Disintegration Loops outtake opens, circling around itself and never quite resolving. We’re on more familiar footing here, and the emotional tenor of the the piece, though engaging, is less arrestingly in-your-face than “Shadow.” Six minutes in, a gnarled saxophone juts through rudely, throwing the chilled out transcendence pleasingly off balance. A nod to Bowie’s own saxophone honking on “Subterraneans,” it’s an amusingly punk bit of sabotage, but it fails to develop into something more. Over fourteen more minutes the tension dissipates and “For David” runs out of steam.
Discussing The Disintegration Loops in 2012, Basinski told the Quietus “Over the period of the hour, that melody just decayed right in front of my ears… and eyes… I remember thinking, 'This is not about you.’” While this sense of riveting discovery isn’t fully achieved on “For David,” the album nonetheless offers a stunning journey into a vast, ink-black void." [Pitchfork]
|
2017 |
€14.00 |
|
|
On Time out of Time |
CD |
On Time Out of Time is a suite of works originally commissioned for the 2017 installations 'ER=EPR' and 'Orbihedron' by artists Evelina Domnitch and Dmitry Gelfand (in collaboration with Jean-Marc Chomaz and LIGO) for the exhibition, 'Limits of Knowing' at Martin-Gropius-Bau, Berlin by curator, Isabel de Sena. These works utilize, among other things, exclusive source recordings from the interferometers of LIGO (Laser Interferometer Gravitational-Wave Observatory) capturing the sounds of the merging of two distant massive black holes, 1.3 billion years ago. The CD features two tracks: The 40-minute title track, "On Time Out of Time," as well as "4(E+D)4(ER+EPR)", a live track recorded during the aforementioned installation. The vinyl LP format features two exclusive mixes of the title track: "On Time Out of Time" on the a-side; and "On Time Out of Time (The Lovers)" on the b-side, made especially for the vinyl format. |
2019 |
€14.00 |
|
| |
92982 |
CD |
"This reissue of William Basinski's 2009 album finds the composer doing what he does best, creating haunting loops and drones that have a way of burrowing into your life.
When you travel to 351 Jay Street on Google Maps you’re greeted with the image of a nondescript office building. On its ground floor is an art supply store. The rest of the scene is anonymous. Much of Downtown Brooklyn looks like 351 Jay: brutalist buildings of medium height that evoke industry and bureaucracy. Thirty-six years ago, in this building, William Basinski lived in a loft space that he called the Music Laboratories. He moved in at the beginning of the 1980s with his partner, the artist James Elaine.
Most of the work Basinski released in the 2000s consisted of remixed, reworked, and wonderfully garbled homages to the archive he started to build in the Music Laboratories. While there he made hundred of tape loops, organizing the ribbons of magnetic tape on a tree branch he kept near his mixing desk. The loops were a combination of recordings of his own compositions and incidental noise that seemed to come his way from the whirl of urban life outside his window or from the whisper of radio broadcasts seeding themselves into his recording equipment. He didn’t release his experiments at the time, choosing to record, finagle, connect. The impulse was a natural reaction to the time and place, as he later said: “I was getting all this great stuff. It was just coming from the sky.”
One day in September of 1982 he was experimenting on the fly, collecting fragments, and maybe hours later the backbone of a piece was made. He called it 92982, a clinical name designating the date of the composition, as if it was just a file to be tucked away. He released the recordings for the first time in 2009, long after he garnered widespread acclaim for his monumental 9/11 elegy The Disintegration Loops. Seven years after its initial release, 92982 has been remastered and reissued as 2xLP set of startlingly crisp and veritably haunted music.
92982 is over an hour long, and the original improvisation makes up the first two tracks, while the back half of the album includes an extended rework of a piano-based piece from Variations: A Movement in Chrome Primitive and another loop constructed from the 1982 material. Given the sources, the tracks present in 92982 seem almost unstuck from time, floating between dates and points of inspiration. The continual cutting up, editing, and processing of a tape loop was something closer to necromancy than normal composition. It’s a quality that actually infects the overall feeling of the music, creating an environment for free-floating listening.
The album’s opening track, “92982.1,” drifts, separates, grows quiet, and then rumbles loudly. The wash of noises is teeming with potential, a quality that defines the inner workings of 92982. All four tracks are open canvases, they invite the rest of the world’s sounds to participate in making the experience of listening different each time. The sound of a helicopter whirling in the atmosphere and the Doppler splatter of a police car’s siren on “92982.2” mix into the sounds of banal moments, like laying in bed, listening to the buzz of an air conditioner, the honking of cars, the rustle of leaves, the drip of an open faucet. The drifting of “92982.4”’s piano loops hang like flickering presences hovering above a room. Overall, a disembodying and strange thing slowly happens as this album keeps playing: it sucks the noises of your environment into the loop. What’s contained here is sometimes not exactly a piece of music but an experiential filter.
Basinski’s music is constantly toying with the idea that rote moments in life can be engulfed with emotion, and it has a way of burrowing into your life. As his perpetual loops drift across the surface of experience, they are incredibly porous, and invite a listener to complete them by taking a walk around their block or just go about their day. 92982 accomplishes this more successfully than much of Basinski’s work; compared to The Disintegration Loops, it’s more open to interpretation and devoid of the same weight of history or narrative. It is an extremely plastic and pliant piece of music, an eternally empty vessel that gets filled up from listen to listen." [Pitchfork]
"These 4 tracks, built upon signature William Basinksi loops date back to September 29, 1982 (hence the title), and like so many of his recent releases of archival material, they ask the question, "why did it take you so long?" The answer may not be as interesting as the
question itself, but the nostalgic look back for Basinski to his own past certainly resonates beyond any notions of solipsism and speaks to something downright universal: an optimism of a half-remembered past. Unlike the masterpiece of the Disintegration Loops, the tracks on 92982 don't crackle and crumble apart as the pieces move forward; but the dust, hiss, and fuzz that have been the trademarks of Basinski loops are all present. The first track centers on a loop of a spacious piano waltzing out of the softened drones of accumulated hiss and soft focus white noise pushed deep into the shadows. The second is a graceful swoon of a composition with delayed rhythmic pock that phases against a swelling ambient loop and occasional interjections of police sirens and helicopters, presumably recorded directly out of Basinski's open window. Another piano loop grounds the third track; this one painfully sad and lilting and made more so by the patina of tape hiss, soft static, and degradation of the source material. An elegant two note loop with a hallowed drone of floating dust completes yet another fantastic William Basinski record. Fans will not be disappointed!" [Aquarius Records review]
|
2016 |
€16.00 |
|
| BASINSKI, WILLIAM & RICHARD CHARTIER |
Divertissement |
LP |
"Divertissement is the third collaborative full length from minimalist composer William Basinski and sound artist Richard Chartier.
The duo utilize electronics, piano, tape-loops and short wave radio to evoke a dense atmosphere suggesting hundreds of years of history rising up from the depths of a reverberating cathedral. Subtle, buried and intense murmurs of melody morph through this deeply consuming and slowly evolving composition in two parts.
Pressed in an edition of 500 with beautiful cover drawings by artist James Elaine.
William Basinski is a classically trained musician and composer who has been working in experimental media for over 30 years in NYC and most recently, California. Employing obsolete technology and analogue tape loops, his haunting and melancholy soundscapes explore the temporal nature of life and resound with the reverberations of memory and the mystery of time. His epic 4-disc masterwork, The Disintegration Loops received international critical acclaim and was chosen as one of the top 50 albums of 2004 by Pitchfork Media. The Temporary Residence deluxe LP box-set reissue from 2012 was awarded best re-issue of the year and a score of 10 on Pitchfork. Installations and films made in collaboration with artist-filmmaker, James Elaine have been presented in festivals and museums internationally, and his concerts are presented to sold out crowds around the world. Most recently, Basinski was chosen by Music Director, Antony Hegarty to create music for the new Robert Wilson opera, The Life and Death of Marina Abramovic which had its world premiere at the Manchester International Festival in July 2011 and toured Europe in 2012 and North America in 2013. Orchestral transcriptions of The Disintegration Loops by Maxim Moston have been performed at The Metropolitan Museum of Art, Queen Elizabeth Hall and La Batie Festival in Geneva, Switzerland. Basinski is currently touring the world in support of Cascade and The Deluge, his latest works which will be released in Spring 2015 on 2062/USA.
Richard Chartier (b.1971), sound and installation artist, is considered one of the key figures in the current of reductionist electronic sound art which has been termed both microsound and Neo-Modernist. Chartier's minimalist digital work explores the inter-relationships between the spatial nature of sound, silence, focus, perception and the act of listening itself. Chartier's sound works/installations have been presented in galleries and museums internationally including the 2002's Whitney Biennial and he has performed his work live across Europe, Japan, Australia, and North America at digital art
electronic music festivals and exhibits. In 2000 he formed the recording label LINE and has since curated its continuing documentation of compositional and installation work by international sound artists/composers exploring the aesthetics of contemporary and digital minimalism. In 2010, Chartier was awarded a Smithsonian Institution Artist Research Fellowship to explore the National Museum of American History's collection of 19th-Century acoustic apparatus for scientific demonstration." [label info]
www.importantrecords.com
|
2015 |
€25.50 |
|
| BASS COMMUNION |
Ghosts on Magnetic Tape |
do-LP |
180gms numbered clear vinyl edition, 300 copies
cat.no.: TFLP202X
release date: 22 October 2021
re-cut from new masters and with revised artwor
www.tonefloat.com
|
2021 |
€36.50 |
|
| |
The Itself of Itself |
CD |
Steven Wilson is no stranger to composing music that appears to counter everything else before it in his catalogue. Bass Communion, his long running solo electronic project, is no exception to this perverse streak that apparently likes to turn all expectations upside down. The Itself of Itself, Bass Communion’s first album for 12 years, skillfully pays testament to this.
Long established as a purveyor of mostly atmospheric or ambient textures, the seven cuts that represent The Itself of Itself take detours from this approach in order draw as much from musique concrete, noise music, abstract electronics and uneasy listening. Whilst still rippled with the same shades of light and dark that can be found throughout all of Bass Communion’s work, The Itself of Itself reveals a fascination with analogue sounds and, more importantly perhaps, ‘unwanted’ analogue artefacts like tape hiss, wow and flutter, static noise, and sonic break-up, taking the music into a space at once different yet familiar. ‘Apparition 3’ presents a stark nod to Wilson's established command of shifting textures steeped in penumbral gauze, while ‘Bruise’ is akin to a space probe adrift and headed towards a white dwarf as all communication is reduced to a disturbing and indecipherable crackle.
Between the other five cuts we witness fragmented, garbled and buried voices, vast vacillating banks of grainy hum, what sounds like the dying gasps of an oboe, spooky swirls from an indiscernible source, swathes of tape hiss, moody drones, and spiralling slivers of noise. Meanwhile on the title track, a mellotron flute rusts and collapses in on itself in a way that renders it the very antithesis of the one deployed on ‘Strawberry Fields Forever’.
Everything adds up to a dynamic listening experience where unease, dread and comparatively claustrophobic torrents of sound make (un)natural bedfellows to moments of enchantment and serenity.
Above all, The Itself of Itself sees Steven Wilson cutting his teeth on an album that’s at once cinematic and moody whilst proving him to be a master in electronic music craftsmanship. It’s an album that might surprise some of those who have thus far been paying attention to his work as Bass Communion, but setting out to please everyone was never part of his raison ‘etre. 'The Itself of Itself' catches Bass Communion spreading its weatherbeaten wings to embrace new strategies and a strong desire to journey elsewhere.
Arriving in a wonderful Carl Glover designed cover also comprising a 24pp. booklet of his photographs and an obi strip, The Itself of Itself arrives in late May 2024 on Lumberton Trading Company as a CD pressed in an initial run of 1000 copies.
NOTE: An exclusive new Bass Communion track also appears on the When Worlds Collide 2LP compilation also due in May and available to pre-order in the shop (see link below). Other artists on this limited edition 2LP include Alternative TV, Final, Sion Orgon, Edward Ka-Spel, Splintered, Kleistwahr, Ashtray Navigations and more.
THE ITSELF OF ITSELF TRACKLIST
1. Unperson 10:34
2. Apparition 3 6:04
3. Bruise 13:19
4. Blackmail 7:24
5. The Itself of Itself 10:24
6. Study for Tape Hiss and Other Audio Artefacts 11.58
7. Apparition 5 02:46
"...This new album has some interesting changes. On one hand, there are sounds of vinyl and tape hiss, heavily processed yet to be recognised as such, and there is the addition of real instruments, such as a mellotron (well, maybe not 'real', but a distinctly different kind of instrument than you'll find on your usual dark ambient record. Also, there are some shimmering chords played on a keyboard (in 'Apparition 3', for instance), crippled voices in the very creepy title track, along with more mellotron (I think). Using tape hiss in 'Tape Hiss Study'
is quite a daring and risky movement. One could all too easily think, 'tape hiss, that we've heard enough of by now', but Bass Communion gives it an elegant twirl and creates an excellent collage, using various stages of the process. Throughout these seven pieces, there is quite a bit of variation so that there is no repeating of stale ideas of worn-out dark ambient. In 'Blackmail', Wilson ventures out to noise music and is more Merzbow (around 1990) than anything you would label as ambient music. Quite the accomplishment!" [FdW / Vital Weekly}
|
2024 |
€14.00 |
|
| BASS COMMUNION & FREIBAND |
VL Tones |
3 x CD BOX |
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/
|
2019 |
€29.00 |
|
| BASS COMMUNION / PRECISION SURGERY |
Kurzwellen 8 |
LP |
"Many of you will be aware of my love of industrial and noise music, and one of my favourite labels of this kind in recent years has been the old school 80’s industrial revivalist label Kurzwellen, affiliated with ToneFloat from the Netherlands (who have released many of my projects over the years, including the IEM and Bass Communion box sets). Each of their releases so far have been in the form of hyper limited edition vinyl only releases, sometimes only 100 copies of so, and each is housed in a 24x36inch silkscreen poster sleeve with suitably grim black and white imagery. This time around the label played me a new album they were releasing as Kurzwellen 7, “Hinterkaifeck” by Precision Surgery (Hinterkaifeck being the location of a famous unsolved murder from the 1920’s), and I felt inspired to create 2 minimal Bass Communion remix treatments which are now being released alongside the Precision Surgery album as Kurzwellen 8. Both LPs are out on 7th July and can be pre-ordered from the Tonefloat Store. Not recommended for people who find the music under my own name quite depressing enough already thank you very much…" [Steven Wilson website]
|
2018 |
€20.00 |
|
| BC [BRIAN CONNIFFE] |
The Day and the Night of the Body |
CD |
New two track album from Ireland's Brian Conniffe, previously known for his work with Nurse With Wound and a MLP released on LTCo at the very end of 2013. One of these lengthy pieces features the late Simon Morris (Ceramic Hobs) providing spoken word he wrote exclusively for it. The CD also arrives in Dolorosa De la Cruz artwork and includes a 4pp. booklet.
Brian Conniffe is a cross-genre musician who has worked with a long list of collaborators covering a diverse stylistic range. Although perhaps most active as a member of a variety of synth-pop acts in his native Ireland, his most interesting work is that of far less conventional - deliberately uncommerical and even intentionally esoteric - experimental projects, characterised by a fusion of the darkest psychedelia with disquieting ambience. The most noteworthy of these possibly being the limited edition collaboration of Nurse With Wound’s 'Musique Pour Faits Divers' (2016).
This album was recorded from 2007 to 2009, and consists of two expansive pieces, which - as the title suggests - are characterised respectively by bright and nocturnal atmospheres, and retain an intense physicality undiminished by the occasionally abstract nature of the wide-ranging sound pallet utilised. The first piece is symphonic tapestry of colourful noise and alien-sounding drones, constantly shifting and avoiding monotony, reminiscent in places of the work of Labradford, The Hafler Trio, John Duncan, and Aube at their best. The second piece is altogether darker and more defiant of description and comparison, based around a long text written and spoken by the late Simon Morris (author and frontman of the Ceramic Hobs), which moves from its surreal yet possibly familiar beginning into an astonishingly breathless and tumultuous confessional, a true voice of the lost. The disquieting use of samples provided by Morris provides an intense sense of the uncanny.
Brian Conniffe says of the album's collaboration, "I got into contact with Simon Morris through collecting the most obscure music from the fringes of industrial music. We quickly developed a regular correspondence, exchanging cassettes, CDs and records of rare music, eventually meeting in person. He was a naturally entertaining writer, as the readers of his books will know. These and the very strange music his band produced also offered an often astonishing and sometimes shocking insight into the life of the mental health service user: a perspective which, combined with that of this highly active participant in the most extreme forms of underground music, to create a truly unique voice.
"At the time this album was recorded, I spent almost all of whatever free time I had creating very experimental and mostly improvised music, working with anyone around me who would participate. There was essentially no commercial aspect to what was being created, I was simply making music for myself, that I personally wanted to hear. At one point, Simon recorded his spoken vocals for me, and contributed them along with a handful of mysterious samples. And so, this album was created. It remained unreleased as shortly after its recording, I began to work with bands who were producing more conventional music, who were very active live and had established audiences in my native Ireland. Now, for a number of reasons, it feels like the right time for this to be heard."
https://fourthdimensionrecords.bigcartel.com/product/bc-featuring-simon-morris-the-day-and-the-night-of-the-body-cd-lumberton-trading-company |
2020 |
€13.00 |
|
| BECKAHESTEN |
Vattenhalens Dräpare |
LP |
We’re honoured to finally reveal the mesmerising debut by Sweden’s Beckahesten. Featuring members Peo Bengtsson, Per Åhlund (Skare, Diskrepant and also former member of Sophia & live member of Karjalan Sissit) and the otherworldly vocal prowess of Viktoria Rolandsdotter. Their sound lingers within the shadow lands of ritual and folklore where solemn harmonies and rhythms intertwine with lyrical poetry, becoming rites and omens. Taking its name from an ancient folk tale of a horse that takes children onto it's back to then bring them to a nearby lake and drown them… We’re offered a singular journey through windy fields and misty forests where mournful cries lure us toward the resting place of the pale and lifeless. White and insidiously beautiful it lures every soul to the eternal slumber within forest ponds and black pines. This whispering being of sheer mist and endlessly terrifying darkness.
CD Edition of 500 copies in 6 panels Digisleeve with Matt lamination. 5 Tracks. Running Time 36.49
Standard Edition LP of 200 copies in standard sleeve with spot UV and Matt lamination with printed inner sleeve. 5 Tracks. Running Time 36.49
https://cycliclaw.bandcamp.com/album/vattenh-lens-dr-pare
|
2020 |
€20.00 |
|
|
Vattenhalens Dräpare |
CD |
We’re honoured to finally reveal the mesmerising debut by Sweden’s Beckahesten. Featuring members Peo Bengtsson, Per Åhlund (Skare, Diskrepant and also former member of Sophia & live member of Karjalan Sissit) and the otherworldly vocal prowess of Viktoria Rolandsdotter. Their sound lingers within the shadow lands of ritual and folklore where solemn harmonies and rhythms intertwine with lyrical poetry, becoming rites and omens. Taking its name from an ancient folk tale of a horse that takes children onto it's back to then bring them to a nearby lake and drown them… We’re offered a singular journey through windy fields and misty forests where mournful cries lure us toward the resting place of the pale and lifeless. White and insidiously beautiful it lures every soul to the eternal slumber within forest ponds and black pines. This whispering being of sheer mist and endlessly terrifying darkness.
CD Edition of 500 copies in 6 panels Digisleeve with Matt lamination. 5 Tracks. Running Time 36.49
Standard Edition LP of 200 copies in standard sleeve with spot UV and Matt lamination with printed inner sleeve. 5 Tracks. Running Time 36.49
https://cycliclaw.bandcamp.com/album/vattenh-lens-dr-pare
https://cycliclaw.bandcamp.com/album/vattenh-lens-dr-pare
|
2020 |
€13.00 |
|
| |
Tydor |
CD |
Second full length album from one of Sweden's most singular sonic entity. Featuring guest appearances by Kai Uwe Faust of Heilung, Lars-Magnar Enoksen and Anders Hovland, the music of Beckahesten emerges from a borderland where ambient, folk music and ritual converge. Recorded in various natural locations in Norway and Sweden, nature spirits have infused themselves in these recordings...
Dancing with vague entities in a blackened cinder field, followers of dread that has woken, hypnotised one is drawn deeper into their realm. The trees moulder around and offer little protection. Haunting voices keep echoing in the dusk. Lost and trapped you lay down, shivering in the dew. You are their offering, sinking into the mire.
*Due to forces beyond our control, the tricksters of logic scrambled the tracks on this edition of Tydor. The track Hednaväsen, which features vocals from Kai Uwe Faust of Heilung is track 6 on the CD and the first track on side B of the LP.
CD Edition of 500 copies in 6 panels Digisleeve with Matt lamination. 9 Tracks. Running Time 48.46 UPC
Standard Edition LP of 200 copies in standard sleeve with spot UV and Matt lamination with printed inner sleeve. 9 Tracks. Running Time 48.46 UPC
https://cycliclaw.bandcamp.com/album/tydor |
2021 |
€13.00 |
|
| BECUZZI, GIANLUCA |
We can be Everywhere |
do-CD |
Originally recorded between 2012 and 2013, and released on Final Muzik as a limited edition CDr, “We Can Be Everywhere” is still one of the best albums ever released by Italian music composer Gianluca Becuzzi.
The original release includes three solo tracks plus three collaborative ones: two pieces each with Raimondo Gaviano (Svart 1), Lino Monaco and Nicola Buono from Italian electronic music explorers Retina.it and two amazing tracks with Italian sound sculptor (and Final Muzik member) Deison.
The album presents obscure and thrilling atmospheres, unexpected dark structures and out-of-this-world modern electronic music’s soundscapes.
To do even more justice to this album, Final Muzik and Gianluca Becuzzi have opted for a double CD reissue, including the original release plus a new CD, composed, produced and mastered by Gianluca Becuzzi between 2022 and 2023, that includes a new version of “We Can Be Everywhere”.
Obviously inspired by the original, of which it only keeps few samples (mainly vocals) it develops the new sound-path taken by the artist. The new “We Can Be Everywhere” is structured around four lengthy tracks based on mesmerizing distorted guitar sounds, concrete music noises and raw rhythm programming from “far away”. The result is a new masterpiece of wrapping, gloomy doom/drone soundscapes.
Images: Diego Spinelli. Artwork by Deison.
Limited edition of 200 copies only.
Track 01-09 From "We Can Be Everywhere"
Produced And Mastered By Gianluca Becuzzi At Kinetixlab [2012-2013] Composed By:
Tracks 01, 02: Gianluca Becuzzi And Raimondo Gaviano [svart1]
Tracks 03, 05, 07: Gianluca Becuzzi
Tracks 04, 06: Gianluca Becuzzi, Lino Monaco And Nicola Buono [retina It] Tracks 08, 09: Gianluca Becuzzi And Cristiano Deison [deison]
Tracks 10-13
Produced And Mastered By Gianluca Becuzzi At Kinetixlab [2022-2023] Composed By: Gianluca Becuzzi
https://finalmuzik.bandcamp.com/album/we-can-be-everywhere-2014-2023
Seit den frühen 80ern ist der aus der Toskana stammende Gianluca Becuzzi ein musikalischer Workaholic, und vielen hierzulande ist er vermutlich am ehesten durch sein frühes New Wave- und Postpunk-Projekt Limbo bekannt, mit dem er bis ins neue Jahrtausend hinein zahlreiche Alben herausbrachte. Die Zeit um die Jahrtausendwende markierte auch eine Schwerpunktverschiebung von den zwar bisweilen experimentell eingefärbten, aber vom Hauptfokus her dennoch eher songorientierten Arbeiten hin zu abstrakteren Klangwelten, die er mit Projekten wie Kinetix, seinen Arbeiten mit dem Dröhner Fabio Orsi und nicht zuletzt auch solo herausbrachte. “We Can Be Everywhere”, das vor zehn Jahren bei Final Muzik auf CDr erschienen ist, stellte damals eine besondere Wegmarke im Rahmen seiner Soloarbeiten dar, wobei solo in dem Fall nicht heißt, dass Becuzzi das Album im Alleingang produziert hätte. Drei besondere Acts unterstützten ihn dabei in den meisten der Aufnahmen. Das eröffnende “From this Poem of Void” entstand in Zusammenarbeit mit Raimondo Gaviano alias Swart1. Hier brechen in unregelmäßigen Abständen prasselnde Noise-Kaskaden in eine Welt der Stille und scheinen andere kleinteilige Geräusche zum lauter werden zu ermutigen. Erst nach einiger Zeit wird das Ganze durch ein hintergründiges Brummen eingehegt, dennoch ist der Track atmosphärisch eher Doom-Industrial als Ambient. Einige der Klänge hier sind so gut versteckt, dass man sie leicht überhören könnte, so die hechelnden Frauenstimmen, die sich – wenn sie denn keine Fata Morgana sind – ganz tief unter der Oberfläche abhetzen. Der gleichen Zusammenarbeit entstammt “The Screaming Torso”, das gleich mit einer infernalischen Feedback-Lawine beginnt. Gefühlt hundert Details fliegen so schnell durch den Raum, dass das Resultat schon wie ein homogener Fluss wirkt, wenn man nicht innerlich das Tempo herunterschraubt – bis raues Kratzen die Illusion durchbricht. Nach einer kurzen, aber intensiven Klangwelt voll frunkensprühender Glöckchen führt die Reise durch zwei beklemmende Tracks, die zusammen mit dem neapolitanischen Duo Retina.it entstanden sind. Stetig pulsierendes Pauken, das sich zunächst im Hintergrund hält und dann von einer wuchtigen Dröhnwelle nach vorne gedrückt wird, darüber Stimmen, vermutlich von einer Lautsprecherdurchsage, abstrakte Sound-Mixturen, aus denen immer wieder Glocken an die Oberfläche dringen, dunkles Gemurmel, zirpende Insekten: Alles wird dichter mit der Zeit und offenbart eine große Vielschichtigkeit, und am Ende kulminiert alles in einer prasselnden Lärmsalve. Nach einem weiteren solo eingespielten Interludium beginnt der zusammen mit dem Klangkünstler Deison produzierte Schlussteil, der das experimentierfreudigste Material des Albums bereithält: Das Stück “Headless shadows” beginnt mit zum Teil rückwärts eingespieltem Material, das aber nur notdürftig die hypnotische Perkussion und die verquere Melodik dahinter verdeckt. Das lange “All the ghosts of my life” schließt das ursprüngliche Album noch um einiges subtiler ab, denn hier meint man eine nur leicht elektrifizierte Naturszenerie mit heranbrandendem Wasser und Vogelstimmen zu hören. Doch irgendwann bricht auch hier noch einmal die Dunkelheit in Form schriller Hochtöner, dunklem Grollen und mysteriösem metallenden Hantieren ein. Was passiert hier? Lässt hier jemand ein Geisterschiff vom Anker gehen?
Als Überraschung hat sich Becuzzi das mittlerweile fast ein Jahrzehnt alte Material erneut vorgenommen und ausgehend von einigen Samples daraus im Alleingang vier eigenständige Kompositionen gebaut, die vier Tracks mit den Titeln “We”, “Can”, “Be” und “Everywhere” umfasst. Doch was sich zum Auftakt noch wie ein Rework anmuten mag, entpuppt sich als eine weitgehend eingeständiges Bonusalbum, das mit dem ursprünglichen Longplayer nur durch Referenzen verbunden ist. Das Erkennungszeichen dieser Kompositionen ist ihr schleppender und bleischwerer Doomcharakter, dessen Infernalik nicht nur sägenden Gitarrenwänden, höllischen Twangs, wahrwitzigem Gemurmel und schleppenden Takten zu verdanken ist, sondern auch knarrenden Türen, krächzenden Flüstervocals, einzelnen Freekout-Ansätzen, trügerischen Glöckchen, gezielt eingesetzten lichten Momenten und einigem mehr. Becuzzis Repertoir ist offenkundig breit gefächert.
Die Reissue erschien bereits vor einem Dreivierteljahr und einigen der CDs sind noch erhältlich. Selbstredend empfehlen wir sie. (U.S.) AFRICAN PAPER |
2023 |
€15.00 |
|
| BECUZZI, GIANLUCA & FABIO ORSI |
Muddy speaking Ghosts through my machines |
CD |
Zweite VÖ dieses Jahr für das italienische Duo, experimentelle electronica-ambience die mit Blues & Folk-Versatzstücken sowie field recordings angereichert ist, was zu erstaunlich stimmigen Ergebnissen führt.
"Muddy Speaking Ghosts Through My Machines' is the brand new album released together by Fabio Orsi and Gianluca Becuzzi. This album will be certainly followed by other cooperations, considering the big friendly artistic sodality between them. Fabio e Gianluca are a strange duo, considering the big differences of their artistic back-ground. Fabio Orsi is a young and unexpected talent. After his first album, "Osci" (LP, SmallVoices 2005), produced by Gianluca Becuzzi, he got a lot of positive feedbacks, worldwide, by the most important international media, confirmed by his second official release "For Alan Lomax" (CD, A Silent Place 2006) splitted with cosmical Italian duo My Cat is an Alien. Gianluca Becuzzi is a very well known character of the Italian experimental scene since from the 80s, under many different alias. Recently known as Kinetix, Gianluca latest release is the very well appreciated "Memory Makes Noise" (CD, SmallVoices 2006) a great electroacoustic pearl. The unexpected uncounter between different forces, experiences and visions of this two artists is prefectly melted in this album: strong and tied, an imaginary place where folkway and research, past and present, distance and closeness, mud and clouds, ghosts and machines meets. Shreds of ballads, guitars and old keyboards floating on the vibrant surface of this faery river and disappear, towed off by drones and rumors, pouring between distant voices and centenary blues songs from the Alan Lomax archive. Raptur and sweet lostness: this is the main sensation. It could be listed as Avant-Folk, or Experimental-Blues, Ambient- Roots or contemporary aesthetics and aching nostalgia..." [label press release]
|
2007 |
€13.00 |
|
| BEEQUEEN |
Aughton |
LP |
“The queen of all honeys nourishes its hive with a sweet sustenance of archival sweetness. Aughton represents a cadre of organic drone/concrete pieces. Softly cavernous and compact compositions that occasionally become musical by suggestion only. It's a bit like being underwater while someone is playing loud church music out a car window as a train screeches by. It's that fugue state induced by the ever more apparent overtones of a nearby engine. It is quiet and disquieting. The several pieces together add up to something of a subtonal symphony, though the parts are quite distinct. A great, steely and dark space-out, whose horse runs happily astride 80's Zoviet France or in some respects, Harry Bertoia." [press release]
www.blrrecords.com
"This new LP on Beta-Lactam makes an interesting companion piece to Beequeen's recent Important Records album. Where The Bodyshop was a milestone for the work of Freek Kinkelaar and Frans de Waard with its unexpected emphasis on melody, structure and songcraft, Aughton—The Patient Books is much more familiar Beequeen territory—organic drones, submerged loops and moody atmospherics. This seemed like an unexpected return to form until I checked the liner notes and discovered that these pieces were, in fact, recorded from 1993 to 1995. To anyone familiar with the work of the duo from this period, the sounds on this LP will be very familiar. Beequeen have always been extraordinarily good at creating dusty, low-fidelity machine drones that have a grainy, organic resonance in which one can hear all manner of buried and obscured melodies. Their textures have a distinctly antiquated feel to them, like the penetrating buzz of a sodium streetlamp on an Amsterdam street corner in the late-1800s. On many of these pieces, Freek and Frans take advantage of the substance of tape itself, building pieces from the rhythms produced by a slowly queuing cassette tape, or using the fundamental technical limitations of magnetic tape to intensify the lived-in, archival feel of much of this material. Even the name of the album conjured images of a long-neglected psychiatric hospital archive, full of disintegrating reel-to-reel tapes of long-forgotten significance. "I'm Searching For Field Character" is the perfect soundtrack to an Orwellian Room 101: a distorted voice with the weighty tone of a Soviet social engineer reads aloud a block of text meant to reprogram us with revolutionary propaganda. All the while the clock ticks loudly and distant air raid sirens blare. It has the effect of a frightening Cold War radio drama pulled into near-total abstraction. With interest I've tuned into the current wave of heavily hyped New Weird American drone artists like Double Leopards and Dredd Foole, but this brief LP by Beequeen comprised of material more than a decade old seems fresher and more adventurous by far. Beequeen are careful not to stray too far from theme, mood and substance, so their work is always enriched by the myriad symbolic associations that each listener brings to the experience. The same cannot be said of the aforementioned artists, who often prefer to just play the same tone as loud as they can for over an hour, as if endurance alone could prove the merit of their work. Aughton is a refreshing antidote to this kind of amateurish noodling, and I highly recommend it to any who have found themselves disappointed by this sort of thing in the past." [Jonathan Dean / Brainwashed]
|
2004 |
€17.00 |
|
|
Sandancing |
CD |
BEEQUEEN sind mit "Sanddancing" ganz im "Song" angekommen, einer Art elektronischer "Ambient Pop" der ein Spektrum von kitschigen Kindermelodei-Stücken bis hin zu verschrobenen Instrumentals umfasst, mit weiblichem Gesang, irgendwo zwischen alten BRUNNEN, PIANO MAGIC und LPD, charmant, verträumt & luftig leicht, ohne experimentelle & geräuschhafte Elemente ganz zu verbannen...
"After the by now usual gap of some two years, Beequeen is ready to present their latest album, further maturing their sound from The Bodyshop (also on Important Records). More song-based, this album features new vocals by Olga Wallis solely (with some backing by Freek Kinkelaar). Well rounded pop songs in some places, but Beequeen never forgets to put in some strange element, without leaping in the dark alley of pointless experiment. Orchestral in 'The Illogical Song,' collage like in 'The Edie Three Step' or a simple rhythm machine in 'The Honeythief.' Beequeen does all, and with great care and seemingly ease. This album features also the help of Barry Gray, former (and first) guitarist of The Legendary Pink Dots, and would not have been the album that is without the invaluable productional skills of Erik Drost." [press release]
"Beequeen is the long running collaboration between Dutch music veterans Frans de Waard and Freek Kinkelaar. The duo mainly focused on ambient and industrial music during the nineties, until their album 'Ownliness', back in 2002, which marked a more or less radical break with Beequeen's past. Since 'Ownliness' the music of Beequeen has shifted to well crafted electronic pop songs. 'Sandancing' is no exception. It's an atmospheric and dreamy album due to the beautiful (female) vocals of Olga Wallis.
The songs are built on electronics, guitar and keyboard, combined with fine microsonic details, pulsing drum machines and subtle field recordings. It can easily be seen as a rather accessible record, especially considering Beequeens past, but 'Sandancing' hides enough surprises to keep it exciting. It somehow reminds me of the early works of Piano Magic, the project of Glen Johnson, who also used to work with different vocalists to transform his electronic instrumentals into songs. Being aware of the adventurous approach of these experimental wizards, you immediately wonder what Beequeens next record will be like. But you certainly hope that Olga Wallis will be involved again as 'Sandancing' is definitely their best record to date." [MW, Vital Weekly]
|
2008 |
€13.00 |
|
| |
Summer Rain (SOLD OUT) |
7 |
released in November 1993 in an edition of 200 copies, in hand-painted covers, different vinyl colours!
second ed. of 200 copies released July 1995 in white vinyl.
press information (first ed.):
"Dutch band BEE QUEEN is one of the most interesting so called "ambient"-groups that is currently active in the post-Industrial and Experimental scene. After their just released debut-CD "Der Holzweg" (on Anomalous Records/Staalplaat) and two great one-side/Split-LP's they present a rather 'rough' piece of pure metal-work on the A-side, which evokes lots of increasing tension and focusses your intention on the high-overtuned sounds. The two pieces on the B-side "Thunder Storm" and "Thunder Rain" are perfect examples of somehow noisy, but very sensible mind-pushing "ambient Industrial". Real Thunder for your sub-consciousness! LET THESE GREAT SOUNDS SPEAK TO YOU! FEEL THAT THIS IS MORE THAN JUST MUSIC!!"
|
1993 |
€ |
|
| BEHRENDSEN, PETER |
10 x 15 = 30 |
LP + CD |
Peter Behrendsen (b. 1943) is a Cologne-based radio producer, performer and composer of experimental music. He started concerning himself with electro-acoustic music in 1972, was a member of Josef Anton Riedl's ensemble and assistant to Klaus Schöning at the WDR radio play studio (Studio for Acoustic Art). He organized numerous concerts and festivals for experimental music in Cologne, most notably BrückenMusik, a series of concerts in the box girder of the Deutz bridge. After Nachtflug / Atem des Windes in 2017, this is his second LP on Edition Telemark.
"10 x 15 = 30" is the vinyl mix of a concert for Behrendsen's 75th birthday at the LOFT in Cologne. The full-length recording has been released on CD by Obst Music with the title "Fünf Mal Dreißig Ist Sechzig" ("5 x 30 = 60"). The players were: Peter Behrendsen (electronics), Dietmar Bonnen (prepared piano, glockenspiel), Andreas Oskar Hirsch (carbophone), hans w. koch (axoloti, blippoo box) and Lucia Mense (recorders).
What Behrendsen had in mind for the concert was not a programme of solo pieces but a collective improvisation with musicians and visual artists. Being sceptical about conventional "free" (psychodynamic) improvisation, he decided to go with an approach that John Cage called "with the head in the sky – and the feet on the ground": between individual freedom and preconceived rules.
The total length of the concert was set to 60 minutes, each player had 30 minutes in sections between 2 and 10 minutes. Their length and distribution was decided by chance. Within their sections players had individual freedom: Musical communication was not mandatory but possible, emerging musical relationships would often be unintentional. Simultaneously, 5 videos by visual artists were projected in random order, again without any intended correlation between sound and video.
For the LP, the concert recording had to be adapted in length, i.e. reduced to 2 parts of about 15 minutes each. To maintain the character of a whole, the 60-minute concert was cut into 2 equal parts, mixed down and cut into 2 halves for both sides. The result is a new piece: denser but still transparent, the relationships between the musicians even more abstract – a new composition.
Regular edition of 240 in glossy sleeve with artwork by Dietmar Bonnen. Special edition of 60 including the LP, the Obst Music CD with the full-length recording, both in their regular sleeves, and a numbered card signed by all musicians, all housed in a plastic outer sleeve.
https://www.edition-telemark.de/923.02.html
|
2020 |
€34.00 |
|
| BEHRENS, MARC |
Architectural Commentaries |
CD |
Architektonischer Noise? Aurale Geometrie? MARC BEHRENS versieht sein Cover mit Fotos von dreidimensionalen Gebilden & Gebäuden und scheint auch soundmäßig neuartige Räume ausloten zu wollen. Hermetischer Minimal-Ambient zwischen Geräusch, Drone und dem Nichts, veröffentlicht auf dem inzwischen von 20CITY in CMR unbenannten ESO STEEL – Label aus Neuseeland. Etwas für spitze Ohren.
“ German composer and sound artist Marc Behrens has put forth a beautiful installment of sound work for CMR's second CD release, entitled Architectural Commentaries. Marc has been working with sound (in one form or another) since 1986 and is probably most recognised for his digitally re-worked field material and composition. With a long history of installation work and live performance, he has exhibited alone and in group exhibitions; and performed live internationally in locations such as Japan, Switzerland, Italy, Slovenia, Spain, and the UK. He has completed tours with fellow sound artists Francisco Lopez, Bernhard Gunter and John Duncan and has had notable CD releases on Gunter's label Trente Oiseaux (Germany), Digital Narcis (Japan), Raster Music (Germany) and Intransitive Recordings (USA).
Architectural Commentaries is comprised of five tracks. The first three pieces, entitled 'Architectural Commentaries 1-3', are some of Marc's most recent compositions arranged in 2001 using basic material recorded from 1990-2000 in various global locations. Taking title, sleeve images and sound together we are left with new audible environments for architectural structures; jets of forced air and amplified nothing, distant machinery and tiny bites of frequency, faded and cut together to create beautifully atmospheric soundscapes. Track 4 was previously released on RLW's 'Tulpas' 5 CD set (Selektion 024) and was constructed using source material from Ralf Wehowsky. Track 5 was composed in 1992 as a soundtrack to accompany the video Der Raum by Torsten Grosch - stills of which feature on the CD sleeve. The album permits a smooth flow between Marc's earlier and more recent work and shows the artists' continuing exploration into the depth and dimensions of sound recording.” [press release]
|
2002 |
€12.00 |
|
| BEINS, BURKHARD / DIRK MARWEDEL / MICHAEL VORFELD |
Misiiki |
CD |
Michael Vorfeld
Plays percussion and self designed stringed instruments and works as musician and visual artist based in Berlin, Germany. He works in the field of improvised, experimental music and sound art and is often involved in site-specific art projects. Besides his solo activities he is a member of various ensembles and collaborates with artists from different art forms. His visual work concentrates mainly on the use of light, and he realizes light installations and sound and light performances. His list of activities includes numerous concerts, performances and exhibitions in Europe, the USA and South East Asia.
Dirk Marwedel
Since 1985 improvised music, related musical concepts and interdisciplinary projects with dance, theatre, sculpture, painting, film, performance, soundinstallation; in several groups as well as a soloist developing technics of soundshaping and preparations which are extending the sonic spectrum of the saxophone far beyond the traditional sound of the instrument. Concerts in Europe and Canada. Lives in Wiesbaden, where he is a founding member and organiser of the HumaNoise congress. He is a group member of WIE?!, Salpinx, Ensemble 2INCQ, Xtrax, DOMINO Orchestra and a duo with Charlotte Hug.
Burkhard Beins
Plays percussion. Since the late 1980's international festivals, concerts and tours with experimental music throughout Europe und North America. He is a member of several ensembles like Perlonex, Activity Center, Polwechsel, The Sealed Knot, Phosphor and also works with Keith Rowe, Sven-Åke Johansson, John Bisset, Orm Finnendahl, Phil Minton, John Tilbury and many others. More than 25 CDs and LPs, released on labels like 2:13 Music, Zarek, Erstwhile, Hat Hut, Potlatch, Confront and Rossbin
www.burkhardbeins.de/groups/misiiki.html |
2003 |
€6.00 |
|
| BEKAERT, JACQUES |
Jacques Bekaert |
LP |
Originally released in 1981 on the Belgian Igloo label this reissue comes with the same sleeve as originally designed by Alain Géronnez. \\\\\\\\\\\\\\\"A Late Lunch\\\\\\\\\\\\\\\" is the soundtrack to Akiko Iimura\\\\\\\\\\\\\\\'s eponymous movie realized in 1978. It is based on acoustic instruments and field recordings, brilliantly reconfigured and mixed by Bekaert to create a surreal, immersive soundscape. The technique used includes superposition and speed change of recordings, radical sound effects, and juxtaposition of sounds. The players were prominent musicians of the 1970s, including Maggi Payne, George Lewis, David Rosenboom, and Blue Gene Tyranny. \\\\\\\\\\\\\\\"A Summer Day at Stony Point\\\\\\\\\\\\\\\" was composed in 1969, with participation of David Behrman, Shigeko Kubota, and Charlotte Warren. The piece was commissioned by English composer Hugh Davies who presented it at the Harrogate festival the same year. Stony Point is a small village in New York State where John Cage co-owned a small pseudo-commune art resort where like-minded artists gathered. \\\\\\\\\\\\\\\"A Summer Day at Stony Point\\\\\\\\\\\\\\\" is nothing more than a page of a journal, a fragment of a notebook that utilizes a series of sound sources recorded at Stony Point on one beautiful day in the summer of 1968. Other electronic sound sources were recorded at the Brandeis University where Alvin Lucier was professor. The final realization of the piece was done at Henri Pousseur\\\\\\\\\\\\\\\'s APELAC Studio in Brussels, 1969. The soundtrack for Akiko Iimura\\\\\\\\\\\\\\\'s Mon Petit Album was composed on the basis of a simple description of the technique of the film and its time span. It includes David Behrman on alto, from an outdoor recording at Stony Point, plus excerpts from a Transition concert in London, the band Bekaert formed in 1971 with Michel Herr, Takehisa Kosugi, and Ryo Koike, both members of the Taj Mahal Travelers. The atmosphere is quiet and pastoral throughout with a very dreamlike flavor. Edition of 500.
\\\\\\\\\\\\\\\"... Gentle threads of instrumental and electronic sounds are mixed with outdoor rural field recordings and occasional voices of his friends speaking, whistling or singing. Bekaert creates a warm environment within which we can hear subtle individual voices of good musicians who are relating to his loosely-notated scores and verbal instructions...\\\\\\\\\\\\\\\" --David Behrman
https://metaphon2.bandcamp.com/album/jacques-bekaert
\\\\\\\\\\\\\\\"In a truly great moment for reissues, Metaphon delivers one of the best of the year: the first ever vinyl reissue of Jacques Bekaert\\\\\\\\\\\\\\\'s monumental self-titled LP for Igloo from 1981. An unprecedented window into a singular creative mind, including contributions by Takehisa Kosugi, David Behrman, David Rosenboom, Maggi Payne, Georges Lewis, and numerous others, it\\\\\\\\\\\\\\\'s a masterstroke of electroacoustic composition that achieved nothing short of holy grail status for collectors over the years, which manages to entirely recalibrate the listener\\\\\\\\\\\\\\\'s mind.
Working at a slow, meticulous pace, for a decade and half, Metaphon - the Brussels based imprint run by Timo Van Luijk - has continuously illuminated fascinating trajectories within a number of historically neglected contexts of electronic music and sound art. Primary focused on work produced in Belgium - with their own criteria of personal taste guiding them well - they’ve produced an incredibly important body of albums that endeavour to respect and supports the music and those who make it. In the midst of an incredible run - having recently released important works by Jan Bruyndonckx, Johannes Fritsch, Toshi Ichiyanagi, Michael Ranta, and Takehisa Kosugi’s - they’re back with the first ever vinyl reissue of Jacques Bekaert’s astounding self-titled LP, originally issued by the seminal Igloo imprint in 1981.
A long-standing holy grail for countless experimental music fans, its two sides gather three astounding compositions, created in collaboration with some of the most important voices in 20th Century sound: Takehisa Kosugi, David Behrman, David Rosenboom, Maggi Payne, Georges Lewis, and numerous others. Absolutely incredible and not to be missed. A truly legendary album - issued in a very limited edition of 500 copies on vinyl - has finally returned to our hands.
[By Bradford Bailey, 16 December 2022]
|
2022 |
€24.00 |
|
| BELFI, ANDREA & MACHINEFABRIEK |
Pulses & Places |
CD |
"Manche Releases enthalten neben der auralen Qualität auch etwas hübsch haptisches, etwas aus der guten :zoviet-france:-Zeit: ein gediegenes Cover zum fühlen, riechen oder auch mal etwas verquer-komisches mit Kunst- bzw. Antikunstcharakter. BromBron ist das Sublabel von Frans De Waard’s Korm Plastics, eine Serie feiner klanglicher Kostbarkeiten in zwei Sorten Karton eingeschlagen, mit Papierfahne zum Herausziehen und dem Gefühl einer kleinen gezähmten Origamisensation. Machinefabriek und Belfi kommen hier über die bizarre Haptik des Releases hinaus, passend zum geprägten Cover in Form einer alten Landkarte gibt es schnarrige Mikrophonien einsamer Studioklänge, der Stuhl vorm Mischpult darf knarzen und sein kleckeriges Scherflein zum Klang dazugeben, während Belfi Messingschüsseln schrubbt und Zuydervelt alias Machinefabriek seine fein austarierten Klangbeigaben dazurührt. Die vier Titel überspannen sämtliche Zustände im Studio, von gelöster Mikroakribie bis hin zu glacialen Droneschichten, welche so luftig leicht erscheinen, dass es einen fast selbst aus dem Ohrensessel erhebt. Dabei gehen beide Künstler vorsichtig genug um, um dieses lockere Klangsoufflee nicht platzen zu lassen. »Pulses & Places«, Puls und Platz, all das ist ein wahrer Klangbogen voller Kuriositäten, dem Ach!-Gefühl wenn ein wohlvertrauter elektroakustischer Regen aus den Boxen quillt und einem das Gefühl gibt, einfach noch nicht alles gehört zu haben. So muss Musik klingen, die zum Erscheinen der abgedruckten Coverlandkarte noch nicht existiert hat." [Thorsten Soltau, AEMAG]
"Korm Plastics is proud to present the ninth release in the Brombron series. Originally a co-production between Staalplaat and Extrapool, it is now hosted by co-curator Frans de Waard. In the year 2000 Frans de Waard and Extrapool started the Brombron project. Two or more musicians become artists in residence in Extrapool, an arts initiative in Nijmegen, The Netherlands, with a fully equipped sound recording studio. These artists can work in a certain amount of time on a collaborative project; a project they always wished to do, but didn't have the time or the equipment to realize.
Andrea Belfi (born 1979) is an Italian electro-acoustic musician and composer. He began playing drums at the age of 14, and studied art in Milan, before becoming involved in experimental music in 2000. Belfi is also a member of electronic outfit Medves. In 2002 Belfi began a project titled Between Neck & Stomach, in which he attempted to turn a whole house into a musical instrument, by using sound vibrations to shake various items, such as pots, plates, and cupboards. This project resulted in a CD of the same name, released on the Häpna label in 2006.
Rutger Zuydervelt, better known as Machinefabriek, lives in Rotterdam, The Netherlands. Started as Machinefabriek in 2004, he released 40+ small run home-made cdr's as well as work for Type Records, Lampse, Digitalis, Staalplaat (Mort Aux Vaches) and now 12K. A double remix cd was released in 2007, with interpetations by Alva Noto, Pita, Mitchell Akiyama, Xela, Gert-Jan Prins and many more. Collaborations (live or recording) include Steinbrüchel, Jasper TX, Wouter van Veldhoven, Simon Nabatov, Frans de Waard, Aaron Martin and Peter Broderick.
A striking collaboration took place between Belfi on drums and assorted small percussion and Zuydervelt on guitar and organ. Together they produce the 'pulses' and 'places' mentioned in the title. Organic yet partially improvised, it resembles a kind of sonic geography. The listener is taken away for a journey of mild drones, soft yet outspoken percussion. A strong release. Design by Gerco Hiddink" [label info]
www.kormplastics.nl
|
2009 |
€13.00 |
|
| BELLERUE, BOB |
Music of Liberation |
do-LP |
Bob Bellerue's new double-LP, "Music of Liberation," is a careful and intricate album of textured drone and shapely noise. Like the greatest works by post-industrial masters David Jackman (Organum) and Steven Stapleton (Nurse With Wound), its power lies not in harshness, but in dynamic spectral intensity. These are minutely composed pieces with very great attention paid to timbral details and variances.
Through the last few years, Bellerue has released a series of highly acclaimed long-form classics of tactile noise, including 2014's "Hollow Body" (Los Discos Enfantasmes), 2015's "Damned Piano" (Anarchymoon Recordings), and 2017's "Yamaha Deluxe" (iDEAL Recordings). These are in addition to more concise releases for labels like No Rent, Banned Production, Phage Tapes, and others, issued in a lava-like flow since the start of the millennium. And with "Music of Liberation," Bellerue's singular brand of volcanic aesthetics has reached a point of near-Hellenic refinement. The four pieces here are controlled eruptions, seeping slowly with the force of geologic synthesis.
There is a subtle poignancy at work here too: "Music of Liberation" is dedicated to Bellerue's friend and collaborator, Z'EV, who passed away during the final stages of finishing the double album. The late experimental percussionist/sound artist shared a certain sensibility and approach with Bellerue, as both artists have a longstanding interest in the power of metallic resonance, poetic dissonance, and composition in-situ.
"Music of Liberation" (née "Música de Libertação") was recorded in April 2016 at Sonoscopia (Porto, Portugal), in a raw session balancing drone feedback states with instrumental and vocal elements. The session was made possible through a variety of borrowed equipment and instruments (acoustic bass, shruti box, bowed gongs), which led to techniques and content which diverge from Bellerue's canon of work with surprising melodic moments. The unfamiliar instruments lent an inscrutable, organic quality to Bellerue's emotionally charged metallurgy. To bring out more full-spectrum sound, the recordings were played back in the old marble and plaster cavern of Issue Project Room in Brooklyn (where Bellerue works), to harness the resonant acoustics and add depth and dimension to the mono source recording.
In Bellerue's realm, volatility frequently gives way to passages of sustained beauty, compelling all those journeying with him from instability to lucidity; from repression to liberation.
“In the realm of noise and experimental music, Bob Bellerue elevates his recordings beyond the mere level of harshness into three-dimensional soundscapes that can be felt as well as heard.”
- Chuck Foster, The Big Takeover
Bob Bellerue is a noise composer, experimental musician, and creative technician based in Brooklyn NY.
"Music of Liberation" has been released by Elevator Bath as a limited edition double LP, mastered for vinyl by James Plotkin
https://elevatorbath.bandcamp.com/album/music-of-liberation
|
2018 |
€25.00 |
|
| BEREZAN, DAVID |
La face cachee |
DVD-A |
"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
|
2008 |
€12.00 |
|
| BERLINER RING |
Orbital |
CD |
Subtile, pulsierende, intelligent arrangierte rhythmische Elektronik von diesem Berliner Ensemble, die auch viele Instrumente und selbstgebaute Maschinen einsetzen...
"An arresting set of 'electromechanical' pieces utilising homemade instruments and various modified electronic and percussive devices, this album hones in on resonant metallic sonorities, both in the pursuit of creating strange, alien rhythms and composing melodically cogent instrumentals. Timpanis, metallophones, Korg MS20s and something called a 'heckeshorn', which if a certain video on YouTube is to be believed is a bit like an industrial revolution-era synthesizer, complete with cogs and all manner of moving parts. There's an entire solo piece on Orbital dedicated to this curious contraption (titled 'Heckeshorn') which makes for a rather creepy jaunt into the steampunk avant-garde. Berliner Ring make all manner of bizarre noises on this record, but their real achievement is in managing to configure them into easily digestible, very musical shapes. Highly recommended." [Boomkat]
"What the London orbital is to the English capital, the Berliner ring is to Berlin: a circular highway that surrounds the city.
The first contemporary release from Art Yard amalgamates disparate elements: electro mechanical devices, invented instruments, modified keyboards, delays, customised rhythm and string machines: a half man, half machine driven trip into the Electro-Mechanical sub-underground, built around a combination of moods and themes drawn from the Berlin landscape. Berliner Ring work toward a brew of forms and techniques, creating geographical references and representations, ‘tonal landscapes’, an unfolding of ambient instrumental stereologues..
Berliner Ring is: Moritz Wolpert:: percussion, tympani, painting, inventor of the Heckeshorn -a hybrid slide guitar, triggered polychord and rhythm machine. Christian Günther: builder and designer of analogue synthesizers, rhythm boxes, theremins and painting machines.
Alexander Christou: samples, electronic grooves, songs, traditional and outside music styles, 12 string guitar. Thomas Stern: bass, osmotic dubbler, doctorate in distillery, orbiting Berliner Ring and great remixer.
A collaboration with Bomb The Bass mastermind Tim Simenon is planned for later in 2009." [label info]
www.rermegacorp.com
|
2009 |
€14.00 |
|
| BERROCAL, JACQUES |
MDLV |
CD |
"A real event: Jac Berrocal has not released disc for 20 years. The legendary French trumpeter is back with its special atmosphere and feeling. Lot of guests too.
Jacques "Jac" Berrocal (born 22 October 1946, Saint-Jean d'Angély) is a French trumpeter, singer and composer. He has been active since the 1970s in the independent and avant-garde music scene (he recorded/played with Steven Stapleton/Nurse With Wound and collaborated with Sunny Murray, Pascal Comelade, MKB (F. J. Ossang), James Chance, Alan Shorter, Bernard Vitet, Lol Coxhill, Michel Portal, Lizzy Mercier Descloux).
He has released a few important albums, mainly on his own label d'Avantage. He also founded and performed in the group Catalogue. Berrocal has appeared too in several films.
In 2011, we released an unique collaboration between him, Ghedalia Tazartès and David Fenech (Superdisque CD/LP SR321)." [label info]
www.subrosa.net
|
2014 |
€13.00 |
|
| BERRY, KEITH |
The Cartesian Plane |
pic-LP |
"Elevator Bath's ongoing series of picture disc LPs (each record being adorned with full-color artwork by the recording artist) continues with Keith Berry's debut appearance on vinyl: An absolutely mesmerizing cycle of deep, meditative tranquility inextricably linked to Berry's otherworldly painting which appears behind the record's grooves.
The soundscapes along The Cartesian Plane are beautifully absorbing, heavy with the slow unraveling of emotions, almost beyond belief. There is an immense weight to these recordings, the richness of which belies the careful subtlety of the compositions. The sound is expansive and unreal, a perfect complement to the record's visual aspects which seem to describe a kind of alternate existence. Like bookends, the colorful images house a wealth of experiences, wonderful and frightening. As you gaze upon the rotating colors and Keith Berry's dense dream-sounds pour out of the speakers, total immersion in The Cartesian Plane is more than probable, it is certain.
Five years have passed since Keith Berry's masterful The Ear That Was Sold To A Fish, a disc that was something of a revelation for the lucky few who were able to obtain a copy of the original release. Since that time Berry's reputation has steadily grown, even though his discography has not. Aside from a few compilation appearances (including Elevator Bath's A Cleansing Ascension), he has remained silent. The release of The Cartesian Plane then truly calls for celebration, as it is precisely the record those of us who admire Berry's work have longed for.
Keith Berry's music has been released by such labels as Trente Oiseaux, Twenty Hertz, and Crouton. He resides in London.
This picture disc LP has been released in an edition of 233 copies.
Total running time: 47 minutes" [label info]
www.elevatorbath.com
|
2010 |
€17.50 |
|
| |
Simulacra |
do-CD |
"Simulacra is a 2xCD set with 15 new tracks spanning the double compact disc set. The outer sleeve is a mini-lp gatefold. Each disc is then housed in a envelope style card sleeve.
Photography by Griffin Lamb.
Image modifications by Keith Berry & Timothy O'Donnell.
Layout by Timothy O'Donnell.
INFX 069.
2017 Infraction.
credits
released March 30, 2017
The following hardware was used in the production of these recordings :
ROLAND JUNO 60
CLAVIA NORD LEAD 2
TEENAGE ENGINEERING OP-1 / PO-14 / PO-16
DOEPFER DARK ENERGY 2
STRYMON EL CAPISTAN
STRYMON BIG SKY
HEXE MELUSINE 2
ZVEX INSTANT LO-FI JUNKY
ZVEX LO-FI LOOP JUNKY
NEUNABER TECHNOLOGY STEREO WET REVERB
LINE 6 DL4
ELECTRO-HARMONIX 2880 MULTI-TRACK LOOPER
FOCUSRITE FORTE
EDIROL M-10DX
PRESONUS ERIS E5
https://infraction.bandcamp.com/album/s-i-m-u-l-a-c-r-a
"The surely sleepy Keith Berry makes music while hibernating, creating the sort of brain-fogged beauty I can only imagine coming out of a pure and dreamless night. Having made lovely records like ‘Simulacra’ for a long while now, he knows exactly how to make an ear-coating lullaby, using slowly avalanching chords and raindrop tape hiss towards total peace. That this record was in fact made from repurposed leftovers of past album ‘Elixir’ makes sense -- his music has a green footprint in that it can be made again from itself.
These slowly enrapturing phases of sound are familiar, echoing the plethora of quietly crackling releases by Chihei Hatakeyama and Federico Durand, but they should put their listener way too far at ease to make comparisons. This record’s minimal sound works in frames of drone we’re used to -- it foregrounds blaring but gentle chords and lets the acoustics quietly bristle against them -- to create a much needed domain of rest." [Norman Rec.]
|
2017 |
€17.50 |
|
| BEUYS + PISSOFF |
Creamcheese Düsseldorf |
LP |
BEUYS + PISSOFF
CREAMCHEESE DÜSSELDORF 1968
550 black vinyls copies – ROTOR0076
A side : “Part1” (20:00),
B side : “Part 2” (21:06)
MUSIC, RECORDING, PRODUCTION: EBERHARD KRANEMANN
The experimental project PISSOFF was founded in the late 60s by multimedia-artist Eberhard
Kranemann and some friends who studied together at the Düsseldorf Academy Of Fine Arts. The
chaotic, loud and soundwise undisciplined band took part in various events at this location and
other places. Due to the intense fluctuation of band-members the performances by PISSOFF
were characterized by continously changing participants and variations of the involved
equipment: cello, violin, clarinet, tenor saxophone, flute, vocals, electric guitar, electric bass
guitar, organ and drums.
In 1968 PISSOFF performed together with JOSEPH BEUYS who was professor of sculpture at the
Art Academy at that time. During this incomparable audiovisual interaction Joseph Beuys staged
his HANDAKTION: in concentrated manner he moved his hands in front of his head while
listening and visually reacting to the very loud and abstract staccato-rhythms by PISSOFF. The
event was recorded by Eberhard Kranemann on a Telefunken mono-tape-recorder and remains
the only existing audio-material by PISSOFF until today. On that night Eberhard played cello,
clarinet and tenor saxophone while the other members added sounds by electric guitar, electric
bass and drums.
Earliest musical experimentations that can be defined as the origins of the band Kraftwerk
already started in 1967 by Eberhard Kranemann and Florian Schneider-Esleben. Sometimes
Kranemann invited Florian Schneider-Esleben to join PISSOFF.
|
2021 |
€26.00 |
|
| BHATTACHARYA, DEBEN |
Paris to Calcutta, Men and Music on the Desert Road |
BOOK + 4 CDs |
Deben Bhattacharya (1921-2001) was a field recordist, poet, filmmaker, musicologist, and amateur ethnomusicologist, based in Calcutta and Paris. Highly influential, it would not be too bold a stretch to say that his work shaped how we listen to the world: he produced a vast number of LPs, CDs, videos, and radio shows of traditional music from India, Asia, Africa, the Middle East, and Europe from 1953 until his death in 2001. Never before published, Paris to Calcutta: Men and Music on the Desert Road features over four hours of music and is Deben\'s impressionistic account of a 1955 journey overland, in a converted milk delivery van, from France to India collecting and exploring music along the Desert Road from Europe into India. With four CDs of recordings, photographs, Deben\'s original recording notes, musical transcriptions, and more. An amazing glimpse into a time long gone and essential listening for anyone interested in folk and world music traditions. Produced and edited by Robert Millis (Indian Talking Machine (2015) and Victrola Favorites (DTD 011CD, 2009). \"Actually, I think my playing is probably more derived from the folk music records that I heard; Middle Eastern music, Indian music... for years I had something called Music On The Desert Road, which was an album with all kinds of different ethnic music. I used to listen to that all the time.\" --Frank Zappa, 1993 (from an interview in Guitarist Magazine, talking about an LP released by Deben in 1956 using a few edited versions of the music included on this compilation.) 160 pages, cloth bound cover with four CDs: 45 pages of photographs and 50 pages of detailed recording notes. Introductions by Jharna Bose Bhattacharya, Robert Millis and WG Archer.
Includes recordings of: Students of the Salonica Quaker Girl\'s School Dance of Jerissos,Saban Akdao, Hasan Sayin, Reza Argin, Jumma Ali, Vakkas Kaplan, Feizi Kaplan, Hüseyin Eroğlu, Raif Karsligil, Imam and congregation of the mosque at Kilis, Dervish worshippers in the house of Sheikh Saud Mawlawi, Nour Hanbali, Antone Noweh, Doureid Laham, Bashraf Sama\'i Taatyus, Andalusi Muwashshah, Hazim, Suleiman and friends, Al-Haj Hashim Mohammad, Shu\'aib Ibrahim, Abdul-KArim Al Azawi, Shu\'aib Ibrahim, Khalil Akrawi, Ostad Zareen Panje Bel, Gulfa-e-Ghani and Zareef, Ostad Abol-Hassan Saba, Sher Khoda, Darioosh Sefvat, Hamedanian, Shapoore Delshadi, Eskandare Ebrahimi and Orchestra, Eskandare Ebrahimi , Muhammad Hussein, Dost Muhammad, Abdul Kader, Saroj Narang, Jyotish CH. Choudhury, Kalipada Das, Bhona, Mangal Mukerjee, and Jai Chand Bhagat and Babu.
Track Listing:
Disc 1
01. Students of the Salonica Quaker Girl\'s School - Dance of Jerissos (Ierissos) 02:50 listen
02. Saban Akdao, cümbüs - Çiftetelli (gazel) 09:39 listen
03. Hasan Sayin, singer; Reza Argin, zurna; Jumma Ali, dhavul - Untitled 02:45 listen
04. Vakkas Kaplan, zurna; Feizi Kaplan, dhavul - Mahlo: Song of the Highway Men 02:44 listen
05. Hüseyin Eroglu, vocals, cura saz - Karacaoglan 05:16 listen
06. Raif Karsligil, unaccompanied vocals - Karayilan (Black Snake) 05:01 listen
07. Imam and congregation of the mosque at Kilis - Mevludin Nebevi (the prophet\'s birth) 05:36 listen
08. Performer unknown - Folksong from Outebeh, vocals and rababa (one stringed fiddle) 04:28 listen
09. Performer unknown - Bedouin Melody, Shebbabeh (flute) and darabuka (drum) 03:38 listen
10. Performer unknown - Bedouin dance from Katana 02:30 listen
11. Dervish worshippers in the house of Sheikh Saud Mawlawi - Maqam rasd (In praise of the prophet) 02:06 listen
12. Performer unknown - Sabah, played on the Ney (flute) 02:20 listen
13. Nour Hanbali, qanun; Antone Noweh, oud; Doureid Laham, darabuka - Suite in maqam rasd featuring Bashraf Sama\'i Taatyus and Andalusi Muwashshah 13:49 listen
Disc 2
01. Performer unknown - Taqsim (improvisation) on violin 03:19 listen
02. Hazim, rebab (bowed spike fiddle) - Ballad of the Shahlaan Family 10:16 listen
03. Unidentified coffee grinders (two different grinders, switching hands halfway through) - Bedouin coffee grinding beats 06:24 listen
04. Suleiman and friends, accompanied by rebab - Hijeni (a love song often sung while riding away on a horse) 06:16 listen
05. Al-Haj Hashim Mohammad, santoor (hammered dulcimer); Shu\'aib Ibrahim, joza (Iranian rebab); Abdul-Karim Al Azawi, dumbuk - Sharqi Dokah (love song) 08:40 listen
06. Shu\'aib Ibrahim, joza - Taqsim in maqam ajam 03:50 listen
07. Al-haj Hashim Mohammad Al-rejab, santoor; Shu\'aib Ibrahim, joza; Abdul-Karim Al-Azawi, dumbuk - Maqam hadidi 03:45 listen
08. Khalil Akrawi, vocals, spoons - Kasam-e-Meru (excerpt from a 25-minute piece) 01:49 listen
09. Ostad Zareen Panje Bel - Tar solo in humayun dastgah 10:45 listen
Disc 3
01. Gulfa-e-Ghani and Zareef, zarb - Train rhythm imitation 02:03 listen
02. Ostad Abol-Hassan Saba - Setar improvisation in mahour dastgah 02:40 listen
03. Sher Khoda, zarb - Shahnama 13:38 listen
04. Darioosh Sefvat - Santoor solo in isfahan dastgah 10:20 listen
05. Hamedanian, zarb - Baba Karam 12:36 listen
06. Shapoore Delshadi, tar - Tar solo in isfahan dastgah 06:36 listen
07. Eskandare Ebrahimi and Orchestra - Humayun 16:06 listen
Disc 4
01. Eskandare Ebrahimi - Setar improvisation in mahour dastgah 08:06 listen
02. Muhammad Hussein, zurna (horn); Dost Muhammad, dhol (kettle drum) - Atan (dance song) 04:01 listen
03. Dost Muhammad, dhol - Battle rhythm 01:29 listen
04. Abdul Kader, solo voice - Love song from Herat 02:52 listen
05. Performer unknown - Nose flute improvisation 02:34 listen
06. Performers unknown, harmonium, tabla - Sikh song on Hindu/Moslem unity 11:45 listen
07. Saroj Narang - Simla folk song 02:37 listen
08. Jyotish CH. Choudhury, sitar - Raga zila 07:04 listen
09. Kalipada Das, flute; unknown, anandalahari (friction drum) - Methosur (rural folk song) 04:02 listen
10. Unknown performers, clarinet and drum - Improvisation on film tune 02:34 listen
11. Bhona, sitar; Mangal Mukerjee, ghara (claypot drum) - Raga kafi 06:50 listen
12. Jai Chand Bhagat and Babu, vocals, cymbals, ektara - Bhajan (devotional song) 04:15 listen
13. Jai Chand Bhagat and Babu - Bhajan (devotional song) 04:48 listen
14. Temple bells and drums 02:34 listen
- Deben Bhattacharya\'s impressionistic, poetic travelogue written on the road from Paris to Calcutta in 1955, never before published.
- Deben Bhattacharya (1921-2001) was a field recordist, poet, filmmaker, musicologist, and amateur ethnomusicologist, based in Calcutta and Paris.
- Introductions by Jharna Bose Bhattacharya, Robert Millis and WG Archer.
- 43 tracks, over four hours of music, all recorded in 1955 featuring music from Bedouin camps, Turkey, Iran, Iraq, Afghanistan, Jordan, Pakistan and Greece.
- 160 pages, cloth bound cover with four CDs.
- 45 pages of photographs; 50 pages of detailed recording notes.
https://sublime-frequencies.bandcamp.com/album/paris-to-calcutta-men-and-music-on-the-desert-road
|
2018 |
€52.50 |
|
| BIANCHI, MAURIZIO & CLAUDIO ROCCHETTI |
Alienation |
CD-R |
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
|
2008 |
€10.00 |
|
| BIANCHI, MAURIZIO & RYAN MARTIN |
As strong as Death is |
do-LP |
Backwards is very happy to announce the Maurizio Bianchi & Ryan Martin "As Strong As Death Is" double vinyl LP.
For roughly the past 40 years, the cryptic tally of works by Maurizio Bianchi has formulated a somewhat religious rite of passage, a communion of tone and definition based around his various devotional phases in his life. Coming to the forefront of industrial music and noise composition in the late 1970’s, just as the world was recovering from the jarring wake left behind by groups such as Throbbing Gristle and Whitehouse, Bianchi was bundled within the zeitgeist of extreme experimentation due to the use of provocative subject matter and sonic assault. Though by 1983, Maurizio Bianchi seemed to have “disappeared” after conflicting releases and disappointing acceptance amongst his peers. It was not until the mid-90’s when Maurizio Bianchi resurfaced, now with a focus on spiritual guidance and restraint, that he released varied recordings of his newly sculpted ambient works and re-visitations of his now classic albums from the previous decade. Up until present day, Bianchi has enjoyed a renaissance of interest in part due to his expansive reissues of previous works and his dedication to new recordings, which state that Bianchi is still a zenith in the world of the experimental electronic music.
Around 2008, New York City based artist / musician Ryan Martin, of industrial outfit York Factory Complaint and Copley Medal, started correspondence with Bianchi about the reissue of his mechanically clinical ambient masterpiece, Endometrio, for release on Martin’s co-founded imprint, Dais Records. During this time, Martin was forming his own solo label to release private edition works under the title Robert & Leopold and asked Bianchi to present his recent exploratory violin compositions as the label’s debut release. Since that time, Bianchi and Martin have collaborated in various forms including the release of Bianchi’s recent exploration, Arkeomene, and the featuring of Martin’s artwork on the cover of Bianchi’s contentious single, Amentest. Most notably however was the complex and deliberate musical collaboration between the two entitled “As Strong As Death Is”.
Spanning the course of two years to create, legendary Italian noise composer Maurizio Bianchi and artist Ryan Martin (York Factory Complaint / Copley Medal / Dais Records) took on the pilgrimage of scoring the abstract concept of marriage based on the biblical Song of Solomon. Employing prepared electronics with accompanying strings and tape, this ambient religious collaboration seeks to flesh out the union, to understand the universal desire to be one. Constricted lullabies walk down the aisle to create a consortium of moving, ghost-like consolidation. Mixed ad edited by Anthony Mangicapra (Hoor-paar-Kraat) and mastered by Kris Lapke (Alberich / Hospital Productions). Recorded in both New York City and Opera, Italy between 2010 and 2012, this release was originally released in 2013 as a limited double cassette on Martin's own Robert & Leopold imprint in a edition of 100 copies, which quickly went out of print.
The release comes with a lavish jacket, in two editions: ltd.100 copies on white vinyl and ltd.400 copies on standard black vinyl.
Comes with a coupon for a free digital download.
www.backwards.it
|
2016 |
€20.00 |
|
| BIANCHI, MAURIZIO (M.B.) |
S.F.A.G. 81 |
LP |
"MAURIZIO BIANCHI’s 1981 Symphony for a Genocide LP is the artist's most well known work, widely recognized as a classic of early industrial music. A year and a half after its initial release on vinyl in a limited edition of 227 copies, the album was reissued on cassette by the Broken Flag label. It was at this time that Bianchi created an entirely new recording drawn from the audio of the original LP. Entitled S.F.A.G. 81 and issued in January 1983 as a companion to the Symphony for a Genocide cassette release, it was a radically different work comprised solely of two extended, side-long tracks. Bianchi had already began to evolve from the harsh and primitive attack of his earliest releases toward a more desolate, introspective sound exemplified by The Plain Truth and Armaghedon albums; S.F.A.G. 81 lands somewhere in between these two approaches. Remnants of the relentless mechanical rhythms and synthesizer churn of the original Symphony remain, but it is as though one were listening to them from a distance, lost in the midst of a massive blizzard. Strains of recognizable sound drift in and out of earshot like hallucinations, echoing across the bleak stretches of grayed-out sound. The S.F.A.G. 81 recording has been re-released (often in abridged form) on cassette and CD several times over the years, and an except appeared on one LP side of Vinyl On Demand's massive five-disc Broken Flag retrospective box set; this reissue marks the first time ever the complete album has been available on vinyl. Remastered and fully authorized, it comes packaged in thick tip-on jackets with artwork by longtime Bianchi collaborator SIEGMAR FRICKE. One-time pressing of 500 copies." [label info] |
2014 |
€16.50 |
|
| |
Telmegiddo |
LP + CD |
Apocalyptic echo-sounds, originally decomposed at Mectpyo Studio in February 1983.
Telmegiddo was the last tape-decomposition by Maurizio Bianchi and was recorded after the Armaghedon LP.
Bakterihabitat by M.B. contains sound sketches that were later used in Telmegiddo.
White vinyl with white labels and white polylined inner sleeves.
Edition of 100 numbered copies with paste-on cover.
Cover image is a 1981 original M.B. artwork. |
2015 |
€20.00 |
|
| BIBLO |
On Ugliness |
LP |
"pop music had been an intensity-thing once, as to follow the legend, but as time passed it just started to quote and copy the erstwhile forms in a void way. the latter has never been exactly accurate, especially regarding the developments in the less noted niches. one example for that is provided by the amalgamations of folk-traditions, vanguard experiments, improvisation and outsider art, as they have boomed in the last years with acts like inca ore, pocahaunted and kuupuu. also in the music of the composer, singer, bass-guitarist and laptop-musician pinar üzeltüzenci aka biblo from istanbul - a sister in mind of all the acts mentioned above - you feel the intensity again and again in an almost painful way when it peeps through the curtain of drones and noise. her lost in reverie vocals leave you irritated and in love. we are proud to present the new biblo-lp "on ugliness" in a limited edition of 200 pieces as the first ever record on quetzi records." (label info)
"No, the ever-prolific Bibio hasn’t snuck out yet another new album as a limited vinyl release on an obscure label. This is actually an LP by a Turkish woman going under the name Biblo, who refers to her music as “ambient thrash”. Not sure what’s so thrash about it (or even what the proper definition of thrash really is), but regardless, this sounds a lot closer to ambient than any type of metal. Not much is provided in the way of liner notes, but it sounds like plenty of static loops, some toy instruments, some found sounds, and some delay-heavy girlish vocals. The dozen tracks on here progress slightly, but it doesn’t feel so much like traveling from one place to another as it feels like standing in the middle of a darkened room and watching things float around you. Even though it’s late at night, your eyes are wide open at all the illuminated objects circling you. In some sense, the “ambient thrash” tag does fit, as this is not ambient to ignore or lay back and fall asleep to, but ambient that’s active and commands attention.
While most of the tracks on this album are miniatures that only last a few minutes, the centerpiece of the album is side 2′s opener “Son Super Tembel”, which begins looping some chopped up ghostly piano, adding some more vinyl-sourced loops until they sound like a skipping record, then adding some more subtle blips, whispery vocals and small-sounding instruments. “Earth” also stands out for coating its drifting vocals in a thick layer of droning distorted guitar feedback; perhaps the song is a tribute to the band Earth. “The Eyeballs Of Truth” ends the album with its thickest layer of hiss and crackle, featuring distant piano and vocals that suggest some of the spectres in The Caretaker’s ballroom stepping up to the mic.
It’s easy to overuse the word “haunting” to describe anything that’s dark yet otherworldly beautiful, but it’s hard to think of the sounds on this album as being created by anything other than possessed beings. As dreamlike as it seems, though, it feels completely real. The whole album is an incredibly moving experience." [Paul Simpson / FOXY DIGITALIS]
www.foxydigitalis.com/foxyd/?p=17357
|
2011 |
€18.00 |
|
| BIG CITY ORCHESTRA |
Eerily |
CD |
"Underground is a difficult term. Perhaps its best defined as Do It Yourself. Not looking for the next record deal, or moving from CDRs to CDs and never wanting to do CDRs again. That sort of attitude. If one band live up to that, then today my choice would be Big City Orchestra. They have been around for ages, releasing on all formats the world of music saw, but never gained 'fame' in any way. And perhaps that's good. Let's have them underground, with us. Here for instance is a new CD by Das, the master mind behind Big City Orchestra since the beginning, but also members like Cliff Neighbours, Ninah Pixie, Univac, Jonathan Segal, Melissa Margolis and as a special guest David Aellen of Gong fame. Although Big City Orchestra was never fixed into one musical genre, there is, throughout the years an overall idea to be noted. Roughly somewhere in the grey area of ambient music, drone, narrative music and perhaps all touched with a sense of psychedelic music. These six new pieces here sum up this very well. No doubt largely conceived in the world of warm, analogue synthesizers and guitars with lots of effects. The result is an eerie (sorry, couldn't help that one), desolate sound piece with very slow, minimal shifts. Maybe to some extent they still sound the same as back in 1987 when they released cassettes, but luckily it sounds much richer now on CD. The underground is not about sticking to hissy cassettes out of some perverse love of retro, but finding the best ways to express yourself, without keeping any notion about the overground. In that respect to people who want to hear a band develop, then Big City Orchestra might be the wrong place to turn to, but I think this is great music. Mood music, dark night, late night music. Music that has not been made to please the big crowd, but a small but caring community of truly devoted fans. I may not be one, simply because I don't have everything they made, I certainly rank myself as someone who is always keen to anything new by them. 'Eerily' is a great CD." [FdW / Vital Weekly]
"One of the most idiosyncratic and original groups of the past two decades, BCO is not your standard Orchestra. Situated in the greater San Francisco Bay Area, the band has released an enormous catalog of recorded material over the past two decades. Formed in the late 1970's the ensemble continues to maintain a free-flowing roster of artists from around the world that collaborate on specific projects. Categorizing the Orchestra into any given genre can be a task, as releases continue to surprise even the most devout listener. There is never any way to precisely classify the next BCO release.
Featuring original members and introducing special guests such as Daevid Allen (of Gong fame) and Jonathan Segel (Camper Van Beethoven)
BCO 'Eerily' tracklist :
1. Garuda
2. Mister Jones
3. Protectionraga
4. Zhong Kui
5. Pink Swirl
6. Chnubis
7" cover including a unique silkscreened inlay produced by the members of BCO/Ubuibi."
[label info]
www.eetapes.be
|
2009 |
€13.00 |
|
| BIOSPHERE |
Substrata |
do-LP |
"One of the all-time classic ambient albums finally available on strictly limited edition 180 gram vinyl. The vinyl edition of Substrata is released by Geir Jenssen's own label, Biophon. It comes as a double gatefold album featuring the bonus track "Laika" (14:35). Biosphere is widely-regarded as one of the legendary names in ambient/electronic music. Residing in Norway, near the Arctic Circle, he has found the focus to slowly and steadily create a self-contained aural universe, made up of reflective and immersive sound sculptures. For almost 15 years, he has released a string of critically-acclaimed albums. 1997's Substrata, which marked Jenssen's embarkation towards an intensely minimal style, is not only often considered to be Jenssen's best work to date, but is also seen as one of the all-time classic ambient albums. Re-mastered by Stefan Betke @ Scape Mastering, Berlin. New artwork by David Coppenhall." [label info]
www.biosphere.no
|
2011 |
€33.50 |
|
|
Shenzhou |
3 x LP |
Paul Cooper, Pitchfork: ""Shenzhou", aside from being the name of the Chinese manned-spaceflight vehicles, means "magic vessel", and I can't imagine a more apt description for Geir Jenssen's latest excursion into ambient deep listening. After following an Aphexian trajectory with his releases on Apollo, the ambient sublabel of Belgium's R&S; Records, Jenssen veered from the padded sci-fi-inspired techno of Microgravity and Patashnik with 1997's Substrata, a genre-defining exploration of drifting soundscapes. Substrata remains for many the album that perfectly expresses the serenity and intensity of Arctic wildernesses, a landscape Jenssen knows intimately, having spent much of his life in the Norwegian Arctic Circle.
In 2000, Jenssen nearly eclipsed the success of Substrata with Cirque, a frequently frosty submerging of excerpted conversations and found environmental sounds that rivals Wolfgang Voigt's Gas project in its rumbling, gauzy beauty. Jenssen again relies on found sound as source material for Shenzhou, but this time, the found sound is old vinyl recordings of the orchestral works of French Impressionist composer and ambient precursor, Claude Debussy. Jenssen lifts fragments of these scratched records in a similar manner as he did for Cirque's "Black Lamb Grey Falcon" and "Iberia Eterea".
The ten tracks (out of the dozen on the album) that follow this model all begin as a barely audible hum, like a small electrical transformer, out of which the dust-dappled loops of Debussy's woodwind, brass, and strings emerge, condense, and fade out into pink noise rustles. Unlike Steve Reich's phase pieces or Brian Eno's Discreet Music, though, Jenssen doesn't set his loops against each other to produce juxtapositions and piquant dissonance; he uses them to describe imagined terrain, at first glance monotonously flat and barren, but on concentration, replete with minute detailing. The overall effect of these pieces is a sense of immensity. The orchestral loops sound distant, abandoned in a vast wilderness, and strenuously battling against Arctic winds. Jenssen sets the listener down in this wilderness as an aloof observer, a witness to the music's futile struggles against entropic forces.
The two tracks not derived from Debussy share the same hypnotic aesthetic. The brief interlude "Bose-Einstein Condension" is a loop of piano chords lolloping in search of coherence, while "Gravity Assist" is a longer voyage into woofer-quaking low-frequency manipulation, bell-like drones, and contrails of subdued noise. I can't help but feel that these tracks fit awkwardly and break up the conceptual flow of the album. This, however, is a minor quibble given the power of this music. Shenzhou is unquestionably a magic vessel, but one that reveals its enchantment only to those who pay close attention."
|
2017 |
€36.00 |
|
|
The Senja Recordings |
do-LP |
The Senja Recordings is a collection of various outdoor recordings and studio improvisations recorded on the island of Senja, Arctic Norway, between 2015 and 2018. Biosphere is the main recording name of Geir Jenssen, a Norwegian musician who has released a notable catalog of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata (BIO 005LP/BIO 028CD) was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.
|
2019 |
€28.50 |
|
| |
Substrata (Alternative) |
CD |
Substrata was the third studio album by the Norwegian electronic artist Biosphere, released 25 years ago by All Saints Records in London.
In 2016, Pitchfork ranked it at number 38 on its list of the 50 Best Ambient Albums of All Time.
Here are ten alternative versions picked from the Substrata recordings sessions that took place between 1995 and 1996.
David Stubbs´review of the original album in Melody Maker ,July 12th 1997:
Biosphere, aka Norwegian Geir Jenssen, is transmitting from a cold, polar outpost of the imagination. "Substrata" is the best ambient album I've heard in an ice age, an album of terrifying, desolate and all-enveloping beauty, the music of a man who's stared too long and too hard at the Northern lights, a music of distant rumbles, tremors underfoot, stray radio signals, yawning chasms and indistinct, grainy images in the half-light when the mind begins to play tricks. "Poa Alpina" reminds me of recent, frightening TV footage of vast chunks of iceberg cracking and falling away into the sea under the duress of global warming. As for "The Things I Tell You", imagine what Oasis would have sounded like had they been born Eskimos. "Sphere Of No Form" is shot through with a frantic peal like the Mayday song of the world's last whale and, best of all, "Kobresia" looms with a vast, mournful, symphonic motif, like the ghost of the Titanic. Chill out has never been this chilling.
https://biosphere.bandcamp.com/album/substrata-alternative-versions
|
2022 |
€15.00 |
|
| BIRCHVILLE CAT MOTEL |
same |
CD |
"Guitar - Cymbal - Electrics" prangt auf dem Innencover (7"-Hülle) der allerersten BCM-CD von 1997! Hier begann der Siegeszug von CAMPBELL KNEALEs rauhen und furiosen neuseeländischen Drone-Sounds, unglaubliche Feedback-Skulpturen entstehen hier, aber auch ruhige Dronismen... wenige Kopien dieser CD (Auflage etwa 550 Stück) sind wieder aufgetaucht, das Label ist seit Jahren nicht mehr aktiv!! |
1997 |
€14.00 |
|
| BIRDS OF DELAY |
A Living Room at the bottom of a Lake |
LP |
" Birds of delay is a Leeds duo whose first half lives in London (and loves Whitehouse and Rush) and the other in Berlin (and loves Farley Jackmaster Funk). With several releases on labels such as Chocolate Monk, American Tapes, Troniks, Hospital Productions, or their own: Alcoholic Narcolepsy, Luke and Steven have been crafting and sculpting their psychedelic-electronic-noise-drone sound for over half a decade. But who cares and what does that sound description mean anyway? If you ask them, they'll simply tell you 'A Living Room at the Bottom of a Lake' is a projection into a total rainbow bliss zone! Edition of 240 copies." [label info]
|
2009 |
€17.50 |
|
| BIXOBAL |
No. 5 (October 2008) |
mag |
Magazin aus dem (post)-ANOMALOUS RECORDS Umfeld, mit Artikel über die grossartigen ONDE!
"The No-Neck Blues Band's Dave Nuss recalls his time with The Source Family which led to the first Yahowa 13 performance in New York City and their new LP. An extensive interview with reformed Vancouver noise band Tunnel Canary by Allan MacInnis. A remembrance of Noggin violin player Michael Griffen by his friend Aaron Gorseth. A feature on the Belgian group Onde featuring former members of Noise-Maker's Fifes. A feature on the new label Assophon, home to The Sea Donkeys, Spider Trio and Factums. Eric Lanzillotta's reviews of vinyl, compacts discs, and books, both new and old. Patrick Marley's column Nickels and Dimes." |
2008 |
€3.00 |
|
| BIZARRE UPROAR |
Cunt Animal |
LP |
2022 Bizarre Uproar album. Full color gatefold LP. Celebrating 30 years of Bizarre Uproar with new album!
https://youtu.be/hQjJ2i2F18o
|
2022 |
€25.00 |
|
| BJÄRGÖ, PETER |
Structures and Downfall |
LP |
After putting ARCANA to rest in the past year, Peter Bjärgö has now channelled his creative energy towards his solo works. On what is now his 4th full length solo album, we are granted a calm, thoughtful and at times somber aural voyage. Melodic atmospheric guitar work, lush string arrangements and slow, heavy percussive rhythms are present and elevated to new heights. Written and recorded while beholding a wintry landscape in his newly built studio ”Asham Room”, he’s created a perfect balance of complex structures through his distinctive sorrowful, yet hopeful songwriting.
Special Edition LP limited to 200 copies on Black vinyl. 8 Tracks. Running Time 39:28
https://cycliclaw.bandcamp.com/album/structures-and-downfall
|
2019 |
€22.00 |
|
| BJÖRGULFSSON, HEIMIR & JONAS OHLSSON |
Fur Your Bears Only |
CD |
Looking for some strange music? Here it is.. Der Ex-STILLUPPSTEYPA hier in Zusammenarbeit mit einem gewissen Jonas OHLSSON quälen uns mit Mutanten-Techno inkl. schnuckeligen BÄREN-Samples, hochabstraktem digitalen Microwave-Gebruzzel, undefinierbaren field-recordings mit hohem Abartigkeitsfaktor, Stille, und was sonst nicht noch alles..
und dann noch solche Titel wie „My Arse Glitches“, und Bären-Collagen auf dem Cover!
Coverartwork, Titelgebung, Musik = Popmusik an der Grenze zum Irrsinn, frische Neurotransmitter für eingerostete Synapsen.
“heimir björgúlfsson is an ex-member of the longstanding icelandic group stilluppsteypa and jonas ohlsson is a reknowned visual artist, both based in amsterdam, the netherlands. "fur your bears only" is their second collaboration after the "unspoken word tour" album in the brombron series released by staalplaat and extrapool. "fur your bears only" is the most melodic and poppy music ever to have come out of björgúlfsson & ohlsson, providing 8 tracks that show how disco & house can get distorted once in the hands of these two gentlemen. from the epic opening 10-minute title track onwards this work is full of abstract dancefloor sympathies.” [press release]
|
2003 |
€13.00 |
|
| BLACK DICE |
Creature Comforts |
CD |
Noch ein heisser Anwärter für den Seltsamkeits-award; super seltsame, surrealistische Hawai-gitarren, lazy beats, elektronische pulses, schwankend & leiernd der Sound, irgendwo befinden sich auch Stimmen (Gesang kann man das nicht nennen), kurzum: undefinierbar, unbewertbar, unergründlich. Einfach klasse schräg.
„Jim O’Rourke hat einmal so boshaft wie zutreffend bemerkt, dass es etwas anderes ist zu improvisieren oder nur improvisierte Musik zu spielen, sprich, sich selbst zu imitieren. Insofern muss man mit Creature Comforts (FATCD32) konstatieren, dass BLACK DICE keine BLACK DICE-Musik spielt, sondern BLACK DICE mit jedem Release neu erfindet. In radikaler Abkehr von der Voodoo-Psychedelic von Miles Of Smiles entfaltet ihre neue CD in unverhofft Miro’scher Heiterkeit eine elektropopig-surreale Skurrilität. Ausser dem Nenner „weird“ scheint die Bandästhetik komplett ausgetauscht. Ein flockiger Cartoon-Leichtsinn kapriolt durch acht Tracks, die aus vielen undichten Ventilen wie Gameboys dudeln und wie R2D2 zwitschern. Es eiert, loopt, wabert und schwip-schwapt auf sämtlichen Synthie-, Chorus- und vor allem Gitarrenspuren, die Percussionabteilung ist dafür weitgehend paralysiert. Das Ganze verhält sich zu Kraut wie Jad Fairs Best Wishes & Half Robot zu Punk. Heftige Dub-Effekte lassen 80s-Elektro-Trash abdriften in Richtung Mondo Exotica 2001 - Odyssee im Kinderzimmer. Vier 1-2-Minuten-Knirpse odradeken um die 6- bis 9-minütigen Freak-Epen „Treetops“, „Creature“ und „Night Flight“ und den viertelstündigen Monolithen „Skeleton“, ein tapsiges Schreckgespenst, durch dessen Rippen Gitarren und Synthies jämmerlich jaulen. Während man vorne ein Mona-Lisa-Lächeln geschenkt bekommt, steigen auf der Rückseite hinter den sieben Bergen Sprechblasen wie Rauchzeichen auf. Genau dazwischen, in der Hirnrisszone, inszenieren BLACK DICE ihr Happening, das die Nerven etlicher Mucker blank legt: „Lärmbelästigung!“ „Hirnmüll“ direkt aus der Klapse... bekloppte Katastrophe für unmusikalische Gefühlsambutierte“... „Musik von und für Nerds.“ (Intro-„Probefahrt“) Köstlich. [BAD ALCHEMY 44]
"This is the official follow-up to their DFA debut CD and Double LP Beaches & Canyons. It finds the band pushing in yet another direction, at once unmistakably Black Dice, and noticeably different. Recorded with Steve Revitte (Liars, Kill Me Tomorrow), the DFA & Nicolas Vernhes (Fisherspooner, Fiery Furnaces). Venturing further into their own psychedelic, increasingly electronic world, Creature Comforts is as expansive, experimental and structurally unique as its predecessor, but there is a new sense of playfulness and accessibility mixed with naïve wonder and not-quite-steady rhythms. It is hazy, dreamy, but they have suddenly emerged as a band with an untouchably original terrain, mixing dub, tropicalia and the entire history of psychedelic rock music into one heady concoction." [press release]
|
2004 |
€14.00 |
|
| BLACK EARTH |
Gnarled Ritual of Self Annihilation |
CD |
Spanish ritualistic industrial sorcerers BLACK EARTH return with "Gnarled Ritual of Self Annihilation" - a sophomore full-length of unreal cinematic sonic disembodiment, conceived with the aim of turning the listener into a sacrificial centrepiece to a surreal ritual nightmare. Following in the steps of their debut LP "A Cryptic Howl of Morbid Truth" and of their followup mini-album "Diagrams of a Hidden Order", on "Gnarled Ritual of Self Annihilation" Black Earth further refine and sharpen their horrific sonic blade, slicing through shadows and darkness with more skill and mastery than ever before to reveal a dimension beyond of incomprehensible ritual abandon. As they first weave and then slice and dissect their impenetrable veil, a sonic ritual of abject disfigurement begins to take shape before the listener, as the strokes and gashes of black metal, industrial, noise and ritual drone intersect erratically and hypnotically, painting an hallucinatory arabesque of absolute dread and deformity. As the album's wicked spires envelops them like a fog of snakes, the listener finds themselves immersed into an hallucinating aural delirium of complete disembodiment and self-implosion, in which they feel simultaneously out of body and helplessly trapped and crushed within themselves at the same time.
CD Edition of 500 copies in 4 panel Digisleeve. 7 Tracks. Running Time 45:04
LP Edition of 200 copies on Black Vinyl, 100 copies on Clear & Black Splatter. 7 Tracks. Running Time 45:04 (Co-Released with Sentient Ruin)
https://www.cycliclaw.com/releases/black-earth-gnarled-ritual-of-self-annihilation-cdlp-134th-cycle
|
2019 |
€13.00 |
|
| |
Gnarled Ritual of Self Annihilation |
LP |
Spanish ritualistic industrial sorcerers BLACK EARTH return with "Gnarled Ritual of Self Annihilation" - a sophomore full-length LP of unreal cinematic sonic disembodiment, conceived with the aim of turning the listener into a sacrificial centrepiece to a surreal ritual nightmare. Following in the steps of their debut LP "A Cryptic Howl of Morbid Truth" and of their followup mini-album "Diagrams of a Hidden Order", on "Gnarled Ritual of Self Annihilation" Black Earth further refine and sharpen their horrific sonic blade, slicing through shadows and darkness with more skill and mastery than ever before to reveal a dimension beyond of incomprehensible ritual abandon. As they first weave and then slice and dissect their impenetrable veil, a sonic ritual of abject disfigurement begins to take shape before the listener, as the strokes and gashes of black metal, industrial, noise and ritual drone intersect erratically and hypnotically, painting an hallucinatory arabesque of absolute dread and deformity. As the album's wicked spires envelops them like a fog of snakes, the listener finds themselves immersed into an hallucinating aural delirium of complete disembodiment and self-implosion, in which they feel simultaneously out of body and helplessly trapped and crushed within themselves at the same time.
CD Edition of 500 copies in 4 panel Digisleeve. 7 Tracks. Running Time 45:04
LP Edition of 200 copies on Black Vinyl, 100 copies on Clear & Black Splatter. 7 Tracks. Running Time 45:04 (Co-Released with Sentient Ruin)
https://cycliclaw.bandcamp.com/album/gnarled-ritual-of-self-annihilation |
2019 |
€20.00 |
|
| BLACK GLASS ENSEMBLE |
Arise from the Twilight |
CD |
Note. These recordings combine signals from mixing desk output and ambient microphone placement. Elements of the performance were conducted with no amplified signal. Consequently, these brief passeages appeared only on the ambient signal and are correspondingly quiet.
Acknowledgements:
Evan Henderson and colleagues, the Queen’s Hall, Edinburgh; Alison Johnson, the Coach House, Athelstaneford
Black Glass Ensemble acknowledge with gratitude the assistance of Creative Scotland, Help Musicians UK, Hope Scott Trust
credits
released November 6, 2020
Michael Begg; witness engines, data, electronics, keyboard, erosions
Douglas Caskie; tuned and bespoke percussion
Jen Cuthbertson; French horn
Neil Cuthbertson; trumpet
Clea Friend, cello, voice
Julia Lungu; violin
Aisling O’Dea; violin
Ben Ponton; VLF receiver, electronics, field recordings, lapsteel guitar, forensics
Nicole M Boitos Hayworth; voice (narration) track 2
Clodagh Simonds; voice (celestial vocal clusters) track 4
https://omnempathy.bandcamp.com/album/arise-from-the-twilight
"The first full length release from award winning experimental composer Michael Begg’s groundbreaking ensemble captures the group’s debut performance at Edinburgh’s Queen’s Hall in the final days before lockdown.
Black Glass, comprises members of the Scottish Chamber Orchestra alongside Begg and fellow experimental artist, Ben Ponton (:zoviet*france:). Here, they invoke an immersive and deeply moving medium of ambient sound in which processed electronics, field recordings, atmospheric receivers and live sonified streaming data from environmental and earth observation agencies combine with elegiac passages of strings, brass and tuned percussion to realise Begg’s vision of a new music that speaks to our growing sense of solastalgia*
* the term combining solace and pain, coined by philosopher Glenn Albrecht in 2005 to articulate the sense of existential distress caused by living through environmental change.
As musical director, Begg provides his troupe with both scores and the encouragement and support which enables the world class players to step out of their comfort zone and into an uncharted territory requiring them to improvise with satellite positional data, live weather systems, audio streams of calving glaciers – not to mention the experience of having their playing captured and returned to them live as processed loops.
Arise From The Twilight captures the realisation of one of the most compelling new fusions of contemporary classical and experimental music of recent times."
|
2020 |
€15.00 |
|
| BLACK MAGIC DISCO |
same |
do-LP |
"double LP couloured vinyls (vinyl 1solid RED / vinyl 2 solid WHITE); comes in a luxury gatefold cover, including a huge 70x100 cm. poster (by Roberto Opalio drawing); BLACK MAGIC DISCO ARE:
TOM GREENWOOD / psych-blues guitar, turntables.
ROBERTO OPALIO / electrogalactic guitar, space toys, astral toy-keyboard, piano toy, percussions.
MAURIZIO OPALIO / electric alien guitar, cosmic rays effects, mini-xylophone, percussions.
RAMONA PONZINI / Japanese vocals & hypnotic chimes.
Black Magic Disco is the new all-star band featuring Tom Greenwood (Jackie-O Motherfucker), Maurizio & Roberto Opalio (My Cat Is An Alien) and Ramona Ponzini (Painting Petals On Planet Ghost, Praxinoscope). The project was born out of an idea from Tom Greenwood, founder leader of the avant-folk-blues ensemble Jackie-O Motherfucker, who invited Maurizio and Roberto Opalio, aka the Italian improv duo My Cat Is An Alien (MCIAA), and their close collaborator Ramona Ponzini (also involved with the two brothers in the projects named Painting Petals On Planet Ghost and Praxinoscope, as well as in the new collaboration with Z'ev) to perform with him for two months of touring throughout all Europe in May/ June 2005. As one can imagine, the result was killer. The music which came out of the live performances was totally explosive, combining Ramona's Japanese vocals & hypnotic chimes with Greenwood's psych-blues guitar attitude & wild turntablism, over MCIAA's alien cosmic flux of electric guitars, space toys & percussions, creating a still unheard mixture of sounds unifying archaic & post-modern, western & eastern, sky & earth. This debut CD represents a unique chance to experience almost 80 minutes of that pure and magic live action, divided in four long tracks taken from the original live recordings. BLACK MAGIC DISCO's logo comes from the pencil of Roberto Opalio; the gatefold jacket CD artwork, curated by MCIAA contains some band photos taken during the live performances included in the record." [label info]
"... This is a music that grows out of the faith each performer puts in whatever they may come up with ? by the simple act of listening & reacting to one another in the most profound and dedicated way. Again, one of its greatest achievements lies in the fact that it is able to sustain a body of sound that is as intense as it is delicate; something which, in my opinion, is truly unique.
Accordingly, this is not just a testimony to the talents of the aforementioned musicians, but also one of the most passionate love letters MUSIC has received in quite some time. How can THIS not be essential? 10/10" [Francois Hubert / Foxy Digitalis]
www.asilentplace.it
|
2007 |
€19.50 |
|
| BLACK TO COMM |
Rückwärts Backwards |
CD |
“Black To Comm is an alias for Dekorder label owner Marc Richter's audio excursions. "Rückwärts Backwards" is his debut full-length album recorded between 2003 and 2005 in his adopted hometown Hamburg and his childhood home in the Black Forest located in the south of Germany. With a background in many musical styles (from Psychedelia to pure Computer Music) BTC's music is never easy to pin down.
This album is essentially created from scratchy shellac and vinyl loops merged with ambience field recordings (with some voice manipulations and kitchen gamelan thrown in for good measure). The warm hiss of analogue recording techniques combined with the apparently antique sounds of vintage organs, acoustic & electric guitars, pianos, glockenspiel and mbira used on these tracks generate a kind of hyperreal, fake nostalgia playing with one's perception of a pseudo-recollection. The layering and hypnotic repetition of short loops extracted from old Psychedelia, Free Jazz, Vaudeville and Traditional records reveal a haunting melodic quality sometimes not distinguishable within the original source material, evoking a hovering feeling of bittersweet melancholy with an omnipresent, slightly disturbing atmosphere hidden beneath the surface.The 8 songs constantly sway back and forth between simple, almost naive arrangements and dense surreal drones with rare, yet intense distorted climaxes making this album one constantly absorbing listening experience.” [label info]
“First of all this CD is beautifully packaged with a tri-fold disc holder. Each picture bears its own character (blurry forest with handscrawled text, a sleeping cat, and what appears to be an old wallpaper pattern) But on to the music. Black to Comm (aka Marc Richter who also runs Dekorder) knows how to keep it short and sweet with 8 songs clocking in at under 37 minutes. Ruckwarts Backwards opens with the aptly titled 'Bees' some gentle buzzing of said insect is later accompanied by some child-like hums, this gives way to the second song 'Levitation' which is a gentle soundscape of rising and falling organ tones backed by a field recording. 'Lucifer Lacca' ushers in an operatic vocal loop that reaches crescendo and ends with another bit of children's singing. The feel is still subdued and continues throughout the record, I'm reminded at times of Tape, not so much in sound but in how I feel while listening to them. The title track is a series of interlocking vibraphone melodies that
are augmented by computer processing. The computer treatments are more of an enhancement rather than something that would radically alter the source sounds. Track 5 is my personal favorite with a minimalist and slightly buzzing drone that cross-fades with a quieter drone. The remainder of the album hits just the right drone spot! Minimal loops with a somber feel, that guides you right to the end. The credits list microphones, voice, and kitchen gamelan, and Marc is good at assembling seemingly unrelated segments into gently blurred landscapes that roll by with an ease and comfort. In a few words..... simple, and elegant. Ruckwarts Backwards follows a self titled 10" also on Dekorder. Very curious to hear to more from this project” [CJ / Vital Weekly]
|
2005 |
€13.00 |
|
|
Fractal Hair Geometry |
CD |
"Black To Comm is the solo venture of Dekorder label boss Marc Richter. Having released two and a half albums on his own label he is slowly establishing himself as one of the more prolific drone artists out there with a forthcoming album on the American Digitalis label, a collaborative CD with Datashock on Ikuisuus, a 7" on the Irish Trensmat label and a collaboration with Xela in the works.
"Fractal Hair Geometry" is Richter's most refined and original work to date, picking up where the electrifying drone works of his monumental Double-LP left off. Like the last records this album is centered around recordings of a variety of vintage organs. While "Wir können leider..." often featured pure harmonium sounds and spacious recordings of chuch organ and mellotron, the new album opts for a more electronic, effects-laden sound, sending an old Farfisa Compact Deluxe and Casio SK-5 through an armada of analogue & digital effects pedals. The results are massive one-chord drones layered into dense & ecstatic, flickering & pulsating clusters of psychedelic electronic sound. Additional wordless vocal effects, hyperventilating & sizzling drum machines and hypnotic violin and guitar noises make for a hyperactive sound that never stands still even though most of the music is pure drones (sometimes consisting of more than 50 recording layers). Decidedly simple but gorgeous melodies shine through the mist from time to time, making a Black To Comm record always much more accessible than your average drone album.
There's even a heavy 4/4 bass drum smuggled into a track dedicated to the late Leigh Bowery, one of the most enigmatic creative figures of the mid-80's UK club scene (and singer of Minty).
Guests include Jonna Karanka (aka Kuupuu) on piano, Guido Möbius on trumpet and current Black To Comm (live) band members Renate Nikolaus on violin and Ulf Schütte (of Datashock, Aosuke, etc.) adding electronic sounds.
Along the lines of the music, seminal German artist Oliver Ross has created a massive multi-layered neon-coloured collage artwork which is printed on special ultra-heavy cardboard stock." [label info]
"..Chanted vocals, whirring organs, mysterious shimmers, squiggly melodies, buzzing Theremins, electronic glitches, analog synths, wheezing harmoniums, and those are just guesses, cuz just like that museum exhibit, it's difficult to tell what the source sounds are. We also didn't try that hard. It's like trying to peek under the table to see how a magician does a trick. We don't want to know. It's more fun
to get lost in these mysterious sounds. One track even introduces a muted techno throb, and for a brief second it sounds like the weirdest
record Kompakt never released. It's really hard to describe this stuff, which is probably why we like it so much, check out the sound
samples, and hear for yourself!" [Aquarius Records review]
www.dekorder.com
|
2008 |
€13.00 |
|
|
Wave UFO |
do-7" |
"Following his latest album "Alphabet 1968" on Type Records and several releases for Digitalis, Trensmat and his own Dekorder label Marc Richter (aka Black To Comm) has recorded another amazing yet unexpected collection of brand new tracks. Always hard to pinpoint, on these two vinyl singles Richter's music oscillates between cosmic drones, dub, lo-fi pop anthems, musique concrete and high-pitched free jazz rhythms. Strictly limited edition of 200 copies in a large full-colour collage poster cover.
Limited edition of 200 copies!" [label info]
www.dekorder.com
|
2009 |
€12.50 |
|
|
same |
do-LP |
"Hamburg’s Marc Richter has been busy since his last Type appearance (2009’s genre-bending and critically acclaimed Alphabet 1968). Aside from helming the prolific Dekorder imprint, he’s put out a number of musical curios, including 2012’s excellent film soundtrack EARTH. Now Richter is back with Alphabet 1968’s proper followup , a sprawling double album pieced together with crumbling samples, vocal snippets and an arsenal of noise generators and filters.
Richter’s material has always been characterized by an air of surrealism, but it’s never been more obvious than on the the pulsing, chattering opener ‘Human Ghidrah’ or in the delirious fractured pop of ‘Hands’. There are real songs in hidden somewhere, but disintegrated by Richter’s sound manipulation techniques and dissolved into soupy extended drone marathons. The centerpiece is undoubtedly ‘Is Nowhere’, which builds slowly over 20 minutes with rumbling organ sounds and buzzing filters, never budging your attention for a second.
Black To Comm is a deeper, more challenging record than its predecessor, but one which repays the patient listener. Richter’s dusty, unique sound has never sounded more well-honed and pointed, and it’s a patchwork of ideas and fragments that only improves over time." [label info]
www.typerecords.com
|
2014 |
€23.50 |
|
| |
Seven Horses for Seven Kings |
do-LP |
2xLP packaged in a gatefold jacket with black inner sleeves. A limited quantity is pressed on one of a kind green mashup vinyl. Check out the unboxing here!
CD version in 4-panel mini-LP style gatefold jacket.
Black To Comm is the solo project of German sound artist Marc Richter. Through his output both as an artist and through his eclectic Dekorder label, Richter has established himself as a singular voice of new music. Operating at the fringes of drone and ambient genres, his music is darkly magical and deeply atmospheric, underpinned by a signature surrealism. A relentless sonic explorer, Richter approaches the studio as his instrument, using sampling, analogue production and digital manipulation to offer an almost infinite choice of tones and textures. Audio fragments are liberated from their original context and sculpted into surprising new shapes, creating work that transcends time or genre. Seven Horses For Seven Kings sees Richter reaching out again into the limitless field of sound, summoning forth his darkest and most visceral work to date.
Seven Horses For Seven Kings was completed during a particularly prolific period for Richter. Working on a broad range of commissions since his last album - from writing for film and theatre works to composing for art installations, apps and sleep music - generated a flurry of new ideas and influences. Site-specific residencies in particular let Richter shift his focus from melody and song architecture to more abstract sound art. Extensive touring would equally come to inform a key shift in Richter’s music, simulating the raw, unpredictable energy of live performances on record. Rather than ironing out mistakes in samples or his own playing, he exploits or even forces such imperfections. While rhythm has been largely absent from previous Black To Comm releases, here the music seems totally bound to it, from the fractured techno breaks of ”Fly on You”, to the pounding war drums of “Rameses II” and pulsing Mellotron sounds of “Angel Investor”. The album’s breath-taking pace drives Richter’s music to new levels of intensity.
Richter’s creative practice is informed as much by careful, attentive listening as it is studio experimentation. Pieces often begin life as a single sound that catches his ear, be it a record from his extensive collection, or something in the natural environment. Samples and instrumentation are sometimes presented authentically, a deliberate reference to an era, place or player, and at other times are twisted beyond recognition. Samples from contemporary artists like Nils Frahm are bent and compounded with fragments of early recorded music and medieval song. Richter blurs the lines between organic instrumentation and digital production to the extent that the two become inseparable. Being able to separate sound from context gives Richter complete command of the emotional impact of his music, imbuing pieces with meaning or stripping it back as he sees fit.
While Richter questions whether instrumental music needs to have deeper meaning beyond its sonic qualities, he accepts that the wider world inevitably bleeds into his art. Reflecting the violence and unreality of modern life, Seven Horses For Seven Kings is unashamedly dark, undeniably angry. But rather than be consumed by such emotions, Richter employs them as ecstatic release. Through his mastery of sound, he achieves transcendence through noise, beauty through intensity.
www.thrilljockey.com/products/seven-horses-for-seven-kings
|
2019 |
€23.50 |
|
| BLACK TO COMM / AOSUKE |
same |
LP |
"....THE TWO BRAND NEW TRACKS BY BLACK TO COMM ARE CONTINUING THE MASSIVE ORGAN/VOICE DRONE ALCHEMY OF THE LAST DOUBLE-LP WHILE REFINING AND PERSONALIZING HIS SOUND, REACHING NEW HEIGHTS OF BLAZING SONIC MYSTICISM. AOSUKE HAVE DECIDED TO HOME-RECORD THEIR NEW MATERIAL, CONTINUING THEIR LOOP-ORIENTED, MONOTONE YET HIGHLY MELODIC AMBIENT JOURNEYS. WORKING WITH REPETITION AND SMALL ABSTRACTIONS, ALL INSTRUMENTAL "LOOPS" ARE PLAYED BY HAND AND RECORDED LIVE WITHOUT OVERDUBS (ONE OF THE MAIN PRINCIPLES OF THE GUITAR/ELECTRONICS DUO), CREATING SURPRISINGLY CONCRETE DORMANT AND SOMNAMBULISTIC SOUNDSCAPES WHILE FORTUNATELY COMPLETELY LACKING THE WASHY AND DROWSY EFFECTS OF MOST AMBIENT MUSIC.
BLACK TO COMM IS THE ONE-MAN PROJECT OF MARC RICHTER WHO IS THE BRAIN BEHIND THE DEKORDER LABEL AS WELL. SO FAR HE HAS RELEASED TWO ALBUMS ON HIS OWN LABEL ("RÜCKWÄRTS BACKWARDS" AND "WIR KÖNNEN LEIDER NICHT ETWAS MEHR ZU TUN..."). AOSUKE IS THE DUO OF TOBERT KNOPP AND ULF SCHÜTTE, THE LATTER BEING A LABEL HEAD AS WELL (TAPE TEKTONIKS). LAST YEAR THEY HAVE RELEASED THEIR DEBUT "MONOTONE SPIRITS" ALBUM CO-RELEASED BY HAMBURG'S AUDIOLITH LABEL AND SOUTH GERMANY'S MEUDIADEMORTE LABEL." [label info]
"...A nearly sidelong track that begins with a wavering Goblin-y synth, that buzzes warmly and endlessly, an epic stretch of near static drone, drenched in overtones and subtly flickering variations in texture, and surrounded on all sides by distant barely audible scifi melodies and field recordings. Eventually this synthdrone is joined by another tone, this one more grinding and distorted, that slowly builds and builds along side the first, the intensity growing and growing as well as the volume, and the various surrounding sonic events seem much more frenzied, until everything levels off in some sort of Niblock style drone, the various layers beating against one another, notes and tones shifting subtly, the sound seemingly alive, flecked with shards of melody and bits of buzz and swirling effects. It's a glorious sound that enraptures and entrances, eventually, fading out and releasing the listener from their glorious trance. The side finishes off with a brief coda of humid late night soundscaping, the sound of the moors, or the plains, some mysterious dark emptiness, droning and ominous, with creepy reverbed vocals and all sorts of night sounds tangled up in the track's undulating shimmer. The flip side features a group called Aosuke, who we weren't all that familiar with, but whose sounds are as dark and gorgeous and Black To Comm's. But where BtC focus on sound and drone, Aosuke focus on melody as much as texture, with guitar being the focal point, a blissy soft focus guitar ambience, crystalline notes drifting through clouds of space-y effects and strange processed and blurred vocals, it sounds almost like how you might imagine a Durutti Column record on Morr Music might sound. Organic melodies, natural sounds, all tangled up in strange electronic soundscapes, very meditative, a little krautrocky at times, and so so pretty." [Aquarius]
www.dekorder.com
|
2007 |
€12.50 |
|
| BLACKHUMOUR |
Selected Pieces |
CD |
"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] |
2014 |
€10.00 |
|
| BLACKSHAW, JAMES |
Love is the Plan, the Plan is Death |
CD |
"Important is proud to welcome back James Blackshaw for his first full length on Important since his breakthrough album O True Believers was released on the label in 2006. James has since forged a remarkable career achieving critical praise for his dexterity, his deep, connected songwriting and his beautiful arrangement. Love Is The Plan, The Plan Is Death is available on CD & LP. LP pressed in an edition of 1000. Limited stock of color vinyl for mailorder customers.
Written at a time of great emotional disquiet, the hauntingly beautiful and bittersweet ninth
full-length studio album, 'Love Is The Plan, The Plan Is Death', from British guitarist-composer James Blackshaw was recorded at Soma Electronic Music Studios, Chicago in December 2011 by engineer Andrew Hernandez (Balmorhea). The six original pieces contained on the album (whose titles are lovingly misappropriated from those of short stories by the late, great science fiction author James Tiptree Jr AKA Alice B. Sheldon,) are based alternately around nylon-string classical guitar and grand piano, with spare and subtle vibraphone and B3 organ parts overdubbed by Blackshaw himself. Geneviève Beaulieu (Menace Ruine/Preterite) adds her stunning and powerful voice and words to track 'And I Have Come Upon This Place By Lost Ways'. 'Love Is The Plan' is an incredibly warm and intimate recording and perhaps
Blackshaw's most concise, consistent and overtly melodic to date." [label info]
www.importantrecords.com |
2012 |
€13.00 |
|
| BLACKSHAW, JAMES & LUBOMYR MELNYK |
The Watchers |
LP |
"The Watchers is a historic collaboration between Lubomyr Melnyk and James Blackshaw. Both artists are well known as composers but here it is their impovisational skills that are on display. First 200 copies of the LP will ship on blue vinyl. CD version is packaged in a heavy duty digipak.
I first met Lubomyr Melnyk at a festival called Hea Uus Heli in October 2008. We were both scheduled to play that day and I was very excited to see him perform. Before the show I bought several LPs from him and mentioned as much. Lubomyr (more than modest and courteous, as he always is) asked me what I was doing at the festival and I replied that I was also performing at the festival a little later, to which he responded "I'll come and watch you", before being ushered into the hall to play one of the most staggeringly sonorous and beautiful sets I've ever heard. It was overwhelming, full of pathos and I left the hall with those incredible overtones hanging in my ears for hours.
A couple of hours later, I was onstage when I glanced up and saw Lubomyr, true to his word, stood in the audience watching me attentively. I felt incredibly nervous. It's not everyday you get to play for someone who has greatly inspired and influenced your own music. After the show, I packed up my guitar and came out to meet the crowd. The first person who greeted me was Lubomyr: friendly. full of enthusiasm and keen to hear about my music, my processes, the way in which I made music. Yet again, I was overwhelmed - for very different reasons.
"You have invented continuous music for guitar!"
I don't know if that's true or not, but I can't think of an epitaph that would make me prouder.
We also spoke about collaborating that night and via e-mail a while after, but it wasn't until January 2012, shortly after I'd moved back to Hastings, England from Ann Arbor, Michigan and Lubomyr played his first ever show in the UK at Cafe Oto that it came to fruition. John Chantler got in touch, said Lubomyr had a free day after his performance and could I come to London for a day, see what happens? He kindly agreed to record the whole thing.
We all met at the Vortex Jazz Cafe around midday. We set up, Lubomyr at the grand piano, me directly facing him with my 12-string guitar and began. I would retune at random between songs and together we would find interesting chord progressions, hints of melodies and ways in which to weave those immense overtones that Lubomyr is able to generate on the piano with those of my guitar. No more than two takes per song. Improvisation, spontaneous composition, whatever you want to call it. Either way, it truly felt as if the piano and guitar were as one - inseparable, parts of a bigger whole, a means by which for two people to make one sound. It never felt forced and never less than engaging. Lubomyr was always humble, jovial and open to ideas. The whole session lasted six hours.
I'm not a great improviser. I always want to take that raw creative element that the form brings and work upon it, to distill and refine it further. I think Lubomyr feels the same. But there is something about these recordings that would be incredibly difficult to recapture. A small moment in time, feeling perfectly and wonderfully lost within that sound.
I'm honoured.
James Blackshaw, October 2012." [label info]
www.importantrecords.com
|
2013 |
€20.00 |
|
| BLAKK HARBOR |
Madares |
do-LP |
Debut double LP album from Blakk Harbor the Greek Berlin based artist and sound designer behing Native Instruments, Angelos Liaros. Soaring drones, dark ambiences and expertly crafted sound design. ‘Madares‘ title derives from the actual dune mountains of Crete. This moonlike landscape a sacred land of ancient ceremonies and the main inspiration for the album concept, cover and artwork. Percussive samples and drones are created from traditional custom Cretan instruments (lute, skin drums, lyra, tsabouna) & world instruments (Tibetan bowls, gongs, dungchen horns) granulized to death drones through modular synths and hardware samplers.
A black hole soundtrack that sucks you in tearing the fabric of space and time. Enter a ritualistic occult trip to the unknown.
https://blakkharbor.bandcamp.com/releases |
2018 |
€26.00 |
|
| BLEGVAD, PETER |
Go Figure |
CD |
"After 19 years, Go Figure marks the Peter Blegvad Trio's return to the studio, in supernal form and now a quintet with Karen Mantler and Bob Drake. Peter, John and Chris first met when Henry Cow was touring with Faust, in 1972. Peter was on secondment from his own group Slapp Happy, and in the following year Henry Cow and Slapp Happy merged, making two LPs before they separated again. When John Greaves left Henry Cow in 1976, he joined Peter in New York where they wrote and recorded Kew.Rhone. Peter and John have continued to work together, on-and-off, ever since. After making two solo LPs for the still vaguely experimental Virgin Records, Peter's next LP, Downtime, was made independently by ReR -- and the core players wound up being the Peter Blegvad Trio. Bob Drake first became involved during the second trio recording, Just Woke Up, which he mixed and mastered. Karen joined the trio in 2002 for a festival in Ferrara. Bob's first stage appearance with the band came ten years later, in 2012, at the RIO festival in Carmaux. ReR has been releasing the Blegvad working group's records for 37 years and this is the fourth so far. They don't come easy."
peterblegvad.bandcamp.com/album/go-figure
"Artist, poet, illustrator, philosopher, cartoonist – so broad are Peter Blegvad’s other interests, and so protean his muse, that one sometimes has to wait for years for his attention to turn again to music. But the payoff lies in the way that those other pursuits feed back into his music in the form of songs that exult in their uniqueness. Blegvad is one of pop’s very few “true originals” whose work always bears out that status.
Probably best known for Leviathan, his long-running Independent On Sunday cartoon strip, Blegvad brings a similar level of abstruse conjecture and whimsical wordplay to his lyrics, whether he’s musing, in “Sven”, upon a leathery ancient corpse preserved “in a Finnish fen”, or offering a grim reflection, in “Mind The Gap”, on how a terrorist bomb destroys the collective isolation of Tube travellers: “Blown apart and blown together, now the two of us were one”.
However, it’s not usually that dark: “Too Much” is a jaunty ragtime rumination on excess, slipping from familiar physical indulgence to more abstract realms (“too much sturm, too much drang, too much yin, too much yang”); and in “My Father’s Face”, Blegvad pirouettes on the cusp of whimsy and something more sinister, relating how he once drew his sleeping father, then erased his face. But perhaps his most elegant and amusing aesthetic reflection resides in “Way To Play The Blues”, where he uses John Cage’s epigram “I have nothing to say and I am saying it, and that is poetry as I need it” as inspiration for a (probably apocryphal) tale of the Stones asking Blegvad to help them understand the way to play the blues, a question he denudes of dues, and ultimately of volition.
Blegvad’s band, comprising various Henry Cow alumni and sundry avant-gardists, provides flexible support for his musings, from the sinister cod-reggae shuffle of “Penny Black”, about a cursed stamp, to the more indefinable brew of languid, jazzy raunch-rock conjured to convey the enigmatic villain of “Had To Be Bad”. Elsewhere, there’s an aptly Kevin Ayers-y air to the Provençal tableau “Cote D’Azur”, while “God Detector” adopts a suitably Dylanesque tone for the tale of a man with a machine he claims can trace divinity – for which, of course, he searches in vain amongst humanity.
If there is a unifying theme to the album, it’s probably to be found in the reflections upon dissipation and the futility of ambition in songs such as “Simon At The Stone” and “Winner Came There None” – songs which don’t so much disparage notions of being and doing, as prompt enquiry about the limitless ranges of experience, and their comparative values." [The Independent]
|
2017 |
€13.00 |
|
| BLOCK, OLIVIA |
Mobius Fuse |
CD |
“Sedimental’s release of the second cd from Chicago based electro-acoustic composer Olivia Block titled Mobius Fuse. This much anticipated follow up to her critically acclaimed debut Pure Gaze(sed cd028) continues her rich and unique exploration of both acoustic and electronic sounds reaching a depth and level of emotional intensity rarely heard in the field.
Olivia Block is a contemporary composer who combines field recordings, scored segments for acoustic instruments, and electronically generated sound. Her recorded work seeks to introduce, set at play, and ultimately reconcile nature with artifice in the realms of music and sound. In the process, "organic" sound becomes subtly processed, digitized and abstracted; "inorganic" sound becomes self-replicating and animate; and "musical" elements such as chamber instruments are de familiarized from their traditional associations, freeing them to participate in the larger aesthetic possibilities of sound. Her pieces are composed over long periods of time in numerous stages. She often prepares elaborate tape installations in natural sites for field recording sessions which she later integrates into her recorded compositions. In live performance, Block introduces additional elements of paradox and tension: chamber musicians perform scores which accompany pre-prepared tape material, and improvisers (often including herself) interact with "lo-fi" speaker installations and digital recordings.
Since its release, her debut solo CD, Pure Gaze (Sedimental, 1998) has been consistently included on radio play lists throughout America and Europe. It was included in Blow-Up magazine's "Top Releases" of 1999 and The Wire magazine's top ten section, "Charts"; and Julian Cowley, in the latter publication, described her as "a composer who demands serious attention." Another of her works, Piece for Scrubbing Tile, was featured in the Modern Museum of Lyon, France in 1998, as part of the Collage Jukebox installation and festival (curator: Jerome Joy). Her recorded works have been used as source material recently by Achim Wollscheid, in his Shifts release (Ritornell/Evolution). Her soundtrack work for Natalia Castro's short video piece, Fire-Fly, helped earn the project the undergraduate video award at the School for the Art Institute of Chicago in 1997. She has recorded with such artists as Jim O'Rourke and Jeb Bishop, and has performed with artists including Pauline Oliveros and Fred Lonberg-Holm. Her radio appearances include WKCR's Live Constructions (Columbia University), WLUW's Something Else (Loyola University), and others. She was a visiting lecturer at DePaul University. She has toured extensively in Japan and has Europe.
Olivia Block is self-taught. She started her musical career in Austin, Texas, in the experimental rock scene in which she played electric guitar and trumpet, sang, and created abstract tapes for play during live performances in several bands. Such tape work led her to her next trio, Alial Straa, an electro-acoustic and improvisational group including Seth Nehil ("Tracing the Skins of Clouds," Kaon records), and John Grznich ("Stomach of the sky," Staalplaat; "Absurd Evidence," Bobby J.) Alial Straa's CD, "Tunnels/Stairwell" is currently out on Alluvial records.
At present, Olivia Block lives in Chicago. Her next collaborative release, Oil and Water, an electronic composition with Petra Klusmeyer, will be released on Boxmedia records." [label info]
www.sedimental.com
|
2001 |
€13.50 |
|
| BODIN, LARS-GUNNAR |
Clouds |
LP |
Letzte Original-Kopien dieses Klassikers der schwedischen elektronischen Musik! "CLOUDS" wurde erst kürzlich auf CD wiederveröffentlicht; eine Art multimediales Drama aus Musik, Gesang, Tanz-Performance, Dia- und Filmprojektion. Eine komprimierte Fassung (ca. 45 Minuten) wurde als LP veröffentlicht, mit auffallend schönen Synth-Drones & vokalpoetischen Elementen & Gesängen, mit absolut visionärer Qualität.
"Lars-Gunnar Bodin, Swedish composer and graphic artist, was one of those who during the first half of the 60's tried to integrate elements of different fields of art in his works: instrumental music, tapes, texts, actions, projections etc.
In 'Clouds' (1972-76) he developed an advanced form of musical drama involving electronic music in 8 channels, singers, dancers and slide and film projections on five screens. The music on this record is a shortened version of Clouds, especially created for this medium." [label info]
www.fylkingen.se
|
1977 |
€15.00 |
|
| BOHMAN, ADAM |
Burnhill Row |
LP |
Incredible weird recordings from 1980 from this one half of todays still very active duo BOHMAN BROTHERS !
"1980 was an incredibe year for London's experimental music scene with many different strands. Recommended Records were rereleasing the first two Faust LP's, L. Voag had found 'the way out', Swell Maps were 'in occupied Europe'. Throbbing Gristle and other industrialists were giving plenty of live actions. Nurse With Wound had just released their first LP, as had This Heat. The other great LP on Piano Records by Steve Beresford was also on the shelves. Meanwhile, elsewhere in the capitol Adam Bohman was making his first recordings working with two budget cassette recorders. Bunhill Row was the first complete album of material, but whilst the aforementioned artists were pressing up their recordings and making them easily available via Rough Trade or the Recommended Records shop, Adam's releases remained in tiny cassette editions made for friends or exchanged on the mail art network. So here for the first time is Bunhill Row, released as it should have appeared at the time - on vinyl. It must be said that this is quite unlike any of Adam's other releases, and quite unlike his work with Morphogenesis, or his work as one half of The Bohman Brothers. This is 'songs' - 30 in all, and the main instrument used is a trumpet (an ordinary trumpet), along with a variety of other acoustic instruments and objects, many of which are still part of the Bohman armoury as known. The overall feel sits somewhere between R. Steevie Moore and Caroliner Rainbow, but this is British of course. Somehow it all works, and all in all opens another window on to the incredibly fruitful astral alignment that occured over London at this time. Adam also has a solo CD on Paradigm Discs, and also appears on 'Variations - a London compilation' the first CD released on Paradigm Discs." [label info]
www.stalk.net/paradigm
|
2006 |
€17.50 |
|
| BOLANOS, CESAR |
Peruvian Electroacoustic and Experimental Music (1964-1970) |
do-CD |
"César Bolaños is one of the leading artists of the Latin American avant-garde of the mid 20th century. Born in Lima, Peru in 1931, he was part of an astonishing generation of Peruvian composers: Edgar Valcárcel, Olga Pozzi-Escot, Alejandro Núñez Allauca, Leopoldo La Rosa, Enrique Pinilla and Celso Garrido-Lecca, among others. After studying piano at the National Conservatory in Lima, and following classes with the Belgian composer Andrés Sas (who after leaving Europe settles in Peru), he would join the group 'Renovación' (together with Valcárcel, Pozzi-Escot, Pulgar Vidal and Sas); with them Bolaños began a series of presentations and edited a music magazine. He had already composed brief pieces for piano and music for a chamber orchestra. At that time Bolaños is interested in the work of Stravinsky, Bartók and Schoenberg. But he's still far from the sound radicalism that he would reach in the future. In 1957 he traveled to New York City to study composition at the Manhattan School of Music and electronics at RCA. He met the Argentine composer Alberto Ginastera, who offered him a scholarship to study at the Latin-American Center of High Musical Studies (CLAEM) in Buenos Aires, Argentina. On his arrival in 1963, Bolaños became involved in the design and development of the electronic music laboratory of the CLAEM. There he composed his first electronic piece and the first work generated in the above laboratory: 'Intensity and Height' (1964), inspired by a poem of César Vallejo. Bolaños also composed 'Interpolations' (1966) for electric guitar and magnetic tape, 'Spaces I' (1966), 'II' (1967), 'III' (1968) for magnetic tape, the experimental audio-visual cantata 'Alpha-Omega' (1967), instrumental and mixed pieces like 'Flexum' (1969), 'I-10-AIFG/Rbt-1' (1968), and, with a commission from Radio Bremen (Germany), 'Nacahuasu' (1970), inspired by the Che Guevara diaries. Bolaños also experimented with computers, and composed two pieces with the mathematician Mauricio Milchberg. 'Sialoecibi' (1970): ESEPCO I (computer sound-expressive structure)* for piano and a recitator-mime-actor (a work that satirizes the organization language initials from the 1950's) and 'Song without words', ESEPCO II (1970) 'Homage to the unpronounced words' for piano (2 performers) and tape. For the composition of these pieces Bolaños and Milchberg introduce into the computer parameters to have the machine generate a composition from the information obtained by the composer's production. These recordings bring together for the first time a definitive edition of his work on CD." [label info]
www.pogus.com
"Electronic music from Peru? Pogus boss Al Margolis goes with his search for some of the exotic, unknown composers from the most obscure parts of the world. Carlos Bolanos was born in Lima, Peru in 1931, who also composed for piano and chamber orchestra. In 1963, while in Buenos Aires he was introduced to electronic music, which he continued to compose until 1970. After 1973 he was back in Peru, but without any further means to continue this line of work and devoted the rest of his time investigating pre-Hispanic instruments. Now for the first time his electronics appear on compact disc. Only the first piece, 'Intensidad Y Altura' is pure electronical piece; all the others combine electronics with other, 'real' instruments. About one hundred minutes here of what is best called 'difficult' music - the germanic ernste music. I must have written this before, but I am not the most right person to do this music any justice. This is a highly serious mixture of avant-garde classical music in
combination with electronic sounds. My favorite is 'Cancion Sin Palabras, ESEPCO II' for two piano's and tape, which is intense at times, soft at times and has a great touch to it, including some scarping and bending sounds. The other pieces were not bad either, but not all the time worked for these classically untrained ears. Definitely an interesting release, but perhaps I wished for some more electronics."
[FdW, Vital Weekly]
|
2010 |
€18.00 |
|
| BORGA, ASCANIO |
Altered States |
do-CD |
disc 1: recorded in january 2010
disc 2: recorded in february 2011
remastered in v2k studio
ab - treated electric guitar
the music contained in this album was recorded in two single live improvisations in studio - no overdubs or additional effects were successively added in the recording
artwork and layout by ab
portrait of ab by erika bonanni
thanks: giuseppe verticchio
© sonic boundaries sb001
https://ascanioborga.bandcamp.com/album/altered-states
"Like listening to a painter attack the canvas while drinking absinthe in the other room, Altered States is a two-disc, ninety-minute collection of solo guitar vignettes by Ascanio Borga, his first on new label Sonic Boundaries. Track titles hang off the same, great chain of roiling, evolving being – “Magma”, “Acid Landscape”, “Harsh Ground”, “Raw Science Loops” – and Borga works quickly but methodically. Altered States is formalist in the sense that no heed is paid historic, political and cultural context, all attention instead focused on the materiality of the art.
Disc one was recorded one day in January 2010, disc two also a single day, one year and one month later. Dark green outside, vital-organ pink inside. Played and treated live, no additional fiddling or overdubbing, a dozen states of mind (even grace) passionately expressed. The cumulative effect is volcanic, droning, sputtering worlds being formed, others being pulverized down to cellular level, ancient in gut feel, ablating all other thoughts. You can´t help but concentrate. Raw indulgence, visceral gratification."
[Stephen Fruitman - avantmusicnews.com/2015]
"It's hard to believe but it seems that I wrote about Ascanio Borga three times in Vital Weekly, in issue 550, 600 and 657, but not after that. I have no idea why there is such a long gap in producing some new music (and I surely would have believed it wasn't that long ago), but he manages now to release a double CD of recent works. Like before Borga's main instrument is the guitar but unlike before it's just the guitar and no percussion, wind chimes, Japanese carillon, frog guiro, samples, found sounds and objects as on the last release. He writes that 'Altered States' is an album of 'guitar solos' and that they were all recorded live in the
studio, with no additional overdubs. That still is something that leaves many options open, and Borga certainly explores a few roads here. Drones are, obviously, an important part of these twelve pieces (close to ninety minutes in total), with some of these being viciously loud and noisy, or, as in 'Magma' or 'Radiance' with an orchestral touch. Sometimes there is a more rock like approach to his guitar sound and Borga layers many of these on top of each other: effects such as loopers, delay and reverb play an important role, as well amplification. In 'Harsh Ground'
the resemblance with guitar sound is virtually gone in favour of a more abstract, controlled feedback. A minority of the pieces consist of more open ended strumming of the six strings, which I think is a pity; the release could have used a little more variation I think. The balance is now in favour of the noisy nightmares of burning distortion boxes, wandering off in the endless void of reverb and feedback. I think a stricter selection of pieces, ultimately fitting on a single disc, would have made a much stronger release. But now, spread out over two discs, this is just a 'great' one as well." [FdW/Vital Weekly]
|
2015 |
€12.00 |
|
| BORIS WITH MERZBOW |
Gensho |
do-CD |
"Renowned Japanese innovators BORIS WITH MERZBOW have teamed up with Relapse for their new collaborative 2xCD/4xLP Gensho, one of the artists' most daring works to date. Named after the Japanese word for "phenomenon", Gensho is a unique release featuring over 150 minutes of new music spread across two CDs and four LPs, available as two separate double LP sets or a deluxe 4xLP edition. The BORIS songs are completely new, percussion-less reinventions of classic tracks from the band's storied catalog, while MERZBOW's songs are entirely new compositions. The two sets are intended to be played at the same time at varying volumes so that the listener can experience their own "gensho/phenomenon" every time. As with every BORIS WITH MERZBOW release, the only thing to expect is the unexpected, lending the album near-infinite potential for aural discovery and encouraging direct interactivity with the listener rarely found in such unconventional music. An untouchable paroxysm of noisy, droning experimentation!"
www relapse.com
|
2016 |
€17.50 |
|
| BOY DIRT CAR |
Spoken Answer |
CD |
"In one of the most unlikely reunions of recent years, seminal Milwaukee noise group Boy Dirt Car announces the release of its first new recordings since 1988. Spoken Answer To A Silent Question brings together several original members -- co-founder Darren Brown, Keith Brammer and Dan Kubinski (Die Kreuzen), T.S. Wahlen and Dave Szolwinski -- and, consistent with Boy Dirt Car's classic revolving-door lineup, brings in several newcomers, including longtime Milwaukee mainstays Peder Hedman, Karl Paloucek and Jeff Hamilton. For much of the 1980s, Milwaukee was home to Boy Dirt Car's brooding sound. Influenced as much by Wisconsin's brutal winters and the dark tales of its North Woods as by any of their avant garde contemporaries, the group forged a sound different from other so-called 'industrial' bands of the day. As one reviewer once put it, 'Boy Dirt Car creates a sound not like being in a car crash, but of being under one.' Just as it cadged its industrial instrumentation from scrapyards and roadsides, BDC culled its members from across Milwaukee's vibrant music scene of the time, building up an intense following and a reputation as one of the city's most potentially hazardous acts. At the same time, the group recorded numerous (now-legendary) cassettes and LPs which, while escaping the ears of Rolling Stone, garnered them coverage in The Wall Street Journal, and -- even more unlikely -- from late advice columnist Ann Landers." [label notes] |
2008 |
€13.00 |
|
| BRAND, JENS |
Ratchets // Motors |
LP |
https://www.jensbrand.com/ratschen_images.html
Jens Brand has created a large number of installations, musical performances and interactive media works. He uses the concepts of parallel activities rather then ideas of fusion. The pieces presented on this recording focus on sonic events related to electronic music (such as intense volumes and dynamics, white noise, square or sine waves) but stay entirely acoustic.
On a live performance of »Ratchets«, the sounds are generated with the idea of a physical, sculptural, yet invisible presence. It might happen that the body of a person moving around in the audience has more impact on the sound then the variations produced by instruments themselves.
"I was always interested in the idea of making acoustic music that has the quality of electronic music," muses Dortmund based musician and visual artist Jens Brand. "Electronic music is fantastic, but I don't like speakers very much."
Take his performance entitled »Motors And Styrofoam«. Pieces of glistening white styrofoam fitted with small motors hang from the ceiling above the audience's heads, squatting balefully in mid-air like lopsided clouds. Acting as a resonator, the styrofoam amplifies the whirr of the motors, which builds up into a loud, persistent drone overlaid with overtones.
Equally uncompromising is »Ratchets«, which deploys a number of football rattles, those small wooden devices originally used by hunters. The ratchets are set in motion by motors whose speed and direction are controlled by a computer: they click busily away, producing a dense, enveloping sound reminiscent of heavy rainfall. In performance, the sound of the ratchets is spellbinding in its rawness and intensity, attaining impressive volumes as it interacts with the features of the space.
|
2023 |
€18.50 |
|
| BRANDSDAL, KJETIL D. |
Freedom Waaaoh Waaoh |
CD |
Die ersten beiden BRANDSDAL LP’s auf einer CD ! Obskurster low-fi Surrealismus! Hard to say what this really IS, as the sounds are difficult to recognize or to classify...low-fi surrealism at its best!
"The name of Kjetil D. Brandsdal has been bandied about the world increasingly over the last couple of years. Of Norwegian origin, though resident for the last three years or so in Northern Ireland, Kjetil has carved quite a niche for himself as a 'sound artist'. Exhibiting a sterling self-reliance, he emerged first via a slew of self-released cassettes (about ten in all), then followed these with two self-released LPs and a slew of singles on labels such as Boblador, MykeDroner, and Betley Welcomes Careful Drivers. The LPs were manufactured in editions of 300, and got snapped up pretty damn fast, but not before he sent one to H-Corp HQ in the far antipodes. The CD currently under consideration was the natural result, once the Hermetically-tuned ears of the corporation got a whiff of the lo-fi, droning, tape-looped improv. spew that Kjetil was purveying, it was a done deal. The Freedom CD compiles choice tracks from both LPs, KDB and Kjetil D. Brandsdal, but also features the full-length version of 'III', originally restricted to just one whole LP side, it now closes the CD at a full 35 minutes. The recorded pieces are devoid of drums, most rhythms coming from tape loops or guitar parts, and generally levitate the consciousness pretty effectively in a ceilingwards direction. Production appears to be on porta-studio in most cases, and headphone listening reveals some pretty cool mix-work in a style not a million miles from our own Omit, but retaining a unique Nordic 'grittiness' in sound."[press release]
“Of Norwegian decent, though a current resident of Northern Ireland, Kjetil D. Brandsdal constructs ominous lo-fi droning tape loops similar to a gritty variant of Omit accompanied by throbbing de-tuned bass and occasional post-VU strum. A very nice introduction / documentation on the perennially great Corpus Hermeticum!” [Aquarius Records]
|
0000 |
€14.00 |
|
| BRUME |
Ainsi-soit-il! |
LP |
"LP album, numbered and stamped vinyl limited edition of 250 copies. Alone, you have to listen to BRUME alone, and lie down far from the neon lights, traffic and gossips, with your lights filtered. In the dominating dark and night, BRUME carries an atomized reality to a world where chaos rhymes with spatial waverings, where atmosphere is devoid of impurity, rich with sonorities and dense with emotions, for a mysterious but undoubtedly innovatory trip. In these days of mist, 'Ainsi soit-il!' envelopes us with a rich, complex and experimental coat." [label info]
http://rotorelief.com
|
2009 |
€19.50 |
|
|
Anastomose |
CD |
"A5 gatefold cover. Limited to 444 copies. "Anastomose 1 & 2" was previously released as a picture 10" LP by Ant-Zen in 1996 and remastered from DAT-master in March 2013.
"Seven Trumpets" was previously released as a cassette by Voluntary Whores in the end of 2012 and remixed, overdubbed in March 2013.
"Charlemagne the 33rd" was previously released as a 7" EP called "Charlemagne" by Membrum Debile Propaganda in 1997. Side one was remastered from DAT-master in March 2013." [label info]
www.nefryt.serpent.pl
|
2013 |
€12.00 |
|
|
Enola |
mCD-R |
"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
|
2015 |
€5.00 |
|
| |
La Violence du Neant |
CD |
Long existing project of famous French composer Christian Renou, operating between the boundaries of musique concrète, sound collage and industrial noise.
His latest full work dated from 2019 ('The Rusty Seeds' - LP 100 cps on EE Tapes).
Here is his brand-new opus, a magnificent one-tracker (69 mins!) recorded and finished between 2020-2022.
Voice manipulations, percussive fireworks, unsettling atmospheres, eerie passages etc, it's all there and more.
This could be Heaven or this could be Hell!
Filed under: abstract, electroacoustic, experimental, field recording…
Listen and order here (CD + DL):
https://eetapes.bandcamp.com/album/la-violence-du-n-ant
"We rarely find a quote from Joseph Goebbels on a record cover, something about a repeated lie becoming a reality. I believe the quote here is not an excellent translation, but alas. It might also not be from Goebbels. So, there you go, with things being untrue. The title of Brume's latest work translates as 'The violence of the
void' if Google Translate works as it could be. Brume is the long-standing project of Christian Renou. His first cassette is from 1985, and he has been active ever since, but he has periods of fewer activities. The single piece was recorded from 2020 to 2022 using reel-to-reel tapes, cassettes, field recording (bunker acoustic; maybe that means recording inside a bunker?), DIY wind instruments, percussion, metal percussion, electronic toys, voice, and a three-string guitar. Well, 'etc.' implies there is more. Even when the CD has a single, seventy-minute piece of music, the cover has twelve titles, and it's hard to say where one begins and the other stops. I have no idea why that is, and there are clear points with very few sounds, which might indicate the start of the next. Why not separate tracks, I wonder? I always hear Brume as the music project with very little silence. Sure, there is some between the various segments, but once the music is there, something is always happening.
One of the musical changes, so it seems, is that Brume plays somewhat less abstract music and works a bit more on melody and structure. It's not that he now plays pop music, but at some point, Renou might be singing; if it is his voice, we hear. The pieces are pretty diverse, but it is a very coherent album. Deep bass sounds, neatly processed field recordings, carefully placed voices, bowed instruments, atmospheric soundscapes and looped percussion. At times, dramatic music shifts back and forth, but not humourless. High-quality music, lasting over an hour and never once leaping into boredom; I never expect Brume to do that. Another consistent landmark of quality." (FdW)
|
2023 |
€13.00 |
|
| BRUNNEN |
The Beekeeper's Dream |
CD |
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]
|
2006 |
€10.00 |
|
| |
The Beekeeper's Dream |
LP |
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]
|
2006 |
€17.00 |
|
| BRUYNDONCKX, JAN |
Rails and other Tracks |
LP |
First ever release of concrete and electronic collage works by Belgian underground sound explorer Jan Bruyndonckx. This album contains autonomous compositions, music for film and documentary all independently recorded in his private studio between 1958 and 1965.
A small collection of adventurous and mysterious sound evocations with text/poetry (Paul De Vree) recited by Julien Schoenaerts.
https://lasciedoree.be/shop/lp/jan-bruyndonckx-rails-and-other-tracks-lp/
"Metaphon’s guided tour of Belgian avant garde crypts leads to a mind-blowing first ever showcase of Jan Bruyndonckx 1958-65 autonomous compositions, plus concrète and electronic works for film and documentary - a 100% must-check for early electronics heads, from Henry and Schaffer at the GRMC, to Tod Dockstader in Hollywood.
Identifying another hole in the history books of experimental music, ‘Rails and Other Tracks’ yields an overdue insight to Jan Bruyndonckx’ independent work at a private studio separate to the usual academies and conservatoires. Like a Belgian parallel to the pioneers of the GRMC in Paris, or more acutely the cartoonist-turned-concrète innovator Tod Dockstader in Hollywood, Bruyndonckx similarly worked closely with moving image during the same years, and its not hard to hear a visual quality to his own works, which form a brilliantly peculiar and proto-psychedelic world unto themselves in this collection. We’d wager one will only be left scratching their head not just at the music, but also the fact this gear has remained out of earshot for so long, excepting a couple of compilation appearances with Alga Marghen and Ultra Eczema many years ago.
Tapping into something of an enduring Belgian obsession with trains (as evidenced in recent aces by Ann Eysermans and Stroom’s Nosedrip), Bruyndonckx opening piece ‘Rails’ (1958) feels like a wilder, almost lysergic answer to Pierre Schaeffer’s 1948 locomotion study ‘Études aux chemins de fer’, and sets the tone for an utterly immersive dive into his work over the proceeding years. Considering the intensely laborious process of constructing concrète sound back then, his 10 minute piece ‘Diamant’ is hugely impressive not least for its duration, but also the vivid imagination at work within, while ‘Amen’ (1962) genuinely dropped our jaws with its uncannily prescient elision of screwed noir jazz samples and ‘Fiorucci’-esque vocal cut-ups - seriously what the actual fuck‽ Likewise his ‘Untitled’ work pre-echoes soundtracks to Eraserhead and La Jetée, and there’s a properly poetic sense of license to ‘Evanaaste’ (1963) with its Paul De Vree text recited by Julien Schoenarts over a more daydreamy-bucolic variant, whereas the cut-up vox of ‘Variaties’ (1960) is better compared with a Burroughs’ approach, and then there’s the avant Hanna Berberian animation workshop madness of ‘De Geometrische Eend’ (1965) to utterly polish you off." [Boomkat] |
2022 |
€22.00 |
|
| BRYARS, GAVIN |
In La |
LP |
"In Là" is the outcome of the collaboration between Gavin Bryars and the Italian visual artist Massimo Bartolini. Staged as a large-scale installation at the Luigi Pecci Centre for Contemporary Art in Prato, Italy, (the opening was in autumn of 2022 and the exhibition is still running until May this year), Bartolini transformed scaffolding into pipe organ bars, suspended from the ceiling across seven rooms of the museum as the central piece for his retrospective exhibition. It is the music played by these singular organs, composed by Bryars, that makes up the two sides of Alga Marghen's LP edition. The music of "In là" by Gavin Bryars directly refers to his experimental and conceptual territory of the early 1970s, prior to the composition of seminal works like "The Sinking of The Titanic" and "Jesus' Blood Never Failed Me Yet". "In Là" presents the composer working across the vast space of the installation, with sounds physically spread in each of the museum's rooms and placed in careful consideration of the space continuity, while at the same time never fulling being experienced in its totality by the listener. This allows the LP documentation of the work to become a singular complement to the live, real-time aural adveture, unveiling phenomena and perceptions of the work's rich tones and poetic structures that would otherwise be unavailable. While Gavin Bryars background in music is well documented (started as a jazz bassist working in the early 1960s with improvisors Derek Bailey and Tony Oxley, later worked with composers John Cage and Cornelius Cardew, founded the Portsmouth Sinfonia and collaborated with Brian Eno to the Obscure Records series), the connections of Massimo Bartolini's poetic to sound as less known. The early practice of modifying architectural or domestic devices into sound producers, eventually led Massimo Bartolini to create installations made of scaffolding tubes which are modified into the pipes of an organ. Conceived in different forms and in relation to different architectural contexts since 2008, these works clearly relate to Baroque organs, the most visual of musical instruments, and to the use of scaffolding in construction sites. From these references they adopt the quality of being part instrument part architecture, a work of sophisticated engineering, a "ladder" for climbing up to God. If Baroque organs render visible the intangibility of music, though, Bartolini's scaffolding amplifies a machine, extends its breath, turning it into music. The organ conceived for the solo survey at Centro per l'arte contemporanea Luigi Pecci in Prato is the largest incarnation of these series and altogether the largest installation ever conceived by the artist. Hung from a structure that runs along the museum ceiling and suspended just centimeters above the floor, Bartolini built a continuous 75-meters-long wall of scaffolding tubes which winds through seven of the ten rooms of the exhibition space. For this structure of complex engineering Gavin Bryars was invited to compose a specific polyphonic score. Assigning each room a unique melody, the composition creates a richly layered soundscape that is constantly shifting with the viewer as they move through the space. As the title suggests-alluding to the dominant tonality (La) of the piece-the score is always "beyond," out of reach, never experienced in its entirety by a single listener as, in fact, the shape of the organ itself." (label info) Edition of 400 numbered copies, including an insert with liner notes and photo documentation of the installation
|
2023 |
€22.50 |
|
| BURROUGHS, WILLIAM S. |
Three allusive Tracks from Break Through in a Grey Room |
7inch |
Sammler-Single! BURROUGHS-Extrakte vom Cut-Up Klassiker "Break Through in Grey Room", von STEPHANE BLANQUET mit kunstvollem Cover versehen..
"CUT UP TAPES. three extracts from one of our absolute classics (WS Burroughs: Break Through In Grey Room CD-LP SR08). Extraodinary cut-up voices recorded during the mid-60's in hotel rooms in New York, Paris, London... introduced as a very limited edition of 300 copies only. labels designed by famous french artist Stéphane Blanquet www.blanquet.com " [label info]
www.subrosa.net
|
2009 |
€11.00 |
|
|
Curse Go Back |
LP |
"William Burroughs was in and out of London from the mid-50s to 1974 and for several years quite settled in a flat near Piccadilly. During this latter time he developed and refined the techniques he used for creating cut-ups on tape. Working closely with Ian Sommerville, who helped acquire, and no doubt maintain, the various tape recorders that Burroughs used and abused in these experimental works. The work here is in two sections, which in their original form lasted for over an hour and first appeared in 1998 under the name Electronic Revolution as a free CD with Issue One of the French magazine Crash. The CD was quickly withdrawn with maybe only 100 copies finding their way into circulation. This edition is edited down to 46 minutes and comprises the core of the original recording. It employs the now familiar techniques of random drop-ins and cut-ups of readings. The readings themselves are also cut-ups of words on the page. The first section of the tape uses further processing by means of a second tape recorder. Recorded in Duke Street in 1968, the tape was then passed on to Brion Gysin in Paris where it remained in his archive until 1998. This is the first readily available edition of an hypnotic and meditative recording that examines the hidden power of words. Closer to work of sound poetry than anything literary. The album includes a 12"x12" insert with an essay by Ben Harper and several previously unseen portrait photos of Burroughs, taken by Harriet Crowder in her Hammersmith flat during a drug experiment. The back cover uses another Crowder image - the very next frame after the famous shot that appeared on the cover of the English Bookshop/ESP Call Me Burroughs LP (1965). Pressed at Optimal on transparent vinyl. Edition of 500 (numbered)."
|
2016 |
€22.00 |
|
| |
Let me hang you |
LP |
Twenty years ago, William S. Burroughs was asked to record an audio version of his favorite parts of Naked Lunch. Longtime associates and producers Hal Willner and James Grauerholz produced several sessions, and they recruited a team of world class musicians to help. Famed for their Naked City involvement, Bill Frisell and Wayne Horvitz contributed their genius, as well as Eyvind Kang, just to name a few. The recordings were then abandoned and collecting dust on a musty shelf, as forgotten as a piece of rancid ectoplasm on a peepshow floor.
In 2015, Hal Willner decided to reopen this unfinished masterpiece and asked help from King Khan (a musician that he and Lou Reed admired and became fast friends with). Hal sent Khan all of the recordings and asked him to add his gris gris to this extremely perverted gumbo... and history was made and the scum began to rise!
King Khan recruited M Lamar, the creator of the "Negrogothic" movement and the identical twin brother of transgender actress Laverne Cox (Orange is the New Black), and The Frowning Clouds, a band of young Australian boys who have mastered the sixties garage punk sound -- and that perhaps WSB would have also enjoyed for other purposes a long time ago.
Let Me Hang You is a collection of depraved genius straight from the godfather of punk's very own mouth. If chills and thrills are what you seek, then look no further -- here is the bible of freakdom, recited by the pope of the underground... Now, pull the chair from underneath you and see what happens!
Produced by James Grauerholz, A. A. Khan & Hal Willner
Words by William S. Burroughs
Published by Nova Lark Music (ASCAP) administered by Songs of Virtual (North America) and Touch Tones Music (Rest of World).
Recorded and Mixed by Vera Beren, James Grauerholz, Wayne Horvitz, Eric Liljestrand, Robert Rebeck & A. A. Khan at Hairball IV Studio and Mercy Studio in Lawrence, KS, Wayne Horovitz's home studio in Seattle, WA, Eric Liljestrand's home studio in Venice, CA & King Khan's Moon Studios in Berlin, Germany.
Edited and Sequenced by Hal Willner
Reading from Burroughs’ novel, Naked Lunch, using an Abridgement edited by Nelson Lyon
Artwork by Michael Eaton & A. A. Khan
Mastered by Nene Barratto at PorcAudio, Berlin, Germany.
In loving memory of Nelson Lyon.
Music by Bill Frisell (Published by Friz-tone Music), Wayne Horovitz (published by Other Room Music), Eyvind Kang (published by Deformed Music, A. A. Khan (published by House of Hassle), Hal Willner, El Congo Allen, Nick Van Bakel & Reginald M. Lamar.
credits
released July 15, 2016
William S. Burroughs - voice
King Khan – guitar, bass, violin, VCS 3 Synthesizer, piano, organ & drums
Bill Frisell - guitar
Wayne Horvitz - keyboards
Eyvind Kang - violin, erhu & shani
El Congo Allen - Trumpet
Tony Sher -bass
Kenny Wollesen - drums
Jenny Scheinman - violin
Hank Roberts - cello
M Lamar - vocals
Hal Willner - samples & turntables
The Frowning Clouds:
Jake Robertson – Bass
Nick Van Bakel – Guitar
Zak Olson – Guitar
Daff Gravolin - Guitar
Jamie Harmer - Drums
https://khannibalism.bandcamp.com/album/let-me-hang-you
|
2016 |
€23.00 |
|
| BURROUGHS, WILLIAM S. & BRION GYSIN |
same |
LP |
Rare recordings of beat/cut-up writers and artists William S. Burroughs and Brion Gysin. Comprises the complete recording of Burroughs reading live in Liverpool in 1982, plus performances by Gysin of a selection of his permutated poems, as well as home recordings made by the pair in Paris in 1970. All recordings are taken from original tapes in the British Library collection.
Ltd Edition 180g vinyl.
Officially licensed from the British Library, The Estate of William S Burroughs, and The Estate of Brion Gysin.
credits
released May 10, 2021
SIDE A:
1. The Beginning is also the End (excerpt)
Speaker: William S. Burroughs
Recording date: Unknown, probably
c.1963
2-6. Reading at the Centre Hotel, Liverpool
Speaker: William S. Burroughs
Date of recording: 5.10.1982
SIDE B:
7-10. Reading at the Centre Hotel,Liverpool cont.
11. Cut-Ups Self-Explained
Speaker: Brion Gysin
Date of recording: c.1960-1962
12. I Am this Painter Brion Gysin
Speaker: Brion Gysin
Date of recording: c.1960-1962
13-18:
Pistol Poem
I’ve Come to Free the Words
No Poets Don’t Own Words
Calling All Reactive Agents
Junk is No Good Baby
Kick That Habit Man
Speaker: Brion Gysin
Date of recording(s): 1960-1962
19. I Am That I Am
Speaker: Brion Gysin
Date of recording: 1962
20-22. Invisible Art (three versions)
Speaker: William S. Burroughs
Date of recording: 22.03.1970
23. 'Silky supple mirrors to be folded...’
Speaker: Brion Gysin
Date of recording: 22.03.1970
https://coldspring.bandcamp.com/album/william-s-burroughs-brion-gysin-csr293lp
|
2021 |
€28.00 |
|
| BVDUB & IAN HAWGOOD |
The Truth hurts |
CD |
"Brock and Ian were introduced to each other through Mike, who ran a small but perfectly formed record label and shop called Smallfish Records. Mike had this crazy idea that Brock and Ian were like two musical peas in a pod and that they should work together. Mike wasn't wrong, and the first musical product of this 'poddom' was Brock's own bvdub release 'Tribes at the Temple of Silence ' on Ian's label - Home Normal. The second is a musical collaboration between the two titled
'The Truth Hurts.' 'The Truth Hurts' was put together and created in their current respective homes of China and Japan.
The album is a reflection on not only loneliness, but the stark reality – and hidden beauty - with which it is forever entwined. Ian poured over old recordings, recent recordings and even recorded new work as a sketchpad for Brock to work from, and in the end, Brock wove Ian!s recordings from 1999-2011 together with his own, forming his own oceans of drones, walls of emotional abstractions, field
recordings, and even live recordings that would see the initial sketches become complete narratives, each with a very different story to tell. The result is a raw and unbridled experience – one that pays homage not only to the eternal and often crushing beauty of loneliness, but also the days when music only worried about speaking from the heart.
'The Truth Hurts' is a labour of love, a reflection on isolation, and a message of strength through innocence undimmed.
NOTE: All profits from this release will go to relief funds in Japan, directly used by Ian's wife who is currently working with both the Japan Earthquake Animal Rescue and Support organisation (JEARS) in Sendai and surrounding areas, as well as the Direct Help for Victims and Animals Rejected from Shelters in Japan group who are going up to areas which are not receiving government support for food, water, basic supplies, as well as rebuilding and cleaning up. Thank you." [label info]
www.nomadickids.com
|
2011 |
€13.00 |
|
| BÜSSER, MARTIN |
On the Wild Side : Die wahre Geschichte der Popmusik |
BUCH |
On the Wild Side
Die wahre Geschichte der Popmusik
Martin Büsser
Über Pop schreiben können viele. Pop erzählen, einordnen und fundiert bewerten konnte Martin Büsser (1968-2010) wie kaum ein Zweiter. Seine zahlreichen Artikel und Interviews basieren genauso wie »On the Wild Side« nicht einfach auf Namedropping, Insiderwitzchen, Daumen hoch oder runter, sondern sind der Beweis für einen Zugang zur Popmusik, der immer auch die gesellschaftlichen und politischen Bedingungen mitdachte und herausstellte, unter denen sie entstand.
Für Martin Büsser war nicht die Popularität von Bands oder InterpretInnen von Bedeutung, sondern deren Originalität und historische Wirkung, beides bekanntlich Parameter, die sich nicht unbedingt in hohen Chartplatzierungen oder Verkaufszahlen niederschlagen. In »On the Wild Side« benennt er vielmehr die interessantesten Momente und ProtagonistInnen der Popgeschichte und ordnet sie in eine große Erzählung über die innovative und rebellische Musik von den 1960ern bis in die frühen 2000er ein.
»Jimi Hendrix ist unmittelbar mit den 68ern verbunden, Punk mit den sozialen Umständen im Großbritannien der ausgehenden Siebziger. Die Zeitumstände machen Musik nicht nur spannend, sondern überhaupt erst verständlich. In der heutigen, von Zitaten nur so durchdrungenen Popmusik gilt deshalb mehr denn je: Wer die Musik verstehen will, muss auch ihre Vergangenheit kennen.«
+++
Mit einem Spotify-Account könnt Ihr über folgenden Link in zahlreiche der im Buch erwähnten Songs reinhören:
https://open.spotify.com/user/ventil-verlag/playlist/0kVzmrsilPgVdQsnWKK3Fm
+++
Die Presse
»Eins der umfassendsten, uneitelsten, klügsten und vollständigsten Kompendien zur Popgeschichte. Allein die Plattentipps am Ende sind eine kleine demokratische Revolution im ehrgeizigen Königreich des Musikwissens.« (Frankfurter Rundschau)
Inhaltsverzeichnis
1966–1972
Pop: Ein Stil wird geboren
»Show Me the Way to the Other Side«
Krautrock – Deutschland auf der kosmischen Autobahn
1973–1980
Zeit der Dinosaurier
Die Punk-Explosion
New Wave – Neue Wellen zwischen Elektronik, Lärm und Roboter-Pop
Industrial – die Nachtseite der Zivilisation
Disco-Fieber
1981–1989
Neue Deutsche Welle
Sommer 1982 – die Blütezeit des Pop
HipHop
Independent-Szenen und die Durchdringung der Stile
1990–1999
Grunge
Techno
Rechtsrock und die Folgen
Neue Szenen, neue Wege: Postrock, Riot Grrrls und Sadcore
Pop im neuen Jahrtausend
Unterwegs in die Zukunft
Anhang
Plattentipps
Register
https://www.ventil-verlag.de/titel/1454/on-the-wild-side
|
2013 |
€14.9 |
|
| CAMBERWELL NOW |
All's well |
CD |
Endlich wieder erhältlich, die CD mit dem Gesamt-Material der THIS HEAT-Nachfolgeband!
"1982 lössten sich This Heat auf, bzw. verwandelten sich in Camberwell Now. Gareth Williams hatte die Gruppe verlassen und sich nach Indien aufgemacht, um neue künstlerische Herausvorderungen zu suchen (er starb im Dezember 2001). Bullen und Hayward hielten This Heat danach noch eine Weile am Leben, zeitweilig unterstützt von dem Bassisten Trefor Goronwy. Doch irgendwann stieg auch Bullen, der sich ein eigenes Tonstudio aufgebaut hatte, aus. Damit war das Projekt This Heat beendet. Hayward und Goronwy machten allerdings gleich weiter. Zusammen mit dem Klangkonstrukteur Stephen Richards hoben sie Camberwell Now aus der Taufe, benannt nach dem Wohnort der Gruppe (und auch dem ehemaligen von This Heat), dem Londoner Vorort Camberwell. Camberwell Now haben zwei EPs ("Meridian" von 1984 und "Greenfingers", 1987) und eine LP ("The Ghost Trade", 1986) eingespielt. Alle drei Alben wurden 1992 zur CD "All's Well" zusammengefasst, die beim schweizer RecRec-Label erschienen ist. Zusätzlich wurde noch ein Stück daraufgepackt, welches vorher nur auf einem Kassettensampler veröffentlicht worden war ("Daddy Needs A Throne"). "All's Well" bietet somit das komplette Œuvre der Band.
Die Musik von Camberwell Now unterscheidet sich recht deutlich von den Klängen von This Heat, obwohl es gewisse Gemeinsamkeiten gibt. Bizarr und schräg ist die Musik immer noch, der gequälte Gesang von Hayward hat sich auch nicht allzu sehr verändert und auch sein virtuoses Schlagzeugspiel ist sofort wiederzuerkennen. Gab es auf den This Heat-Alben aber rohe Klangexperimente und kaputte Songs zu hören, ist die Musik von Camberwell Now melodischer und musikalischer geworden. Experimentelles Tonschweben, industriellen Krach und bizarre Tonkollagen sucht man hier fast vergebens. Sehr virtuos musizieren Bass und Schlagzeug miteinander, treiben die Musik bestimmt und energiegeladen voran, angereichert mit diversen Sounds und Geräuschen vom Tonband und verschiedenen Keyboards, gelegentlichen Einlagen an der Gitarre und dem sehr eigenen Gesang Haywards. Auf den Stücken von "Greenfingers" gibt es zusätzlich noch Saxophon, Flöte und Viola von Maria Lamburn zu hören. Das Ergebnis sind sehr intensive, meist sehr rhythmische, etwas klaustrophobisch wirkende, schräge Rocksongs, neo-canterbury-artige Artrocker, mit Postpunk-Flair und einer unterkühlten, fast depressiven, stellenweise sehr hektischen Atmosphäre. Reichlich seltsam, rhythmisch und schwebend zugleich, kalt, aber sehr direkt ist diese Musik. Heutzutage würde man diese Klänge wohl in die Postrock-Schublade stecken.
Wer This Heat schätzt, insbesondere Haywards Gesang, oder auch die Solo-Scheiben von Robert Wyatt (es gibt da gewisse atmosphärische und stimmliche Ähnlichkeiten), der sollte versuchen sich "All's Well" zu besorgen." [Achim Breiling / Babyblaue Seiten]
"After the demise of This Heat, Charles Hayward continued to work with Trefor Goronwy, bassist from the last manifestation of the group, the two of them joining forces with Steve Rickard who, for the new band, designed the cassette switchboard a kind of proto-sampler - but thats not the half of it (Steves article fully explaining the device is reprinted in the new, expanded booklet that comes with the CD). Musically, Camberwell both followed and departed from the style of This Heat. Formally and gesturally there are common elements, but there is far greater transparency and the sound palette is quite different: the music is more placed than grown, as the slow accumulation and evolution of material in This Heat gives way to a more immediate and orderly development of the material in Camberwell Now. The songs - nostalgic, scary, quietly desperate - peer into the future to find harbour but confront only fragments of ruin. Debris and disturbance eat away at the root and corrode each shiny surface (this is mostly the musical work of the cassette switchboard). The juxtaposition of powerful, virtuosic playing and the eerie, often unidentifiable keenings, chords and constant motion of the cassettes is one of the things that make Camberwell Now so expressive of its time - when the whole social and political fabric of a no-longer-great Britain was unravelling. This definitive edition collects the entire released output of the group together (two EPs and an LP) newly re-mastered by the band and repackaged with full notes, lyrics, additional photographs and artwork." [label info]
www.rermegacorp.com
|
2006 |
€14.00 |
|
| CANTU-LEDESMA, JEFRE |
Love is a Stream |
CD |
"As a member of San Francisco legends Tarentel and Type’s premier astral travellers The Alps, Jefre Cantu-Ledesma is hardly a new addition to the label, so it’s hard to believe that ‘Love Is A Stream’ is his first Type solo album. Previously releasing on Arbor, Spekk and his own Root Strata imprint, this latest album marks his journey into the beautifully cacophonous world of dream pop.
Shoegaze music has been much maligned in recent years, probably due to its rebirth and subsequent explosion of popularity (which gave rise to hundreds of young bands aping the over twenty-year-old sound). However it was only a fragment of the genre that these bands attempted to re-create, and on ‘Love Is A Stream’ Cantu, instead of focusing on tired weeping melancholy ballads, focuses solely on expansive, almost noise-ridden hopefulness. This is the kind of noise we fell in love with when My Bloody Valentine blew our ear drums performing ‘Loveless’, or the kind of harmonic excess we heard on hundredth listen to Catherine Wheel’s ‘Ferment’, but taken into deeper, more abstract realms.
‘Love Is A Stream’ is dedicated to love itself, and the dreamy, shimmering blown-out textures might at first sound like white noise before they ultimately give way to blissful harmony and hidden melody. Underneath the grit and growl are hidden guitar parts, synthesizer drones and even vocals (provided by Lisa McGee, John Twells and Maxwell August Croy) that succeed in swelling the dense, tape-saturated songs to heady new heights and belie any influences they might have. On each listen the mind strips away another layer of dust and bones to reveal haunting and deeply moving beauty.
The world might be spiralling into despair, but Jefre Cantu-Ledesma has brought us a record that isn’t afraid to share the love. All that’s left to do is drown in it." [label info]
www.typerecords.com
|
2010 |
€15.50 |
|
| CAPELLE, MIREILLE |
Blue Veil |
CD |
"audioMER. is honoured to announce the release of a new CD; Blue Veil with music by Mireille Capelle (BE) and HERMESensemble*.
The world of Mireille Capelle is one of music and theatre. She has performed as a singer in numerous European opera houses, under the artistic direction of the foremost stage directors and conductors. She is member of the artistic board of HERMESensemble. Mireille Capelle has a particular affinity with contemporary music and art, characterized by many encounters with the most important contemporary composers. Blue Veil is a sonic architecture composed for the exhibition I Fortuny. Una Storia di Famiglia, curated by Daniela Ferretti, at Palazzo Fortuny, in Venice from May 6 till November 24, 2019. The essence of the piece was inspired by the installation of Axel Vervoordt and Tatsuro Miki in the wabi-space of the palace."
"I took two pieces of white marble stones—both sculptural and radiant. I banged and rubbed them. In Venice I recorded the sounds of the bells of San Marco and the rustling of the water. I remembered the words coming to me. Sometimes they came very clear, sometimes barely understandable. Stemming from my fictional journey into the past, the words of Proust and d’Annunzio arrived… I catch Wagner’s breath as in his Shepherd’s Song… The whisper of a great white sail in the wind… In Blue Veil Henriette Fortuny—the silent muse—appears. Her pink dress and blue veil are floating in the wind… There is light of sounds and shadows. Blue Veil is both a quest for transparency and a path of perpetual repetition. I wanted this piece to allow us to hear the inaudible. I wanted to enlarge what is hidden in sound. “Eternity is the one who is, who will be and who was”. This sentence from Plato signifies to me that we are all particles of eternity." - Mireille Capelle
http://mireille-capelle.droppages.com/
Blue Veil excerpt
https://soundcloud.com/audiomer-label/mireille-capelle-blue-veil-excerpt
Wabi excerpt
https://soundcloud.com/audiomer-label/mireille-capelle-wabi-excerpt
|
2019 |
€16.00 |
|
| CAPELLE, MIREILLE; WITH HERMESENSEMBLE |
Do'un |
CD |
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
|
2017 |
€18.00 |
|
| CAPPAROS, OLIVIER & LIONEL MARCHETTI |
Equus |
CD |
"Please Note: This is a 33 minute CD.
Equus is a collaborative work of musique concrète recorded in 2001-02 on a commission from the INA GRM It is truly a delight for Pogus to add this title to our catalog. As Capparos notes: "Equus guides us through human memory and history. It may sound a bit strange that sound & music would appear as a "vehicle", or as we had cast a lead into a labyrinth. This brings us to the question of whether we are alive or not; travelling the path throughout these soundings would drive us down and up our consciousness and our listening, not to mention that we are dead or alive."
Olivier Capparos is an instrumental and electro-acoustic composer whose work encompasses philosophy and literature as well as music. Many of his compositions are focused on voice and its interpretation through loudspeakers. Capparos was composer in residence at the INA-GRM in Paris (2001), the Studio National des Arts Contemporains du Fresnoy (20023), and at the Argos Center in Bruxelles (2004). He has composed and conducted works for chamber orchestra, voice (soprano), violin, and piano, and has co-produced many other recordings and radio broadcasts with Lionel Marchetti throughout their long association.
Lionel Marchetti was born in France in 1967. His interest in music resides in the qualities of sound. He started to experiment by himself and later discovered the rich French corpus of musique concrète through Xavier Garcia. He is one of a handful of artists who in the mid- to-late 1990s took electro-acoustic music out of academic studios and into the free improvisation ring. A scholar who worked at the CFMI (Lyon) and INA-GRM studios and published a book on acousmatic composer Michel Chion, Marchetti developed a set-up of microphones and loudspeakers he uses on stage along with tape recorders, prepared CDs, motors and radios. He often refers to his instruments as an Œelectro-acoustic contraption¹. His musique concrète studio work incorporates sound collage and academic electro-acoustic composition, though the level of poetry and refusal of genre boundaries in his music puts him closer to Kristoff K. Roll and Luc Ferrari than Pierre Henry or Bernard Parmegiani. Following his encounter with Metamkine label owner and fellow sound experimentalist Jérôme Noetinger in the early 1990s, a series of live and improvisation-based projects would run parallel to his more academic career. The Marchetti-Noetinger duo was the first of such projects and remains the longest lasting one. They are also involved in the audio- visual project Le Cube. In addition, Marchetti performs with the influential improv collective Archipel (with Emmanuel Petit, Sophie Agnel, Fabrice Charles, Pascal Bathus, and Werchowski)." [label description]
www.pogus.com
"So mögen wir es: kurz und knackig und mit vielen Generalpausen. Lionel Marchetti und Olivier Capparos sind zwei Akteure, die mit elektroakustischen Klängen die Domäne der spinnert-verklausulierenden Raumklangforscher verlassen und ihr Werkeln und Forschen an allgemein ästhetische und fast schon philosophische Fragen koppeln. Equus, eine Reise durch flockiges Geknister, prutzelnde Plirrgeräusche, fauchend-hüstelndes Tongebäck und vieles mehr, dauert nur eine halbe Stunde. In dieser Zeitspanne nehmen sich die beiden Komponisten – benutzen wir das Wort doch ruhig hier! – nichts weniger vor, als in Klang der Frage nachzugehen, was es ausmacht, am Leben zu sein! Wow! Bitte Alexander Kluge nach ‘ner gescheiten Rezi fragen und mich das Ding weiter auf Köpfhörer liegen lassen. Supertolle Sounddusche!" [Zipo / Auf Abwegen] |
2009 |
€12.50 |
|
| CARTER TUTTI VOID |
Play Chris & Cosey |
do-LP |
"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]
|
2015 |
€29.50 |
|
| CARTER, CHRIS |
Chemistry Lessons (CCCL Volume One) |
CD |
"Das erste Album von Chris Carter seit 17 Jahren ! Als Gründungsmitglied von Throbbing Gristle – gemeinsam mit Cosey Fanni Tutti, Peter ‘Sleazy’ Christopherson und Genesis Breyer P-Orridge –, spielte Chris Carter eine signifikante Rolle in der Entstehung elektronischer Musik, eine Reise, die Carter als Teil von Chris & Cosey und Carter Tutti respektive Carter Tutti Void und in seinen Soloarbeiten bis heute fortsetzt. Die Verknüpfung von traditioneller Musik und Elektronik sind jene Momente, die die Musik von CCCL Volume 1 an das Schaffen von Throbbing Gristle rückbinden." [label info]
"Architect of the present future, Chris Carter goes retro hauntological on CCCL Volume One, his first solo album in 17 years.
Since his previous album, released in the last century, he’s been busy taking his influential duo with partner Cosey Fanni Tutti to a natural close, and likewise seeing thru their trio with Nik Colk Void, while at the same time diversifying his bonds with remixes of the contemporary field, from Factory Floor to Nisennenmondai and Perc. Here, however, the enormously pivotal artist paints a sonic self portrait indulging an unswerving thing for the BBC’s Radiophonic Workshop and the malleability of modular synths, all with a mixture of wide-eyed, youthful innocence and high end studio nous executed to nostalgic degrees.
In the classic framework of hauntology, Carter’s nostalgia is for a lost, assuaged or thwarted synthetic future he experienced explicitly and cosmotically growing up during the ‘space age’, when synthesisers were vehicles for interstellar and interdimensional travel and acted as the connective ligament of counter-cultural likeminds across the world, so its easy to understand why he can’t shake that feeling here.
Like a grown up kid with all the kit he could ever dream of, Carter brings his ideas to life in uniquely tactile style, working like a sculptor with broad palette of amorphous materials that continue to react and mutate after he’s fixed them in place, at his legendary studio in Norfolk. Each of the 25 tracks feels to offer a window onto worlds of encrypted kinetic energy, fulminating figments of the imagination which come to life in shapeshifting, plasmic forms made all the more “real” and hyperstitious thanks to his application of AI like vocaloids which populate the album, cropping up as alien sirens, glossolalic darkroom murmurs, and fully-fledged “singers” in their own strange right.
The result is a uniquely absorbing album tied together by Carter’s smart internal logic, a mazy manifestation of bio-electronic feedback systems that gives voice to the machine as much as the man operating it in a way that will really speak to followers of classic electronic music." [Boomkat]
|
2018 |
€16.50 |
|
| |
Chemistry Lessons (CCCL Volume One) |
do-LP |
"Chris Carter’s Chemistry Lessons Volume One is populated with insistent melodic patterns and a distinct sense of wonderment at the limitless possibilities of science. “If there’s an influence on the album, it’s definitely ‘60s radiophonic,” Carter says. “Over the last few years I’ve also been listening to old English folk music, almost like a guilty pleasure, and so some of tracks on the album hark back to an almost ingrained DNA we have for those kinds of melodies. They’re not dissimilar to nursery rhymes in some ways.”
That combination of traditional music and the backing track for exciting, potential futures gives tracks like ‘Moon Two’ and ‘Tangerines’ a sheen of inquisitiveness and quiet euphoria, while ‘Modularity’ and ‘Roane’ have an anxious, sci-fi noir charm. Elsewhere skewed voices add a calming, human note to the album. Carter explains, “Sleazy and I had worked together on ways of developing a sort of artificial singing using software and hardware. This was me trying to take it a step further. I’ve taken lyrics, my own voice or people’s voices from a collection that I’d put together with Sleazy, and I’ve chopped them up and done all sorts of weird things with them.” These moments sit alongside tracks where melodies have a dissonant, noisy, awkwardness that ties the music on CCCL Volume 1 back to the Throbbing Gristle legacy.
As a founding member of Throbbing Gristle alongside Cosey Fanni Tutti, Peter ‘Sleazy’ Christopherson and Genesis Breyer P-Orridge, Chris Carter has had a significant role in the development of electronic music – a journey which has continued through his releases as one half of Chris & Cosey and Carter Tutti and a third of Carter Tutti Void – as well as with his own solo and collaborative releases.
He is also credited with the invention and production of groundbreaking electronics – from the legendary Gristleizer home-soldered effects unit through to the Dirty Carter Experimental Sound Generating Instrument and the sold-out TG One Eurorack module designed with Tiptop Audio (issued to commemorate the fortieth anniversary of Throbbing Gristle’s Second Annual Report) – Carter has created the means to make sounds as well as making the sounds themselves.
The 25-track album was recorded in Carter’s own Norfolk studio and the artwork and accompanying videos were self-created, taking cues in part from battered old experimental BBC broadcast LPs.
Despite having been worked on over an extended period between various artistic projects in a variety of different moods, situations and circumstances, CCCL Volume 1’s experiments never feel like Carter noodling around aimlessly in his studio-laboratory. Instead there is an inner coherence and a distinctively Chris Carter approach to sound and execution that showcases the sonic scientist’s restless, questing creative spirit forever scouting for new ideas." [Mute.com]
"Architect of the present future, Chris Carter goes retro hauntological on CCCL Volume One, his first solo album in 17 years.
Since his previous album, released in the last century, he’s been busy taking his influential duo with partner Cosey Fanni Tutti to a natural close, and likewise seeing thru their trio with Nik Colk Void, while at the same time diversifying his bonds with remixes of the contemporary field, from Factory Floor to Nisennenmondai and Perc. Here, however, the enormously pivotal artist paints a sonic self portrait indulging an unswerving thing for the BBC’s Radiophonic Workshop and the malleability of modular synths, all with a mixture of wide-eyed, youthful innocence and high end studio nous executed to nostalgic degrees.
In the classic framework of hauntology, Carter’s nostalgia is for a lost, assuaged or thwarted synthetic future he experienced explicitly and cosmotically growing up during the ‘space age’, when synthesisers were vehicles for interstellar and interdimensional travel and acted as the connective ligament of counter-cultural likeminds across the world, so its easy to understand why he can’t shake that feeling here.
Like a grown up kid with all the kit he could ever dream of, Carter brings his ideas to life in uniquely tactile style, working like a sculptor with broad palette of amorphous materials that continue to react and mutate after he’s fixed them in place, at his legendary studio in Norfolk. Each of the 25 tracks feels to offer a window onto worlds of encrypted kinetic energy, fulminating figments of the imagination which come to life in shapeshifting, plasmic forms made all the more “real” and hyperstitious thanks to his application of AI like vocaloids which populate the album, cropping up as alien sirens, glossolalic darkroom murmurs, and fully-fledged “singers” in their own strange right.
The result is a uniquely absorbing album tied together by Carter’s smart internal logic, a mazy manifestation of bio-electronic feedback systems that gives voice to the machine as much as the man operating it in a way that will really speak to followers of classic electronic music." [Boomkat]
|
2018 |
€26.50 |
|
| CATLIN, TIM |
Radio Ghosts |
CD |
"The name Tim Catlin may not be terribly well known amongst the avant-guitarist circles; but his recorded output clearly stands amongst the best that Glenn Branca, Keith Rowe, and Jim O'Rourke have mustered from their six strings hard wired into the histories of electroacoustics, minimalism, and post-punk experimentation. Based out of Melbourne, Catlin is a guitarist who incessantly tinkers with the mechanics of his instrument, envisioning it as alternately as a mimetic sculptural object and a pure sound generator. Through his experiments with alternative tunings, atypical string gauges, and Rube Goldberg contraptions of interconnected motors, speakers, and radios, he seeks out the rasping textures of strings vibrating against each other, the acoustic phase patterns of two microtonally tuned strings, and the electrical purity of circuits feeding back upon themselves, essentially creating a polyglot drone symphony cast in smoldering monochrome. Radio Ghosts arrives nearly five years after his debut album Slow Twitch and showcases Catlin's unassuming expertise with the finer aspects of the mechanically prepared guitar. For all of its dynamic frequencies and crosshatched vibrations, Radio Ghosts is devoid of Marshall stacks, Sunn amps, and stomp boxes, as Catlin captures the acoustic phenomenon of the guitar's transient vibrations and steers clear of any tricked out sonic demolition. Instead, Radio Ghosts focuses upon the minutiae of the guitar: wood, strings, and amplifier. Through his refined, tabletop guitar techniques, Catlin prefers to set his guitar in motion, allowing the process dictate the course of action with minor edits and sleights of hand from the composer himself. Catlin's drone guitar work is simultaneously capable of expressionistic illusions (e.g. cicada choruses, industrial grind, uncanny ephemera from the radio waves, etc.) and a sonic transcendence of pure sonic introspection. Given that the final piece on Radio Ghosts replaces the guitar with a crash cymbal that Catlin agitates through similar processes, Catlin's work shows that Organum does not have exclusivity on the bowed cymbal for creating epic, tactile sound fields." [label info]
www.23five.org
|
2007 |
€13.00 |
|
| CAUDAL |
Fight Cry Fight |
LP |
Caudal's third album recorded at Golden Retriever Studios in Berlin by Simon Berckelman. Released on LP by Drone Rock Records and tape by Katuktu Collective. Cover artwork by Eoin Llewellyn. Mastered by John McBain.
www.dronerockrecords.com
katuktucollective.bandcamp.com
www.llewellyn.ie
www.facebook.com/caudaltrio
https://caudal.bandcamp.com/album/fight-cry-fight
|
2018 |
€18.00 |
|
| CECILIA |
Adoration |
LP |
"Standout début album of dream-like, avant garde pop and electronic variants that properly introduces Rome-based Montreal artist Mélissa Gagné aka CECILIA after guesting on Rabit’s Les Fleurs Du Mal album last year and releasing an EP for Yves Tumor's Grooming label. Devastatingly restrained yet ravishing songs with haunting English, French and Italian vocals, huge recommendation if you're into Yves Tumor, Félicia Atkinson, Rabit, Teresa Winter, Portishead, Leila...
Cecilia wrote and produced Adoration, with accompaniment by mutual spirits such as her friend Jasmine Pisapia and the poet activist Griséldis Réal, who help to render a stark yet subtly gilded cross-section of her psyche, which places the listener as dark interpreter to a series of tumultuous inner dialogues - “One is summoned to whisper truth, beauty, tragedy to demon ears.”
Incubated for one and half years between Montreal, Toronto and New York, Adoration reads like intimately diaristic pages recalling an amorphous lucid dream. In that phantasmagoric headspace she meditates on loss and romanticism, using a shifting backdrop of highly visual stimuli to frame her thoughts and bring them to life with an uncannily immersive effect perhaps not felt so strongly since Félicia Atkinson’s Hand In Hand LP.
Electronic bass and percussion are shadowed with traces of synth and guitar improvisations, but the one consistent element is the female voice. Sometime detached, glossolalic, and at others uncannily familiar, plaintive, the voice’s presence is integral to the album's quietly absorbing atmosphere, and even if the listener can’t understand their direct meaning, they connote so much more through abstracted inference and ambiguity.
Following her early forays made with the Charity Whore EP for Yves Tumor’s Grooming label, and previous work as DJ/producer Babi Audi, along with her hybrid stage works, Cecilia ties all those strands into an illusive yet highly distinguished work set to resonate with listeners from myriad backgrounds and disciplines. It's no doubt one of 2018’s most haunting, beguiling LPs."
|
2018 |
€18.00 |
|
| CELER |
Salvaged Violets |
do-CD |
"'In February of 2008, Dani and I recorded, mixed, and completed the music for Salvaged Violets. The words came as the subject line of a short poem, sent to me over email, included with an unrelated question. During these weekdays, our working schedules were almost the opposite, but we spoke over email constantly. Until recently, I did not notice how similar this was to our beginnings, sending letters as we were on different sides of the country. With no conceptual idea in mind, and since we were apart for so much time during the weekdays, we decided to begin Salvaged Violets, and see what came of it. Every night when I returned home, before sleeping, I would spend time working on the music that Dani had worked on through the afternoon, and had left on the desk. Every afternoon, she would find a different version to work on that I had left, and this continued for some time. When together, we would sip our tea, laugh at silly jokes, cook, watch television, and so on. There was no need for longing while we were together. There was always laughing, pots and pans clanging, or a muttering television. In forming Salvaged Violets, we did not mix it in a particular arranged order. It was mixed simply by the order it was first played, compiling many miniature sections rolled into one. In this case, they were rolled into two. Nothing was discarded, nothing was rearranged. As the sound changed over time, the original form did not. When it was finally complete, we listened together, for the first time. I remember how familiar it seemed, yet I also felt that so much of it was unknown, and undefined. More than a year later, in September of 2009, I revisited the recordings for the first time since 2008. At this time, it was being mastered by our good friend Corey Fuller, so I was still listening to the original. Riding my bike through the endless suburban subdivisions, through the busy downtown streets, I listened repeatedly, for days, over and over. Something was familiar, but so much I was unable to recall, and yet I was able to relate. I returned home, put my bike against the door, and took my headphones off. There, in the still silence, I think I understood finally what it was about.' -- Will Thomas Long, December 2009. 998 copies, stoughton mini-LP gatefold CD sleeve. Twelve art prints and photographs by Peter Lograsso." [label info]
www.infractionrecords.com
|
2010 |
€16.00 |
|
| CHALK, ANDREW |
The Circle of Days |
LP |
"Truly beautiful new LP, "The Circle Of Days", from UK sound/drone artist Andrew Chalk on his own Faraway Press imprint. Recorded in 2003-06 and created with field recordings, keyboards, guitar, bass guitar, and slide-guitar, "The Circle Of Days" includes a return for Chalk to his long-term collaboration with Daisuke Suzuki (Ghosts On Water, Lost Shadow, Siren Records et al), who features on five of the LP's 14 (relatively short) pieces. The field recordings, mostly captured from everyday home/community life, blend with beautiful fragments of minimalist keyboard runs and droning string tones that reach out, rise-up, and resonate to stunning effect, conveying celestial-like imagery of, say, light from another world shimmering in the dark of our own fog-blurred night. The sounds unfold, subliminally freezing/interrupting time, before fading into voids that sometimes leave a peculiar and wondrous sense of longing. Whilst the field recordings feel grounded in the real world, the instruments' rich sounds seem like they arrived from the ether of far-away, deep inside Chalk's expansive artistic vision. A magical, captivating piece of work that functions like a sonic parallel to the way shooting stars grip our gaze in wonder. Released on Chalk's Faraway Press imprint in an edition of 325 copies. Pressed on super-sounding black vinyl, mastered by Denis Blackham and housed in a sleeve featuring a reproduction of a pencil sketch by the artist himself, with layout design by Jos Moers." [Infinite Limits]
www.farawaypress.info
"Andrew Chalk records are the jewels of the English underground. The noise of Ferial Confine gasped with an existential blurt of obstinate tactility, violent in their self-immolation but never directing a rage outward. The gaze was inward. Then, when the drone grounded much of Chalk's classic works in the '90s and '00s, these slippery, elegiac croons of sonic impressionism dripped with an opalescent beauty that also spent a fair amount of time splashing around in the mud. More recently, Chalk has been exploring the poetic fragment, cracking the lens of British avant-folk eccentricity and scattering the results on stunningly beautiful albums like The Circle Of Days. The curious introductory track here sports a clattering of wood, recorded in situ with longtime collaborator Daisuke Suzuki, with a church nearby, whose bells chime the solemn Westminster Quarter melody. The following track pools rounded tones from Chalk's open-body electric guitar, finding a counterpart in the stoner-folk of Tom Carter's early work in the Charalambides. Piano, chord organ, and more guitar flesh out further tracks of nocturnally impressionist details that hang like constellations in the night sky, curving steadfast against the traffic of satellites, planes, and planets. The course of the second side reprises that of the first, with equally wandering expositions of intimate ambient swath, gossamer half-melody, and the soft-spoken mystical charm that has graced many an Andrew Chalk record! Very highly recommended as with everything that Chalk touches." [Aquarius Records]
"Or, where quality meets content. The name Andrew Chalk, and indeed Faraway Press and La Scie Dorée, will be familiar to any attentive Vital Weekly reader. Chalk has been releasing music since the mid 80s and has worked with people like David Jackman, Darren Tate and Jonathan Coleclough. His best know collaboration is perhaps that with Christoph Heemann under the name Mirror, creating a series of albums that belong both musically as visually to the, in my humble opinion of course, to the best that the ‘ambient/soundscape’ genre has to offer. His new solo album The Circle Of Days has been made available in two editions: 325 copies in regular sleeve and 100 in a beautiful handmade portfolio sleeve, which, if you enjoy that sort of thing, is well worth hunting down. Working again with Daisuke Suzuki, headman of Siren records, Chalk has created what can only be described as yet another gorgeous and very fulfilling album. Even though the cover features several song titles on the back, the album itself is banded as one track per side, giving the impression of two suites, which is something I really like. Plus the record features a label that is slightly smaller in size than regular LP labels, which gives the album the look of an ancient 78 rpm record, which, again, I like very much. Full points for style and design therefore. The precise contribution of Suzuki is not always clear: even though some tracks mark his name, the almost hesitant playing of instruments like guitar, keyboards, piano (in gorgeous stereo), vibes could be either of the two. There are environmental sounds added to the slow tempo music; birds, children playing, the sound of a swing, it all adds to a beautiful musical painting of endless summer days. Nothing new, nothing shocking, simply an emotionally moving musical miniature." [FK/Vital Weekly]
|
2014 |
€20.00 |
|
| |
HIGAN |
LP |
Recorded 2014, released on LP April 2021
https://andrewchalk.bandcamp.com/album/higan
|
2021 |
€20.00 |
|
| CHALK, ANDREW & DAISUKE SUZUKI |
山と梨 = Yama To Nashi |
CD |
Entirely handmade at Faraway Press (England)
Debossed design and letterpress printing, with an insert.
Recorded in Japan and England in 2016
“Somewhere in that blue sky
where you hear the sound of the waves,
I think I lost something incredible.
Standing at Lost and Found
in a transparent station of the past,
I became all the sadder”
-Sadness, Tanikawa Shuntaro
Our third full-length album in fifteen years..
"Andrew Chalk and Daisuke Suzuki have known each other for many years now, as Suzuki runs the Siren label out of Japan and had released Sumac, Chalk's masterful collaboration with Jonathan Coleclough. Suzuki is also responsible for one of the very few published interviews with the somewhat reclusive Chalk. Their friendship certainly runs deep, and out of this friendship came the impetus to collaborate once again (both Suzuki and Chalk had contributed to the now defunct Ora project well over a decade ago). The enveloping opiated drone wrapping around cold field recordings of arctic winds racing across a mountain becomes the centerpiece, reflecting just how good Andrew Chalk's sounds are. Entirely handmade sleeves, Yama to nashi (Mountain & Pear) features delicately embossed and debossed paper techniques, with letterpress texts (in Japanese), housed in a heavy card gatefold sleeve of mini LP size. Insert included with translations to English language." [Soundohm]
"The work of Andrew Chalk and Daisuke Suzuki seems as if it has been intertwined forever, so I was somewhat startled to discover that this is their first new collaborative release in almost a decade. As befits the re-convergence of these two masters of understated tranquility, Yama to Nashi feels like a relaxed and unhurried reunion of old friends rather than a bold new vision. As such, it is a somewhat minor (if lovely) addition to the Siren/Faraway Press oeuvre that mostly lingers in familiar territory, but there are a couple of divergent gems lurking amidst these new pieces that longtime fans will not want to miss.
For the most part, the languorous and glistening opening piece ("Threads From The Milky Way") sets the tone for the entire album, establishing the overarching aesthetic of sketchlike vignettes of dreamlike, liquescent bliss. It is difficult to tell exactly how Chalk and Suzuki are getting their blurred and slippery tones, but I believe there is a processed electric piano at the heart of these recordings. As the album unfolds, however, Chalk and Suzuki start to drift further and further away from their lazily glimmering and rippling sound pools and both the mood and the palette start to deepen (and darken). The first real shadows start to fall across Yama on the third piece, "Suzume," which casts a mournful spell by weaving discordant harmonies from glacially swelling strings and drifting smears of synth tones. Curiously, that veil of sadness dispels almost as suddenly and unexpectedly as it appeared, as the wonderful "Shelf on Wall" shakes off its initial moody reverie to blossom into a surreal field recording of a Japanese parade. From there, the piece continues to be a pleasantly inventive and evocative surprise, as the parade seems to partially fade away, but leaves a lovely and lyrical flute melody in its wake that dreamily drifts through a woozy fog of gentle arpeggios, crashing waves, and a few lingering tendrils of the raucous festivities (marching men, clattering percussion, children's voices). To my ears, it is the album's true centerpiece (conveniently located in the center of the album, no less), but it is not without strong competition from the album's final stretch.
Although it is considerably shorter, I am also quite fond of "A Sentry on The Roof," which augments its blearily impressionistic cascades of watery electric piano tones with the loud and fitful buzzing of a large bee. That bee makes a surprising amount of difference, which highlights an unusual trend the runs throughout Yama to Nashi: the purely instrumental pieces feel like the soundtrack to a gorgeous sunrise or seaside vista that I am not seeing, while the pieces that prominently feature field recording are considerably more effective at drawing me into the scene. I am a bit curious about why Chalk and Suzuki did not pursue that elegant blurring together of swooning, hazy ambiance and crisp, vibrant textures from the natural world more, as it definitely feels like that synthesis elevates this collaboration into something more transcendent and unique when it happens. If I had to guess, however, I suspect that the reason is that most of Yama to Nashi consists of Chalk and Suzuki's stronger improvisations that occurred on the road to composing the album's epic closing title piece. On one hand, "Yama To Nashi" is not radically different from the rest of the album, as it is built from gently tumbling arpeggios and warmly radiant washes of synthesizer (though there are some buried bird noises hiding in the mix). There is, however, an unexpectedly strong motif resembling a shuddering, digitalized bird call that periodically tears through the placid idyll. That certainly livens thing up, though it is not quite as dramatic as it sounds. The real difference is mostly just time: Chalk and Suzuki allow "Yama to Nashi" to languorously stretch out for over 20 minutes and that suits it beautifully. Duration makes a world of difference with music in this vein: a glimpse of heaven is nice, but getting a chance to linger in it is by far a superior experience.
As is true of most Andrew Chalk albums (both with and without Suzuki) there is very little to grumble about with this album: Chalk and Suzuki have a long history of making lovely and lush music together and Yama to Nashi ends a long hiatus to bring the world more of it. That pleases me. I am, however, the hapless victim of my own high expectations, as I hoped this welcome reunion would result in an enduring classic. Yama is not an enduring classic, though "Shelf on Wall" seems like a strong step towards a more ambitious and immersive future opus. Hopefully it will not take another decade for that to happen, but I am sure I can find some way to keep busy while I wait if it does. In the meantime, Yama to Nashi is a solid to return to form that adds one more quietly beautiful longform work to the Chalk/Suzuki canon." [Anthony D'Amico / Brainwashed] |
2018 |
€16.00 |
|
| CHAUVEAU, SYLVAIN |
Singular Forms (Sometimes Repeated) |
CD |
"Stripped: dekonstruierte "Popsongs" des französischen Elektronikers.
Es ist kaum zu glauben, dass zwischen Sylvain Chauveaus letztem Album "Down To The Bone" und "Singular Forms (Sometimes Repeated)" ganze fünf Jahre liegen. Dazwischen gab’s Reissues, diverse Kollaborationen und Soundtrack-Arbeiten, dennoch ließ sich Chauveau Zeit, bis seine Ideen die Reife hatten, umgesetzt und auf Tonträger gebannt zu werden. Die Depeche-Mode-Songs, die er auf "Down To The Bone" erkundete, brachten ihn auf die Idee, ein Album mit Songs aufzunehmen. In vielerlei Hinsicht ist "Singular Forms (Sometimes Repeated)" wie ein normales Album mit Hooks und Melodien konstruiert. Dennoch dekonstruierte Chauveau die bekannten Formen auf ihr Grundlevel. Vokalpassagen fallen aus den sparsamen Klavierarrangements wie Äpfel im Herbst. So wie Carsten Nicolai und Ryuichi Sakamoto klassische Musik dekonstruierten, hat sich Chauveau vorgenommen, die Wurzeln der Popmusik freizulegen. Jedes Stück klingt zunächst so, als könne mit ihm ein Drei-Minuten-Pop-Stück beginnen, bevor dann alle Teile allmählich wegbrechen. Eine herausfordernde, intensive Hörerfahrung." [label info / Indigo]
"It is hard to believe that five years have passed since Sylvain Chauveau’s last ‘proper’ album. Of course there have been re-issues peppering the years since ‘Down To The Bone’, as well as more than a few collaborations and soundtrack appearances, but Sylvain has purposefully waited to allow his ideas to come to fruition. On mentioning his new album to me a few years ago, Sylvain commented that he didn’t think it would appeal to everyone and that he wanted to take a fresh direction. The Depeche Mode songs he had explored on ‘Down To The Bone’ had given him ideas he felt he needed to explore, and ‘Singular Forms (Sometimes Repeated)’ is his attempt at an album of ‘songs’.
In many ways, ‘Singular Forms (Sometimes Repeated’) is constructed the way albums used to be – it is compact and filled with vocal hooks and melodies, yet Sylvain has deconstructed the musical forms he grew up listening to and reduced them to their base level. Vocal snippets fall through the stereo field and his signature piano motifs splutter and cough through processed digital hiccups. As Carsten Nicolai and Ryuichi Sakamoto deconstructed classical music, Sylvain attempts here to study and dissolve the roots of popular music. Each piece feels like it could have started as a three-minute pop sing-along before the accompaniments were stripped away and the component parts reduced to merely a backbone.
‘Singular Forms (Sometimes Repeated)’ is a daring and challenging listening experience. The widescreen theatrics of Sylvain’s previous work have all but disappeared, leaving an album that is stark and incredibly beautiful. It is an album rooted in a love of art and music, both minimal and mainstream and celebrates Sylvain’s influences. One listen might only reveal surface details, but listen again and you will find much, much more." [label info]
www.typerecords.com
|
2010 |
€15.50 |
|
| CHAUVEAU, SYLVAIN & ENSEMBLE NOCTURNE |
Down to the Bone. An acoustic Tribute to Depeche Mode |
CD |
"TRIBUTE TO DEPECHE MODE. Interpreted by Silvain for voice and acoustic instruments only, very minimal and down to the bone! For this album, Sylvain Chauveau (voice and guitar) was helped by: Samuel Crowther :piano, Marie Legendre : alto, Graldine Devillieres : cello, Aurlien Besnard : clarinets and JB Salles : up-right bass!Tracklist: 01. Stripped 02. The things you said 03. Blasphemous rumours 04. Deaths door 05. Home 06. Policy of truth 07. In your room 08. Free love 09. Never let me down again 10. Enjoy the silence." [label info]
|
2005 |
€16.50 |
|
| CHEN_PITCHER_VAN NORT |
One History of Troy |
LP |
This album was recorded in 2012 by the free improvising trio of Jonathan Chen (violin, viola), Jefferson Pitcher (guitars, clarinet, field recordings, playground – its metal structures being used as a percussion set-up) and Doug van Nort (electronics, GREIS = Granular-Feedback Expanded Instrument System, van Nort’s own ever-evolving performance system and digital music instrument). The title refers to the town of Troy, New York, home of the Rensselaer Polytechnic Institute, with which the three artists have been involved with during their career. Their shared memories of living and working in Troy shine through as a conceptual basis for the improvisations on this album. Titles like “The Hudson” and “Northern White Pine” situate the music in a geographical location – but the field recordings from different places, such as Chefchaouen Province in Morocco, open up this history to other sound-worlds.
The album is dedicated to the late Pauline Oliveros, with whom all three musicians collaborated during her lifetime. It is a fitting tribute to an artist with such a wide range of interests, abilities and fields of influence. Certainly, Oliveros’ focus on deep listening as a key to creating one’s own sounds is present not only in the mindful way the musicians interact with each other, but also in the way they integrate non-musical sounds from field recordings into their instrumental interplay. Likewise, the interfacing of acoustic instruments and live electronics that Oliveros pioneered in her expanded accordion set-ups is used to great effect by Chen, Pitcher, and van Nort. Instrumental and electronic timbres blend seamlessly, with harmonic/melodic and noisy elements perfectly balanced. The album is dominated by calm, rather meditative pieces which exude a certain melancholy – quite apt for a tribute by three artists to a deceased colleague and friend. However, the final piece “Chefchaouen Province | American Town” develops into an exuberant powerplay that makes the sheer joy of sculpting and connecting sounds, be they notes or noises, almost tangible. And, now even more than at the time of recording, the peaceful coexistence of an Arabic chant with an American brass band within said piece can also be heard as a sonic utopia, an acoustic glimpse of an alternative, and better, reality.
All Pieces composed and improvised by Jonathan Chen, Jefferson Pitcher, Doug Van Nort.
Electronics, Electronics [GREIS], Composed By – Doug Van Nort
Guitar, Clarinet, Sounds [Field Recordings], Sounds [Playground], Mixed By, Composed By – Jefferson Pitcher
Mixed By, Edited By, Mastered By – Ron Guensche
Violin, Viola, Composed By – Jonathan Chen
Recorded in Jefferson's basement and stairwell, early summer 2012.
Final mixing, editing, and mastering by Ron Guensche at New Future Vintage in Okaland, CA.
|
2017 |
€17.00 |
|
| CHORA(S)SAN TIME-COURT MIRAGE (=CATHERINE CHRISTER HENNIX) |
Blues Alif Lam Mim |
do-LP |
Having already unearthed three collections of archival ‘70s recordings by Catherine Christer Hennix, Blank Forms continues their annual illumination of the visionary Swedish composer’s music by turning to more recent work with this first-time vinyl edition of Hennix’s “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis,” a 2014 piece first released as a CD in 2016 (Important Records).
The double album captures the April 22, 2014 premiere of Hennix’s composition by by the Chora(s)san Time-Court Mirage, her expanded just intonation ensemble, featuring a brass section of Amir ElSaffar, Paul Schwingenschlögl, Hilary Jeffery, Elena Kakaliagou, and Robin Hayward; live electronics by Stefan Tiedje and Marcus Pal; and voice by Amirtha Kidambi, Imam Ahmet Muhsin Tüzer, and Hennix herself. Intended to reveal the blues’ origins in the eastern musical traditions of raga and makam, “Blues Alif Lam Mim in the Mode of Rag Infinity/Rag Cosmosis” has its roots in Hennix’s 2013 realization of an “Illuminatory Sound Environment,” a concept developed in 1978 by anti-artist Henry Flynt on the basis of Hennix’s own “The Electric Harpsichord.”
As Hennix explains in Other Matters, Blank Forms’ 2019 collection of her writings:
“Rag Infinity/Rag Cosmosis presents fragments of ‘raga-like’ frequency constellations following distinct cycles and permuting their order, creating a simultaneity of ‘multi-universes.’ When two such ‘universes’ come in proximity of each other and begin unfolding simultaneously along distinct cycles, there is a kaleidoscopic exfoliation of frequencies as one universe is becoming two, but not separated—the effect of cosmosis is entrained, binding two or more frequency universes into proximity where their modal properties interact and blend, creating in the process entirely new microtonal constellations in an omnidirectional simultaneous cosmic order with phenomenologically ‘transfinite’ Poincaré cycles (cyclic returns to initial conditions).”
As with Hennix’s best work, the organic unfolding of this quivering drone belies a precision that opens onto the infinitesimal. Upon its mesmerizing ebb and flow, the vocalists incant a devotional poem written in Arabic by Hennix and featuring quotations from the Quran. Also reproduced on the album’s gatefold jacket, Hennix’s reduction of the sacred text to its most elegant formulation invites the contemplator to bring their inner knowledge to the composition for use as a prompt for meditation. Yet the piece offers depth to even the most secular listener willing to immerse themselves in music brimming with such serene intensity.
Catherine Christer Hennix (b. 1948) started her creative life playing drums with her older brother Peter, growing up in Sweden where she heard jazz luminaries, such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform from 1960 to 1967. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she developed early tape music, incorporating computer generated speech done at the Royal Technological University (KTH), where she was an undergraduate student. After traveling to New York In 1968, she met artists Dick Higgins and Alison Knowles who invited her to stay at the Something Else Press Town House where she had the opportunity to meet, among others, composers John Cage, James Tenney, and Phil Corner. During the following years she developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath and she would later study intensively under him as his first European disciple. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage, which has featured musicians Amelia Cuni, Amirtha Kidambi, Chiyoku Szlavnics, Hilary Jeffrey, Amir El-Saffar, Benjamin Duboc and Rozemarie Heggen. She currently resides in Istanbul, Turkey pursuing studies in classical Arabic and Turkish makam.
https://blankformseditions.bandcamp.com/album/blues-alif-lam-mim
|
2021 |
€37.50 |
|
| CHRYSAKIS, THANOS |
ELYTRA |
CD |
New insect music release by Greek sound artist Thanos Chrysakis
About ΕΛΥΤΡΑ
Everyone has heard the marvelous sound of crickets in the summer especially in the countryside. The sound is produced by raising and scraping against each of their protective fore-wings the elytra.
Their burrow act as a resonator bringing at times a transcendent quality to the place.
The music in this album with myriads of sounds, regular and irregular pulses, unfolds a similar transforming quality.
Thanos Chrysakis
About Thanos Chrysakis
Thanos Chrysakis is a Greek composer, musician, producer and sound-artist. He is best known for his work in electronic and contemporary music, free improvisation, and electro-acoustic music.
With several albums to his name his work has appeared in festivals and events in many countries.
His music was among the selected works at the International Competition de Musique et d'Art Sonore Electroacoustiques de Bourges 2005, in the category oeuvre d'art sonore électroacoustique, while received an honorary mention in 2006 at the 7th International Electroacoustic Competition Musica Viva in Lisbon (the jury was constituted by Morton Subotnick (USA), François Bayle (France), and Miguel Azguime (Portugal). He operates the Aural Terrains record label since 2007 where he has released part of his work until now, alongside releases by Kim Cascone, Franscisco López, Tomas Phillips, Dan Warburton, Szilárd Mezei, Michael Edwards, Wade Matthews, Dganit Elyakim, Edith Alonso, Christian Skjødt, Luis Tabuenca, Christian Kobi, Jeff Gburek, Steve Noble, and Milo Fine. He has written music for musicians of the Hyperion Ensemble, the Stockholm Saxophone Quartet, the Konus Saxophone Quartett, and the Shadanga Duo among others. Close collaborations with Tim Hodgkinson, Vincent Royer, Chris Cundy, Yoni Silver, Lori Freedman, Jason Alder, William Lang, Wilfrido Terrazas, Philippe Brunet, Wade Matthews, Ernesto Rodrigues, Abdul Moimême, Zsolt Sőrés, Ove Volquartz to name but a few.
https://aufabwegen.bandcamp.com/track/tortoise-pilgrimage
"Insekten üben seit langem eine (nicht nur) klangliche Faszination aus: Man denke an die vielen Filme, in denen das Zirpen der Zikaden fast schon ein alternativer Soundtrack ist oder an die symbolische Bedeutung der Geräusche der Grillen in einem Stück wie Sam Shephards „True West“. Eine Reihe von Musikern wurden vom Klangpotenzial der Insekten angezogen: 1986 veröffnetlichte Graeme Revell „The Insect Musicians“, sein Versuch einer auf dem Geräusch von Insekten basierenden “micro-musique” (gerade ist das Album auf Old Europa Cafe neu herausgebracht worden), jüngst erschien noch ein Album namens “The Life Of Insects” von der in Berlin lebenden Peruanerin Ale Hop.
Der 1971 in Athen geborene Thanos Chrysakis hat zahlreiche Alben veröffentlicht und betreibt das Label Aural Terrains, “a creative space for exploratory contemporary music in its different manifestations”, auf dem er u.a. Alben von Francisco López, Tomas Phillips oder Michael Edwards veröffentlicht hat.
Auf “ΕΛΥΤΡ” basieren die Stücke auf dem Klang von Grillen, der für Chrysakis fast eine “transcendent qualitiy” hat. Das das Album eröffnende 8-minütige „Alabaster Tide“ ist eine dichte Klangfläche, die anfangs in ihrer rabiaten Unruhe durchaus an einige der perkussiven Arbeiten von Z’EV denken lässst. Hier fühlt man sich, als befinde man sich geradewegs inmitten zahlloser Insekten. Das Unruhige wird aber im Verlaufe des Stücks zurückgefahren, schließlich hört man ein paar hochfrequentere Passagen und Knirschen. „Coral Aether“ knüpft mit seinem Knistern und Flüstern daran an. „Tortoise Pilgrimage“ besteht aus flirrenden und sirrenden kristallinen Sounds, die gar nicht so weit von einigen Aufnahmen Asmus Tietchens entfernt sind, dann plötzlich meint man, ein Windspiel erklinge. Eine größere Reduktion hört man auf „Tranquil Edge“ mit seinem Knistern, das den Eindruck erweckt, als ob kleine Zweige brechen würden. Dann gibt es „Delphic Maxims“ mit fast schon wasserartigen Sounds oder das Rascheln bei „Pierian Roses, das sich im weiteren Verlauf verdichtet. Schließlich endet das Album mit „ A Shadow’s Dream“ mit erratischen perkussiven Momenten, und dann plötzlich – unerwartet – etwas, das wie ein Piano klingt. Auch ohne die Faszination, die vielleicht vom Ausgangsmaterial ausgeht, ist das ein sehr starkes Album." [MG / African Paper]
|
2020 |
€13.00 |
|
| CHUBBY WOLF |
Seasick |
CD |
":: 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
|
2012 |
€14.00 |
|
| CINDYTALK |
Camouflage Heart |
LP |
"Camouflage Heart", das Debütalbum von CINDYTALK, erschien 1984 und verband Post-Punk mit frühem Industrial, elektronischer Musik und dem düsteren Gesang von Gordon Sharp, einem Musiker aus Edinburgh, der unter anderem auch mit THIS MORTAL COIL zusammenarbeitete. David Clancy, John Byrne, und BIRTHDAY PARTY Mitglied Mick Harvey sind auch auf dem Album dabei.
"Cindytalk don't deal in conventional forms. This is demanding music, yet infinitely reachable and rewarding. (...) Cindytalk, really, sound unlike anyone else I can imagine, offering real invention and ignoring old, oft-trodden paths." [Robin Gibson, SOUNDS]
Re-issue of this outstanding & rather unique sounding album, available as LP and CD !
|
2007 |
€16.00 |
|
| |
In this World |
CD |
Nach "Camouflage Heart" von 1984 verschwanden CINDYTALK für vier Jahre in der Versenkung, die sie allerdings damit verbrachten, das epische Nachfolgewerk "In This World" zu schreiben und aufzunehmen. "In This World" erschien als zwei separate Vinyl LPs, die beide "In This World" betitelt, aber mit verschiedenem Cover Artwork ausgestattet waren. Die Neuauflage erscheint als Doppel-Vinyl oder einfache CD.
"In This World" is a noble venture. It's every inaccessible racket you could imagine but creeps gently in on the delectable title instrumental before kicking you in the navel with a hybrid broth of Motorslug, Swans, Red Lorry Yellow Lorry, and generally alienating cacophonies." [Chris Roberts (Melody Maker)]
" So the rumor goes that Gordon Sharp was invited to join Duran Duran after Sharp dissolved his Edinburgh glam-punk band The Freeze in the late '70s. He turned them down. Elizabeth Fraser and Robin Guthrie also put out the request for Sharp to join the Cocteau Twins. After a brief stint accompanying the Cocteau Twins for a Peel Session in 1982 and a guest spot on This Mortal Coil's It'll End In Tears, he opted for his own project -- the obscure, yet majestic Cindytalk.
In This World is an opus in every sense of the word. Originally, In This World came out in 1988 as two separate albums under the same name, each with slightly different artwork. One album, a masterpiece of abject post-punk that in all honesty is the closest parallel to Swans' Children Of God; the other, a delicate ambient construct of melancholy piano scarred with surface noice prognosticating pretty much everything that Type Records has released (e.g Machinefabriek, Jasper TX, etc.). It's very good thing that both of these albums have been repackaged into one self-contained object, as the only half of In This World that seemed to be floating around was the piano-laced ambient one. As good as that half is, you need the grit and dirge of its companion album to complete Cindytalk's ideas of grand dualities: heaven / hell, pleasure / pain, holiness / transgression, etc.
While billed by Sharp as the 'disgusting' part of the In This World diptych, the first half begins with a lovely tonefloat of scratched violin drones and painterly piano notes. Yet, with the crushing rhythm and noise attack of "Janey's Love," Sharp does not disappoint with his disgusting tag. This is a monstrous industrial dirge with huge monotone slabs of distortion and atonal drones counterpointing Sharp's soaring falsetto. The punk poet Kathy Acker supplies a brief spoken word interlude as the coda to this incendiary number. Immediately hereafter, Cindytalk continue their turgid rhythmic marches with an angular distorted rhythm, slippery bassline mired in audio rust, and twin guitars spitting acid, fire, and brimstone on such tracks as "Gift Of A Knife" and "Circle Of Shit." As the first half of the album progresses, the songs steadily disintegrate as rhythm, song structure, and noise all collapse into a blur of smeared grey that is eerily reflective of William Basinski's Disintegration Loops. The piano which opened In This World becomes
the dominant sound in Cindytalk's soundscapes, also marking the delineation between the two halves of In This World. Yes, this is the
beautiful side of Cindytalk, coated in ash, snow, bruises, and rust. Gordon Sharp's piano playing comes from Brian Eno's Thursday
Afternoon, which in turn came from Erik Satie; and that impressionist sentiment continues forward amidst subterranean drones and field
recordings of barren spaces. Sharp's voice is mostly absent from these tracks, although the eponymous finale to the album showcases
one of Sharp's most emotive croons. They really don't make albums like this any more, with such attention to detail and dynamics between rage and beauty.
Fortunately, both of these records were concise enough that they could both fit onto one CD; and if you've not had the opportunity to hear Cindytalk, please do not let this album and its predecessor Camouflage Heart pass you by!" [Aquarius Records review]
|
2007 |
€14.00 |
|
| CIRCLE |
Soundcheck |
CD |
"Recorded in Finland in October 2009, the band describes Soundcheck as “the most contemporary document possible of a Circle soundcheck/concert experience. For this concert Circle was reinforced by the guitars of J. & P. Jaaskelainen, who may be familiar to some from the ranks of Circle’s brother-in-arms Pharaoh Overlord. On the album, this expanded line-up explores the experimental possibilities of concert staples “Virsi” and “Nopeuskuningas” further than possibly ever before.”
“The first part offers two new tracks, beginning with the brief “Kukkakaalia Kapteenit!”, a wispy swirl of shimmery synths, laid back tribal drumming and some dramatic, emotional crooning, very cinematic sounding, almost like it could be some lost 4AD single, dreamy and ethereal, giving way to the way more rocking and intense “Tuhatsata”, which takes up most of the side, a slow burning, blackened bit of Finnish krautrock, super epic, with dueling vocals, crooning versus grunted and growled, fusiony keys, still more tribal drumming, spidery guitars, the track pulsing and pounding, building to multiple crescendos, frenzied freakouts that always lip right back into more looped mesmer.
The album progresses with two instantly recognizable live set staples, first up, “Virsi”, dramatically progtastic, with that super soaring epic intro, all dynamic shifts and huge bursts of instrumental crunch, with vocals howling and wailing almost operatically, before lurching into some rad atonal krauty, fusiony, jazzy, hypno groove skitter. The second track, another Circle classic, and live staple, “Nopeuskuningas”, explodes right out of the gate, with its chugging almost surfy, ZZ Top-ish boogie riff, locked in groove, the whole thing stretched out over the remainder of the side, the band solid, and hypnotic, and intense, and rocking and tight as fuck. Their showstopper for sure, and it clearly did the job at this show as well.
In so much as between albums, Circle, like Grateful Dead, crank out killer live record after killer liver record, often with some of the same songs, always including a few live staples, familiar enough to hit the spot, but different enough that a Circle fan could be forgiven for needing them ALL!” (Aquarius Records)
A stunning and truly unique live album approach by the Finnish masters of hypnorock and unusual sounds.
Originally released as a very limited vinyl edition via J. Lehtisalo’s own imprint Full Contact Records and instantly sold out, Soundcheck is now back to life housed in our luxurious, heavy tip-on mini-LP gatefold packaging featuring fantastic expanded photography and artwork by Jussi S. Karjalainen. Limited edition of 800 copies.
|
2011 |
€13.50 |
|
| CIRCULAR |
Radiating Perpetual Light |
CD |
"The evolving, dense nature of Circular's sound world is unfolding again with this new work - the first since 2009. Pulsating and deep, reverberant drones, slowly moving guitar lines and rhythms, combined with ambient layers of rich tonal colours were created with an extensive set of analogue and acoustic devices. With his third album Johannes Riedel has entered a region of higher density that produces deeper echoes of sombre oscillation. Radiating Perpetual Light emerges from the desire to sculpt an organic, meditative and deeply ambient environment of mysterious and shapeshifting soundscapes. This is the perfect soundtrack for a dark and glowing sunset." [label info]
www.loki-found.de
|
2013 |
€13.00 |
|
| |
Ghostwhite |
CD |
The fourth album from Circular was arranged and recorded between 2016-2019. It describes the full, unfolding spectrum, leading to the initial shade of Ghostwhite. This release translates the varied colourful and kaleidoscopic spectra into deep audio and sound sculptures. The audio vision of Ghostwhite builds an organic wall of sound as Johannes Riedel starts to add more new elements, such as vocal samples, becoming louder in the mix to match the wailing organs and accelerating synthetic patterns. Circular shines with his new album and creates haunting and gripping sonic works that capture the imagination. Beautiful melodies and rhythms contrast the field recordings and sounds of modular synthesizers to build an abstract image spanning the entirety of the inner cinema. An album to impress and evolve, gathering more elements and styles into the most unique cosmos of Circular’s music.
https://loki-found.bandcamp.com/album/ghostwhite
|
2019 |
€12.00 |
|
| CIULLINI, DANIELE |
Cosmetic for Mannequins |
CD |
All tracks written and produced by Daniele Ciullini
Manipulated field recordings, toy instruments, noises from radio, turntable, tape deck, automatic voices
https://lucesia.bandcamp.com/album/095-daniele-ciullini-cosmetics-for-mannequins
"From former Trax (famous Italian label) member Danielle Ciullini, I reviewed a previous release, ‘Great Events Are Coming’ in Vital Weekly 1254, and now he returns with another album, a short one; eight pieces in thirty-one minutes. As before, the credits are for “manipulated field recordings, toy instruments, noises from radio, turntable, tape deck, automatic voices”, and the result is a wackadoodle mash-up of styles, ideas, concepts and sounds. Try and imagine what it would sound like if you had a bit of noise, some plunderphonics, some click n-cut, cut-up, some drones, lots of voices (not sung, no sound poetry), computer technology and all of that went into a blender, and twisted at high speed. If that makes any sense, then you may have an idea. None of this takes control, so it’s never too noisy, plunderphonics, or such a thing (not wanting to repeat the whole list). Keeping his pieces short, between three and five minutes, and adding quite some variation within each of these pieces, using a massive pile of sounds, means there is some great speed on this album. Yet, Ciullini knows how to keep fine pacing in his music. It never becomes an amorphous mass of sound, as he cleverly adds breaks and changes in his songs, such as in the best of the lot, ‘Mass Loneliness’, which has the markings of a pop song, for the lack of a better word. Overall a great album and one that could have been longer, say, the length of an old-fashioned LP. Maybe next time!" [FdW/Vital Weekly]
|
2023 |
€12.00 |
|
| CLAVICVLA |
Sepulchral Blessing |
CD |
"Black Ambient at its finest. Italy’s Clavicvla channels the cosmic void, the source and finality of all things manifest. A true sonic force that reverberates through the core, allowing to escape one’s physical form and delve deep without, where logic and comprehensions are null... Diabolical black ambient/death industrial demon Claviclva returns with his blood-chilling sophomore LP "Sepulchral Blessing", unravelling another forty minutes of tyrannical nightmare fuel that will leave the listener catatonic and agonising in horror. With "Sepulchral Blessing" this time Clavicvla constructs a sonic tomb of immense evocative force that inters the listener into a lucid nightmare and transports them straight into the kingdom of the dead, acting as an abominable sonic vessel to the underworld. Unbelievably repulsive, blood-chillingly horrific and unyieldingly evil, on this astonishing new work sole mastermind Ittiel has harnessed the quintessence of malignity and created a cinematic soundtrack to a ghastly decent into the underworld, where diabolical atmospheres drenched in the stench of death, nightmarish soundscapes, and monstrous drones and sub-bass frequencies are masterfully interwoven and manipulated to envelop, entrance, and entomb the listener into the nethermost pits of hell."
CD Edition of 500 copies in 4 panel Digisleeve. 6 Tracks. Running Time 37:30
LP Edition of 300 copies on Black Vinyl with printed inner sleeve. 6 Tracks. Running Time 37:30 (Co-Released with Sentient Ruin)
Conceived and recorded by Ittiel
Mastered by James Plotkin
Layout/design by Ittiel
Photography by MA
https://cycliclaw.bandcamp.com/album/sepulchral-blessing |
2019 |
€13.00 |
|
| |
Sepulchral Blessing |
LP |
"Black Ambient at its finest. Italy’s Clavicvla channels the cosmic void, the source and finality of all things manifest. A true sonic force that reverberates through the core, allowing to escape one’s physical form and delve deep without, where logic and comprehensions are null... Diabolical black ambient/death industrial demon Claviclva returns with his blood-chilling sophomore LP "Sepulchral Blessing", unravelling another forty minutes of tyrannical nightmare fuel that will leave the listener catatonic and agonising in horror. With "Sepulchral Blessing" this time Clavicvla constructs a sonic tomb of immense evocative force that inters the listener into a lucid nightmare and transports them straight into the kingdom of the dead, acting as an abominable sonic vessel to the underworld. Unbelievably repulsive, blood-chillingly horrific and unyieldingly evil, on this astonishing new work sole mastermind Ittiel has harnessed the quintessence of malignity and created a cinematic soundtrack to a ghastly decent into the underworld, where diabolical atmospheres drenched in the stench of death, nightmarish soundscapes, and monstrous drones and sub-bass frequencies are masterfully interwoven and manipulated to envelop, entrance, and entomb the listener into the nethermost pits of hell."
CD Edition of 500 copies in 4 panel Digisleeve. 6 Tracks. Running Time 37:30
LP Edition of 300 copies on Black Vinyl with printed inner sleeve. 6 Tracks. Running Time 37:30 (Co-Released with Sentient Ruin)
Conceived and recorded by Ittiel
Mastered by James Plotkin
Layout/design by Ittiel
Photography by MA
https://cycliclaw.bandcamp.com/album/sepulchral-blessing
|
2019 |
€21.00 |
|
| CLOAMA |
same |
CD |
This is dark experimental ambient with a very piercing edge, evokes a very unsettling and eldrich atmosphere....the other, dark & abysmall side of CLOAMA...
“.....This recording, marking a debut for artist / group on the New Old Sentinel label and for the label itself, is five tracks of experimental ambient music limited to 500 copies. Experimental ambient. Two words guaranteed to send most people running off in sheer apoplectic fright. The fear of the unknown. Ambient in all its forms they can cope with but…‘experimental’…too weird. Too challenging. Never assume. On this recording the balance between the differing genres has been implemented in such a seamless and gratifying manner that its only when the recording has finished do you suddenly realise what a strange aural experience you have lived through.
Track one ‘Radiation Amplifier’ starts with what sounds like Tibetan instruments being struck before the piece swiftly introduces musique concrete electronic effects and a sample before ending in something being strummed. Whoa!! Far fucking out maaan. Track two ‘The New Old Sentinel’ throws a whole caboodle of multi effects into the mix merging part drone / part black ambience / part electro acoustic over ghostly voices. Double whoa!! Double far fucking out maaan. I think you can gleam from this what the other tracks are going to sound like. Manipulated electronic sounds and voices resonate predominately. The music continually fluctuates. To move, evolve and grow. Putting out searching tentacles to probe and envelop. Building up pieces which are then demolished before starting anew all within the same track. This combination, which will happily throw dark and light together and damn the consequences, isn’t afraid to take risks. These are minuscule forays into every genre. Picking the finest flecks and combining them into one ethereal state. The music is abstract enough to be confounding and innovative but it never alienates the listener. Instead you feel a guiding hand leading you gently into the more surreal pieces whilst cooing soothing words of comfort are spoken into your ear as you stand hypnotised at the sonic sculptures unfolding.
If this is a foray into uncharted waters, away from the normal Cloama sound, then long may it continue. To produce a piece of work that is structurally complex and yet easily accessible, without falling into the pitfalls of self absorbing wankery, is a feat many aspire to. Cloama have achieved this easily and comes highly recommended to the more adventurous spirits amongst you. “ [Auralpressure]
|
2005 |
€10.00 |
|
| |
Embargoed |
CD |
Latest album from ambient-industrial artists active for 20 years! Embargoed is good continuation from Municipality Of Marionettes LP or At The Mountains Of Paranoia CD, but still expands the atmosphere and gloomy industrial soundscapes to wider. Massive opening track shows Cloama skilled in working without synthesizer sounds. Making impressive gloomy post-industrial soundscapes from wide variation of sound sources. Eventually tracks move closer to two past albums, including eerie guitar-drone and synth oscillations as well as subtle synthesizer pulsations combined with ethereal female chants. Highly atmospheric and experimental full length certainly belongs to the very best of Cloama!
https://www.youtube.com/watch?v=vezIdrXLl14
|
2018 |
€12.00 |
|
| COIL |
Time Machines |
CD |
"Coil's four legit drone pieces, released under the moniker 'Time Machines' in 1998, recorded one year earlier, using single takes with minimal post production. What has become one of the most treasured and revered pieces of COIL history ever released, is now for the first time available on vinyl.
"4 Tones to facilitate travel through time." So begins the listeners’ journey into what has become one of the most treasured and revered pieces of COIL history ever released.
Each of the four pieces on Time Machines is named after the chemical compound of the hallucinogenic drug that they were composed for, and the album was meticulously crafted to enable what John Balance referred to as "temporal slips" in time and space, allowing both the artist and audience to figuratively "dissolve time".
Inspired by long form ceremonial music of Tibet and other religions, where the intent is to lose oneself in the music – to meditate or achieve a trance state – Time Machines became Drew McDowall, John Balance, and Peter Christopherson’s “electronic punk-primitive” answer to this tribal concept.
Starting as a rough demo tape recorded solely by Coil member Drew McDowall, Time Machines started to take full form when McDowall enthusiastically delivered these demo recordings to Balance and Christopherson as sketches for a new Coil project with the primary goal of shifting Coil’s sound further into a more conceptually abstract direction. Largely recorded in 1997 using single takes with minimal post production, these four drones contain every intended fluctuation and tone, along with every glitch of the original – “Artifacts generated by your listening environment are an intrinsic part of the experience.”
Dais Records announces the official remastered reissues of Time Machines on both LP and CD. The reissued CD edition includes reproductions of the 6 original vinyl stickers and comes in a double-pocketed brown board digipack. The reissued double vinyl LP will feature deluxe double pocket gatefold, matte with gloss overlay with printed eurosleeves inserts. The European LP edition is limited to 1000 on transcent orange vinyl."
"The art of Coil involves a confluence of the surreal, the deviant, the magical and the psychedelic, all stemming from their inception within Industrial culture in the early '80s. Time Machines was conceived by Coil's John Balance, Peter Christopherson and Drew MacDowall back in 1998 as a series of audio hallucinogens, constructed by means of method acting. The zeitgeist of Time Machines is the very same as Spacemen 3's early compendium Taking Drugs To Make Music To Take Drugs To, while the compositional sensibility travels down a very different path. For Balance, the concept to the album reflected the notion of hallucinogens as means of time travel, as he posited, "they can conjure up histories of yourself and/or act as predictors of the future. In any case, they can remove you from 'temporal reality.'" The four tracks are named after four powerful chemical compounds with hallucinogenic properties, with each track presumably engineered both for and through those exact chemicals. Such is deeply rooted in the tradition of kosmische electronica and psychonaut minimalism. La Monte Young, early Tangerine Dream, Nurse With Wound and certainly Coil stand at the pinnacle of a tradition for lysergic music that transcends the need for drug-taking to embrace the full experience.
Time Machines remains one of the few truly successful pieces of electronic music in this liminal oeuvre. Slow oscillating tones gird vibrating patterns, and black-hole echoes of rhythm slither in the distance behind slightly dissonant saw-tooth drones. This simple structural sensibility belies the investigative and imaginative prowess that Coil have long mastered. You can't just turn on a synthesizer and have these sounds spill from the circuitry. In Coil's calibration of electricity with chemistry, this immersive pool of sound is a stark document of their power in dissolving time." [Stranded Rec.]
"Vier Klangreisen zu halluzinogenen Verbindungen. Meditation in post-spiritueller
Versuchsanordnung.
Vier Töne, um eine Reise durch die Zeit zu erleben. So beginnt der Trip zu einer der geheimnisvollsten Veröffentlichungen in der langen Geschichte von Coil. Jedes der vier Stücke von "Time Machines" ist nach
der chemischen Verbindung einer halluzinogenen Substanz benannt. Das Album wurde konzipiert, um zu ermöglichen, was John Balance als eine Art "Fehltritt" in Zeit und Raum bezeichnet; die Möglichkeit für Künstler wie Publikum, sich im übertragenen Sinne in der Zeit aufzulösen, eine Art Gegenstück zu spiritueller Musik. Die drei Musiker verstehen dieses Werk als eine elektronische und von der Primitivität des Punks
inspirierte Antwort auf die lange Tradition zeremonieller Musik und Stammeskonzepte verschiedener Religionen, denen es darum geht, zu meditieren und sich in der Musik zu verlieren. Das Projekt begann als Demo-Tape, das ausschließlich von Drew McDowall aufgenommen wurde, und formte sich voll und ganz aus,
als er es Balance und Peter Christopherson vorstellte. Es entstanden vier Klanggebilde, die 1997 als First Takes aufgenommen und nur minimal nachproduziert wurden." [label info]
|
2017 |
€16.00 |
|
|
Musick to play in the Dark |
CD |
Few groups in recent history forged as confounding and alchemical a body of work as Coil, the partnership of Peter 'Sleazy' Christopherson and John Balance. From album to album and phase to phase their recordings spelunk perplexing depths of esoteric industrial, occult electronics, and drugged poetry, both embodying and alienating parallel currents of their peers. The late 1990's in particular were a fertile era for the duo, embracing chance, chaos, and collaboration, enhanced by recent advancements in synthesis and sampling. Fittingly, at the summit of the decade's long, intoxicated arc, their divergent strains of interstitial ritual congealed into one of Coil's most celebrated and hallucinatory creations: Musick To Play In The Dark.
Convening at Balance and Christopherson's vast Victorian house / studio in the coastal town of Weston-super-Mare, they began a series of ambitious sessions aided by inner circle associates Thighpaulsandra and Drew McDowall. Although the creative process was admittedly “iterative” and “a bit of a drug blur,” the results are astoundingly inventive and well realized, winding through shades of divination dirge, wormhole kosmische, noir lounge, ominous humor, and black mass downtempo, guided by Balance's cryptic lunar muse, which he announces on the opening track: “This is moon musick / in the light of the moon.”
What's most remarkable about the album 20 years after its release is how brazen, insular, and unpredictable it still feels. The songs follow an allusive, altered state logic all their own, warping from microscopic ripples of glitch and breath to widescreen warlock psychedelia and back again, as much hyper-sensory as inter-dimensional. Even within a catalog as eclectic as Coil's, Musick is a mystifying collection, oneiric evocations of desire, decadence, dinner jazz, and dietary advice, far beyond the pale of whatever gothic industrial ambiguity birthed such a journey.
The record closes with a slow, starlit shuffle, bathed in seething sweeps of spectral texture and high cathedral keys, like approaching the altar of some arcane temple. As the trance thickens Balance's voice rises, processed into an increasingly eerie, gaseous haze, but he resists these unseen forces, intent on delivering a final sermon: “Through hissy mists of history / the dreamer is still dreaming / the dreamer is still dreaming.”
Reissued for the first time in over 20 years, now on double vinyl LP with the complete, unedited versions of each song and an exclusive "D-side" vinyl art etching. Packaged in a sturdy matte jacket with embossed lettering and spot-gloss design elements. The compact disc version mirrors this design, and comes housed in thick tip-on "LP style" package. Both formats are completely remastered by engineer Josh Bonati with restored artwork and layout by Nathaniel Young - all under the project supervision of Drew McDowall and Thighpaulsandra.
https://www.daisrecords.com/products/coil-musick-to-play-in-the-dark
|
2020 |
€15.00 |
|
|
A Prison Of Measured Time (col. vinyl) |
12inch |
The histroy of these tracks is: In 1995 and before I was employed to take tracks home and manipulate the streams to create new content.
The way I did this was a process I called “Rate/Stretch, I won’t go into details, but it was very successful at creating whole new content. From these experiments came the “scorn“ dreamspace mix, and much of Black Light District. After we came back from New Orleans working on the “Backwards LP “at Trent Reznor’s studio, Peter Christopherson, asked me to do the same to two tracks, "Heaven’s blade" and "Wir click Wir (Copacaballa)".
This was 1998 (a year and a half after we left New Orleans). I started the project, but due to misgivings at the time with the whole music business, I left, and the tracks didn’t get a release. On these tracks you will get music unheard.
1. John Balance vocals some of which never heard before
2. The trumpet takes we recorded for Wir click Wir, but never had the facility to use.
- Danny Hyde
A gem, a little tresure, exclusively on vinyl format for COIL lovers and collectors.
500 hand numbered copies:
§ part of the copies are on White Vinyl
§ part of the copies are on Blu Vinyl
§ part of the copies are on Blue Vinyl with |
2020 |
€30.00 |
|
|
A Prison of Measured Time |
CD |
The history of these tracks is: In 1995 and before I was employed to take tracks home and manipulate the streams to create new content.
The way I did this was a process I called “Rate/Stretch, I won’t go into details, but it was very successful at creating whole new content. From these experiments came the “scorn“ dreamspace mix, and much of Black Light District. After we came back from New Orleans working on the “Backwards LP “at Trent Reznor’s studio, Peter Christopherson, asked me to do the same to two tracks, "Heaven’s blade" and "Wir click Wir (Copacaballa)".
This was 1998 (a year and a half after we left New Orleans). I started the project, but due to misgivings at the time with the whole music business, I left, and the tracks didn’t get a release. On these tracks you will get music unheard.
1. John Balance vocals some of which never heard before
2. The trumpet takes we recorded for Wir click Wir, but never had the facility to use.
- Danny Hyde
|
2020 |
€15.00 |
|
|
Musick to play in the Dark (yellow vinyl) |
do-LP |
"Few groups in recent history forged as confounding and alchemical a body of work as Coil, the partnership of Peter 'Sleazy' Christopherson and John Balance. From album to album and phase to phase their recordings spelunk perplexing depths of esoteric industrial, occult electronics, and drugged poetry, both embodying and alienating parallel currents of their peers. The late 1990's in particular were a fertile era for the duo, embracing chance, chaos, and collaboration, enhanced by recent advancements in synthesis and sampling. Fittingly, at the summit of the decade's long, intoxicated arc, their divergent strains of interstitial ritual congealed into one of Coil's most celebrated and hallucinatory creations: Musick To Play In The Dark.
Convening at Balance and Christopherson's vast Victorian house / studio in the coastal town of Weston-super-Mare, they began a series of ambitious sessions aided by inner circle associates Thighpaulsandra and Drew McDowall. Although the creative process was admittedly “iterative” and “a bit of a drug blur,” the results are astoundingly inventive and well realized, winding through shades of divination dirge, wormhole kosmische, noir lounge, ominous humor, and black mass downtempo, guided by Balance's cryptic lunar muse, which he announces on the opening track: “This is moon musick / in the light of the moon.”
What's most remarkable about the album 20 years after its release is how brazen, insular, and unpredictable it still feels. The songs follow an allusive, altered state logic all their own, warping from microscopic ripples of glitch and breath to widescreen warlock psychedelia and back again, as much hyper-sensory as inter-dimensional. Even within a catalog as eclectic as Coil's, Musick is a mystifying collection, oneiric evocations of desire, decadence, dinner jazz, and dietary advice, far beyond the pale of whatever gothic industrial ambiguity birthed such a journey.
The record closes with a slow, starlit shuffle, bathed in seething sweeps of spectral texture and high cathedral keys, like approaching the altar of some arcane temple. As the trance thickens Balance's voice rises, processed into an increasingly eerie, gaseous haze, but he resists these unseen forces, intent on delivering a final sermon: “Through hissy mists of history / the dreamer is still dreaming / the dreamer is still dreaming.”
Reissued for the first time in over 20 years, now on double vinyl LP with the complete, unedited versions of each song and an exclusive "D-side" vinyl art etching. Packaged in a sturdy matte jacket with embossed lettering and spot-gloss design elements. The compact disc version mirrors this design, and comes housed in thick tip-on "LP style" package. Both formats are completely remastered by engineer Josh Bonati with restored artwork and layout by Nathaniel Young - all under the project supervision of Drew McDowall and Thighpaulsandra."
https://www.daisrecords.com/products/coil-musick-to-play-in-the-dark
|
2020 |
€32.00 |
|
|
Musick to play in the Dark (black vinyl) |
do-LP |
"Few groups in recent history forged as confounding and alchemical a body of work as Coil, the partnership of Peter 'Sleazy' Christopherson and John Balance. From album to album and phase to phase their recordings spelunk perplexing depths of esoteric industrial, occult electronics, and drugged poetry, both embodying and alienating parallel currents of their peers. The late 1990's in particular were a fertile era for the duo, embracing chance, chaos, and collaboration, enhanced by recent advancements in synthesis and sampling. Fittingly, at the summit of the decade's long, intoxicated arc, their divergent strains of interstitial ritual congealed into one of Coil's most celebrated and hallucinatory creations: Musick To Play In The Dark.
Convening at Balance and Christopherson's vast Victorian house / studio in the coastal town of Weston-super-Mare, they began a series of ambitious sessions aided by inner circle associates Thighpaulsandra and Drew McDowall. Although the creative process was admittedly “iterative” and “a bit of a drug blur,” the results are astoundingly inventive and well realized, winding through shades of divination dirge, wormhole kosmische, noir lounge, ominous humor, and black mass downtempo, guided by Balance's cryptic lunar muse, which he announces on the opening track: “This is moon musick / in the light of the moon.”
What's most remarkable about the album 20 years after its release is how brazen, insular, and unpredictable it still feels. The songs follow an allusive, altered state logic all their own, warping from microscopic ripples of glitch and breath to widescreen warlock psychedelia and back again, as much hyper-sensory as inter-dimensional. Even within a catalog as eclectic as Coil's, Musick is a mystifying collection, oneiric evocations of desire, decadence, dinner jazz, and dietary advice, far beyond the pale of whatever gothic industrial ambiguity birthed such a journey.
The record closes with a slow, starlit shuffle, bathed in seething sweeps of spectral texture and high cathedral keys, like approaching the altar of some arcane temple. As the trance thickens Balance's voice rises, processed into an increasingly eerie, gaseous haze, but he resists these unseen forces, intent on delivering a final sermon: “Through hissy mists of history / the dreamer is still dreaming / the dreamer is still dreaming.”
Reissued for the first time in over 20 years, now on double vinyl LP with the complete, unedited versions of each song and an exclusive "D-side" vinyl art etching. Packaged in a sturdy matte jacket with embossed lettering and spot-gloss design elements. The compact disc version mirrors this design, and comes housed in thick tip-on "LP style" package. Both formats are completely remastered by engineer Josh Bonati with restored artwork and layout by Nathaniel Young - all under the project supervision of Drew McDowall and Thighpaulsandra."
https://www.daisrecords.com/products/coil-musick-to-play-in-the-dark |
2020 |
€30.00 |
|
|
Love's Secret Domain (GOLD) |
3 x LP |
In 1991 Coil released the third of their early classic full-length albums "Love's Secret Domain", seemingly casting aside the gloom and funereal beauty of its predecessors in favour of a painstakingly multi-layered hallucinogenic electronic beast, which unlike some of their fellow ex-industrial contemporaries' releases of the time wasn't an attempt at easy accessibility or (the-gods-forbid) danceability, but a vibrating psychedelic masterpiece unrivalled in their discography and still a landmark album.
To mark its 30 year anniversary Infinite Fog are beyond proud to present an expanded, fully remastered re-release of this fan favourite available for the first time ever in its entirety on vinyl with 10 rare and mostly unreleased tracks and alternative versions from the period added as a bonus to a luxurious 3LP/2CD set.
Love's Secret Domain contains among its many highlights the Lynchian William Blake tribute of its title track and the intoxicating single "Windowpane", original versions of the later Coil live staple "Teenage Lightning" and the majestically warped classicisms of "Chaostrophy". Marc Almond guests on the typhonian "Titan Arch" and This Heat's Charles Hayward provides some amazing drum stylings.
This album is Coil pushing their sound ideas and probably their sanity to their very limits. Beyond the iconic Steven Stapleton cover art here reproduced in unseen definition the doors of perception still open wide for both long-term Coil aficionados and new-comers to this supremely innovative release to explore unknown depths. The long-overdue re-release illustrates how far ahead of the curve Coil were with the sounds on this album, which still sounds as fresh and mind-blowing as it did back in the early 90s.
https://infinitefog.bandcamp.com/album/loves-secret-domain-30th-anniversary-edition
|
2021 |
€49.50 |
|
|
Love's Secret Domain |
do-CD |
In 1991 Coil released the third of their early classic full-length albums "Love's Secret Domain", seemingly casting aside the gloom and funereal beauty of its predecessors in favour of a painstakingly multi-layered hallucinogenic electronic beast, which unlike some of their fellow ex-industrial contemporaries' releases of the time wasn't an attempt at easy accessibility or (the-gods-forbid) danceability, but a vibrating psychedelic masterpiece unrivalled in their discography and still a landmark album.
To mark its 30 year anniversary Infinite Fog are beyond proud to present an expanded, fully remastered re-release of this fan favourite available for the first time ever in its entirety on vinyl with 10 rare and mostly unreleased tracks and alternative versions from the period added as a bonus to a luxurious 3LP/2CD set.
Love's Secret Domain contains among its many highlights the Lynchian William Blake tribute of its title track and the intoxicating single "Windowpane", original versions of the later Coil live staple "Teenage Lightning" and the majestically warped classicisms of "Chaostrophy". Marc Almond guests on the typhonian "Titan Arch" and This Heat's Charles Hayward provides some amazing drum stylings.
This album is Coil pushing their sound ideas and probably their sanity to their very limits. Beyond the iconic Steven Stapleton cover art here reproduced in unseen definition the doors of perception still open wide for both long-term Coil aficionados and new-comers to this supremely innovative release to explore unknown depths. The long-overdue re-release illustrates how far ahead of the curve Coil were with the sounds on this album, which still sounds as fresh and mind-blowing as it did back in the early 90s.
https://infinitefog.bandcamp.com/album/loves-secret-domain-30th-anniversary-edition
|
2021 |
€24.00 |
|
|
The Ape of Naples |
3 x LP set |
"The Ape of Naples" is a deeply emotional and uniquely rewarding album. In its immediate accessibility it is somewhat reminiscent of Coil's mid-1980s classic "Horse Rotorvator" sharing that album's wild variety of sounds and styles as well as its overriding sombre mood. Originally released in 2005 and in many ways the band's ultimate swan song, it is now considered one of the go-to albums for introducing new listeners to the unparalleled magick of Coil. Compiled and released by Peter Christopherson one year after Jhonn Balance's tragic deadly fall, it includes reworkings of the live favourite "Amethyst Deceivers" and "Love Secret's Domain"'s "Teenage Lightning" as well as several songs originally intended for the ill-fated "Backwards" album like the haunting and preminiscent "Fire of the Mind" and the superb "Amber Rain". Other tracks were created using unfinished song ideas from around "Backwards", sampling tiny bits of Balance's live vocals from songs only ever performed in concert once like "Triple Sun". Using the lyrics of the theme tune for the 1970s BBC sit com series "Are you being served?" for the unbelievably haunting "Going up", this album's final track and the last song Coil ever performed live, is maybe the most poignant example of Balance's and Christopherson's method of turning base matter into pure sound gold, and like the title of the album, derived from an imaginary adult video an equally fine example of the often underappreciated humour of the boys.
Christopherson with the help of long-term sound wizard Danny Hyde and using some of the talent of Coil touring members managed to craft an album which feels and flows like a true Coil classic.
The Infinite Fog version is the third Coil record receiving the fully remastered and enhanced 3LP/2CD treatment supervised by Danny Hyde.
All of the original material has again been carefully and sympathetically remastered by Grammy-nominated engineer Jessica Thompson who has been previously lauded for her splendid job on its sister release "The New Backwards". Coil fans old and new will be thrilled over the inclusion of more than an hour's worth of 9 rare and largely unheard bonus tracks from Danny's vaults completing the set. The astounding design of the original box-set release is restored for the gatefold 3LP sleeve using the fully-licensed artwork by Ian Johnstone (making it easy to differentiate this new vinyl version from previous un-sanctioned LP releases using poor reproductions of the original CD art for the front cover), the CD will be available in two versions with the original and well-loved original CD cover art and for the first time using the former vinyl-only cover art.
If you do not yet own a physical copy of the "Ape of Naples", or if you always wanted an enhanced version of this masterpiece, there has never been a better time to make that wish come true.
Written & Produced by Coil & Danny Hyde.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Oleg Galay.
https://infinitefog.bandcamp.com/album/the-ape-of-naples
|
2022 |
€46.00 |
|
|
Musick to play in the Dark 2 (Black Vinyl) |
do-LP |
After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter “Sleazy” Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group’s heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one.
Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed “moon music” – post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group’s limitless insular synergy.
Opener “Something” is stark and incantational, a spoken word experiment for windswept voids. “Tiny Golden Books” unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. “Ether” is an exercise in funeral procession piano and intoxicated wordplay (“It's either ether or the other”), while “Where Are You?” and “Batwings – A Liminal Hymn” lurk like liturgical murmurings heard on one’s death bed, framed in granular FX and flickering candlelight.
As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination “Paranoid Inlay” captures the group’s oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. “It seems concussion suits you,” he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: “On a clear day I can see forever / that the underworld is my oyster.”
// Unter der erstaunlichen Reihe von Meisterwerken der späten Coil-Ära gilt das Mond-Opus „Musick To Play In The Dark“ als künstlerischer Zenit der Band. Die Sessions, aus denen es hervorging, waren sogar so fruchtbar, dass eine zweite LP noch während der Entstehung der ersten Gestalt annahm. Unterstützt durch den walisischen Multi-Instrumentalisten und Tontechniker Thighpaulsandra tauchten Coil weiter in die Tiefen der surrealistischen Elektronika, die Bandgründer John Balance als "Mondmusik" bezeichnete. „Musick To Play In The Dark²“ umspannt eine ganze Geisterstunde post-industrielle Zauberei an der Achse von narkotischen und nächtlichen Energien: „Bad Acid“-Sounddesign, Synthesizer-Reisen, opiumhaltige Balladen, luziferischer Glitch und unterschwellige Hymnen; abwechselnd unheilvoll, orakelhaft und absurd. Die schottische Gothic-Ikone Rose McDowall ist bei zwei Stücken als Gastsängerin zu hören."
Mastered by Josh Bonati.
Double LP, with Side D Moon Etching.
https://www.daisrecords.com/collections/releases/products/coil-musick-to-play-in-the-dark-2
|
2022 |
€29.50 |
|
|
Musick to play in the Dark 2 |
CD |
After leaving London in 1999 for the sleepy seaside retiree town of Weston-super-Mare, Coil co-founders John Balance and Peter “Sleazy” Christopherson set up shop in a palatial eight-bedroom estate to pursue the outer reaches of the group’s heightening cabalistic chemistry. Among the staggering string of late-era masterpieces they produced is lunar opus Musick To Play In The Dark, widely hailed as an artistic zenith upon its release. The sessions that birthed it were in fact so fruitful that a second LP took shape during the creation of the first one.
Aided by the recent addition of Welsh multi-instrumentalist engineer Thighpaulsandra, Coil mined further into the recesses of surrealist eldritch electronica Balance termed “moon music” – post-industrial spellcasting at the axis of narcotic and nocturnal energies. Musick To Play In The Dark² spans a full witching hour of bad acid sound design, synthesizer voyaging, opiated balladry, Luciferian glitch, and subliminal hymnals, alternately ominous, oracular, and absurd. Scottish gothic icon Rose McDowall guests on vocals for two tracks but otherwise the album is a hermetic affair, tapping into the group’s limitless insular synergy.
Opener “Something” is stark and incantational, a spoken word experiment for windswept voids. “Tiny Golden Books” unspools an aerial whirlpool of cosmic synth, both whispery and widescreen. “Ether” is an exercise in funeral procession piano and intoxicated wordplay (“It's either ether or the other”), while “Where Are You?” and “Batwings – A Liminal Hymn” lurk like liturgical murmurings heard on one’s death bed, framed in granular FX and flickering candlelight.
As a whole the collection skews more muted and remote than its predecessor, as if having grown accustomed to the nether regions of these darkening seances. But music box hallucination “Paranoid Inlay” captures the group’s oblique comedic side, always glimmering beneath: over a warped, wobbly beat Balance intones an opaque narrative of serenity, Saint Peter, and suicidal vegetables, accompanied by spiraling harpsichord and stuttering squelches of electronics. “It seems concussion suits you,” he repeats twice, like a macabre pickup line, before dictating a dear diary entry about risks and failures, finally concluding with as close to a self-portrait as Coil ever came: “On a clear day I can see forever / that the underworld is my oyster.”
// Unter der erstaunlichen Reihe von Meisterwerken der späten Coil-Ära gilt das Mond-Opus „Musick To Play In The Dark“ als künstlerischer Zenit der Band. Die Sessions, aus denen es hervorging, waren sogar so fruchtbar, dass eine zweite LP noch während der Entstehung der ersten Gestalt annahm. Unterstützt durch den walisischen Multi-Instrumentalisten und Tontechniker Thighpaulsandra tauchten Coil weiter in die Tiefen der surrealistischen Elektronika, die Bandgründer John Balance als "Mondmusik" bezeichnete. „Musick To Play In The Dark²“ umspannt eine ganze Geisterstunde post-industrielle Zauberei an der Achse von narkotischen und nächtlichen Energien: „Bad Acid“-Sounddesign, Synthesizer-Reisen, opiumhaltige Balladen, luziferischer Glitch und unterschwellige Hymnen; abwechselnd unheilvoll, orakelhaft und absurd. Die schottische Gothic-Ikone Rose McDowall ist bei zwei Stücken als Gastsängerin zu hören."
Mastered by Josh Bonati.
https://www.daisrecords.com/collections/releases/products/coil-musick-to-play-in-the-dark-2
|
2022 |
€15.00 |
|
|
The New Backwards (extended edition) |
do-CD |
"The New Backwards" was conceived by Peter "Sleazy" Christopherson in 2007, revisiting stray tracks which hadn't seemed to gel with the material he had chosen for the more somber "Ape of Naples" from 2005, COIL's initial posthumous release, a sort of requiem and a kiss-goodbye to his then recently deceased partner John Balance.
Significantly different to its sister release, this album collects the brilliantly chaotic and outrageously rhythmic material from the original sessions for the album that was begun as early as 1993 and had originally been conceptualised as the follow-up to "Love's Secret Domain". These songs are as diverse and wild as the places they originated from, partly infamously spawned in Sharon Tate's former home in the Hollywood Hills, the Nine Inch Nails home base in New Orleans and London's Swanyard, co-composed, remixed and restructured with the help of long-term friend Danny Hyde in Thailand, this collection has its own unique flow and an atmosphere not found on any other COIL release.
Both "AYOR" and "Backwards" had by the time the album was first released already become favourites in COIL's manic live performances. Some of the other tracks had only leaked in demo versions and are here presented updated and polished as Christopherson and Hyde intended them to be heard. It is interesting to consider Balance's vocal contributions, too. Whilst on the albums COIL did release at the time this material was first put aside ("Black Light District" and "ElpH") his voice is all but absent, his vocal performances and his lyric writing here are arguably more closely indebted to the previous "Love's Secret Domain" era, especially the epic "Copacaballa" is noteworthy in that respect.
The New Backwards" effectively became the final official COIL studio release of all new material whilst Peter was still alive and is here presented for the first time fully supervised by Danny Hyde, its co-creator.
The stunning cover uses a detail from artist Ian Johnstone's "Cubic Raven" painting, licensed from the estate of IJ..
It is high time to rediscover this timeless album with the Infinite Fog release, first time available on vinyl in its full form without 3 skipped tracks! Besides that boasting nine further tracks of previously unheard material from the same sessions, rough working stages and surprising remixes which will surely delight the dedicated COIL archaeologists, as they shine yet another light on the creative process and on what could have been.
credits
released March 30, 2022
Recorded at Swanyard, London and at Nothing Studios, New Orleans, 1996.
Thanks to everyone there, especially Trent Reznor who made it all possible.
Written & Produced by Coil & Danny Hyde.
Remixed by Peter Christopherson & Danny Hyde, Bangkok 2007.
For that session Coil were: Peter Christopherson, Jhonn Balance & Drew McDowall.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Cold Graves and Oleg Galay.
https://infinitefog.bandcamp.com/album/the-new-backwards-extended-edition
|
2022 |
€26.00 |
|
|
The Ape of Naples (White) |
3 x LP set |
"The Ape of Naples" is a deeply emotional and uniquely rewarding album. In its immediate accessibility it is somewhat reminiscent of Coil's mid-1980s classic "Horse Rotorvator" sharing that album's wild variety of sounds and styles as well as its overriding sombre mood. Originally released in 2005 and in many ways the band's ultimate swan song, it is now considered one of the go-to albums for introducing new listeners to the unparalleled magick of Coil. Compiled and released by Peter Christopherson one year after Jhonn Balance's tragic deadly fall, it includes reworkings of the live favourite "Amethyst Deceivers" and "Love Secret's Domain"'s "Teenage Lightning" as well as several songs originally intended for the ill-fated "Backwards" album like the haunting and preminiscent "Fire of the Mind" and the superb "Amber Rain". Other tracks were created using unfinished song ideas from around "Backwards", sampling tiny bits of Balance's live vocals from songs only ever performed in concert once like "Triple Sun". Using the lyrics of the theme tune for the 1970s BBC sit com series "Are you being served?" for the unbelievably haunting "Going up", this album's final track and the last song Coil ever performed live, is maybe the most poignant example of Balance's and Christopherson's method of turning base matter into pure sound gold, and like the title of the album, derived from an imaginary adult video an equally fine example of the often underappreciated humour of the boys.
Christopherson with the help of long-term sound wizard Danny Hyde and using some of the talent of Coil touring members managed to craft an album which feels and flows like a true Coil classic.
The Infinite Fog version is the third Coil record receiving the fully remastered and enhanced 3LP/2CD treatment supervised by Danny Hyde.
All of the original material has again been carefully and sympathetically remastered by Grammy-nominated engineer Jessica Thompson who has been previously lauded for her splendid job on its sister release "The New Backwards". Coil fans old and new will be thrilled over the inclusion of more than an hour's worth of 9 rare and largely unheard bonus tracks from Danny's vaults completing the set. The astounding design of the original box-set release is restored for the gatefold 3LP sleeve using the fully-licensed artwork by Ian Johnstone (making it easy to differentiate this new vinyl version from previous un-sanctioned LP releases using poor reproductions of the original CD art for the front cover), the CD will be available in two versions with the original and well-loved original CD cover art and for the first time using the former vinyl-only cover art.
If you do not yet own a physical copy of the "Ape of Naples", or if you always wanted an enhanced version of this masterpiece, there has never been a better time to make that wish come true.
Written & Produced by Coil & Danny Hyde.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Oleg Galay.
https://infinitefog.bandcamp.com/album/the-ape-of-naples |
2022 |
€48.50 |
|
| |
The Ape of Naples |
do-CD |
CDs come in a 6-panel Digipak with a booklet and poster. Artwork by Ian Johnstone.
"The Ape of Naples" is a deeply emotional and uniquely rewarding album. In its immediate accessibility it is somewhat reminiscent of Coil's mid-1980s classic "Horse Rotorvator" sharing that album's wild variety of sounds and styles as well as its overriding sombre mood. Originally released in 2005 and in many ways the band's ultimate swan song, it is now considered one of the go-to albums for introducing new listeners to the unparalleled magick of Coil. Compiled and released by Peter Christopherson one year after Jhonn Balance's tragic deadly fall, it includes reworkings of the live favourite "Amethyst Deceivers" and "Love Secret's Domain"'s "Teenage Lightning" as well as several songs originally intended for the ill-fated "Backwards" album like the haunting and preminiscent "Fire of the Mind" and the superb "Amber Rain". Other tracks were created using unfinished song ideas from around "Backwards", sampling tiny bits of Balance's live vocals from songs only ever performed in concert once like "Triple Sun". Using the lyrics of the theme tune for the 1970s BBC sit com series "Are you being served?" for the unbelievably haunting "Going up", this album's final track and the last song Coil ever performed live, is maybe the most poignant example of Balance's and Christopherson's method of turning base matter into pure sound gold, and like the title of the album, derived from an imaginary adult video an equally fine example of the often underappreciated humour of the boys.
Christopherson with the help of long-term sound wizard Danny Hyde and using some of the talent of Coil touring members managed to craft an album which feels and flows like a true Coil classic.
The Infinite Fog version is the third Coil record receiving the fully remastered and enhanced 3LP/2CD treatment supervised by Danny Hyde.
All of the original material has again been carefully and sympathetically remastered by Grammy-nominated engineer Jessica Thompson who has been previously lauded for her splendid job on its sister release "The New Backwards". Coil fans old and new will be thrilled over the inclusion of more than an hour's worth of 9 rare and largely unheard bonus tracks from Danny's vaults completing the set. The astounding design of the original box-set release is restored for the gatefold 3LP sleeve using the fully-licensed artwork by Ian Johnstone (making it easy to differentiate this new vinyl version from previous un-sanctioned LP releases using poor reproductions of the original CD art for the front cover), the CD will be available in two versions with the original and well-loved original CD cover art and for the first time using the former vinyl-only cover art.
If you do not yet own a physical copy of the "Ape of Naples", or if you always wanted an enhanced version of this masterpiece, there has never been a better time to make that wish come true.
Written & Produced by Coil & Danny Hyde.
Mastered by Jessica Thompson.
Front artwork by Ian Johnstone.
Artwork licensed from The Estate of Ian Johnstone.
Layout Oleg Galay.
https://infinitefog.bandcamp.com/album/the-ape-of-naples |
2022 |
€23.00 |
|
| COIL + ZOS KIA + MARC ALMOND |
How to destroy Angels |
LP |
Cold Spring are proud to announce the complete recording of 'A Slow Fade To Total Transparency'. Recorded 24th August 1983, at the Air Gallery, London, UK.
All audio has been remastered from the original tapes, is previously unreleased, and is EXCLUSIVE to this release.
Personnel for the performance - John Balance (Coil), John Gosling (Zos Kia), Marc Almond (Soft Cell) and live mix by Peter Christopherson (Coil, Throbbing Gristle).
Liner notes by Michel Faber ('Under The Skin', 'The Crimson Petal And The White').
1. "HOW TO DESTROY ANGELS" - the complete 23 minute piece.
2. "HOW TO DESTROY ANGELS - ZOS KIA REMIX" - a 9 minute unheard remix by John Gosling.
3. "BAPTISM OF FIRE" - unreleased recording of Zos Kia / Coil at Recession Studios, London, England, October 12, 1983.
Michel Faber: "Imagine how out-of-step with the dominant culture COIL were when they unveiled themselves in the Air Gallery to perform A Slow Fade To Total Transparency. Subtitled How To Destroy Angels, the music - a backing track prepared by JOHN BALANCE, JOHN GOSLING and PETER CHRISTOPHERSON - bears only scant resemblance to the How To Destroy Angels 12" that Coil would release as their debut vinyl the following year. Instead of the meditative ritual gongs of the 12", what we hear here is a restless, queasy melange of industrial noise, its eerie whistles the perfect backdrop for MARC ALMOND as he recites a bitter tirade against an ex-lover".
All orders direct from Cold Spring will receive an exclusive artcard. All vinyl comes with download card.
CD Edition out now in glossy 6-panel digipak
Vinyl available 10th September 2018:
coldspring.bandcamp.com/album/how-to-destroy-angels-csr263cd-lp
|
2018 |
€22.00 |
|
| COIL WITH BLACK SUN PRODUCTIONS |
The Plastic Spider Thing |
CD + DVD |
"This album, featuring Coil’s music literally remixed and re-arranged in ritual form to serve as the soundtrack to the Black Sun Productions extreme performance art spectacle entitled Plastic Spider Things, following the performers’ (among who was counted John Balance himself) every move. Synths, drones, and psychedelic textures lead us on mystical tour of sex and magic, serving as a testament to the undeniable connection between Coil’s music, ritual magic, and performance art.
Included with the CD is a collection of Black Sun Productions videos documenting the history of Black Sun Productions and it’s strong ties with Coil. The DVD features rare clips and backstage footage (Coil Live Gigs) with both Peter Christopherson and John Balance, as well as video manipulations.
A release that all hardcore Coil and Black Sun Productions fans have long been waiting for. Limited 500 copies Not to be missed!"
"Tolle Wiederveröffentlichung des legendären COIL-Albums von 2002. Das Album entstand
in Zusammenarbeit mit der Performance „The Plastic Spider Thing“ von BLACK SUN
PRODUCTIONS. CD und LP kommen jeweils mit DVD und erscheinen auf RUSTBLADE.
2002 veröffentlichte THRESHOLD HOUSE bereits dieses legendäre und kontrovers
diskutierte Album von COIL. Es war im Prinzip der Soundtrack zu der künstlerisch inszenierten
Extremperformance „The Plastic Spider Thing“ in Kollaboration mit dem Schweizer Kollektiv
BLACK SUN PRODUCTIONS. COIL, bzw. JOHN BALANCE war selbst Teil dieser Performance
und der Soundtrack perfekt auf ihn abgestimmt. Das Projekt tourte damals durch verschiedene
Städte in Europa und führte ein anstößiges und nicht überall akzeptiertes Konzept auf, bei dem
es um sexuelle Neigungen, Nacktheit aber auch um spirituelle und rituelle Praktiken wie „Chaos
Magick“ und „Spirituel Sex Magick“ ging. 2003 wurden BLACK SUN PRODUCTIONS in der
Schweiz für die Perfomance sogar vor Gericht gestellt, weil sie in ihrer Kompromisslosigkeit gegen nationale Gesetze verstieß. Das vorliegende Re-Release enthält das Album, welches sich musikalisch zwischen Industrial, Drone und Psych-Noise bewegt, wie auch eine
Videodokumentation der „Plastic Spider Thing“-Tour, exklusiven Backstagematerial und weiteren (Live-)Videos." [Broken Silence]
|
2017 |
€23.00 |
|
| COLECLOUGH / MURMER |
Husk |
CD |
Starke Collaboration des field-recording-Spezialisten MURMER aka PATRICK MC GINLEY (er betreibt auch die Radiosendung „Framework“ auf dem Londoner Kult-Sender ‚Resonance104.4fm’) und JONATHAN COLECLOUGH. 4 Stücke, über 70 Minuten Spielzeit, feinstoffliche Resonanzenteppiche verbinden sich mit konkretem Material aus Natur & Alltag und von Instrumenten, der Geist öffnet sich für Mikro-Detail-Geräusche & subliminale Klangwelten... watch out: demnächst (2007) wird es von MURMER eine 7“ auf Drone geben!
“They first met in 2002 after appearing on the compilation LP ‘Chaleur’, and soon began work on the material that would become ‘Husk.’ Sharing a fascination with using ‘found sound’ in their music, ‘Husk’ includes recordings of refrigerators, thunderstorms, sheep, car horns, ferryboats, windblown sand, crackling charcoal, as well as more conventional instrumental sounds including a variety of percussion instruments. Much of the music started as live improvisation, in one case during a radio broadcast on McGinley’s regular ‘Framework’ slot on the London-based radioart station Resonance FM. These live recordings have been carefully edited and mixed over several years. ‘Husk’ is packaged in a 6-panel Digisleeve featuring photographs by Patrick McGinley.” [label info]
|
2006 |
€14.00 |
|
| COLECLOUGH, JONATHAN & ANDREW LILES |
Torch Songs |
do-LP |
"Liles Reworking injiziert sublimen Feinklang in Colecloughs Improvisationen, etwas Subliminales, ein ständig morphendes, mäanderndes Sirren und Dröhnen, fernen Glockenklang, knispeliges undefinierbares Hantieren. Die Sinne werden in einen träumerischen Zustand versenkt, der sie offen macht für Halluzinationen, die die rechte Hirnhälfte der linken einflößt und zusummt. Die Flamme dieser ‚Torch Songs‘ ohne Worte brennt für keine verlorene Liebe, keinen unbekannten Soldaten, sondern vielleicht für das Unbekannte selbst." [Bad Alchemy]
"'Torch Songs' is a collaboration between Jonathan Coleclough and Andrew Liles. They met in October 2004 when they both performed at Intergration 3 in Preston, UK. Liles subsequently reworked the recording of Coleclough's solo performance from that evening. He went on to add, subtract, multiply and divide further live recordings supplied by Coleclough, and the eventual result was this double LP. 'Torch Songs' is packaged in a gatefold sleeve featuring 'I dreamt I was a river,' a poem composed and painted by Geoff Sawers during a performance with Coleclough in Geneva in March 2005. The sound of Geoff's brush painting this lettering can be heard on side B of 'Torch Songs'. The album comes in a beautiful full colour gatefold sleeve with full colour inner sleeves in a limited edition of 500 copies. 180gr. Vinyl !" [press release]
"Much like the entire back catalogue of John Duncan, British avant-drone artist Jonathan Coleclough has often buttressed his work
through an ongoing set of collaborations, each of which push his work into interesting territories while maintaining that essence of Coleclough that makes all of his albums so enthralling. His 2006 collaboration with Murmer was easily one of the best drone albums of that year, twisting field recordings and quiet sessions with electric objects into a gauzy, crepuscular blur that even made those at Artforum perk up their ears and listen. Torch Songs came to fruition when both Coleclough and Liles performed in Preston (probably at the request of the ever-charming Colin Potter) in 2005. In fact, much of the source material for Torch Songs originated from Coleclough's performance to which Liles went on to "add, subtract, multiply, and divide" further. The fundamentals of Torch Songs are primarily Coleclough's signature moves: swelling, resonant drones manipulated from acoustic sources and distilled into tonally vibrant beams of pure sound. Yet, Liles (who in and of himself is a fine technician of sonic alchemy to the point where he has often graced the stage alongside Steve Stapleton, Colin Potter, and Matt Waldron in Nurse With Wound) interjects his own sidereal gestures with wooden creaks, digital time stretching, radiant eruptions of dissonant couplings with Coleclough's drones, and occasional jaunts of heavily filtered tin-can and rubber-band rhythms that parallel much of the output from Liles' recent 12 part Vortex series. Yet for all of Liles' baroque flares for the sonically surreal, it is Coleclough who authors the
strongest material on Torch Songs through his sublime use of the drone. The first 300 copies of Torch Songs comes with a bonus CD that
documents Coleclough's aforementioned Preston performance back in 2005." [Aquarius Records]
|
2007 |
€22.50 |
|
| COLLEY, JOE |
Deformation of Tone |
LP |
Joe Colley’s skeleton key is an intra-dimensional sense of humor. It exists in a place between and beyond dry, deadpan, and defeatist, and is not actually funny. He has a knack for unlocking the essence of the absurdly uncomplicated, elevating it to a place of near-iconic significance and leaving it there. Hovering in a void. Or mashed in the jowl of an insect getting doused with regurgitated chyme and rumen bacteria. Consistent with his past efforts, Deformation Of Tone contains no sturm und drang or exhausting drama. This spectacle-free album delivers abrasive-adjacent electronic judders cloaked in a feeling of intimacy distilled from primordial ooze. Opening voices dissolve into Lucierian mosaic yammer, and plummet into a negative space populated by an unadorned clicking, that most elemental physical manifestation of audio phenomena, the antithesis of awareness and enlightenment and transcendence. Of sentience, even. A quintessential example of his streamlined, efficient hilarity. The episodes continue without pause, as if one is moving through an exhibition. Compared to Colley’s work, which he once described as “little noises arranged on a piece of plastic,” a lot of other noise seems hell-bent on shameless over-compensation. Embarrassingly so. His material has always been low-key, and Deformation Of Tone finds him shuffling in a colder, harsher, more desolate direction. The single-malt rasp of an unnamed conspiracy theorist / motivational speaker, present more for his intonation than anything else, punctuates this rather sculptural 33 minutes of machines whirring, devices beeping, blank-face rotary drones swelling and merging with unnaturally regimented hive rustlings and perfectly unpleasant high-gain squelch — all constructed with a master’s timing and sense of scale.
– Seymour Glass / Bananafish
https://totalblack.bandcamp.com/album/deformation-of-tone
|
2022 |
€21.50 |
|
| COLUMN ONE |
Cindy, Loraine & Hank |
do-LP |
"The latest album from the legendary Berlin-based art collective Column One, entitled "Cindy, Loraine & Hank", was in the works for almost 10 years and it is their first album since anniversary box set "No One" from 2011 and "Antiphona" 10" vinyl EP from 2013. Many fragments, materials & ideas created during the collaboration with the Berlin Zeitkratzer Ensemble (2012) remained unfinished or underdeveloped. After years of further recordings and reviewing the existing material and the destruction of useless bubbles arises with "Cindy, Lorraine & Hank" a bulky muscleman from the splinters of classical instrumentation, electro-acoustic manipulations & assemblages & the clarity of field recordings. A boundless world.
This double album presents Column One and their experimental approach to sound at its best.
"Cindy, Loraine & Hank" a collection of incestuous figures, a museum of small, lovely bastards. Products of passion & weakness, disorientation and dedication, of dull instincts and narrowness. Twins, triplets, octuplets, dyslexic, presidents, beginners, criminal citizens, sacred Neanderthals, expert idiots. Begotten in haste, hidden in the dirt, covered with garbage. A contourless, monstrous void in the cardigan of the great-grandmother. A voyage through the labyrinthine mind of Column One... a surreal, organic projection.
The two LPs are housed in a luxury gatefold sleeve and the first edition is limited to 300 copies only. The cover was designed by Robert Schalinski, based on "Black Depths" print (1974) by John Hiliard. CD edition available from Zoharum Rec.: http://zoharum.com/
„Column One’s greatest achievement is then that by constantly applying all these techniques, they have succeeded in creating a real alternative, a filter onto reality itself. The mask is not pretty, hell it may be even ugly sometimes. But the identity of Column One is created through the power of their findings, and this includes a lot of questioning and doubts and sometimes stepping into a pool of shit only to discover it was gold in the end. May the search continue…“(Till Kniola) " [label info]
|
2015 |
€21.00 |
|
| |
Mädchen in Schmutzigen Schürzen |
CD + BLU-RAY |
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] |
2023 |
€25.00 |
|
| CONSUMER ELECTRONICS |
Airless Space |
do-LP |
"Consumer Electronics return with a double album of all new studio recordings produced by Russell Haswell. Some wondered how the songwriting team of Philip Best and Sarah Froelich would fare after the leaving their London home to take up residency in the United States. Well, here's the answer. Recorded in San Francisco, CE deliver "Airless Space", a state-of-the-union address that does for our American cousins what the band's earlier "Estuary English" album did for a British audience poised upon the coming madness of Brexit. Unusually for CE, "Airless Space" clocks in at 60 minutes, a hexed induction for a country labouring under a presidency, that like Brexit itself, few saw coming or contemplated having to endure. Soundwise, CE have maybe mellowed the tone a touch, allowing their electronics to stretch out and breathe, whereas the frenzied and anxious vocals of Best and Froelich remain as snatched and breathless as ever. Stunningly produced by Russell Haswell and gorgeously mastered by award-winning cutting engineer Matt Colton, "Airless Space" by Consumer Electronics is their most complete and rounded statement yet." [label info]
"Russell Haswell serves vacuum-tight production for Sarah Froelich and Philip Best’s alternately piercing/soberly observant vocals in their 3rd album together as Consumer Electronics, and their first since relocating from London to San Francisco…
In ’Airless Space’ the grizzly trio recalibrate their shrewd gaze from the pre-Brexitlands of 2014’s ‘Estuary English’ to the thick of an unprecedented time in USA, which is currently in the process of fulfilling the dystopian, apocalyptic America of 2020 prophesised in countless films, books and artworks.
Trust CE to grasp the zeitgeist with bare hands in their particular style, with Best and Froelich trading the mic to mete out nearly 60 minutes of wryly sardonic side-eyes at the state of it all, while Haswell variously punctuates the negative space with a palette of bolshy bass drums and noise, or turns the vocals into gargling gurns of bestial wretchedness.
If we’re playing favourites, the increasingly throttled 13 minutes of vitriol and pranging n0!ze jabs in ‘Muder of JJ’ is substantial, while Best is at his most unsettling with the unflinching cool delivery of ‘Carnage Mechanics’, and they come together most fiercely when the vocalists trade the mic over pelting rhythm and bone-twanging twitches in ‘Play Therapy’, with Best uttering the truest lines: “Stay indoors all day, that’s what i do these days / Never leave the house if I can help it/ why would i fucking want to?” [Boomkat]
|
2019 |
€25.00 |
|
| |
Airless Space |
CD |
"Consumer Electronics return with a double album of all new studio recordings produced by Russell Haswell. Some wondered how the songwriting team of Philip Best and Sarah Froelich would fare after the leaving their London home to take up residency in the United States. Well, here's the answer. Recorded in San Francisco, CE deliver "Airless Space", a state-of-the-union address that does for our American cousins what the band's earlier "Estuary English" album did for a British audience poised upon the coming madness of Brexit. Unusually for CE, "Airless Space" clocks in at 60 minutes, a hexed induction for a country labouring under a presidency, that like Brexit itself, few saw coming or contemplated having to endure. Soundwise, CE have maybe mellowed the tone a touch, allowing their electronics to stretch out and breathe, whereas the frenzied and anxious vocals of Best and Froelich remain as snatched and breathless as ever. Stunningly produced by Russell Haswell and gorgeously mastered by award-winning cutting engineer Matt Colton, "Airless Space" by Consumer Electronics is their most complete and rounded statement yet." [label info]
"Russell Haswell serves vacuum-tight production for Sarah Froelich and Philip Best’s alternately piercing/soberly observant vocals in their 3rd album together as Consumer Electronics, and their first since relocating from London to San Francisco…
In ’Airless Space’ the grizzly trio recalibrate their shrewd gaze from the pre-Brexitlands of 2014’s ‘Estuary English’ to the thick of an unprecedented time in USA, which is currently in the process of fulfilling the dystopian, apocalyptic America of 2020 prophesised in countless films, books and artworks.
Trust CE to grasp the zeitgeist with bare hands in their particular style, with Best and Froelich trading the mic to mete out nearly 60 minutes of wryly sardonic side-eyes at the state of it all, while Haswell variously punctuates the negative space with a palette of bolshy bass drums and noise, or turns the vocals into gargling gurns of bestial wretchedness.
If we’re playing favourites, the increasingly throttled 13 minutes of vitriol and pranging n0!ze jabs in ‘Muder of JJ’ is substantial, while Best is at his most unsettling with the unflinching cool delivery of ‘Carnage Mechanics’, and they come together most fiercely when the vocalists trade the mic over pelting rhythm and bone-twanging twitches in ‘Play Therapy’, with Best uttering the truest lines: “Stay indoors all day, that’s what i do these days / Never leave the house if I can help it/ why would i fucking want to?” [Boomkat]
https://www.youtube.com/watch?v=zjgTBnca2rE |
2019 |
€15.00 |
|
| CONTRASTATE |
A breeding Ground for Flies |
CD |
"After a ten year break, the unique, incredible Contrastate have resumed activities and we at Dirter are immensely proud and excited to be able to announce this full length CD of brand new material. This follows a number of re-issues and releases of live and unreleased material, that just about quenched their loyal following's thirst. It seems like Contrastate never really went away and they, along other experimental acts from the 80's and 90's, have gone through something of a critical re-assessment of late. When Contrastate ceased activities nothing like them really came to take their place. Wilfully obscure with just a handful of memorable live shows to their name, Contrastate's music has come to be understood on its own terms. Simply, if you are familiar with them you need to know no more; if you're not, you've been missing out and this is as good a place as any to start. Contrastate's sound insinuates itself somewhere inside the dark ritual ambiance of the electronic avant-garde shot through with a vein of experimental noise and vocals strewn amongst industrial surrealism." [label info]
www.dirter.co.uk
"Ah Contrastate. Did I ever say that I loved the group's earliest output very much, but when they allowed more room for vocals, I thought it was all a bit too 'gothic' for me - and I use that term for a lot of things which I guess I simply don't like. Then I lost track of Contrastate, although it was good to see their first LP on a CD in Vital Weekly 480. Stephen Meixner occasionally pops up in Vital Weekly every now and then. But here is an entirely new album, their first new recording in ten years and of course of the band as trio. Long term serving members Jonathan Grieve and Stephen Meixner and 'new boy' Stephen J. Pomeroy. I must admit I had no idea what to expect this time around. Good news is that the voice that put me off before is not very well present on this new album - for the majority it's all very instrumental. It's the kind of instrumental is that is close to the original sound of Contrastate, but perhaps better recorded than before, using more smooth equipment.
Contrastate is still very good in creating highly atmospheric music with the use analogue synthesizers, electronics, bits of field recordings, some voices (not a lot, not a lot) and an odd use of the collage form for their pieces. A piece like 'Against The Sky' moves through a number of different places which could have been easily separate pieces by themselves. Excellent stuff all around but a downside is perhaps that once they get 'poppy' (by their own standard, I guess), in 'Operation Infinite Truth', they show their political side, which is not a bad thing per se, but isn't a sampled speech on the situation in Iraq by one George W perhaps a bit outdated with Obama in his second term already (or in his first when this was recorded). Being political is always a key point for Contrastate, although I never grasped the finesse of their politics, but here it seems a bit outdated. But besides that, I think this is great return to their best form. Moody, dark, atmospheric, vaguely
experimental, a bit pop-like, what more could we want?" [FdW/Vital Weekly] |
2012 |
€13.00 |
|
| CONTROL |
World of Lies |
CD |
"Control "World of Lies" album, that came out c. 15 years ago. There was couple albums between this and Algolagnia. I suggested artist, that what if he would intentionally break the template a bit, of course not completely abandon his style, but my suggestion was to make first vinyl LP of Control, and my hopes was that it would be a bit noisier, a bit less complex, more harsh and direct, a bit more upfront mix of vocals. Kind of capture the aggression we could see in live settings during these years. It felt like LP format would be ideal for it, as it would benefit from more stripped down approach and less massive sub-bass levels and stereo efx that work best on CD.
As a result, World of Lies happened. It was certainly all Thomas Garrison's vision, and 100% Control, but indeed mentioning possibility that what I would hope for, resulted Control doing one of his most aggressive and fierce albums!" [Freak Animal]
https://control-exsanguinate.bandcamp.com/album/world-of-lies
|
2022 |
€13.00 |
|
| CONTROLLED DEATH |
Ritualistic Mutilation in the Bloody Darkness |
do-LP |
"Controlled Death is the dark side project by the Japanese noise legend Maso Yamazaki a.k.a. Masonna. In April 2018 he decided to make a shudder debut with 1st album Symphony For The Black Murder then followed at the beginning of 2019 from 2nd work in an astonishing black wooden box that included Journey Through A Dead Body on vinyl and Deathwish Tapes 1-3 on cd and double tape. Now we're thrilled to see yet another mind-boggling work on double LP recorded during this year, Ritualistic Mutilation in the Bloody Darkness. Wild and amazing, this one is absolutely essential for any fan of synth and dark ambient music. Cracked minimal electronic sound by Korg MS-20, unclear and disturbing voice with the influence of primitive black metal and dark ritual in this new double album which developed a moisturized doom world while wearing a raw material texture. While listening to the records, each long track does meander their way slowly through proceedings with silent pauses, but they nonetheless generate a respectably dense assemblage of sounds. The smell of death is soaked in every groove produced by the four vinyl sides.
The activities of Controlled Death are like archaic revival to the music experience before Masonna . We can also find the pathology image of the early industrial period and the shadows of Vienna activism such as Hermann Nitsch as well as loose bits of seminal black metal. The existence and art that pierces through conspicuous consciousness and dives to areas of unconsciousness due to death and pleasure.
Double LP has been pressed on 140gr black vinyl and comes in a deluxe gatefold sleeve with impressive photography (of a cave church with the remains of the people who were massacred by the Saracens in 999 A.D. during the invasion of southern Italy) by Aldo Volpe.
This release is not be missed, and with only 299 copies pressed you'd better grab it now!
www.urashima.it
https://urashima.bandcamp.com/album/ritualistic-mutilation-in-the-bloody-darkness
|
2019 |
€32.00 |
|
| COPH'ANTAE TRYR |
Research Chronicles 2007-2009 |
do-CD |
"A superb collection of 4 albums (!) from the protagonist of New Drone Music Generation was released on 11/09/11.
The Russian project Coph’antae Tryr presents its 2CD incl. 4 albums by this Ambient / Experimental drone sculpturist.
Coph`antae Tryr is a way of an enlightenment and clearing by injections of medical enzymes in subconsciousness to study and learn other, undercover, dark corners of a universe and places where it is simply impossible to get physically.
Where Coph is the axe of clearing opening a window to light, „Lux resplendens“ (dazzling Light), Antae – a barrier constraining consciousness and a body, and Tryr – a medicine.
Demirod & Gridaltlryn: Solemn and melancholy sagas, with sensation of extreme weight, places slightly opening, and even flinging the doors open in Next world and infernal life measurements.
Kyrleet & Redoran: That uneasy, the thoughtful sagas, baring horrible essence, denying rational philosophical concepts and self-confident claims for pansophy." [label info]
www.horus.cz
|
2011 |
€16.50 |
|
| CORDIER, ERIC |
Digitalis Purpurea |
CD |
„Music for sound environments“ betitelt, breiten sich hier äusserst merkwürdig-surreale, aber angenehm leise & sensibel tönende Dronescapes aus; die Originalsounds basieren ursprünglich auf Kirchenorgelpfeifen und Dulcimers... feines Werk des Franzosen.
“The title track begins as a barely audible background tone is interrupted by sudden tape-mangled explosions. The piece develops and builds into a deep shimmering drone- I found myself captivated by Cordier's subtle layering of hurdy gurdy and church organ sound textures bathed in thick reverb and transformed into floating helicopter-like sounds fading in and out of the stereo field. At around the 12 minute mark the piece shifts gear and throws in some crazed variable speed tape games and Doppler effects that sound like a fleet of hurdy gurdys storming through a raceway. Things begin to slow down and fade away into silence as the piece comes to a somewhat sudden close. Track two, "dactyle aglomeree" uses a dulcimer as its sound source and features an opening of crazed multi-tracked string sawing and some nice stereo effects. The sounds grow higher in pitch, into something that resembles feedback squeals. Slowly the sounds begin to morph into a swarming mass of hiss that builds in volume and intensity until the string sounds are inaudible. This hiss begins to oscillate wildly as the composition's pace slows down and fades to end. Sound source is field recordings on the third piece, "les os longs"- This piece appears to be very digitally transformed. Spacey and grainy, high pitched noises with some deep bass tones floating in the background. Around the 4-minute mark some creaks and stretched out horn-like tones appear which might be location recordings. The piece remains mysterious and impenetrable throughout. Sounds slow down for the piece's second half, foghorns in the distance, slowly wavering tones that rise and fall slowly in pitch. This portion on the track might be the best thing on here. The disc ending "postface" is made up of church organ sounds- a note in the booklet says: "no tape manipulation". This beautiful piece plays almost like a cross between thoughtful improv and a field recording of someone tuning a church organ- complete with glacially paced awkward pauses and randomly placed, gentle slivers of sound. All of these tape pieces were originally performed as sound environments through multiple speakers at venues ranging from a gallery to a factory tower. The idea of sitting through just one of those events is mouth-watering, but since that is not an option this recording is the next best thing.” [Angbase]
|
2003 |
€10.00 |
|
| |
Osorezan |
CD |
Eine faszinierende Welt der Vulkangasgeräusche und -ausströmungen betritt man im ersten Stück auf ERIC CORDIERS "Osorezan", der hier "reine" Feldaufnahmen aus Japan verwendet hat. Daneben finden sich auf dieser Kollektion auch Aufnahmen aus einem (französischen?) Bergdorf, pure field recordings mit Maschinen- Tier - Menschen- Naturgeräuschen.....
dazu sehr schöne Farbaufnahmen auf dem 6-teiligen Digipack.
"Selected field recording 1993 - 2006. Recorded in Niseko, southwest of Hokaïdo and in Osorezan, northern of Honshu in August 2006. Gas emanation of volcano in Japan. The sound recordings were carried out in the depths and then re-organised. We listen to gas bubbling in water, gas mouths, gas that creates rhythms while escaping from under a dead leaf down in the clay, whistling. All panoramic movements, repetitions, effects of phasing have been carried out during the time of the recording, travelling at the mouth to gather the sound of sulphur gas as a sound pallette." [label info]
http://geocities.com/herbalrecords
|
2007 |
€13.00 |
|
| CORDIER, ERIC & DENIS TRICOT |
Orgue de Bois |
CD |
"Wie urig die Welt der Prêles, der Schachtelhalme, ist, nach denen ERIC CORDIER sein zusammen mit Satoko Fujimoto betriebenes Label benannt hat - auf Englisch heißen die ‚lebenden Fossilien‘ übrigens ‚Horsetails‘ - , das hört man besonders gut bei Orgue de Bois
(prl003). DENIS TRICOT baut diese ‚Holzorgeln‘, große Land-Art- und gleichzeitig Klangskulpturen, die sich 30 Meter lang und 3, 4 Meter hoch durch die Luft schwingen. Es sind Konstruktionen aus geschweiften Birkenholzlamellen, die durch den Raum kurven wie bizarr verholzte Lianen oder erstarrte Mähnenhaare eines Riesenpferdes, von Drähten gehalten und mit Steingewichten geerdet. Zu ‚Orgeln‘ werden sie, wenn man diese Lamellen durch Klopfen und Schaben, mit bloßen Händen oder einem Streichbogen, zum Federn und Schwingen bringt, so dass sie knarrende und wummernde Laute von sich geben, manchmal so sonor, dass sie fast einem Didgeridoo ähneln, oft perkussiv als tockendes Klappern oder dumpfes Pochen, oder auch gestrichen wie knurrig, krätzig und quietschend vibrierende
Monsterbasssaiten. Das ‚Holzige‘ wird als Grundton gut hörbar, auch das Urige als dunkler U-Laut und dazu der Eindruck von etwas Großem, von raumgreifender Spannweite. In den hölzernen Langwellen ist Klang ja schon sichtbar, bevor man ihn hört, die ‚Holzorgeln‘ sind
wie zeremonielle Instrumente oder sogar Altäre eines uralten Klangkultes. Die Aufnahmen stammen aus Charentonneau à Maisons-Alfort (Festival de l‘Oh! 2006), La Ferté-sous-Jouarre (Festival Mémoires Vives à l‘initiative d‘Act‘Art 77 2006) und Ville de Vaux-sur-Mer (2007), wobei, anders als bei den multimedialen Events, die Tricot ebenfalls inszeniert, ausschließlich die ‚Holzorgel‘ zu hören ist, ohne Overdubs, aber eingebettet in das Environment, mit Stimmen, Glockenschlägen, Vögeln etc." [Bad Alchemy]
"In the last few years, with their Orgue de bois (Wooden Organ), Denis Tricot and Eric Cordier have installed constructions, which are at the same time sculpture and musical instrument in many public spaces. Each Wooden Organ is unique, conceived for the space that will receive it. A monument, a square, a street, a city... With its long undulating wooden lines (successions of joined slats), it creates privileged spaces which are exposed to the public eye. After a performance, the audience is free to explore and discover the instrument's vast potential for musical sounds and noises.
More that thirty Wooden Organs have been created in the lat four years in France and Italy. Generally around thirty metres long, these monumental yet extremely light sculptures integrate in their construction the basic principles of lutherie (instrument-building), and can be played like any string or percussion instrument. The Wooden Organ is very simply amplified. The recordings, like the concerts, use no electronic processing, but the monumental instrument itself intentionally contains principles of mechanical resonance and vibration." [label info]
http://www.prelerecords.net/prl003/prl003.htm
|
2008 |
€13.00 |
|
| CORTINI, ALESSANDRO |
Forse 1 |
do-LP |
Alessandro Cortini (Nine Inch Nails/How To Destroy Angels) composed the Forse series using a Buchla Music Easel. Forse, meaning "maybe" In Italian, is a series of 3 double LP releases Cortini recorded for Imprec to release in 2013.
"All pieces were written and performed live on a Buchla Music Easel, in the span of one month. I found that the limited array of modules that the instrument offers sparked my creativity. Most pieces consist of a repeating chord progression, where the real change happens at a spectral/dynamic level, as opposed to the harmonic/chordal one. I believe that the former are just as effective as the latter, in the sense that the sonic presentation (distortion , filtering, wave shaping, etc) are just as expressive as a chord change or chord type, and often reinforce said chord progressions.
Of all the years with Nine Inch Nails the period spent writing and recording the instrumental record Ghosts I-IV is probably the one which changed my approach to music making the most. After that record I started getting more into instrumental composition, although I tried to approach it in a different way. While we had a vast array of tools and instruments at our disposal then, I decided to approach my pieces limiting myself to one instrument only, as I found myself being more decisive when faced with a limited creative environment."
www.importantrecords.com/imprec/imprec373
|
2017 |
€35.00 |
|
| CORTINI, ALESSANDRO & LAWRENCE ENGLISH |
Immediate Horizon |
LP |
Having become mutual admirers of each others work; English of Cortini’s Sonno and Cortini of English’s Wilderness Of Mirrors, the pair were very pleased to receive an invitation to collaborate together.
Following a number of months exchanging compositional ideas and materials, Cortini and English met in Berlin several days ahead of the festival and commenced an intense period of rehearsal and arrangement. The resulting piece, Immediate Horizon, traces their shared interests in harmony and texture. It is a work that meditates on saturation and the ruptures that occur when harmonic elements are stacked. Immediate Horizon’s five pieces swell and burst in a perpetual sense of pulse.
This LP is a live recording, made at the premiere of the piece during Berlin Atonal, held at Kraftwerk in Berlin.
https://lawrenceenglish.bandcamp.com/album/immediate-horizon
|
2018 |
€30.00 |
|
| COSEY FANNI TUTTI |
Tutti |
CD |
UTTI is comprised of eight soundscapes: an audio self portrait comprising of manipulated sound recordings from Cosey’s life, music and art: “It’s the only album I’ve made that is an all encompassing statement expressing the totality of my being. A sense of the past in relation to the present and everything in between.”
These eight pieces were originally conceived as the soundtrack to the autobiographical film ‘Harmonic Coumaction’, and performed live in February 2017, part of a series of events that accompanied the COUM Transmissions retrospective which opened Hull UK City of Culture 2017. Later that year, ‘Harmonic Coumaction’ was presented as an audio-visual installation for Cosey Fanni Tutti’s solo exhibition at Cabinet Gallery, London.
Cosey Fanni Tutti explains: “Working on the COUM Transmissions exhibition also coincided with writing my autobiography - collating archive material and re engaging with my past. My work is a continuum, the past feeding the present and vice versa. The album is an interpretation of my past and present, of my understanding the shifting perceptions of how they inform one another. One form creating another through a metamorphic process.”
On TUTTI, the music has been updated and enhanced with elements of the original tracks re-recorded and further processed specifically to create a unique stand-alone document, separate to the live performance and installation.
Recorded at Cosey Fanni Tutti’s studio in Norfolk, the album, as on her debut release, Time To Tell, merges Cosey’s art activities with her exploration of sound: The album’s autobiographical theme is not locked into any specific time or place, the ‘voices’, instruments and sounds together span decades of my life, music and art. In this context my name 'TUTTI’ shifts from its role as a noun to perfectly represent the concept of the album, also acting as sign for me the artist.
TUTTI is Cosey Fanni Tutti’s only solo album release since 1982’s Time To Tell. Time To Tell was recently given its first release on vinyl, on a long awaited official deluxe edition. The interim years between solo releases has seen a blisteringly prolific output as an artist and musician. Renowned for her art, her work in the sex industry, as co-founder of Industrial music and Throbbing Gristle, and her pioneering electronic music solo and as Chris & Cosey, Carter Tutti and Carter Tutti Void, she has created throughout with the motto “my life is my art, my art is my life”.
Cosey’s autobiography ART SEX MUSIC was published to worldwide acclaim by Faber & Faber in 2017, a Japanese edition has just been published with further translations and an audio book to follow.
TUTTI TRACK LISTING
Tutti
Drone
Moe
Sophic Ripple
Split
Heliy
En
Orenda
TUTTI besteht aus acht Tracks und ist ein Audio-Selbstporträt, das aus manipulierten Tonaufnahmen aus Cosey Fanni Tuttis Leben, Musik und Kunst besteht: "Es ist das einzige Album, das ich gemacht habe, das eine allumfassende Aussage ist, die die Gesamtheit meines Seins ausdrückt. Ein Gefühl der Vergangenheit in Bezug auf die Gegenwart und alles dazwischen." Diese acht Stücke waren ursprünglich als Soundtrack zum autobiografischen Film ,Harmonic Coumaction" konzipiert und wurden im Februar 2017 im Rahmen einer Veranstaltungsreihe zur Retrospektive über COUM Transmissions live aufgeführt. COUM Transmissions war eine subkulturelle Gruppe von britischen Musikern, Undergroundfilmemachern, Aktions- und Konzeptkünstlern, der Cosey anghörte und die Anfang der 1970er Jahre durch aggressive, provokante und schockierend-verstörende Performances medienpräsent auf sich aufmerksam machte und zu den Wegbereitern des späteren Industrial zählt. ,Harmonic Coumaction" wurde ebenfalls als audio-visuelle Installation bei Cosey Fanni Tuttis Einzelausstellung in der Cabinet Gallery, London, präsentiert. Cosey Fanni Tutti erklärt: "Die Arbeit an der Ausstellung COUM Transmissions fiel auch mit dem Schreiben meiner Autobiografie zusammen - dem Sammeln von Archivmaterial und dem Wiedereinbringen in meine Vergangenheit. Meine Arbeit ist ein Kontinuum, die Vergangenheit speist die Gegenwart und umgekehrt. Das Album ist eine Interpretation meiner Vergangenheit und Gegenwart, meines Verständnisses der wechselnden Wahrnehmungen, wie sie sich gegenseitig beeinflussen. Eine Form, die eine andere durch einen metamorphen Prozess erzeugt." Auf ,TUTTI" wurde die Musik aktualisiert und mit Elementen der Original-Tracks ergänzt, die neu aufgenommen und speziell weiterverarbeitet wurden, um ein einzigartiges eigenständiges Dokument zu erstellen, das von der Live-Performance und Installation getrennt ist. Das in ihrem Studio in Norfolk aufgenommene Album, wie auch ihre Debütveröffentlichung ,Time To Tell" von 1982, verbindet Cosey's künstlerische Aktivitäten mit ihrer Erforschung des Sounds: Das autobiografische Thema des Albums ist nicht an eine bestimmte Zeit oder einen bestimmten Ort gebunden, die "Stimmen", Instrumente und Klänge reichen zusammen über Jahrzehnte ihres Lebens, Musik und Kunst. In diesem Zusammenhang verschiebt sich ihr Name ,TUTTI" von seiner Rolle als Substantiv, um das Konzept des Albums perfekt darzustellen und gleichzeitig als Zeichen für Cosey als Künstlerin zu fungieren. ,TUTTI" ist Cosey Fanni Tutti's einziges Soloalbum seit ,Time To Tell" 1982. Sie ist Mitbegründerin von Throbbing Gristle und des Genres Industrial Music, bekannt für ihre Kunst, ihre Arbeit in der Sexindustrie, für ihren Beitrag zur elektronischen Musik als Teil von Chris & Cosey, Carter Tutti und Carter Tutti Void und für ihr bahnbrechendes Solowerk. Ihr Motto: ,Mein Leben ist meine Kunst, meine Kunst ist mein Leben". Coseys Autobiografie ,ART SEX MUSIC" wurde 2017 von Faber & Faber weltweit mit großem Erfolg veröffentlicht, eine japanische Ausgabe ist gerade erschienen, mit weiteren Übersetzungen und einem Hörbuch, das folgen wird.
http://www.coseyfannitutti.com/content/tutti-lp-resources.html
|
2019 |
€16.00 |
|
| CRAB, SIMON |
Demand Full Automation |
CD |
"Simon Crab has a long history in music. He is anti-capitalist, a practicing anarchist and strongly against material acquisition. Many years ago, he offered the complete back catalogue by his former band Bourbonese Qualk as free downloads. Nevertheless, people like product, so the Qualk catalogue will be-reissued physically, and Klanggalerie are happy to release his second solo album on Compact Disc. Crab considers himself a non-musician, yet is oddly quite good at playing instruments like the guitar, clarinet, gamelan-percussion and especially electronics. In fact, his favourite musical instrument is the computer. Whereas classically trained musicians often assert that there is no artistry in computers, Crab asserts there is no artistry required to play a musical instrument well. Crab's 'music career' spans nearly four decades and continues until this very day. Demand Full Automation presents our society's choice of either liberating the working class through automation, or further subduing them with it. Enter this rich, and meticulously crafted mostly electro-acoustic narrative with some instrumental excursions, that emphasizes more synthetic than natural textures, and on occasion, a sublime melding of the two. Demand Full Automation continues the narrative; ambient-atmospherically pensive some moments, but mostly energetic and upbeat, and relentlessly marching towards progress. But what kind of progress? Says Crab "At the moment, the proletariat is being replaced by the precariat. It is a really interesting time, apart from all the kind of 'rise of fascism' and globalization. The big issue that nobody is looking at is automation and it seems to me that it can go one of either two ways; that can be the neo-liberal way in which corporates are going to use automation as a way of enriching themselves even further, irrespective of the workforce. The workforce is going to become completely irrelevant. That is the neo-liberal take on it which is a dystopian view of the world and it is clearly not going to end very well. The other view is that if you take more of a Marxist approach, taking control of the means of production, if the workers themselves control automation for the good of themselves, then there is a better future. Automation doesn't have to be a dystopian horror. It can easily be a liberating future."
www.klanggalerie.com/gg269
"About a month or two ago everybody on Facebook seemed anxious to list their top 10 records ("No
explanation needed"; why not, I wondered) and I got away because nobody asked me. Thank god. I
hate chain letters. A record that certainly would be on my list as an all-time favourite is 'Hope', the second album by Bourbonese Qualk, which is something that should be no surprise; I mentioned this when discussing their 'Archive 1980-1986' boxset in Vital Weekly 1065. Ever since buying that LP in the early 80s I am a big fan, still owning all the original vinyl and CDs. I always thought that Bourbonese Qualk had a distinct sound, combining industrial beats with guitars and an odd-pop touch, which others perhaps call leftfield. Bourbonese Qualk ceased to exist in 2002 and their catalogue was online for free download, but I am told will return in a remastered and no longer free form. Plus some of their very early records will be released on vinyl again, which I guess is good news, but why not go for something new (and yes, in our conservative time I realize this is a most
daring proposition) by Simon Crab, erstwhile one of the main members of Bourbonese Qualk. He
returned to the world of music with 'After America' (see Vital Weekly 981), pushing for me all the right buttons again. It had the musical variety of Bourbonese Qualk, but perhaps a little bit more streamlined and electronically enhanced. He now has a 'real' CD out, 'Demand Full Automation', on Klanggalerie, who are known to release music from 80s musicians, such as Hula, Eric Random, and lots of Residents off shoots. I didn't bother deciphering the cover to find out the titles of the pieces (they are on the label's website anyway), but I sat back and enjoyed these forty-eight minutes immensely. Still sweating away in summer's heat, Simon Crab plays some lovely music, all with the use of computers, samplers and electronics. One push button music, you may ask, looking at the title, and maybe it is true, but these machines ooze life, melody and freshness. For Crab it is all about the workers taking control of the Automation process and "then there is a better
future", which message I can't subscribe too (not being a Marxist as you may remember), but I
could argue that even a non-musician, as Crab calls himself, is well-off with some automated
process in the production of music. No longer, here's a guitar now play three chords, but here's a button and you need one finger to push it. It is impossible to ignore Crab's previous, almost forty years output and experience, as otherwise it would have been impossible to craft these lovely tunes together. It is again very melodic, not as dense or dark as Bourbonese Qualk once could be, but fresh, light, moving from ambient to techno to hip-hop rhythms; rhythms play anyway an important role here, along with neatly bouncing synthesizer patterns. This is a great album. Intelligent as well as accessible and as poppy as it is ambient. Excellent! (FdW) |
2018 |
€14.00 |
|
| CRAIG, LEIGHTON |
11 Easy Pieces |
CD |
"Since 1995, Brisbane resident Leighton Craig has etched out a varied musical existence, from solo keyboard studies to an extensive body of collaborative work. His solo works, which span delicate ambient keyboard excursions through to site specific live documents and most recently song based explorations, have mapped out a focus of tone, duration and 'situations' for sound.
On 11 Easy Pieces, his first widely available solo LP, Craig offers an intimate yet robust collection of works recorded on an array of cheap analogue keyboards, including his instrument of choice the Casio MT40. Recorded to cassette at the kitchen table between 2003-04, these recordings have been lovingly toasted by valve tubes during mastering to reveal not only a true sense of analog adventurousness inherent to Craig's mode of operation, but also his ability to unveil a rare tonal richness from his instruments.
Leighton Craig casts out an audio net and collects together an essential haul of tonal gradients, phased rhythm and collapsed chordal interplays. 11 Easy Pieces (and two somewhat less 'easy' works), is a warm collection of distorted hymnals and blurred geometry - all of them visionary in their purity and timbral sensibilities." [label info]
www.room40.org
|
2008 |
€14.50 |
|
| CRANIOCLAST |
Cract on Sail |
LP |
Cract On Sail is the first new album from the mysterious German project CRANIOCLAST since 1993!
Cract On Sail is an epic work spanning two sides of an LP. The piece is deliberately divided by a harsh cut in the middle, thus refreshing the listeners impressions after turning the record. Cract On Sail progresses intuitively in an almost linear way and includes strong guitar riffs, flexing bass and synthetic rhythms and sample-laden electronic scapes. It is the most accessible Cranioclast today – CoC in 2018 sound almost like pop!
The record is released in a edition of 300 LPs on grey vinyl with cover disgn by Cranioclast. The LP includes a download code.
Cract On Sail A:
CORIOLIS SPECTRES / CONGRESS OF THE SPACE ARCHEOLOGISTS / THE ARRIVAL OF THE SPACE FROG
Cract On Sail B:
THE RETURN OF THE SPACE FROG / BY FERRY TO THE EVENT HORIZON / LES ABEILLES DE CRAC’H
Sailing under the command of Captain Coitra
& his Clan with a barrel of rum:
Soltan Karik
Sanct Clario
soone (guitar & bass)
About Cranioclast
Cranioclast is a duo from Hagen, Germany which produce various artistic endeavors, most commonly music. Active since the 1980ies.
|
2018 |
€19.50 |
|
| |
Arctic Salon |
do-LP |
Planned in the early 90's executed in the early 20's: The Arctic Salon. Another Cranioclast Expedition, this time to the Pole. A long time between planning and execution, but much shorter than the time between the first fake reports of having reached the North Pole on foot across the ice and the first expedition that really made it without motorization. But also a long time in which things in the Arctic and Antarctic got worse and worse and continue.
Double LP almost completely transparent like ice but hotter or cooler (we hope ;- ).
https://aufabwegen.bandcamp.com/album/arctic-salon
|
2023 |
€27.50 |
|
| CRAWLING CHAOS |
Spookhouse |
CD |
"Remember Crawling Chaos?
Debuting post-punk art rock ensemble on Factory UK with the single 'Sex Machine'/'Berlin' (1980). They soon got dumped to Factory Benelux (who released their first LP 'The Gas Chair' in early 1982) for being too unclassifiable. Too weird? What else left but to put up their own Foetus Products for the musical output of Crawling Chaos and their many other disguises....
They reached a modest cult status, especially with the LP albums 'The Big C' (1984) and 'Waqqaz' (1985). 'Spookhouse' is a collection of their last ever recordings from 1987, unpublished so far, except for 2 tracks that were previously released before on cassette compilations by EE Tapes in 1987 and 1990.
Hey, this is CD EE25, these tracks are 25 years old and this label is exactly 25 years old too this year! Coincidence does exist, let's throw a party!
Jeff, this one's for you!
Filed under: art rock, psychedelic rock, avantgarde, experimental" [label info]
www.eetapes.be
"EE Tapes is a very interesting Belgian label that picks hidden gems from the experimental underground scene and present them for audience of today. Present album was originally released 25 years ago - in fact released by a label that also can celebrate its 25th anniversary. The album titled “Spookhouse” comes from the British band Crawling Chaos. The band is stylishly a hard one to pigeonhole. Many styles are emerged to create this cocktail of experimental rock. Throughout the runtime the listener are confronted with everything from sax-driven ska-music across punk rock to something that could have been born in the age of German Krautrock. Especially krautrock-band Amon Düül II crosses my mind as I listen to the “Spookhouse”-album. The sound production of the album is quite raw and unpolished giving a nice feel of authenticity and improvisation. Yet another pearl from the 80’s experimental scene picked by one of Belgium's premium underground labels. Highly recommended." [NM/Vital Weekly]
|
2012 |
€13.00 |
|
| CUPPLES, AARON |
Island of the Hungry Ghost (OST) |
LP |
Island of the Hungry Ghosts is a hybrid documentary that moves between the natural, human and spiritual worlds. Located off the coast of Indonesia, the Australian territory of Christmas Island is inhabited by migratory crabs traveling in their millions from the jungle towards the ocean, in a movement that has been provoked by the full moon for hundreds of thousands of years. Poh Lin Lee is a trauma therapist who lives with her family in this seemingly idyllic paradise. Every day, she talks with the asylum seekers held indefinitely in a high-security detention centre hidden in the island's core, attempting to support them in a situation that is as unbearable as its outcome is uncertain. As Poh Lin and her family explore the island's beautiful yet threatening landscape, the local islanders carry out their "hungry ghost" rituals for the spirits of those who died on the island without a burial. They make offerings to appease the lost souls who are said to be wandering the jungles at night looking for home. This album presents the original score Aaron Cupples created for the film. Rich in texture and harmonics, the music is characterized by the bespoke instruments and recording techniques employed in its creation. The soundtrack also features sound recordist Leo Dolgan's vivid field recordings. All captured on Christmas Island, the four pieces recall insect choruses, strange and ominous bird calls, erupting blowholes, fire, ocean, and Buddhist prayers for the dead. The album is mastered by Rashad Becker, featuring design by N MRE 08. *LP comes with an obi strip, a booklet containing stills from the documentary & liner notes, as well as a postcard granting access to the full film*
https://aaroncupples.bandcamp.com/album/island-of-the-hungry-ghosts-ost
|
2021 |
€24.00 |
|
| CURD DUCA |
Waves 1 |
CD + LP box |
"Easy listening glitch innovator and pioneer Curd Duca presents his first work in 20 years; tiling 28 gorgeous vignettes in the first of a welcome trilogy for Cologne’s Magazine. Waves 2 and 3 will be released in 2021.
Aside from the Austrian artist’s genteel self-released album of accordion cut-ups, ‘Waves 1’ marks the return of a lowkey but vital figure from the ‘90s experimental electronic scene, whose series of LPs (Easy Listening and Elevator), adorned with a distinctive play on a famous logo, caught eyes and ears in record shops around the world via release on Normal and Mille Plateaux, most often making their way to chill-out sessions and the best record collections.
Curd Duca’s return could hardly be better timed for an era clearly in need of enchantment and peace, rustling together a spellbinding mosaic of sampled / processed ephemera that uncannily induces hypnagogic states with its succession of soothing but elusive, fragmentary moments. It’s exceptionally well done, constantly spouting with lovely new ideas that evaporate, segue, transition to the next with a illusionist’s sleight-of-hand, adding up to one of the cutest and mercurial albums you’ll cop this year." [Boomkat]
"Part of the beauty of Curd Duca’s album lies in the fact that it opens up from so many perspectives. Situated somewhere between pop and avantgarde, it can be seen as a collection of treasures, a commentary on our acoustic environment, as an attempt to dissect the world and to stylize its parts. Some pieces are exaggerations. Some allusions. Others abstractions, parodies, and transfigurations. It is often not so clear if the music is based on a sample or a synthetic sound. This music should not be trivialized or underestimated. With Waves, Duca is exploring the essence of sound, in various layers of meaning. - Björn Gottstein, Donaueschingen Music Festival
https://curdduca.bandcamp.com/album/waves-1-2 |
2020 |
€22.50 |
|
| |
Waves 3 |
LP + CD |
Magazine announces the album Waves 3 by Curd Duca, the third and last part of the trilogy Waves: Austrian electronic composer Curd Duca is widely known for his 1990s series of critically acclaimed easy listening 1-5 (Normal) and elevator 1-3 (Mille Plateaux). After a long break from the studio, Duca has issued part 1 of the Waves series in late 2020 on Magazine WAVES 001LP. This was in fact his first album in 20 years. The Waves recordings pick up the thread of his '90s work and open up a new chapter. Again, everything is shifting constantly and all tracks are quite different (soft, rough, melodic, abstract...), but complement each other in a surprisingly coherent way to form an idiosyncratic universe. While other experimental artists can sound as if they're attempting to lift lead weights over their heads, Duca is content flicking feathers into their faces. After his impressive 1990s/00s run on Normal and Mille Plateaux, Curd Duca had disappeared for 20 years before emerging from the aether last year. The albums of the new Waves trilogy represent a flawless examination of sound and texture. The Vienna-based producer still straddles high and low culture, but approaches his sonics with a more historically aware ear. So plain and resonant gong recordings are placed next to pop music loops and DSP-fractured cut-ups, and icy electronic jams nudge up against cassette warped instrumental sketches. Waves 3 is a continuation and culmination of the series. In the final chapter, you're drawn in with church bells on dome, but quickly transported to another era entirely with the crackly bläser and absurd zither, a tongue-in-cheek plunderphonic experiment assembled from zither samples. Duca follows this evocative run of tracks with a machine-gun blast of experimental sound, from the percussive 500 GRM to the ferric ASMR birdsong of "ziegenmelker." This is Duca at his most uncompromising, grabbing central European culture and dragging it through his array of processes. Playing the album from beginning to end opens up a weightless cut-and-paste mixtape, stitched together with expert foresight and a knowing wink to camera. Like the best psychedelic experiences, memories are triggered and turned inside-out, and knowledge is allowed to blossom. Curd Duca has been refining his process for three decades now, and few artists have quite the same ability to challenge, provoke, and inspire. |
2022 |
€22.50 |
|
| CURRENT 93 |
When the May Rain comes |
12inch |
"When the May Rain Comes, a cover of a track by Sand, whose work has had a profound affect on Tibet’s work, first appeared on Current 93’s influential album Thunder Perfect Mind. Also appearing on this 12" is an alternate version of the same track from a CD single which accompanied the first 1,000 copies of Tibet and Stapleton’s release of material by Sand, Ultrasonic Seraphim. This 12'' is part of a series of releases from rotorelief comprised of new albums from Sand, a reissue of their album Golem and albums by Nurse with Wound and Current 93. “INXOM” is the series of albums from Sand, the series title having one letter for each album. So, 5 albums of Sand are to be released. Two more albums from Nurse with Wound and Current 93, two groups who helped bring to light the mystery that is Sand, increase the number of letters in the title. With these last two albums the series becomes INXODEM. His First Steps – Golem - Desert Navigation - Sylph Ballet – North Atlantic Raven. And Chromanatron by Nurse With Wound and When the May Rain Comes, cover versions of Sand by Current 93." [label info]
http://rotorelief.com
|
2010 |
€19.50 |
|
|
Invocations of Almost |
CD |
Current 93 have dreamt a new album, Invocations Of Almost, using music from her FuturePast and her PastFuture, to accompany David Tibet’s art exhibition, Invocations Of Almost.
"The CD version of Invocations Of Almost is 59-minutes long, as it is launched on David’s 59th BirthDay, March 5, whilst he is in LA for the official opening of his show on March 9. There will also be a vinyl LP edition, which sings a slightly shorter version, mixed specifically for the 12”. The music on Invocations Of Almost will be played on a continual loop in The Begovich Gallery whilst the exhibition is open."
|
2019 |
€15.00 |
|
|
If a City is set upon a Hill [coloured vinyl] |
LP |
"Das neue Current 93-Album verweist mit dem auf den ersten Blick untypischen Fliesen-Artwork, auf denen der Mord Kains an Abel dargestellt ist, auf Current 93s „Rockalbum“ „Aleph At Hallucinatory Mountain“, auf dem es hieß: „In the beginning was the murderer“. Musikalisch-personell knüpft es stark an das 2018 erschienene Album „The Light Is Leaving Us All“ an, wurde „If A City Is Set Upon A Hill“ doch in fast der gleichen Besetzung aufgenommen – im direkten Vergleich ist „If A City“ vielleicht etwas elegischer und mit seinen sieben Stücken und 37 Minuten Laufzeit recht kurz, dabei allerdings nicht weniger gehaltvoll.
Schaut man in die Entwicklung Current 93s, dann ist es sicher kein Zufall, dass viele der als Referenzwerke gesehenen Alben aus den 90ern, die nicht unerheblich zum Kultstatus des Projekts um David Tibet beigetragen haben, durch eine relativ stabile Kernbesetzung eingespielt wurden und darüberhinaus eine Vielzahl starker – solch ein Begriff mag bezogen auf Current 93 vielleicht etwas profan anmuten – Songs enthielten. Die Qualität der einzelnen Stücke trug dann auch sicher nicht unerheblich dazu bei, dass das 2018 erschienene „The Light Is Leaving Us All“ das vielleicht stärkste Album seit “Black Ships Ate The Sky” war.
Seit “The Light…” erschienen die weitgehend instrumentalen, von Soundscapes durchzogenen Alben „Invocations Of Almost“, „If A Star Turns Into Ashes“ sowie die beiden Soloalben Tibets („Ferelith“ und „Fontelautus“), die in ihrer somnambulen (Alp-)Traumatmosphäre und atmosphärischen Dichte zumindest zum Teil an das Verstörende und Irritierende des Frühwerks anknüpften.
Das schon vorab veröffentlichte das Album eröffnende „If A City…“ legt den Ton, die Stimmung fest: Im Zusammenspiel von Drones, Klavier und Geige entsteht ein elegisch-melancholisches Stück und Tibet, der hier – wie schon auf seinen Soloalben – nur noch unter seinem Vornamen firmiert, intoniert: „If under G+D’s Wing/By the JawBone and HeeHaw/The donkey creeps silently/Through the door in the hall/Then plague and mice/And the woodlice stream…“. Wenn man einem Instrument eine tragende und zentrale Rolle zusprechen will, so dann sicher der von Aloma Ruis Boada gespielten Geige, die das gesamte Album prägt. Auf „There Is No Zodiac“ setzt der dezente Einsatz von E-Gitarre leicht dissonate Akzente. Auf dem dann folgenden „Joke Moon“ gibt es ein fantastisches Zusammenspiel von Alisdair Roberts wunderschön gezupfter Gitarre und der Violine. Auch auf „A Column Of Dust“ erzeugen Gitarre und Geige und der dramatische Gesang Tibets eine beeindruckende Atmosphäre – man möchte dem von ihm besungenen “Final Express Train” nicht unbedingt begegnen. „The Child, And Fire” erinnert mit seinen Pianopassagen entfernt an „Soft Black Stars“.
Textlich finden sich die thematischen Obsessionen, die das Werk Current 93s seit Jahr(zehnt)en prägen: Apokalyptische Szenarien werden entworfen: „It it rains razors, and murders, and slaughters“, „The Moon is dead now—Joke Moon!“, „A castle or Moloch“, „And the noise in your eyes/Has the rumours of wings/And the fly and the hornet/From the Scorpion RainBow“, „In the walls the colourful cartoons/Are covered with sores“), das Zusammenspiel von Profanem und Erhabenem („In time for tea, in time for end“), Nursery Rhymes („By the butcher, and the baker, /And the candlestick maker“, “Just memories stretched out/From nursery rhymes or spectres”), (der) Gott in all seiner Ambivalenz: „Vengence in His Eye/I AM THE LORD! – THE KILLER AND THE CREATOR“.
Muss man beim Titel des Albums vielleicht unweigerlich an die von John Winthrops aus der Bergpredigt (“You are the light of the world. A city set on a hill cannot be hidden“) entlehnte Fortmulierung denken, der so eine zentrale Rolle beim Selbstverständnis der amerikanischen Nation zukommt, denken, erfährt man im Booklet, dass die Inspiration für das Album ein akkadischer Text namens „If A City Is Set Upon A Height“ ist. Passenderweise dankt Tibet im Booklet seinen Hebräisch-, Akkadisch-, Koptisch- und Ugaritischlehrern, erneut sein Interesse an (ur-)alten Sprachen, am logos betonend, der ja “im Anfang” war.
Letztlich ist es so erfreulich wie erstaunlich, dass nach dem fast 40-jährigen Bestehen Current 93s, “your favourite hallucinatory skipping-rope”, wie es auf dem Albumcover heißt, noch immer Alben entstehen, die beeindrucken können und beeindruckend sind und ein Spätwerk einläuten, das viel verspricht." [MG, African Paper] |
2022 |
€37.50 |
|
|
If a City is set upon a Hill |
CD |
"Das neue Current 93-Album verweist mit dem auf den ersten Blick untypischen Fliesen-Artwork, auf denen der Mord Kains an Abel dargestellt ist, auf Current 93s „Rockalbum“ „Aleph At Hallucinatory Mountain“, auf dem es hieß: „In the beginning was the murderer“. Musikalisch-personell knüpft es stark an das 2018 erschienene Album „The Light Is Leaving Us All“ an, wurde „If A City Is Set Upon A Hill“ doch in fast der gleichen Besetzung aufgenommen – im direkten Vergleich ist „If A City“ vielleicht etwas elegischer und mit seinen sieben Stücken und 37 Minuten Laufzeit recht kurz, dabei allerdings nicht weniger gehaltvoll.
Schaut man in die Entwicklung Current 93s, dann ist es sicher kein Zufall, dass viele der als Referenzwerke gesehenen Alben aus den 90ern, die nicht unerheblich zum Kultstatus des Projekts um David Tibet beigetragen haben, durch eine relativ stabile Kernbesetzung eingespielt wurden und darüberhinaus eine Vielzahl starker – solch ein Begriff mag bezogen auf Current 93 vielleicht etwas profan anmuten – Songs enthielten. Die Qualität der einzelnen Stücke trug dann auch sicher nicht unerheblich dazu bei, dass das 2018 erschienene „The Light Is Leaving Us All“ das vielleicht stärkste Album seit “Black Ships Ate The Sky” war.
Seit “The Light…” erschienen die weitgehend instrumentalen, von Soundscapes durchzogenen Alben „Invocations Of Almost“, „If A Star Turns Into Ashes“ sowie die beiden Soloalben Tibets („Ferelith“ und „Fontelautus“), die in ihrer somnambulen (Alp-)Traumatmosphäre und atmosphärischen Dichte zumindest zum Teil an das Verstörende und Irritierende des Frühwerks anknüpften.
Das schon vorab veröffentlichte das Album eröffnende „If A City…“ legt den Ton, die Stimmung fest: Im Zusammenspiel von Drones, Klavier und Geige entsteht ein elegisch-melancholisches Stück und Tibet, der hier – wie schon auf seinen Soloalben – nur noch unter seinem Vornamen firmiert, intoniert: „If under G+D’s Wing/By the JawBone and HeeHaw/The donkey creeps silently/Through the door in the hall/Then plague and mice/And the woodlice stream…“. Wenn man einem Instrument eine tragende und zentrale Rolle zusprechen will, so dann sicher der von Aloma Ruis Boada gespielten Geige, die das gesamte Album prägt. Auf „There Is No Zodiac“ setzt der dezente Einsatz von E-Gitarre leicht dissonate Akzente. Auf dem dann folgenden „Joke Moon“ gibt es ein fantastisches Zusammenspiel von Alisdair Roberts wunderschön gezupfter Gitarre und der Violine. Auch auf „A Column Of Dust“ erzeugen Gitarre und Geige und der dramatische Gesang Tibets eine beeindruckende Atmosphäre – man möchte dem von ihm besungenen “Final Express Train” nicht unbedingt begegnen. „The Child, And Fire” erinnert mit seinen Pianopassagen entfernt an „Soft Black Stars“.
Textlich finden sich die thematischen Obsessionen, die das Werk Current 93s seit Jahr(zehnt)en prägen: Apokalyptische Szenarien werden entworfen: „It it rains razors, and murders, and slaughters“, „The Moon is dead now—Joke Moon!“, „A castle or Moloch“, „And the noise in your eyes/Has the rumours of wings/And the fly and the hornet/From the Scorpion RainBow“, „In the walls the colourful cartoons/Are covered with sores“), das Zusammenspiel von Profanem und Erhabenem („In time for tea, in time for end“), Nursery Rhymes („By the butcher, and the baker, /And the candlestick maker“, “Just memories stretched out/From nursery rhymes or spectres”), (der) Gott in all seiner Ambivalenz: „Vengence in His Eye/I AM THE LORD! – THE KILLER AND THE CREATOR“.
Muss man beim Titel des Albums vielleicht unweigerlich an die von John Winthrops aus der Bergpredigt (“You are the light of the world. A city set on a hill cannot be hidden“) entlehnte Fortmulierung denken, der so eine zentrale Rolle beim Selbstverständnis der amerikanischen Nation zukommt, denken, erfährt man im Booklet, dass die Inspiration für das Album ein akkadischer Text namens „If A City Is Set Upon A Height“ ist. Passenderweise dankt Tibet im Booklet seinen Hebräisch-, Akkadisch-, Koptisch- und Ugaritischlehrern, erneut sein Interesse an (ur-)alten Sprachen, am logos betonend, der ja “im Anfang” war.
Letztlich ist es so erfreulich wie erstaunlich, dass nach dem fast 40-jährigen Bestehen Current 93s, “your favourite hallucinatory skipping-rope”, wie es auf dem Albumcover heißt, noch immer Alben entstehen, die beeindrucken können und beeindruckend sind und ein Spätwerk einläuten, das viel verspricht." [MG / African Paper]
|
2022 |
€18.50 |
|
| |
Soft Black Stars |
do-LP |
2LP reissue of Current 93 classic. Originally released in 1998 in a vinyl edition of just 2,000 copies and on CD, this is the first official vinyl reissue since then. Remastered by The Bricoleur, this album contains all the released versions of the album's final track, "Chewing On Shadows"_the original album track, as well as the 2 different versions used on the expanded CD release of 2004.In a full-colour sleeve, reproducing the original paintings by David Tibet, and a 2-sided full-colour insert.
|
2018 |
€32.50 |
|
| D'INCISE |
Rivages sur l'Antipode |
LP |
"Laurent Peter has produced and released electronic music under the d'incise moniker since 2002, from dub to electronica, gradually opening those styles to electroacoustic experimentations. With his projects Diatribes (an open formation with drummer Cyril Bondi) and Karst (quartet with Bondi, Luc Muller and Abstral Compost), he is also involved in free improvisation, for which he is using his laptop, live treatments and various contact miked objects. These projects have included musicians such as Barry Guy, Keith Row, Jason Kahn, Christian Weber, Norbert Moslang, Hernani Faustino, Joao Pedro Viegas, Tzii and many more. Finally, besides coordinating the insubordination netlabel, dedicated to improvised music, and being a member of the audiactiviste netlabel, Laurent Peter is also active as a graphic designer. Composed on a special request from ini.itu, “Rivages sur l'antipode” (shores on the opposite side of the earth) is his first vinyl LP and is based on similar archival material as the one used by Francisco López in his stunning “untitled #228”. Nonetheless, d'incise has achieved radically different results, combining digitally-processed textures, microsamples and humming harmonics rippling out over broken rhythms. He has collaged the least obvious bits of gamelan, many grainy soundbytes from Jakarta, Makassar, Bandung and Yogjakarta into a kaleidoscopic reinterpretation of these shattered fragments. Sudden transitions, alinear progressions and melancholic, sprawling, autumnal atmospheres reveal a very personal soundworld. This LP could evoke Kim Hiorthoy on sedatives under moist tropics, or an alter-ego of Burial in a futuristic decaying Jakarta won back by the jungle, with hints of digital crispiness from Kid606 période Mille Plateaux; a touch of the microsampling of Akufen, all of this marinated into the experiments in folk deterritorialisation made by some Ritornell artists such as Random_Inc / Sebastian Meissner. Icing on the cake, this LP was mastered by James Plotkin in Philadelphia. 250 copies, hand numbered. Some copies come with a serigraphy made by Laurent Peter himself." [label info]
www.iniitu.net
"On an entirely different nature is the album by Laurent Peter, finally we have a name for D'Incise from Switzerland, who received slighty similar sound material as Francisco Lopez did for his album for this label (see Vital Weekly 711), but Peter does something completely different with it. His main method is sampling the hell out of anything. It perhaps also reveals a bit more what Lopez used, as that was rather a mystery back then. Percussive sounds from Indonesia for instance, which D'Incise explores these for the lowest, grainy textures, chopped up to form new rhythms, cut from 'real' sound and the hiss between. Ini.itu compares this with some of the older and more experimental releases on Mille Plateaux/Ritornell, and I can see that. It shares that somewhat crude approach to sampling, the click 'n cut approach musicians like Random Inc and Kid606 had back then, but D'Incise never comes close to playing any 'dance' related music. The textures are sometimes pretty 'vague', shimmering perhaps, but I think that kind of adds nicely to the record. Its probably the best record by D'Incise I heard so far. The compositions are worked out better, and never seem to take more time than necessary. Very nice." [FdW/Vital Weekly] |
2010 |
€12.50 |
|
| D.D.A.A. / LE COMMISSAIRE HJULER ET LA MAMAN OURSE |
Une Voiture Banalisee |
LP |
racklist
A1-A5 –Déficit Des Années Antérieures* En Tout Genre, De Rêves: Rêves Optiques / Rêves D'Oiseaux / Rêves Cauchemardeux / Rêves Abscons / Rêves Automatiques
B –Le Commissaire Hjûler Et La Maman Ourse* Konzert Für Waldhorn, Gesprächsfragmente, Leere Marmeladengläser, Holzkiste Und Ein Häßliches Kind Auf Einer Schaukel
Notes
LP in series FLUXUS +/-, limited edition of 75 copies, numbered. LP appears in black vinyl with black labels.
|
2019 |
€28.00 |
|
| DAIJING, PAN |
Tissues |
do-LP |
Pan Daijing's exhibition-performance Tissues premiered in the Tanks at the Tate Modern in autumn 2019. A five-act immersion in performance, sound, movement, space, and most of all emotion in its most distilled and conflicted states, Tissues engaged with the conventions of opera and tragedy to present a searing representation of the embattled human psyche in space and time. While the ambitious multi-sensory artwork made use of the range of Daijing's artistic capabilities, music, particularly the voice, was at its formal and emotional core. The vinyl and digital release of Tissues on PAN serves as a record of that work, in the form of an hour-long audio excerpt: an invaluable archival document from Daijing's expansive live practice. Tissues is both a solitary work and a formal study in relation. Composed, directed, designed, written, and performed by Daijing (alongside a cast of twelve dancers and opera singers), the work_its libretto written in a mixture of old and modern Chinese_lingers inside a single human perspective. Daijing conjures states that are by turns delicate and severe, the tension between opposing modes animating the work as it unfolds. And yet, for all its interiority, Tissues foregrounds an intimate relationship with its audience through details like its engulfing visual landscape and its rattling, confrontational narrative arcs. Daijing uses the opera form as a prism through which to question the boundaries of music itself: perhaps, she proposes, music is much more than simply what is heard. It is in the relationship between voice and electronics that this limit is most clearly breached. Across the four acts gathered in this documentation, a counter-tenor, a soprano, a mezzo-soprano, and the artist herself voice a mixture of stunning laments and cries over an instrumental landscape, built out from industrial texture. Meant to be heard in a single listen, rather than track by track, the work unfolds through tender hollows and agitated peaks. At its crescendo, the operatic vocals melt away and the synthesizers themselves seem to howl with grief. Daijing uncovers an essential, sometimes painful, music in all that surrounds us, inviting something like catharsis but also a greater understanding of the thing she and her cast conjure and draw close. A tissue, after all, is both a disposable object one uses to wipe away a tear, and the building block of our fleshy human forms. Daijing reaches and excavates the roiling core of what it is to be alive and full of feeling. Music from Tissues, an opera of five acts at Tate Modern, London on Oct 2nd, 4th and 5th, 2019 Composed, written, produced and directed by Pan Daijing. Performed by Anna Davidson, soprano ; Marie Gailey, mezzo soprano, Steve Katona, countertenor and Pan Daijing, additional vocals. The recording is mixed by James Ginzburg , Jan Urbiks and Pan Daijing, mastered by Rashad Becker. *2xLP comes in a gatefold cover, and includes an obi strip and a booklet containing images from the performance & liner notes, as well as a postcard granting access to exclusive video documentation*
https://pan-daijing.bandcamp.com/album/tissues
|
2022 |
€26.50 |
|
| DAMIAO EXPERIENCA |
Planeta Lamma |
LP |
200 copies. Though often compared to Frank Zappa, Moondog, Captain Beefheart, Sun Ra, Jandek, and Father Yod, Damiao Ferreira da Cruz, better known as Damiao Experiença, it's a truly unique outsider multi-instrumentalist (without any real capability to play any of the many instruments he uses) compulsive hoarder from Rio de Janeiro, Brazil. Reportedly born on September 27th, 1935 in Bahia, Damiao lived an unhappy childhood and ran away from home at the age of 10 to escape the mistreatment by his parents. In Rio de Janeiro he served as a radar operator for the Brazilian Navy; while in the Navy he allegedly fell off a ship's crow's nest, hitting his head on the floor, which could have provoked his erratic mental state. Desertion is also sometimes mentioned in his auto-biography as well as the fact that he was sentenced to solitary confinement for many years. After retiring from the Navy, Damiao went to live with a prostitute in a stilt house, became a pimp and was able to produce his record LPs thanks to money obtained via procuring. It was in the early '70s that he adopted the name "Experiença" as an homage to Jimi Hendrix Experience, his favorite band and major influence.
In 1974, he self-released his first album, Planeta Lamma, and many others followed throughout the 1970s to the early 1990s, all issued on his own Gravadora Planeta Lamma. Well known for his unsociable personality, he always avoided interviews and attention from the media, even refusing to give autographs or sign any documents. Damião's musical style is impossible to categorize accurately, since he experiments with numerous genres, more prominently freak folk, psychedelic rock, reggae, and experimental music. His songs have no logical sense at first sight, and most of them are sung in a dialect created by him, the "Planet Lamma dialect" (spoken in his eponymous "home planet"), with improvised lyrics. Side One opens with "1308 Registrou gravou rose Oliria Experiença" with Danimhao paying his one-string guitar and singing at the same time in a very primitive folk style mixing Portuguese with his own invented dialect in his lyrics. It continues with the heroic 18-minute "Ritmo Linguagem Planeta Lamma", a purely distilled Phase-3 Damiao Classic of the most refined nature, with the superimposing of many layers of over-recorded Planeta Lamma endurance. Side One ends with "Planeta Lamma", also from his first LP, an intense solo-screaming one-minute piece. Side Two is also pure Phase-3 with his 21-minute "SOL" masterpiece, one of the highest moments in Daminhao Experienca vast discography.
|
2023 |
€23.50 |
|
| DANIELL, DAVID & DOUGLAS MCCOMBS |
Sycamore |
LP |
David Daniell and Douglas McCombs's first collaborative LP, Sycamore, was assembled from seven hours of in-studio improvisations. Daniell and McCombs sifted through the material looking for their favorite moments, then combined, cross faded, mixed, and matched those moments into something that made sense to them as a long player.
For their new release, the double LP Versions, they gave the same seven hours of material to noted recording engineer and producer Ken Brown (ex-Tortoise), who was given free rein to assemble an LP of his choosing (subject to approval, of course).
The results are fantastic. Brown has chosen to highlight moments in the music that the normally reserved Daniell and McCombs probably would not have chosen. There's a wider dynamic range on Versions, from brutally raw to delicate to practically inaudible. The other interesting aspect is that Brown's selections rarely cross over with the material on Sycamore--this is in no way a "remix," and that is exactly what Daniell and McCombs were hoping for.
In addition, Versions includes a second LP of two live performances. These were chosen to show how Daniell and McCombs's music develops in a live setting. Improvising in a recording studio and improvising in front of an audience are two vastly different things. Montreal and Knoxville were two of Daniell and McCombs's favorite performances from their tours together.
Over the years Daniell has collaborated with many notable musicians, including Loren Connors, Rhys Chatham, Tim Barnes, Jeph Jerman, Thurston Moore, Greg Davis, and Jonathan Kane, as well as releasing numerous albums under his own name and with his band San Agustin on labels such as Table of the Elements and Family Vineyard. McCombs is more often seen wielding a bass guitar, whether as a member of Eleventh Dream Day, the acoustic collective Pullman, or the pioneering and inimitable Tortoise; in his role as the driving force behind Brokeback; or through his varied work with the likes of Tom Ze, Azita Youseffi, Will Oldham, Yo La Tengo, and Calexico.
www.thrilljockey.com/artists/david-daniell-and-douglas-mccombs
https://daviddaniellanddouglasmccombs.bandcamp.com/album/sycamore
|
2009 |
€20.00 |
|
| DAS SYNTHETISCHE MISCHGEWEBE |
Gleis3eck / Görlitzer Tunnel |
do-CDR |
"The long-running (22 years and counting) German-spawned outfit Das Synthetische Mischgewebe (The Synthetic Mixture of Fabrics in English) has a long history of site-specific performances and recordings, two of which are documented on the two CDs comprising this release. Recorded around the time the group departed from Germany for Barcelona and then France, it’s fitting that both of the sites here represented no longer exist. In 1986 and 1987, Berlin was still a victim of the Wall, and deserted spaces were seemingly easy to come by. One such was the Gleisdreieck, a railway junction where DSM set up their electronic and acoustic instruments for an extended recording, of which some 85 minutes are hereby presented. The second location, of which 46 minutes is included, was the Gorlitzer Tunnel, a pedestrian
underpass several hundred meters long under Kreuzberg. It would be of no avail to try to determine exactly what instruments, items and gadgets were used to make the sounds heard in these recordings – and that mystery suits these CDs well. It’s useful to recall that this was around the same time as Einstürzende Neubauten, also in Berlin, were releasing Halber Mensch and Funf Auf Der Nach Obenen Richterskala, their strongest statements. Berlin at that time (beautifully documented in the Berlin Super 80 DVD/book package) had more than its share of
experimental artists, and DSM’s sounds were emitted from the least-accessible cracks in the city’s pavement. From quiet rumblings, these performances grow via distorted hissings, squawks, clanks and grindings into a soundscape akin to a futuristic factory stamping out robots. Metal is scraped, mechanical contraptions buzz and squeak,
feedback squeals and vibrations summon deep groans. The second track on disc 2, the Gorlitzer tunnel set, is on the whole a quieter, more eerie evocation of the location’s deep reverberations, with what may be a generator rumbling quietly in the background. The occasional vocal interjections, echoing in the tunnel, are unexpected and deeply strange in the context of the overall darkly mysterious sounds. Limited to 200 copies, the two CDs come packaged DVD-style with a beautifully-printed insert of text and photos on translucent paper. The liner notes by member Guido Huebner nicely describe the place and time.
These recordings are marvelously evocative: of lost places, of a time and location that was certainly unique, of a group’s early works from 20 years ago, and of surreal, often intimidating imaginary places summoned by the mysterious equipment. One would hope that many more than 200 people would want to investigate these places."
[Mason Jones / Dusted Magazine]
"These days it's probably no longer known, but Das Synthetische Mischgewebe was a band, and not the project of G.do Hübner, which it is since some time. Before people like Yref, Chazev, T.O.W. Richter, Isabelle Chemin and Jean Rene Lasalle were member at one point or another. The recordings on this double pack are in more than one way historical. They are old, twenty years to be precise, but they were also made in the then divided Berlin, in a place you can't find anymore. Das Synthetische Mischgewebe used an old tunnel and a subway station going from East to West Berlin to rehearse for concerts that were later held. Abandoned industrial areas, in which they could easily find material to play their music on. Everything you hear on this double pack is recorded on the spot, using what ever is available there. Industrial tools, scraping metals, obscure objects which we can't visualize and such like. But they are played like musical objects and rather than trying out what the sound
possibilities are, the actors in Das Synthetische Mischgewebe want to play a piece of music with those objects, so they carefully move about and create pieces of improvised music with these objects. Battery run amplifiers and a walkman to record the whole thing onto give this a slightly rough edge, although I must say that the sound quality is more than excellent. Cut into sessions of thirty minutes, this can't be engaging to hear from beginning to end without leaping into a moment of boredom, but throughout I thought this was a very fine release. Not loud or heavy industrial as some of the early work was (or perhaps that's just a wrong memory? Apparently Vinyl On Demand is releasing some LPs with older work), but rather pre-dates a lot of the onkyo type improvisation of the last few years and a very fine work of electro-acoustic music. Topped off with a nice presentation and a most enjoyable set of personal liner notes. Great archival release." [FdW / Vital Weekly]
|
2006 |
€18.00 |
|
| DATASHOCK |
Kräuter der Provinz |
do-LP |
Crossed the desert? Check. Seen the pyramids? Check. What's next? "Kräuter der Provinz"... Herbs of the Province. Smoking dope with Edgar Reitz (the man who made Heimat)? A homage to regional cuisine or a celebration of backwoods origins? Absolutely not. But two for the price of one can't be bad and a pun a day keeps the critics away. Still, how to get a handle on what's going on here? Can it even be explained?
Datashock 2018: Eighty fingers playing, but what are they all up to? Are Datashock in command of their instruments or is it the other way around? What we do know – this is freely improvised music, complete with rattles, rumbles and whistles. Music as a social happening, both in terms of process and outcome, where individual and collective development can thrive – an ecstatic experience! Sheesh! No, really! This much you already knew? Well, no harm in saying it again, is there?!
Imagine gathering eight people under one roof and ushering them into a recording studio – everybody's busy nowadays (sometimes in precarious situations, but always doing one thing or another, incessantly), this being the age of late capitalism and all that. Anyway, diaries checked and off we go. Next stop: Oetinger Villa, Darmstadt. Kolter has already swept the place clean, DJ Ulf Eyes has brought beer from the waterfront, MC Cobra is dressed in the latest threads from Berlin, McWerner and Cha Cha have everything they didn't forget to bring from Cologne and up the Rhine and – natch – El Haze and Biber Bergi line up alongside LL Cool P from Saarbrücken. Pizza delivery number dialled, bottles opened, lights, camera, action. Machines bleep, a violin cries out, a clarinet howls, guitar and bass weave their way around the drums. The spell lasts for several days, then the magic goes back in the box, the recording is done. Everyone heads back to where capitalist realism awaits in fifty shades of gloom. Alas, it was over so quickly! Luckily, a tour is in the offing, a chance to see one another again!
Groups like Datashock are few and far between, more's the pity – raise your glasses to friendship! – groups who, in spite of everything, meet up regularly to record free improvisations and then hit the road to share their experiences with an audience. It's a trust thing. So: bring on the herbs! Not provincial in the slightest – but they get everywhere, into every last nook and cranny. They may not have any songs to speak of, but they do have their instruments.
Salvador am Ei
German:
Die Pyramiden besichtigt, die Wüste durchquert, und jetzt? „Kräuter der Provinz“. Kiffen mit Edgar Reitz? Eine Hommage an die regionale Küche oder die Feier hinterwäldlerischer Herkunft gar? Natürlich nicht. Wie immer gilt: doppelter Boden hält besser, und ein Kalauer am Tag die Kritik auf Abstand. Wie aber sich nähern oder erklären gar, was vor sich geht?
Datashock 2018: Achtzig Finger im Spiel aber was wird gespielt? Spielen Datashock ihre Instumente oder spielen die Instrumente Datashock? Es rappelt, rumst und pfeift - soviel steht fest. Hier spielt eine frei improvisierte Musik. Musik, die im Prozess und dem Ergebnis ein soziales Ereignis ist das sowohl die individuelle Entfaltung als auch eine gemeinsame – mithin sogar exstatische! – Erfahrung ermöglicht. Sheesh! Aber hallo! Kennt man schon? Na und, das kann ruhig noch mal gesagt werden! Warum auch nicht!?
Aber wie muss man sich das vorstellen? Acht Leute unter einen Hut bzw. in einen Aufnahmeraum zu bringen – weil alle doch so (teilweise prekär aber natürlich dauernd mit irgendwas anderem) beschäftigt sind, ist doch immerhin Super-Spätkapitalismus und so! Aber dann, Terminkalender gecheckt, los geht’s, nächster Halt: Oetinger Villa, Darmstadt. Kolter hat schon durchgefegt, DJ Ulf Eyes bringt Bier von der Waterkant mit, MC Cobra hat die neusten Modetrends aus Berlin dabei, McWerner und Cha Cha kommen mit allem, was sie nicht vergessen haben, aus Köln den Rhein hoch und – klar – El Haze und Biber Bergi rücken nebst LL Cool P aus Saarbrücken an. Pizza bestellt, Flaschen geöffnet und dann geht’s los. Maschinen piepsen, die Geige ruft dazwischen, die Klarinette jault, die Gitarren und Bass schleichen ums Schlagzeug herum. Wenige Tage später ist der Spuk vorbei. Aufnahmen im Kasten und alle müssen erstmal wieder dahin, wo der kapitalistische Realismus in all seinen trüben Facetten auf sie wartet. Schade, war wieder viel zu kurz! Aber bald ist ja auch wieder Konzertreise angesagt, dann sieht man sich wieder!
Es gibt längst nicht genug Gruppen wie Datashock, die – ein Hoch auf die Freundschaft! – regelmäßig und trotz allem zusammenkommen, um frei improvisierend aufzunehmen und durch die Gegend ziehen, und so ihre Erfahrungen mit dem Publikum teilen. Das muss man sich natürlich auch erstmal trauen. Insofern: Kräuter, gerne! Provinz, mitnichten – aber sie kommen überall hin, noch in den letzten Winkel. Songs haben sie dann zwar keine dabei, dafür aber ihre Instrumente.
Salvador am Ei
LP version in a 3 color Gatefold cover.
The 2-Vinyl Version (indcluding CD) comes with a bonus track!
design by Manuel Wesely
https://datashock.bandcamp.com/album/kr-uter-der-provinz-2
|
2018 |
€26.00 |
|
| DAUBY, YANNICK |
Alisen |
mCD |
Ein one-tracker von YANNICK DAUBY auf MICHAEL NORTHAMs neuem Labe ALISEN! Zu hören gibt es recht hochfrequente Klangwellen, die sich sehr sanft ausbreiten... das ganz tönt mysteriös und höchst „lebendig“, ursprüngliche Klangquellen sind nicht auszumachen.....wieder sehr schön, einer unserer Favoriten unter den field recordern.....
“An ethereal sketch of high frequency acoustic feedback phenomena originally recorded at STEIM, Amsterdam in 2002. Total Length : 19:43 Yannick Dauby - born in 1974. had spend most of his time between mediterranean sea and the alps. makes sound works mainly based on processed fields recordings. involved in improvisation using computers and found objects. started some theoretical works about soundscapes and is highly interested by animal acoustic communication.” [label info]
|
2005 |
€10.50 |
|
|
La Riviere Penchee |
LP |
Faszinierende, sanfte Flusslandschafts - field recordings from “magic acoustic reality” – Meister YANNICK DAUBY ! Stark limiertiertes Vinyl-Album.
"Yannick may be best known for his collaborative work with mnortham and Thomas Köner. La rivière penchée is located near his home in Lyon. From what he has told me, there is a rock shelter-like structure on one of the banks of the river where he decided to collect these recordings. We have the pleasure of hearing richly textural compositions made up of recordings taken at the rivers' banks, the manipulation of found objects, and some electronic elements. As one might expect, the record reflects a snapshot of a place -- running water, stones, soil, metallic timbres, wind, rain, and even bats -- all electronically altered so the sounds become something recognizable, but different. He has woven these sounds together into six pieces that span about 40 minutes. For some reason, we felt that the music found here is best suited for vinyl. Perhaps it is the organic quality of what Yannick does. Strictly limited edition to 280 copies." [label press release]
“Yannick Dauby succeeded in producing a more than excellent LP, which fit a small but strong tradition.” [FdW/Vital Weekly]
|
2004 |
€15.00 |
|
| |
一流水 tsi̍t lâu tsuí (Penghu Experimental Sound Studio Vol. 1) |
LP |
Yannick Dauby is a french sound artist based in Taiwan since 2007. He relentless explores the soundscapes of his adopted island through field recording, audio documentaries and community projects. He also composes electroacoustic music and he's often found performing live using found objects, analogue devices and digital processing. He has created soundtracks and sound environments for contemporary dance, public art and films as well as being involved in various ecological and local traditional activities.
Dauby stayed in Peng-Hu, an archipelago located in the Taiwan Strait during several months in the first half of 2013. His daily activities included beachcombing, study and documentation of the reef animals, field recording, some teaching and also composing musique concrète in a temporary and probably the first experimental music studio, settled in Shili, a narrow village just between the inner and outer seas. From this old building he hear the seashores and announcements of the itinerant sellers as well as the rituals from a temple nearby. Immersed in this natural and cultural environment, Yannick composed the two sides on this record, using the sounds of the underwater fauna, the omnipresent waves, soundscapes of harbours, music played during funerals, shortwave radio broadcasts , in-site or indoor improvisations using old artefacts collected on the beaches and various sessions using analog electronic instruments. This LP becomes kind of a aural sketchbook of his stay and wandering in these islands on the invitation of the Penghu Citizens Foundation (海洋公民基金會籌備處)
www.discrepant.net
|
2015 |
€18.00 |
|
| DAVACHI, SARAH |
Long Gradus : Arrangements |
4 x CD BOX |
A new longform commissioned work for any ensemble of four similar instruments. The definitive string quartet version of 'Long Gradus' is available as a 2LP and CD, and the collection of all four arrangements (strings, woodwinds, brass & organ, choir & electronics) is presented as the 'Long Gradus: Arrangements' 4CD set.
'Long Gradus' began in 2020 when Sarah Davachi was selected to participate in Quatuor Bozzini’s Composer’s Kitchen residency, which was to be a joint production with Gaudeamus Muziekweek in the Netherlands. With the postponement of the residency to the following year, the composer was given the opportunity to take a step back and look at the piece over a much longer period of time than would have ordinarily been possible. The resulting longform composition in four parts, written in its initial form for string quartet, was developed as an iteration of an ongoing preoccupation with chordal suspension and cadential structure. In this context, horizontal shifts in pitch material and texture occur on a very gradual scale, allowing the listener's perceptions to settle on the spatial experience of harmony. A system of septimal just intonation helps to further the production of a consonant acoustic environment. 'Long Gradus' uses a formalized articulation of time-bracket notation alongside unfixed indications of pitch, texture, and voicing that allow the players some discretion in determining the shape of the piece. A sense of pacing that is markedly different from that of mensural notation emerges accordingly, while the open structure of the composition results in each performance having a unique and unpredictable configuration.
The piece may be arranged in a quartet format for any instrumentation that can alter its intonation with some degree of accuracy or produce a natural seventh harmonic. Substitution of the string quartet with other instruments as desired or imagined, both acoustic and electronic, is entirely acceptable and indeed encouraged. To this end, Davachi has also offered the 'Long Gradus: Arrangements' 4CD set, which includes the string quartet version as well as arrangements for woodwinds, brass and organ, and choir and electronics. A 'gradus' is a sort of handbook meant to aid in learning a difficult practice; in this case, 'Long Gradus' is designed to considerably slow the cognitive movements of both listener and player, and to focus their attention on the relationships between moments. A rich harmonic landscape that is constantly shifting and which changes with each engagement is the listener’s return. For the player, 'Long Gradus' is an invitation to practice active listening and to immerse oneself in the stillness of psychoacoustic space and time.
Davachi comments: “I owe a huge debt of gratitude to Quatuor Bozzini for the opportunity to go through this process together, which is exceedingly uncommon in the context of chamber music. Typically, when writing for an ensemble or orchestra, the composer is given very few, if any, occasions to actually adjust their work in a meaningful way outside of perhaps one or two brief rehearsals of an essentially final score. It is extremely rare and an enormous luxury to begin with simple sketches or ideas and to actually construct a piece over a period of several months or more from a place of sonic assurance – that is, being able to listen and to explore and to continually fine tune in response to the sound itself, in conjunction with the performers. Part of the reason that my earliest compositional efforts arose within the domain of electroacoustic and acousmatic music is because of the control that it offered, to intuit sound in real time rather than through the indirect interpretation of future sound in the form of a score. Even now, when I compose work for chamber ensembles, I typically always start from a recorded version or from a demo – from the sound itself – and then work backwards to generate the score that will result in that music. It seems to be a vestige of conservatory thinking to view music performance, even in relation to new music, as a kind of reading of notes on the page that simply results in things just falling into place as expected. But, when the music goes beyond what’s on the page to include a dialogue with the acoustic space of the performance, and to require a certain patience and concentration on part of the performers, there needs to be a different approach; the Composer’s Kitchen residency offered that respect and curiosity.
https://sarahdavachi.bandcamp.com/album/long-gradus
|
2023 |
€52.00 |
|
| DAVID [TIBET] |
Ferelith |
LP |
Originally released in two highly-sought after very limited editions by Cashen's Gap, HOMALEPH are now OverMoon to exclusively share these re-editions in 2021.
Each LP comes on transparent-marble vinyl with a printed insert on japanese style paper and a small card, with the album’s cover on one side, and the name of the album on the other side. David has signed each and every card.
This is the first in a series of 5 solo albums.
https://www.houseofmythology.com/releases/view/david-ferelith |
2021 |
€36.50 |
|
| |
Fontelautus |
LP |
Originally released in two highly-sought after very limited editions by Cashen's Gap, HOMALEPH are now OverMoon to exclusively share these re-editions in 2021.
Each LP comes on transparent-marble vinyl with a printed insert on japanese style paper and a small card, with the album’s cover on one side, and the name of the album on the other side. David has signed each and every card.
This is the second in a series of 5 solo albums. |
2021 |
€36.50 |
|
| DE FABRIEK |
Terugkeren |
LP |
The world of noise, ambient and cosmic sounds doesn’t get much obscure than De Fabriek. They have been active since the late seventies, as a band and a label of the same name, and in the 80s they were very active players in the world of cassettes and exchanging sounds through mail. We haven’t heard anything from them in ages. This new release, their first on over a decade, sees some old players again, such as Klaas Mons (who was once responsible for the three concerts De Fabriek ever did), Nico Selen (from O.R.D.U.C.), Alex Nanuru (who contributed voice to Neveleiland, one of De Fabriek’s best LPs from the 80s) and Richard van Dellen himself. Other members (‘workers’ is how De Fabriek, translated ‘the factory’, called them in the past) here are Simon Steiner and Jan Peter van Aalst.
What is De Fabriek and their new LP TERUGKEREN all about? That is not an easy thing to say, as there is no defined De Fabriek sound. Over the years the group experimented with ambient music, with noise, with rhythms, industrial music and perhaps even cosmic music. This release of Terugkeren sees a bit of all of this and that makes release a nicely varied journey as well as an introduction into the world of De Fabriek, and we find the gentle guitar strumming of Machinerie/Luide Muziek next to a heavy guitar sound in Verleden, dark ambiences of De Terugkerenden and Zwarte Engelen or radio play like Rustpunt, with Alex Nanuru’s voice reciting a story (this could have easily been an outtake of Neveleiland). Guitars play quite an extended role here, but are transformed by the use of sound effects, without sounding too droney. De Fabriek keeps their pieces short and to the point. It is all in all a wonderful collection of pieces and it’s great to hear something new from De Fabriek. (txt with thanks to Frans de Waard).
TERUGKEREN is manufactured on 180 grams vinyl, and packed in a deluxe triple foldout sleeve with insert. The LP is limited to 300 copies. Release date: September 29, 2017.
https://tonefloat.com/2017/08/29/de-fabriek-returns-with-terugkeren-lp/
|
2017 |
€19.00 |
|
| DE KLEER, MARTIJN |
Flow |
CD |
Erstes Album des LPD-Gitarristen MARTIJN DE KLEER mit nach texanischer Weite klingenden Folk- & Country-tunes, unglaublich aber wahr !
“Martijn de Kleer (rhymes with "red wine, beware") is the guitarist for the Legendary Pink Dots, and "Flow" is his first solo album. A few hundred copies were sold at concerts during the band's tour of North America last year, after which it was licensed to Soleilmoon for release and worldwide distribution. The music is evocative and atmospheric, built on a foundation of straightforward songwriting and uncomplicated vocal arrangements. Loyal LPD fans will be surprised by the contrast between de Kleer's Spartan approach and the more elaborate constructions that define the Dot's characteristic sound. "Flow" is about nuance and subtle shades, about leaves fluttering in the wind, and the feelings of contentment that come from a simple tune played well. It's a man and his guitar, a few songs and sketches, and your imagination.” [press release]
|
2003 |
€13.00 |
|
| DEAD BODY LOVE |
Emetic |
LP |
https://phagetapes.bandcamp.com/album/emetic
Re-edition of an old DEAD BODY LOVE album originally released by "Labyrinth Recordings" in 1997.
Best Italian Power-Electrinics Industrial from the first era by master "Gabriele Giuliani".
New cover art by Paul Van Trigt.
Limited edition of 150 copies
Tracklist:
A. Spasms 21:00
B. Excretions 19:58
"A very crunchy release. The A-side, Spasms, is composed of a lot of loop-based sounds which I wasn't expecting. Crunchy loops that last for 5, 10, or 20 seconds and then move on to a newer quasi-rhythm, all while staying very harsh and textural. I've been listening to some earlier Macro material from the 90 to 92-ish era recently as well and there are similarities in method to that sound. While never straying away from being overtly harsh, there is a bit of variety in the sense that I hear some buried samples, vocals, and other elements sprinkled beneath the waves of harshness.
B-side, Excretions, is more free-flowing electronics but still has some loop elements, but far less. A good mix of mid and lower-end frequencies. Really punishing sounds. Full-spectrum press. While side A was good, side B for me is definitely the star of the show and top-tier DBL. The man really was doing the harsh full spectrum stuff that influenced so many in the mid-2000s crunchy noise scene. I just heard The Rita or The Cherry Point before I heard DBL due to the timing of getting into noise and what was available. Excellent LP." [Fistfuck Masonanie] |
2023 |
€25.00 |
|
| DEAD CAN DANCE |
Dionysus |
CD |
"This second release from the recently reawakened Dead Can Dance is quite a delightful surprise, radically departing from its uneven predecessor and displaying a striking degree of creative reinvigoration. Rather than another stab at recreating classic DCD fare like Aion, Dionysus is a conceptually rich and structurally inventive plunge deep into the folklore and spirit of Dionysian rituals and festivals. An intriguing concept does not necessarily lead to an intriguing album, of course, but Dionysus finds Dead Can Dance at the peak of their instrumental powers, unfolding as feast of wonderfully vibrant rhythms, esoteric instrumentation, and inspired arrangements. It is quite a remarkable and improbable achievement, as it sounds very little like prime Dead Can Dance, yet absolutely feels like prime Dead Can Dance. If Dionysus had come out in the band’s golden age of the late '80s and early '90s, there would most certainly be a small but devoted contingent of fans that viewed it as dark horse contender for the duo's finest album.
If I am being completely honest, I truly did not expect Dead Can Dance to ever record another great album, as the feeling I got from the reunion tour and Anastasis was that Brendan Perry and Lisa Gerrard are now far more like two loosely entwined solo artists who periodically collaborate than they are a united creative force these days. For the most part, Dionysus does little to dispel that sense, but it definitely seems like the duo have found a way to flourish within those conditions. Based on all that I have read about this album, it is quite clear that Perry was the album's driving force and that it was a labor of love birthed from a deep fascination with how pagan/Dionysian beliefs have spread, transformed, lingered, and evolved in the wake of the Roman Empire. Perry was originally drawn to the theme by European spring and harvest festivals, but the reach of the album seamlessly dissolves boundaries in culture, time, and space like only Dead Can Dance can do. For example, Perry's field recordings alone touch upon South America, New Zealand, and Switzerland and his musical inspirations are even more widespread, delving into traditional instrumentation that spans just about the entire globe. While there some wonderfully exotic and otherworldly sounds occasionally appear, such as the eerily flute-like see-sawing tones and jungle-like chirps in the closing "Psychopomp," that unusual instrumentation is less of a focus than it is a set of specialized tools that Perry used to get exactly the feel he wanted. In fact, Dionysus is largely a very percussion-driven affair, an approach that is especially effective on the muscular and propulsively off-kilter opener "Sea Borne," which abstractly evokes Dionysus's mythical arrival from The East.
While the album's bookends are both quite strong and easy to identify, the delineation between individual pieces on Dionysus is quite a purposely blurry one, as the album is structured as a two-part oratorio with different movements that tie to different aspects of Dionysian myth and folklore. For example, "Dance of the Bacchantes" is inspired by a rite in which women "abandoned their domestic duties for trance-like processions and dances," while "Liberator of Minds" celebrates hallucinogens and "The Forest" is a "call to abandon worldly and material pursuits and return to a primeval enlightened state of being." Happily, Perry opted to keep the narrative arc an abstract and impressionistic one, so this concept album deftly eludes the perils of dubious lyrical content or exposition. Curiously, it does sound like Perry is singing actual words in some language in the two closing movements, but the language is a fictional one, as Perry wanted to "convey emotion beyond the boundaries of language itself." In lesser hands, such a conceit would likely end in disaster. In this case, however, it not only flows seamlessly but seems like a crucial part of establishing the timeless and ritualistic headspace that the album inhabits. Recognizable words would have killed the spell. The music is not quite as liberated from the constraints of existing culture, however, as Perry is quite fond of Middle Eastern scales and melodies. The overall feeling is not entirely Middle Eastern though, as some medieval-sounding touches certainly bleed in, as do some sounds that seem plucked from real or imaginary tribes hidden deep in the heart of a tropical rainforest. At Dionysus's best, all of those threads combine into something that resembles an alternately raucous, sensuous, and ritualistic village dance that pulses with visceral rhythms, call-and-response chants, and primal eruptions of ululating yelps.
Admittedly, tt feels a bit weird to love a Dead Can Dance album in which Lisa Gerrard plays a noticeably reduced role, as she only takes over lead vocals on "The Invocation" (I think). However, her voice continually surfaces throughout the album as an added choral layer or to echo or harmonize with Perry's own vocals. That might not sound like much, yet her essence pervades the proceedings in a deeper way, as Dionysus bears little resemblance to Perry's solo work. This simply is not a vocal-centric album in the traditional Dead Can Dance sense, nor does the mood quite suit Gerrard's hammered dulcimer talents and the duo have the good sense not to awkwardly shoehorn in touches that do not belong. In fact, Perry and Gerrard show an almost supernatural instinct for avoiding false notes or missteps, favorably calling to mind a time in the distant past (The Serpent's Egg) when they seemed like an absolutely infallible force of nature and each new album felt like a communion with something deeper and more meaningful than anything the present era offered. There is not a weak moment to be found here, as my sole caveat is that the album feels all too brief at a mere 35 minutes. None of that time is squandered at all though, so it is hard to grumble: if the perfect arc is just over half an hour, then that is the proper length for the album to be. I had hoped that Perry and Gerrard might have some more classic songs or a return to form lurking in their shared future, but Dionysus has easily transcended those modest expectations by feeling like the beginning of an extremely promising second act to their long and illustrious career. Nostalgia and welcome familiarity are great, but reclaiming relevance and forging into compelling and unique new territory is far better." [Anthony D'Amico] |
2018 |
€16.00 |
|
| |
Dionysus |
LP |
"This second release from the recently reawakened Dead Can Dance is quite a delightful surprise, radically departing from its uneven predecessor and displaying a striking degree of creative reinvigoration. Rather than another stab at recreating classic DCD fare like Aion, Dionysus is a conceptually rich and structurally inventive plunge deep into the folklore and spirit of Dionysian rituals and festivals. An intriguing concept does not necessarily lead to an intriguing album, of course, but Dionysus finds Dead Can Dance at the peak of their instrumental powers, unfolding as feast of wonderfully vibrant rhythms, esoteric instrumentation, and inspired arrangements. It is quite a remarkable and improbable achievement, as it sounds very little like prime Dead Can Dance, yet absolutely feels like prime Dead Can Dance. If Dionysus had come out in the band’s golden age of the late '80s and early '90s, there would most certainly be a small but devoted contingent of fans that viewed it as dark horse contender for the duo's finest album.
If I am being completely honest, I truly did not expect Dead Can Dance to ever record another great album, as the feeling I got from the reunion tour and Anastasis was that Brendan Perry and Lisa Gerrard are now far more like two loosely entwined solo artists who periodically collaborate than they are a united creative force these days. For the most part, Dionysus does little to dispel that sense, but it definitely seems like the duo have found a way to flourish within those conditions. Based on all that I have read about this album, it is quite clear that Perry was the album's driving force and that it was a labor of love birthed from a deep fascination with how pagan/Dionysian beliefs have spread, transformed, lingered, and evolved in the wake of the Roman Empire. Perry was originally drawn to the theme by European spring and harvest festivals, but the reach of the album seamlessly dissolves boundaries in culture, time, and space like only Dead Can Dance can do. For example, Perry's field recordings alone touch upon South America, New Zealand, and Switzerland and his musical inspirations are even more widespread, delving into traditional instrumentation that spans just about the entire globe. While there some wonderfully exotic and otherworldly sounds occasionally appear, such as the eerily flute-like see-sawing tones and jungle-like chirps in the closing "Psychopomp," that unusual instrumentation is less of a focus than it is a set of specialized tools that Perry used to get exactly the feel he wanted. In fact, Dionysus is largely a very percussion-driven affair, an approach that is especially effective on the muscular and propulsively off-kilter opener "Sea Borne," which abstractly evokes Dionysus's mythical arrival from The East.
While the album's bookends are both quite strong and easy to identify, the delineation between individual pieces on Dionysus is quite a purposely blurry one, as the album is structured as a two-part oratorio with different movements that tie to different aspects of Dionysian myth and folklore. For example, "Dance of the Bacchantes" is inspired by a rite in which women "abandoned their domestic duties for trance-like processions and dances," while "Liberator of Minds" celebrates hallucinogens and "The Forest" is a "call to abandon worldly and material pursuits and return to a primeval enlightened state of being." Happily, Perry opted to keep the narrative arc an abstract and impressionistic one, so this concept album deftly eludes the perils of dubious lyrical content or exposition. Curiously, it does sound like Perry is singing actual words in some language in the two closing movements, but the language is a fictional one, as Perry wanted to "convey emotion beyond the boundaries of language itself." In lesser hands, such a conceit would likely end in disaster. In this case, however, it not only flows seamlessly but seems like a crucial part of establishing the timeless and ritualistic headspace that the album inhabits. Recognizable words would have killed the spell. The music is not quite as liberated from the constraints of existing culture, however, as Perry is quite fond of Middle Eastern scales and melodies. The overall feeling is not entirely Middle Eastern though, as some medieval-sounding touches certainly bleed in, as do some sounds that seem plucked from real or imaginary tribes hidden deep in the heart of a tropical rainforest. At Dionysus's best, all of those threads combine into something that resembles an alternately raucous, sensuous, and ritualistic village dance that pulses with visceral rhythms, call-and-response chants, and primal eruptions of ululating yelps.
Admittedly, tt feels a bit weird to love a Dead Can Dance album in which Lisa Gerrard plays a noticeably reduced role, as she only takes over lead vocals on "The Invocation" (I think). However, her voice continually surfaces throughout the album as an added choral layer or to echo or harmonize with Perry's own vocals. That might not sound like much, yet her essence pervades the proceedings in a deeper way, as Dionysus bears little resemblance to Perry's solo work. This simply is not a vocal-centric album in the traditional Dead Can Dance sense, nor does the mood quite suit Gerrard's hammered dulcimer talents and the duo have the good sense not to awkwardly shoehorn in touches that do not belong. In fact, Perry and Gerrard show an almost supernatural instinct for avoiding false notes or missteps, favorably calling to mind a time in the distant past (The Serpent's Egg) when they seemed like an absolutely infallible force of nature and each new album felt like a communion with something deeper and more meaningful than anything the present era offered. There is not a weak moment to be found here, as my sole caveat is that the album feels all too brief at a mere 35 minutes. None of that time is squandered at all though, so it is hard to grumble: if the perfect arc is just over half an hour, then that is the proper length for the album to be. I had hoped that Perry and Gerrard might have some more classic songs or a return to form lurking in their shared future, but Dionysus has easily transcended those modest expectations by feeling like the beginning of an extremely promising second act to their long and illustrious career. Nostalgia and welcome familiarity are great, but reclaiming relevance and forging into compelling and unique new territory is far better." [Anthony D'Amico]
|
2018 |
€28.00 |
|
| DEAD MACHINES |
The Night Callers |
LP |
"LP from husband-and-wife duo John (Wolf Eyes) & Tovah Olson (Wooden Wand...) left field horror drone, flutes and garbage electronics. Cover art by John Olson. Limited to 500 hand numbered copies on 140gram pink marbled vinyl." [label info]
www.blossomingnoise.com
|
2007 |
€15.00 |
|
| DEAD VOICES ON AIR |
Bundle 1995-2013 |
CD |
“Bundle 1995-2013″ stands as a career spanning primer into the challenging and innovative musical world of “Dead Voices On Air”.
Mark Spybey has worked under the name Dead Voices On Air for 20 years, following his departure from Zoviet-France. He's released 15 albums and collaborated with an impressive list of people, including members of Can, Faust, Throbbing Gristle, Swans, cEvin Key, and others. Bundle 1995 2013 stands as a career-spanning primer into the challenging and innovative musical world of Dead Voices On Air. Spybey began working as DVOA in 1992 in the wake of relocating from his native Britain to Canada. Employing processed sounds generated by primitive instruments and childrens toys, and eschewing the standard sequencers and samplers, he began sculpting experimental soundscapes. Haunting drones and echoes of vocal murmurs are layered with noisier elements to create an intense, engaging sonic experience." [label info]
www.metropolis-records.com
|
2013 |
€15.00 |
|
| DEAD VOICES ON AIR & SIMON FISHER TURNER |
MzMzLaLaLa |
7inch |
"This single is a double A side and is the first of the DVOA@20 series.
Side A is entitled, ‘MzMzLaLaLa for Peace,’ and Side A is entitled, ‘MzMzLaLaLa Sing-Song-Sing.’
Simon Fisher Turner
Simon had a highly successful career as a child/young hopeful actor, appearing in movie and TV roles from Black Beauty, Tom Brown’s Schooldays to The Big Sleep (re-made with Robert Mitchum). Aged 17 he signed to Jonathan King’s UK Records and released the album “Simon Turner” in 1969. He then discovered tape recorders and ended up playing with the legendary Portsmouth Symphonia with musicians such as Brian Eno.
Simon first worked as a runner on the sets of films by Derek Jarman, before becoming Jarman’s favoured soundtrack composer. Simon’s association with Jarman was lasting and massively fruitful. “Caravaggio”, “The Last Of England” (with contributions from Barry Adamson and Diamanda Galas), “The Garden” (with the Balanescu Quartet), and “Edward II”, were amongst the most innovative film sound projects of the ’80s and early ’90s, most of them surfacing as CDs though Mute. His final film with Jarman was the powerful, poignant “Blue”, where a soundscape recorded by Simon at Eno’s country house, plus Jarman’s AIDs inspired spoken words, stood in for the visuals - only a blue screen was projected. Simon also worked under the name of The King Of Luxembourg and has collaborated extensively. He has released many albums and in addition to his work with Jarman has contributed to numerous other film soundtracks for directors such as David Lynch.
Simon and Mark Spybey first met backstage at a Can concert at the Barbican in London in 1999. They work together, in spurts and fits, under the name MzMzLaLaLa and this single is their first release. They recently played a concert in London together under a railway arch.
DVOA @ 20 Anniversary Series
Since leaving :zoviet-france: in the late eighties Mark Spybey has released fifteen albums as Dead Voices On Air. He’s appeared on over 80 releases in the past twenty years. When the late Michael Karoli, the seminal guitarist, put together a band in the late nineties to celebrate the 30th anniversary of Can, it was Spybey who he asked to help him.. He has made a career out of collaborating extensively with a wide range of musicians, film- makers and visual artists. He was a member of Download and formed Beehatch with Phil Western of Download and Reformed Faction with ex-:zoviet-france: members, including Robin Storey of Rapoon. Between 1992 and 2000 he lived and worked in Vancouver, Canada and has toured extensively around the world with a variety of collaborators including Karoli and Damo Suzuki of Can, The Legendary Pink Dots, Pigface, Michael Rother of Neu! and Dieter Moebius of Cluster. He’s remixed Neu! and Faust amongst others. His has worked with labels such as Kranky, Nettwerk, Soleilmoon Recordings, Invisible, Spoon, Scratch, Cleopatra, Lens and for the 20th anniversary seven inch single series, Tourette Records of Houston Texas." [label info]
www.touretterecords.com
"To celebrate twenty years of existence, Dead Voices On Air, also known to mankind as Mark Spybey, will release a bunch of 7"s in collaboration with people who he has worked with in those years. The series kicks of with Simon Fisher Turner, perhaps best known for scoring soundtracks for the films of Derek Jarman (Caravaggio", "The Last Of England", "The Garden" and "Edward II") and also with David Lynch. he met Spybey at a concert of Can in 1999 and worked together since as MzMzLaLaLa, but this 7" is their first release. I am in a bit in the dark wether this 7" is t45 or 33 rpm, and I decided for 33. One side has an interesting tape collage of sounds and spoken word in a very film noir like style, while the other side ('MzMzLaLaLa Sing Song Sing') is more a pop like track with a very sparse guitar, a wacky percussive sample and a sad voice. This side did less for me, I think, maybe its too short, or perhaps too vague, but the other side is in fact very good. In the future there will be 7's with James Plotkin, Troum, Edward Ka-spel, Cevin Key, Robert Hampson, Robin Storey, Jochen Arbeit, Dave Wright, Ryan Moore and Orbit Service, which me thinks looks a promising series. Great cover too." [FdW/Vital Weekly]
|
2011 |
€10.00 |
|
| DEAS (CAMERON) |
String Studies |
LP |
Deas is an alias of London based guitarist Cameron Deas. 'String Studies' is unlike anything else recorded previously by Deas and is his first LP of all electronic based material. Recorded at home between February and March 2014, the eight pieces on this LP were recorded live with little or no overdubs using Deas' 12-string acoustic guitar as a sampling source to trigger and in turn be manipulated by a modular system.
https://camdeasalter.bandcamp.com/album/string-studies
|
2014 |
€16.00 |
|
| DEATH & BEAUTY FOUNDATION |
same |
CD |
Noch bevor 1984 die ersten Aufnahmen von THE HAFLER TRIO das Licht der Welt erblickten, war H30-Mastermind ANDREW MC. KENZIE mit VAL DENHAM aktiv, einem britischen Transvestiten & frühen Industrial-Aktivisten der als Maler(?) & Artworker für TG, PSYCHIC TV, MARC ALMOND oder CYCLOBE tätig war. Die insgesamt 21 Stücke, die mit "Darlington Tapes" betititelt wurden sind hier nun erstmals auf einer CD zu hören - äusserst eigenwillige experimentelle "Songs" mit kruden Stimmverfremdungen und elektronischen Sounds, wie sie - etwas eleganter - z.T. auch auf die erste H30 LP "Bang! An Open Letter" oder die krasseren sprachbasierten NURSE WITH WOUND-Alben gepasst hätten. Auch über 20 Jahre später ist das noch absolut unzugängliche Anti-Musik, die sich nicht mit klassischen Maßstäben "bewerten" lässt, da es kaum Vergleichsmöglichkeiten gibt.
"... present the legendary "Darlington Tapes"recorded in 1982. At last, the sound of Val Denham and Andrew M. McKenzie's long awaited avant garde masterpiece for the bewildered is available after 26 years. Remastered, frightening and beautiful. The strangest album ever recorded. You have been warned." [label info]
" The Death & Beauty Foundation is an odd footnote in the history of The Hafler Trio. It's a project that began sometime in the early '80s presumably in and/or around Newcastle, UK featuring a young Andrew McKenzie (who later went on to found The Hafler Trio) and Val
Denham, a visual artist who has some history with Psychic TV, Marc Almond, and Cyclobe. Only a couple of compilation tracks of the Death
& Beauty Foundation had appeared on Touch cassette compilations, and a tape-only release emerged in 1986; but beyond that, the story to the Death & Beauty Foundation is pretty mysterious. This CD represents the complete 'Darlington Tapes' which the two began in 1982. Instead of the media-savvy collages and psychoacoustic investigations which The Hafler Trio mastered throughout the '80s, the Death & Beauty Foundation penned songs, really weird and fractured songs; but these are nonetheless tunes. A curious falsetto (which we're presuming to belong to Denham) floats in flanging tremolo haze above odd, Spartan electronics, sounding somewhat like "In Heaven" from the Eraserhead soundtrack, but ever more evasive and purposefully meandering. In line with primitive BBC Radiophonic tricknology meets Cabaret Voltaire cut- up methods, tape manipulations guide the bulk of the arrangements to that fluttering voice, with Shadow Ring like splutter across guitar and tin-can percussion on a few tracks. Some of the electronic sounds seem to have reappeared on the h3o album Sea Org; but those recognizable instances are few and far between in this confusing album." [Aquarius Records review]
www.somnimage.com
|
2008 |
€16.00 |
|
| DEATHPROD |
Occulting Disk |
do-LP |
OCCULTING DISK is an anti-fascist ritual. Recorded in Oslo, Reykjavik, Cologne, Berlin and Los Angeles between 2012 and 2019. It is the first Deathprod album to be released since the 2004 album «Morals and Dogma». Liner notes by Will Oldham (note: not the above below). LP cut by Rashad Becker at D&M, Berlin. Artwork by Kim Hiorthøy and Helge Sten.
“I remember driving over a mountain with my mother, she was in the passenger seat and we were being mauled and cuddled and battered and fried by sound; together. We were together experiencing something previously unimaginable, and we were facing the same direction, and we were moving through space and time knowing that a geographic destination some way ahead would bring an end. And the sound surrounded us, and for once our mutual silence was loaded with good. Because we were in the presence of each other, and we knew so much about how we had failed each other (it wasn’t a mystery any more), and we knew how we had maimed others when we worried too much about ourselves, how we had contributed to the faults of others simply by focusing in instead of out. Our mutual silences were laden with what that could only be called love. I used to hear love in music until I learned to hear love in sound. “ (Will Oldham)
Hinter Deathprod verbirgt sich der norwegische Musiker Helge Sten, seines Zeichens Ex-Mitglied bei Motorpsycho und Supersilent. Neben seinem Pseudonym Deathprod nahm Sten auch unter dem Namen Audio Virus als auch unter seinem eigentlichen Namen zahlreiche Alben auf. Zudem kollaborierte er mit Biosphere, Arve Henriksen, John Hegre, Lasse Marhaug, Sidsel Endresen, Christian Wallumrod, Nils Petter Molvær sowie mit seiner Frau Susanna Wallumrod, als Sängerin vor allem unter dem Namen Susanna bekannt. \"Occulting Disk\", das erste neue Album von Deathprod seit fünfzehn Jahren, ist ein antifaschistisches Ritual. Aufgenommen in Oslo, Reykjavik, Berlin, Köln und Los Angeles zwischen 2012 und 2019, ist es das erste Deathprod-Album seit \"Morals And Dogma\" aus dem Jahr 2004.
https://deathprod.bandcamp.com/album/occulting-disk
\"The Norwegian dark ambient artist Helge Sten, or Deathprod, is a master of atmosphere. Since 1991, he has been harnessing apocalyptic dread through immersive electronic sound design and bone-rattling live performances. For his first solo LP in 15 years—the follow-up to 2004\'s Morals And Dogma—the Oslo producer has conceived a politically minded album that considers the ways in which we confront fear and hate. The liner notes from Will Oldham dig deeper into Occulting Disk\'s political character. \"If you hear hate in the voice of another, it is your job, as the identifier, to address that hatred and reduce it by its opposite,\" he urges.
Stern expresses these political ruminations using a complex and chilling series of beatless, wordless tracks that command focus—his vision of ambient differs from Eno-led notions of the music as soft wallpaper. Occulting Disk serves a more confrontational, instructive purpose. Knowing the anti-hate messages at the album\'s core, it could be viewed as an amulet to ward off hate and bad energy, its unrelenting honks and bellows stirring up the hopeful sounds of protest. Stern\'s use of repetition is powerful and carefully considered, making space for deep thought and reflection.
Pockets of silence strengthen this concentrative quality. The opener, \"Disappearance / Reappearance,\" sends out a duo of ear-splitting foghorn blasts, an allusion perhaps to the album title\'s maritime reference—occulting light is a navigational beam used by ships. Thick walls of insectoid buzzing on \"Occultation 2\" urge you to step outside yourself, reeling you in with ugly-beautiful effect.
The LP summons a raft of mutated sounds from Stern\'s \"audio virus\" set-up—an array of electronics that has included homemade devices, tape echo machines, theremins and analog ring modulators—that feel eerily familiar and sinister. Case in point: \"Occultation 4,\" whose creaking, dissonant drones give the impression of dive bombers circling each other, while the weeping, warbling synths on \"Occultation 1\" are as evocative as human tears. The album\'s crushing \"Black Transit Of Jupiter\'s Third Satellite\" is a tidal wave of distortion, suggesting a final evacuation of dark energy. Stern\'s gift is to make that feel both unsettling and immersive.\" [Resident Advisor]
|
2019 |
€24.00 |
|
|
Sow Your Gold in the White Foliated Earth |
LP |
"Oslo's Ultima Festival for contemporary music in 2014. The idea was to give revered Norwegian experimental electronic musician Helge Sten, aka Deathprod, access to seminal avant-garde composer Harry Partch's self-designed, custom-made, specialized, invented instruments - an orchestra tuned to just intonation, using up to 43 intervals instead of the standard 12 for the most commonly used Western equal temperament. An artist with a 30+ year career and an uncompromising reputation that reflects the emotional specificity of his uneasy, yet compelling sound, maintained throughout his expansive discography, Sten was an intriguing choice for such a project. Although he attended art school, training in electronic music and sound art, he had little experience with acoustic instruments and can neither read nor write music notation. Yet he's been engaged with Partch's music, and outsider art more generally, since he was a teenager. His resulting piece/composition for the project was originally intended only for performance by Cologne-based Ensemble Musikfabrik, for a series of concerts in five European cities between 2015 and 2018. It's Musikfabrik that undertook the painstaking, expensive process of building an entire set of the composer's creations - the second only to the originals built by Partch himself. They are the professional musicians and virtuosic instrumentalists that had to re-train and re-educate on these unknown and experimental sound sculptures in non-standard tunings. And they house this large, gorgeous physical instrumentarium and deal with the enormous logistics of working with it, sometimes shipping the fragile pieces to other locales via semi-trucks or ships. Because of such monumental efforts, Musikfabrik are notoriously guarded with recordings of the instruments. And rightly so. They're the only ones allowed to perform on them, too. But Sow Your Gold isn't Musikfabrik playing. Instead, Sten spent days and nights alone with the instrumentarium in Cologne. He played the instruments himself while recording, layering the recordings and editing without effects to compose an `audio score' for Musikfabrik to work from in order for the ensemble to perform the piece. (Partch also regularly worked this way, although he would transcribe afterwards. Likewise, Sten worked with a professional arranger to create a detailed score, too.) So, that makes Sow Your Gold an even less likely rarity - partly why its release comes seven years after its creation. If you ask Sten about the album's title, he'll point you to the text he borrowed it from - Michael Maier's Atalanta Fugiens by H.M.E. De Jong, a 1969 study of a 1617 book of alchemical emblems - and notable passages dealing with alchemy, chemistry, and agriculture, all transformative processes. And while that may sound complicated, his takeaway is simple: "You have to break something down to create something new," - a lesson he felt related strongly to his own musical process, especially in this project. So, while Sow Your Gold in the White Foliated Earth is a piece written for specific, oddly tuned, extremely rare and unusual instruments, and for a certain ensemble - namely, some of the finest contemporary musicians in Europe - Sten grew fond of the audio score, recognizing it as coming directly from the creative process in its purest, most natural form. And so from a foliated earth, where obscure tradition, treasured scarcity, immense effort, and patient certainty layer and criss-cross, comes rugged gold, polished to shining by one outsider for another."
https://deathprod.bandcamp.com/album/sow-your-gold-in-the-white-foliated-earth
|
2022 |
€26.50 |
|
| |
Sow Your Gold in the White Foliated Earth |
CD |
Oslo's Ultima Festival for contemporary music in 2014. The idea was to give revered Norwegian experimental electronic musician Helge Sten, aka Deathprod, access to seminal avant-garde composer Harry Partch's self-designed, custom-made, specialized, invented instruments - an orchestra tuned to just intonation, using up to 43 intervals instead of the standard 12 for the most commonly used Western equal temperament. An artist with a 30+ year career and an uncompromising reputation that reflects the emotional specificity of his uneasy, yet compelling sound, maintained throughout his expansive discography, Sten was an intriguing choice for such a project. Although he attended art school, training in electronic music and sound art, he had little experience with acoustic instruments and can neither read nor write music notation. Yet he's been engaged with Partch's music, and outsider art more generally, since he was a teenager. His resulting piece/composition for the project was originally intended only for performance by Cologne-based Ensemble Musikfabrik, for a series of concerts in five European cities between 2015 and 2018. It's Musikfabrik that undertook the painstaking, expensive process of building an entire set of the composer's creations - the second only to the originals built by Partch himself. They are the professional musicians and virtuosic instrumentalists that had to re-train and re-educate on these unknown and experimental sound sculptures in non-standard tunings. And they house this large, gorgeous physical instrumentarium and deal with the enormous logistics of working with it, sometimes shipping the fragile pieces to other locales via semi-trucks or ships. Because of such monumental efforts, Musikfabrik are notoriously guarded with recordings of the instruments. And rightly so. They're the only ones allowed to perform on them, too. But Sow Your Gold isn't Musikfabrik playing. Instead, Sten spent days and nights alone with the instrumentarium in Cologne. He played the instruments himself while recording, layering the recordings and editing without effects to compose an `audio score' for Musikfabrik to work from in order for the ensemble to perform the piece. (Partch also regularly worked this way, although he would transcribe afterwards. Likewise, Sten worked with a professional arranger to create a detailed score, too.) So, that makes Sow Your Gold an even less likely rarity - partly why its release comes seven years after its creation. If you ask Sten about the album's title, he'll point you to the text he borrowed it from - Michael Maier's Atalanta Fugiens by H.M.E. De Jong, a 1969 study of a 1617 book of alchemical emblems - and notable passages dealing with alchemy, chemistry, and agriculture, all transformative processes. And while that may sound complicated, his takeaway is simple: "You have to break something down to create something new," - a lesson he felt related strongly to his own musical process, especially in this project. So, while Sow Your Gold in the White Foliated Earth is a piece written for specific, oddly tuned, extremely rare and unusual instruments, and for a certain ensemble - namely, some of the finest contemporary musicians in Europe - Sten grew fond of the audio score, recognizing it as coming directly from the creative process in its purest, most natural form. And so from a foliated earth, where obscure tradition, treasured scarcity, immense effort, and patient certainty layer and criss-cross, comes rugged gold, polished to shining by one outsider for another.
https://deathprod.bandcamp.com/album/sow-your-gold-in-the-white-foliated-earth
|
2022 |
€15.00 |
|
| DEISON |
Night Sessions |
CD |
"A collection of fascinating and obscure "nocturnal sessions” alternated with more "classic" electronic parts based on sequencers and synthesizers, more abstract and minimal sonic sketches, involving and tense deep drones musical mixtures, distorted and dilated electric guitars, deformed human voices, more static and fluctuating typical ambient movements, cold inserts of pulsating and "techno oriented" sounds, suggestive atmospheres built on bizarre loops, flat organ backgrounds and low guitar notes, and then again arpeggios, piano clusters, field recordings, more typical "glitch" inserts and hisses... A wide range of original and catching solutions created with the help of many guests, the album includes contributions by Teho Teardo, Philippe Petit, Under the Snow, Jim Coleman, Franck Vigroux, Testing Vault and Annen Berg." [label info]
www.silentes.net
|
2011 |
€12.00 |
|
|
Dirty Blind Vortex |
CD |
A fuming miasma of desiccated frequencies and oppressive atmospheres from this Italian purveyor of Death Industrial & Dark Ambient.
"Dirty Blind Vortex" is a cryptic snarl of emotion and obsession, impulse and lethargy.
Features contributions from SSHE RETINA STIMULANTS, GOVT. ALPHA, BAAL, R.H.Y. YAU, LASSE MARHAUG and more.
Noise, sounds recorded/assembled/mixed at "sonic bedroom studio" Dec. '98 - Feb. '99, Udine, Italy.
Mastered at Gench Studio, San Francisco - July '00 by Thomas Dimuzio
Tracklisting:
1 Dream:Morphology (3:07) Featuring - Sshe Retina Stimulants
2 Inside Sources (4:59) Featuring - Sshe Retina Stimulants
3 Novamalia (3:06) Featuring - Lasse Marhaug
4 Lodge, hlny (4:10) Featuring - R.H.Y. Yau
5 Silenzio (5:03)
6 Vortice (5:28) Featuring - Sshe Retina Stimulants
7 Pasadena, 1953 (7:39)
8 Out Of Spasm (5:22)
9 Symptomatic Headache (5:19) Featuring - Government Alpha
10 Terminal Suck Sick (Remix) (5:27) Remix - Lasse Marhaug
11 Automatic Pain II (Remix) (5:28) Remix - S.Isabella
12 Dirty Intercourse (Corrine's Psychoanalysis Remix) (12:01) Remix - Baal
https://deison.bandcamp.com/album/dirty-blind-vortex
|
2000 |
€8.00 |
|
| |
Una Notte Che Non Finisce Mai |
BOOK + CD |
CD + 8" 48-page booklet in Italian, ltd. 200 copies
Deison / Tonizzo
Una notte che non finisce mai
"It often happens that crime stories are able to influence the larger history that surrounds them, but very few are those that managed to change aspects of society and pass through more than five decades unharmed, at least in terms of fascination. The whole story of the Monster of Florence is one of them. It is impossible not to get entangled or at least to be captured by it, if one delves into its pages of far-fetched features and too many unanswered questions. For us, as for many, the case of the Monster of Florence has become an obsession. We periodically dusted it off, racking our brains in vain over details or the possible culprit. This time, 40 years after the crimes that started the psychosis of the infamous couple killer, we told ourselves that we had to somehow get rid of it and we did it our way."
The project "Una notte che non finisce mai" (A Night that Never Ends) is made up of eight short stories (written by Sandra Tonizzo) and eight sound episodes created by Deison, and tells the incredible story of the "Monster of Florence" through suggestions, chronicles, impressions and memories. The booklet (21x21cm, 48 colour pages) and the CD included are published in a limited edition of 200 copies for Silentes' newborn label "1970".
store.silentes.it/catalogue/7001.htm
https://deison.bandcamp.com/album/una-notte-che-non-finisce-mai
"Buch und CD: Sandra Tonizzo, Deison und das Monster von Florenz
Schon seit ein paar Wochen erhältlich, hierzulande aber immer noch eine News wert ist das aktuelle Gemeinschaftswerk zwischen dem Soundkünstler Cristiano Deison und der Autorin Sandra Tonizzo. “Una Notte Che Non Finisce Mai” setzt sich aus einer CD Deisons und einem mehrfarbigen Bild- und Textband von Tonizzo zusammen, in dem auf 50 Seiten die faszinierende Geschichte des sogenannten Monsters von Florenz – Il mostro di Firenze, auch genannt der Mörder mit dem Skalpel - in acht Geschichten, Dokumenten, Reportagen und anderen Textsorten erzählt wird.
Der spektakuläre Kriminalfall, bei dem ein oder mehrere Täten in den Jahren zwischen 1968 und 1985 im Umland von Florenz acht Liebespaare in Serie massakrierten, wurde in Italien schnell zum Stoff urbaner Legenden und zahlreicher fiktionalisierter Umsetzungen in Büchern, Filmen, Comics und Serien, in deren Tradition das vorliegende Werk steht. Die CD enthält gewissermaßen den Soundtrack zum Buch in Form dunkler, in weiten Teilen samplebasierter, harsh-ambienter Klangwelten. Das Werk erscheint beim Silentes-Ableger 1970." [African Paper]
|
2021 |
€20.00 |
|
| DEMOULIN, JULIEN & IA |
The Bay |
CD |
"A tribute to both a great friendship and the mist-mantled San Francisco Bay Area, “The Bay” is a sprawling forty-minute drone piece recorded and produced in 2009 and 2010 over the course of several journeys between Oakland, California and Brussels, Belgium.
Guitar and vocal drones, environmental recordings and flute merge to form an emotional travelogue at the grey boundaries of the dreaming and waking worlds…in celebration of reminiscence, before a darkling dawn, deep under the skies of water…" [label info]
www.bassesfrequences.org
"These two new releases on Basses Frequences see further exploration of the theme of ambient music, but are worked out differently. On the soft(er) edge we have a collaboration between Julien Demoulin and IA, recorded in Brussels and Oakland. The thematic approach here is about the Bay Area of California, but it could have been anything else really. Demoulin and IA use, apparently, guitars, voices, environmental recordings and flute in these two pieces which exactly last twenty minutes. Perhaps they intended this to do be a LP? Compared to other CDs I was listening to, around this, this is very soft music. I am not sure why that is, but I'm glad its not on vinyl; who knows what would have been left? Maybe its an artist statement to do it this soft, but it could have been easily a bit louder and still sounding great - I know someone who can a great mastering job, guys. Its not easy to spot those water recordings, or chimes, and certainly in the first part things move away below the surface of audibility. Its music you hear from a distance, maybe just like overlooking the bay area (a view to a kill?) from some distance. The music acts like fog horns in the night, far away, shining through the mist and haze of the night. The second piece is a bit 'louder', and comes across like boats passing in the night. Its also the somewhat more abstract piece of the two, dwelling more on sustaining tones, whereas the first part has nicely shimmering melodies. Excellent stuff." [FdW/Vital Weekly]
|
2012 |
€12.00 |
|
| DEN SORTE DOD |
same |
CD |
New full length album from joint project of OFFERMOSE and ANGST. From the bottomless depths of a murky Swedish forest lake, the haunting cries of a thousand voices rise like distant whispers. Songs of forgotten spirits forever drowning in the cold, still waters. Shadows form and melt away within the hovering fog of icy green. Offermose and Angst performs the sacred ritual of old and releases the glowing sadness of their wooden synths. Far into the night emotive spells are cast, long will they linger…
CD Edition of 500 copies in 4 panel Digisleeve, Matt Lamination. 8 Tracks. Running time 38:28
LP Edition of 300 copies on Black Vinyl, Gatefold Sleeve, Matt Lamination. 8 Tracks. Running time 38:28
https://cycliclaw.bandcamp.com/album/den-sorte-d-d
|
2021 |
€13.00 |
|
| DERGARABEDIAN, CHRISTIAN (C.D.) y MILAN SANDBLEISTIFT |
Lamentamos informar al Universo |
CD-R |
"der stuhl an der wand ist leer ich
lebe" / "nadien ocupa la silla delante de la pared yo
vivo" / " the chair next to the wall is empty I
am living "
[from the credits]
Lovely collaboration of these two Drone Records-artists (MILAN SANDBLEISTIFT being a part of LICHT-UNG). Mysterious drones & ominous sounds all over the place, rumbling & resonancing in polymorph ways, arrays of highly effected stuff...quite rough but beautiful, recommended! Exists in two editions of 28 / 27 copies, of both we got few copies..
"...Statt harschem Krach erklingt sogar
akkordeonartig Melodiöses (‚No more demoras‘) oder transparente Fieldrecordings aus Alien Landscapes, die das Ambiente verlassener (‚Celestialmente divino part 9‘) oder vollautomatisch rumorender Weltraumbahnhöfe suggerieren (‚Ensombrecido por sol‘).Immer wieder deuten die Klänge eine industriale Hohlwelt an, ohne dabei morlockhaft finstere Züge anzunehmen. ‚Si superia how!!‘ ähnelt stottrig verstümmelten Morsezeichen und vererbt seine Cut-up-Technik an das sampladelische Finale, ‚Energía adulterada‘, bei dem auch das ‚Akkordeon‘ wieder auftaucht, wie Klangfetzen von einem Rummelplatz." [Bad Alchemy]
www.licht-ung.de
|
2007 |
€9.00 |
|
| DESACCORD MAJEUR |
La neuvieme heure |
mCDR |
Überraschung ! Nach langer Zeit was neues von der französischen Ethno-Ambient Band. Great stuff ...
”Just like his collegue and friend from Internal Fusion (whose we've recently released a 3"), Désaccord Majeur is another rare and discreet french band.His discography is also quite breif when you know D.M. has been active for 15 years ! Two CDs ("thétys" on PlayLoud and "samana" on Staalplaat), the Tlön Uqbar (D.M. + Internal Fusion) CD on Staalplaat, three tapes (two self-released and one on our own Harmonie) and a bunch of compilations
including the famous "ophir" self-released by Désaccord Majeur years ago where he invited Tuu, Muslimgauze or Hybryds.
Just like Internal Fusion, Désaccord Majeur creates long haunting ambient tracks with of course an ethnic and ritual touch... Less dark maybe, his music sometimes includes some more electronic sounds that could remind some em:t releases (Woob especially). Pure clear ritual ethno-ambient music.” [press-release]
|
2002 |
€5.00 |
|
| DESIDERII MARGINIS |
Years lend a golden Charm |
CD |
Kollektion des frühesten Materials von den ersten drei Tapes, hier klingt alles noch reduzierter, einfacher, elektronisch & rhythmisch, aber schon mit deutlich melancholischem Einschlag, erinnert an andere frühe COLD MEAT INDUSTRY-Tapes aus dieser Zeit. Wohl v.a. für D.M. Fans interessant, oder für Tape-Nostalgiker, dies hat den "typischen" Tapesound!
"To gain a deeper understanding of what is, it is necessary to examine what was ¬ to go to the sources and the origins. With the emergence of this brand new offering by Desiderii Marginis, ‘Years Lend a Golden Charm’ we are invited to experience the very birth of what is now a well established and worldwide recognised project within the dark-ambient industrial scene. The contents of the new album is made up of some 73 minutes of material from the first three tapereleases from 1993. Highly sought after by collectors but only available in a mere dozen of handmade copies, these songs are now finally made available to a greater audience. When you listen to the music with the knowledge that hindsight brings - it is obvious that these are the roots and the foundations, not only of the first full length album ‘Songs Over Ruins’, but of every succesive release up to the latest ‘Seven Sorrows’. In 1993 there was no set course, no long term plan ¬ and still, maybe it couldn’t have turned out any other way?" [label info]
www.eternalpride.ru
|
2009 |
€13.00 |
|
| |
Vita Arkivet |
LP |
Long awaited new material by one of Sweden’s most revered Dark Ambient acts.
“Vita Arkivet” translates from Swedish as “The White Archive” and is an official document detailing ones funeral arrangements. In death our existence is whitewashed, the slate wiped clean. We start all over and we bring nothing with us were we go. We lose the agency of our own memory and leave it for those left behind to attend to, to continue our story, to write our eulogy. Vita is also the latin word for Life, so the meaning could also be “The Life Archive”. White is the colour of the casket lining, the plaster death masks and the walls of the chapel, it is the colour of the first and last pages. What is kept in between the covers of our life archives? This record is a personal reflection and manifestation of that process, the loss and the great detachment from life, from others, and from ourselves.
Standard Edition LP limited to 200 copies on Black.
https://cycliclaw.bandcamp.com/album/vita-arkivet
|
2018 |
€23.00 |
|
| DESPREZ, JOSQUIN |
The Renaissance Master. Sacred music and Chansons |
3 x CD / book |
Sublime génie
Il y a 500 ans, disparaissait Josquin Desprez. Traversant infatigablement l’Europe d’une cour à l’autre, il fut l’un des fers de lance les plus actifs de la Renaissance franco-flamande. Pour rendre hommage à cette figure majeure de l’histoire de la musique, harmonia mundi a réuni ici quelques-unes de ses œuvres profanes et religieuses les plus caractéristiques. Ce livre-disque, richement illustré, replace son parcours dans le contexte de cette période bouillonnante.
JOSQUIN DESPREZ [1440-1521]
Missa de Beata Virgine (Missarum Josquin liber tertius, Ottaviano Petrucci,Fossombrone, 1514)
· Kyrie (3'47)
· Gloria (8'01)
· Credo (7'15)
· Sanctus - Benedictus (5'47)
· Agnus Dei (4'54)
· Ave Maria
(Mottetti A, Ottaviano Petrucci, Venezia, 1502) (4'38)
· Stabat mater dolorosa
(Mottetti de la corona, libro tertio, Ottaviano Petrucci, Fossombrone, 1519) (8'01)
· Ave nobilissima creatura
(Mottetti de la corona, libro tertio, Ottaviano Petrucci, Fossombrone, 1519) (8'36)
· Salve regina à 4
(Vatican, Cappella Sistina, ms. 42, c. 1503) (4'01)
· Pater noster - Ave Maria
(Novum et insigne opus musicum, Hieronymus Formschneider, Nürnberg, 1537) (7'03)
· De profundis - Requiem æternam
(Motetti libro secondo, Andrea Antico, Venezia, c.1521) (4'28)
· Qui habitat à 24
(Cantiones triginta selectissimae, Ulrich Neuber, Nürnberg, 1568) (5'38)
Missa Pange lingua
(Missæ tredecim quatuor vocum, Hieronymus Formschneider, Nürnberg, 1539)
· Introït (5'43)
· Kyrie (2'42)
· Gloria (4'57)
· Graduel (6'04)
· Alleluia (4'29)
· Credo (7'03)
· Offertoire (3'09)
· Sanctus (6'33)
· O Salutaris (1'02)
· Agnus Dei (7'04)
· Hymne 'Pange lingua' (2'44)
In principio erat Verbum
(Secundus tomus novi operis musici, Hieronymus Formschneider, Nürnberg, 1538)
· In principio erat Verbum (2'41)
· Fuit homo missus a Deo (4'36)
· Et Verbum caro factum est (1'46)
Miserere mei,Deus
(Liber selectarum cantionum, Sigmund Grimm & Marcus Wirsung, Augsburg, 1520)
· Miserere mei, Deus (5'34)
· Auditui meo dabis gaudium (4'14)
· Domine, labia mea aperies (5'01)
· Déploration sur la mort d'Ockeghem. Nymphes des bois / Requiem æternam (Jean Molinet)
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (3'31)
· Douleur me bat - 5 voix (Hc, T, T, Ba, B) et violes
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (2'57)
· Adieu mes amours - 4 violes
(Harmonice musices odhecaton, Ottaviano Petrucci, Venezia, 1501) (2'08)
· Plusieurs regretz - 2 voix (Hc, Ba) et violes
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (2'36)
· Petite camusette - 3 voix (Hc, T, Ba) et 3 violes
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (1'10)
· Mille regretz - 4 voix (Hc, T, Ba, B) et luth
(Chansons amoureuses a quatre parties, Livre 11, Tielman Susato, Antwerpen, 1549) (2'00)
· Mille regretz (Canción del Emperador) - luth solo (Transcription de Luis de Narváez)
(Los seys libros del delphín, Libro 3, Diego Hernãdez de Cordova, Valladolid, 1538) (1'58)
· En non saichant - 5 voix (Hc, T, Ba, Ba, B)
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (1'47)
· J'ay bien cause de lamenter - 3 voix (Hc, T, B) et luth
(Selectissmæ necnon familiarissimæ cantiones, Melchior Kriesstein, Augsburg, 1540) (1'28)
· Nimphes, nappés - tutti : 6 voix, violes, luth
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (2'41)
· Ile fantazies - violes
(Rome, Biblioteca Casanetense, ms. 2865, 1479-81) (2'03)
· La plus des plus - violes
(Harmonice musices odhecaton, Ottaviano Petrucci, Venezia, 1501) (1'24)
· Plus n'estes ma maistresse - 4 voix (Hc, T, Ba, B) et luth
(Trente sixiesme livre contenant trente chansons, Pierre Attaingnant, 1550) (1'45)
· Cueurs desolez . Ne cherchez plus/Plorans ploravi - cantus (Hc) et violes
(Trente sixiesme livre contenant trente chansons, Pierre Attaingnant, 1550) (1'44)
· Plaine de dueil - 5 voix (Hc, T, T, Ba, B) et violes
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (1'26)
· Fortuna desperata - violes (1'47)
· Faulte d'argent - 5 voix (Hc, T, T, Ba, B) et luth
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (1'28)
· Cueur langoreulx - 2 voix (Hc, T) et violes
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (1'22)
· Fors seulement - luth (1'59)
· Je me complains - 5 voix (Hc, T, T, Ba, B) et violes
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (1'47)
· Se congié prens à 6 - 2 voix (T, Ba) et violes
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (2'15)
· Tenez moy en vos bras à 6 - tutti
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (1'55)
· El grillo - 4 voix (Hc, T, Ba, B) et luth
(Frottole libro tertio, Ottaviano Petrucci, Venezia, 1505) (1'37)
· Si j'ay perdu mon amy - violes
(Paris, Bibliothèque nationale de France, ms. fr. 1597, c. 1500) (1'47)
· Parfons regretz - 5 voix (Hc, T, T, Ba, B)
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (1'55)
· Vous l'arez, s'il vous plaist - 3 voix (Hc, T, Ba) et violes
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (1'52)
· Allégez moy - 6 voix (tutti) et luth
(Septiesme livre contenant vingt-quatre chansons a cinq et six parties, Tielman Susato, Antwerpen, 1545) (1'08)
Ensemble Clément Janequin
La Chapelle Royale
Huelgas-Ensemble
Cappella Amsterdam
Theatre of Voices
Philippe Herreweghe
Direction
Ensemble Les Éléments
Daniel Reuss
Direction
Paul Hillier
Direction
Dominique Visse
Direction
Ensemble Organum, Marcel Pérès
Direction
https://www.harmoniamundi.com/albums/sacred-music-and-chansons/ |
2021 |
€29.50 |
|
| DET KÄTTERSKA FÖRBUND |
Lidaverken Del I: Att I Vådeld Förgås |
CD |
Cold Spring Records presents two Swedish titans -- Nordvargr (MZ.412) and ᚦᛟᚦ ᚷᛁᚷ (Trepaneringsritualen) -- teaming up for a bludgeoning dose of death industrial majesty. Det Kätterska Förbund, consisting of the two giants dominating the death industrial world -- Thomas Ekelund (Trepaneringsritualen, Dead Letters Spell Out Dead Words) + Henrik Nordvargr Björkk (MZ.412, Pouppée Fabrikk, Folkstorm, etc.) -- has been slowly and methodically working for almost five years to finish the first album of this double-headed abomination. Patience richly rewarded. You can instantly feel the presence of lurking unease as the album slowly opens up a distorted world of familiar sounds and voices, but there is something special about these recordings; the menacing aura that has been created adds new elements to the otherwise rigid tropes of the genre. Punishingly heavy rhythmic tracks, with savage incantations from both Thomas and Nordvargr, gratifyingly familiar to fans of the artists' main projects, are flanked by these death-scarred lamentations.
https://coldspring.bandcamp.com/album/lidaverken-del-i-att-i-v-deld-f-rg-s-csr265cd-lp
|
2021 |
€13.00 |
|
| |
Lidaverken Del I: Att I Vådeld Förgås |
LP |
Cold Spring presents two Swedish titans - NORDVARGR (MZ.412) and ᚦᛟᚦ ᚷᛁᚷ (TREPANERINGSRITUALEN) - teaming up for a bludgeoning dose of Death Industrial majesty.
Det Kätterska Förbund, consisting of the two giants dominating the Death Industrial world - Thomas Ekelund (Trepaneringsritualen, Dead Letters Spell Out Dead Words) + Henrik Nordvargr Björkk (MZ.412, Pouppée Fabrikk, Folkstorm etc) - has been slowly and methodically working for almost 5 years to finish the first album of this double-headed abomination. Patience richly rewarded.
You can instantly feel the presence of lurking unease as the album slowly opens up a distorted world of familiar sounds and voices, but there is something special about these recordings; the menacing aura that has been created adds new elements to the otherwise rigid tropes of the genre. Punishingly heavy rhythmic tracks, with savage incantations from both Thomas and Nordvargr, gratifyingly familiar to fans of the artists' main projects, are flanked by these death-scarred lamentations.
CD in debossed digipak.
LP on 180g vinyl in debossed sleeve:
Ltd x 250 copies on olive green vinyl (via Cold Spring and the artists only)
Ltd x 500 copies on black vinyl
https://coldspring.bandcamp.com/album/lidaverken-del-i-att-i-v-deld-f-rg-s-csr265cd-lp
|
2021 |
€22.00 |
|
| DHOMONT, FRANCIS |
Birthdays |
LP |
"One Sided White Vinyl Picture Disc LP. Edition of 300. New recordings from 2007-2010 by 85 year old French Composer Francis Dhomont. This LP is Dhomonts first appearance on vinyl since his 1982 record on INA-GRM Sous Le Regard D'un Soleil Noir. Birthdays explores high fidelity studio editing methods of concrete sound and vocal manipulation. Each record screenprinted by hand with archival high gloss varnish. Stored in a PVC sleeve with sticker with program notes by Dhomont & Jean-Francois Denis. 'Quelques Eclats' (2010), 'Les Flux Des Sons' (2010), 'Forte-Piano' (2008, 10), 'Denature Parme-Sons' (2007)." [label info]
|
2012 |
€18.00 |
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| DI CROCE, NICOLA |
47AD |
CD |
"47 Anno Domini (47 AC) is the year when “Via Claudia Augusta” was completed by Roman empire. The road was connecting Venice Lagoon – and more precisely the city of Altinum – to the Alps till Austrian territories, and was passing by the area where the vinery “47 AD” now appears.
I started my recordings in the vinery during the end of summer 2018, right after the grape harvest, at the beginning of the fermentation time, and I focused my attention on the big aluminium tanks by using contact microphones and hydrophones inside and outside the metal surfaces.
While listening and recording, I was more and more fascinated by the resonances of the tanks, which allowed me to experience a double and parallel exposure both to the micro sounds coming from the chemical process, and to the working place surrounding the tanks. The tanks themselves turned to be enormous sounding boards that filtered the voices of the workers, the machineries used in the vinery, and the incredible textures coming from the scented fluid rotating through submerged propellers. By listening to the tanks, I was able to experience the process of fermentation through a slightly different sonic perspective, and I started considering how to show and evoke such internal transformation.
The composition that followed this journey is entirely based on almost unprocessed field recordings, and became the base for the audiovisual installation “Fermento”, where the sounds generated a visual pattern (curated by Claudio Bellini) that was projected on the tanks of the vinery. The installation was presented to the public in February 2019 and developed within the framework of the project “Arte digitale”, supported by Fondazione Ca’ Foscari and Current Corporate.
(nicola di croce, May 2019)
LOCATION : 45°38'27.6"N 12°20'32.8"E.
("47 Anno Domini" vineyards, Treviso, Italy).
Field recordings taken during September 2018.
Composed between October and November 2018 as part of the audiovisual installation “Fermento”, presented to the public in February 2019 and developed within the framework of “Arte digitale” project, Fondazione Ca’ Foscari 2018.
Mastered by Giuseppe Ielasi.
~
Thanks to Claudio Bellini and Enrico Coniglio, Chiara Isadora Artico and Cristina Seraiotto, Current Corporate and Fondazione Ca’ Foscari.
Additional art card, cover design & treatments by Daniel Crokaert.
Based exclusively on photos by Antonio Brigo and Mattia Carrer."
https://unfathomless.bandcamp.com/album/47ad
|
2020 |
€14.00 |
|
| |
Istruttiva Serie |
LP |
Istruttiva serie is a non-linear path progressing by attempts. A limited number of non consequential exercises about re-elaboration and evocation. The sound material comes from field recordings (recorded in Italy in 2014) and folk guitar. The main purpose is to investigate the constant encounter and collision between field sounds and melody by developing an acoustic stream which aims a perceptual redefinition. As “not completed” doesn’t mean “lacking” every track is here a personal exercise challenging perceptual aesthetic.
Istruttiva serie comes in a limited edition 12” LP, mastered by Giuseppe Ielasi, featuring cover and poster illustrations by Caterina Gabelli and layout designed by Giulia Dolci.
Liner notes are curated by France Jobin.
Edition of 150 copies on black.
Nicola Di Croce is a Venice based architect, musician, composer and scholar. His main research deals with the relation between territory and sound. The listening and field recording practices lead together to a new perception of the environment, where the sound language becomes a narrative and design vehicle; fragments to be re-mixed as the essential tool for the understanding and the redefinition of the environment.
Black vinyl LP 12'', featuring cover and poster artwork by Caterina Gabelli.
Layout by Giulia Dolci.
Liner notes by France Jobin.
150 copies on black.
https://kohlhaas.bandcamp.com/album/istruttiva-serie
|
2015 |
€16.00 |
|
| DIE ANARCHISTISCHE ABENDUNTERHALTUNG |
#1 |
LP |
LP version. Marbled vinyl. In 1995 the self-titled full-length debut of Die Anarchistische Abendunterhaltung (DAAU) was released. The band consisted of four young, "classically derailed" musicians who played their own compositions exclusively with their with acoustic instruments such as violin, cello, clarinet and accordion. Their work contained influences from Roma music, Eastern European folk, klezmer and jazz, and was performed with energy and true punk spirit. DAAU was part of the fertile Antwerp scene, which also produced dEUS, Zita Swoon, and Kiss My Jazz, and soon signed an international record deal with Sony Classical. The group's influential first record, which has been out of print for a while, is now finally being released again and is available on vinyl for the very first time.
https://subrosalabel.bandcamp.com/album/1
In those early days, DAAU consisted of four young, classically trained musicians who tackled their instrumental compositions with a true punk spirit. 'If we'd had guitars, bass or drums at that time, we would probably have been just another rock band', says accordionist Roel Van Camp, who, together with his schoolmates Buni Lenski on violin, the latter's brother Simon on cello and Han Stubbe on clarinet made up the Antwerp quartet. 'With our acoustic instruments we tried to create our own version of the music we loved listening to, from sixties rock and prog to new wave.'
The quartet, which initially played in streets and cafes, appealed to a diverse audience and sometimes joked that they were a classically trained unit that had 'gone off the rails'. 'As befits teenagers, we wanted to shake things up', Stubbe remembers, 'even though we always kept cherishing our classical backgrounds.' Van Camp: 'Our education was never supposed to feel like a straitjacket. We were free-spirited enough to ignore the laws and regulations of the music academy and to create our own sound. Our compositions were
open to influences from Roma music, Eastern European folk, klezmer and jazz'. 'That eclecticism was a direct result of the zeitgeist', Han Stubbe adds. 'We loved different styles and happily mixed them together'.
The monniker Die Anarchistische Abendunterhaltung was derived from Steppenwolf, a novel by German writer Hermann Hesse about a character who was outside society. 'In the book, the narrator talks of a theatre', Van Camp explains. 'And at the entrance there is a warning sign sign that says: if you go in here, you are guaranteed to lose your mind. That was an apt description of the way our music worked'.
Almost all tracks on DAAU's first album were 'Drieslagstelsels' (or 'three-course rotations'). The term referred to an agricultural method of the early Middle Ages, but also to the fact that each song of the group consisted of three major movements. Van Camp: 'The titles of those pieces referred to our method of writing. We piled up a huge bunch of ideas, because we wanted to tell more than just one story. With each composition, we took the listener for a ride'.
|
2023 |
€17.00 |
|
| DIE FORM |
Die Form ÷ Fine Automatic¹ |
LP |
"This release is the unique and complete full album from one of the Die Form side projects, named 'Die Form ÷ Fine Automatic' (from the 'Endless' short tapes serie). This one is released in double albums and also two separate LPs. This double album existis as two separate vinyl LPs in the context of the Archives of Industrial Music from France (offering inside this collection : identical covers, excepting specific typography of the artist or of the band and personalized logotypes) in order to point out its radical aesthetic unity and strong artistic coherence." [label info]
www.rotorelief.com
|
2015 |
€22.00 |
|
| |
Die Form ÷ Fine Automatic² |
LP |
"This release is the unique and complete full album from one of the Die Form side projects, named 'Die Form ÷ Fine Automatic' (from the 'Endless' short tapes serie). This one is released in double albums and also 2 separate LP. This double album existis as two separate vinyl LPs in the context of the Archives of Industrial Music from France (offering inside this collection : identical covers, excepting specific typography of the artist or of the band and personalized logotypes) in order to point out its radical aesthetic unity and strong artistic coherence." [label info]
www.rotorelief.com
|
2015 |
€22.00 |
|
| DIETER MÜH & LON MILO DUQUETTE |
The Call |
LP |
"The first side of this LP is a 23 minute piece entitled “The Call” featuring Lon Milo DuQuette, legendary occultist and leading, & longest serving, member of the OTO in California.
Lon intones the 19 calls of the Aythers in the Enochian language in a truly enlightening piece of ritual magick!
The second side entitled “Sutreworde” is a live performance by Dieter Muh, from 2003 in Leipzig, Germany, featuring pieces from The Call woven into the 23 minute set.
This LP is released on our own HaemOccult imprint (HAEM001)." [label info]
"Following Atomyriades, an exemplary reworking of source material from Mnem, Dieter Müh the much-underrated UK underground electronic outfit return with their own material on The Call. The Call is perhaps the most significant work from Dieter Muh, as it features eminent occult author and Grand Master of the O.T.O. Lon Milo DuQuette reciting Enochian texts, a series of calls in the language of the angels. 'The Call' is based on the work of Dr John Dee, astrologer to Queen Elizabeth I, and the texts recorded by his scyrer Edward Kelley, who he said were dictated to him in the angel's own language.
'The Call' enters to an atmospheric build up of chiming metal bowls and quietly understated howls of ambient electronics shifting to passages of ringing metal bowls. Its slow pace providing an unmistakeable ritual setting for the poised tones of Lon Milo DuQuette, as he effortlessly wrestles with the intricacies of the Enochian tongue over the shimmer of singing bowls.
As DuQuette relates in the sleevenotes, "The Call is a shuttle that waves high magick and high art - an incantation of transcendent sound and angelic language chanted to the guardians of the Aythers so they might awaken and one by one peel away the thirty membranes of consciousness that, like cerements of the tomb, separate us from the pure consciousness of the divine." Heavy stuff, you're unlikely to encounter elsewhere.
The flipside, 'Sutreworde' is a live recording of Dieter Müh from Augsburg, Germany in 2003. It captures an improvisary performance of Dieter Muh's murky industrial and occult electronics. Skittery electronics are woven with pulses, rattling tones with an assortment of taped voices fed through the mix. With a mass of electronic devices and sampled sources Dave Uden and Steve Cammack, once again, keep firm control of their textured output, even including elements of 'The Call' before bowing out with some ambient droning to taped strains from their 'We're Not Happy…' single.
This recording of 'The Call' has been long promised ever since Dieter Müh and Lon Milo DuQuette performed this live at The Salon music event as part of the Information Wants To Be Free festival at the October Gallery, London, in 2003, a performance I was fortunate to witness. This recorded version does not disappoint and I really can't see this being available for much longer. It's perhaps the closest you'll ever come to communing with the angels.
The Call is released on heavyweight white vinyl in an edition of 230 copies on Dieter Müh's own HaemOccult Recordings imprint. For more information go to www.dietermuh.org." [Compulsion Online] |
2008 |
€16.00 |
|
| DIETER MÜH (DIETER MUH) |
Eponymous |
LP |
" “Eponymous” was at first to be a cassette release on the French label Mineurs Du Fonds. In the spring of 1998 José Leseuer (Mineurs Du Fonds operator and journalist) contacted us wanting to distribute our “Black Square” CD album in France and was asking about new material. We mailed him the “Eponymous” recordings. Recorded in late 1998 at our home studio in Forest Fields, Nottingham “Eponymous” is a classic example of a "Work In Progress" album. At the start of 1998 we had ditched our old Roland synths (JD800 / SH101) and invested in sampling devices, an 8 track digital recorder and effects pedals. “Eponymous” features us looping a lot of machinery (including photocopying machines and printing machines) and taking samples from our old 1980’s project Mühviertel. With “Eponymous” we were still learning and discovering the possibilities of reaching the sound we wanted to create / hear.
José never released the cassette, instead he disappeared for four years. In 2002 he resurfaced with a new label called Naninani Recordings and “Eponymous” was now a CDR with a remix by French artist Cedric LeRouley. The original release was 113 copies. José has since disappeared again.
Sentimental Productions have caringly rescued the recordings and re-mastered them. Vinyl seems to make sense….." [Stephen Cammack / Dieter Müh]
https://soundcloud.com/sentimentalroductions
"As I was looking at the cover of this record, I was thinking: does Dieter Müh still exist? The previous release I reviewed was not that long ago, Vital Weekly 1062, but that was, as is this new one, a release recorded in 1998. The previous one was released back then in a small edition, but 'Eponymous' had a somewhat bigger edition back then; 103 copies were released on CDR by Naninani Recordings, a short lived CDR label from France. Vital Weekly, being one of the oldest online sources for this kind of music, of course (well…) reviewed this before, in Vital Weekly 337.
I wrote back then: "One would think that Dieter Müh is just a guy with a funny name, but it's not. I believe they are a duo or trio from the UK. Also, they have been around for sometime now, with a couple of small scale releases some years back. After that things became quiet and they seem to have vanished. But Dieter Müh is back. The pieces on this release are not very recent ones, they were all recorded in 1998 {the release was from 2002 - FdW}. The easiest way to describe Dieter Müh is by labelling them as 'ambient industrialists', but that wouldn't entirely justify them. They operate in a lofi sampling way, lifting samples from probably other people's work, and creating their own dense and dark tapestries of sound. Because of their humble recording methods, the sounds remain kinda obscured, but that is something, I believe, that will appeal to the lovers of
such ambient industrial ethics. The final piece is a remix of Dieter Muh soundmaterial by one Cedric Lerouley, who uses probably more updated sound techniques, but if you wouldn't know would
sound like another Dieter Muh piece, but then recorded better. All in all in a nice release, without anything dramatic new."
With fresh, 2017, ears I would say something like this; the recordings on this LP were made
in a studio and one easily notes the difference with the previous one, recorded in concert. I easily admit I wasn't that blown away by their live sound, which I thought was a bit too single-minded in approach, but in their studio work they show much more. The seven titles here continue to explore the mild industrial sound of sampled percussion, repeating voices, a fair dash of reverb; for instance in 'Dumhome' I hear influences of both Big City Orchestra and early Contrastate. In 'R.I.P.>5' they go out for a more industrial drone sound of multi-layered synth sounds, while in 'Sebel' Throbbing
Gristle/Cabaret Voltaire are guiding principles, with phased loops and spoken word samples. There
is throughout all of these pieces references to be made to one band or another, yet I would think Dieter Müh, back then a duo of Steve Cammack and Dave Uden, have plenty of their own input to make each track their own thing, and it is through variety that they achieve their own sound. It seems like none of these pieces sound very similar to the other ones. None of this screams 'true noise' in your ears and that's some much better. Ambient industrial is surely something that is still the most appropriate term for such music. It's also a musical style that never became big and never had a revival, oddly enough. This is a most welcome re-issue I guess; it sounded retro and I love it (the previous remix not included this time)." [FdW/Vital Weekly]
|
2017 |
€23.50 |
|
| |
The Bjorn Tapes |
LP |
"This is a entire reissue of a limited to 50 copies C45 audio cassette originally released by Xerxes (Japan) as ES-27 in April 1999, later re-released as a limited CDr by Blade Records (Italy) in 2004. All material recorded live on 30 January 1999 in Nottinghem, U.K., edited and produced by Dave Uden during February 1999, re-mastered in September 1999.
using electronics, semples, tapes, bass-guitar, vocals, the English duo created here three long tracks of hypnotick electronic music / ambient noise in the "old-school" experimental genre.
White vinyl housed in a three-panel folded silkscreened cover released in a limited edition of 320 handnumbered copies. Released in November 2018."
"I'd like to think the world has finally woken up to Dieter Müh, the long-running industrial ambient project once consisting of Dave Uden and Steve Cammack, which since 2009 has been the solo project of the latter. EE Tapes recently resurrected Mutus Liber, a 1995 giveaway tape compiled for interested listeners and reissued it on CD. The Bjorn Tapes was another short-run cassette released by Dieter Müh first released on tape in 1999. It was a year that would see Dieter Müh share bills with The Grey Wolves, Con Dom, AntiChildLeague and Colin Potter. Colin Potter had a hand in their debut album Black Square, recording and producing it at his studio in Yorkshire. Dieter Müh at this point were Steve Cammack and Dave Uden, both inspired by the possibilities brought forth by the punk/DIY spirit of the seventies. It is industrial music that seeps into their sound, and you can hear it in the drone and noise ridden layers of electronics, manipulations, tapes and field recordings found within The Bjorn Tapes, which was recorded live and later edited in the studio. The entire Dieter Müh discography is littered with some wonderful short run releases on labels such as Tesco, Hanson Records, Harbinger Sounds. The Bjorn Tapes first surfaced on the Japanese label Xerxes run by Yoshida Yasutoshi of Government Alpha.
The Bjorn Tapes was recorded live in Nottingham in January 1999 and edited and produced a few months later. I don't see a show listed in the Dieter Müh gigography so I'm guessing this was a live in the studio affair. It was soon after this recording I first caught Dieter Müh live, where the duo would be huddled over banks of synths, twisting wires and twiddling knobs. I've really no idea how they produced the sounds they did but whatever they did it resonated with depth, feeling and power. The Bjorn Tapes captures the essence of a live Dieter Müh performance.
Silence, space and a keen sense of sound gestation play a role on 'Herma'. Distant throbs and samples ebb into windswept drone terrain mixed with shuffling textures before it seeps into harsher drone based layers. It is a fine example of their ambient sound vibrations where nothing is rushed or overbearing and you really need to listen closely to pick up on the dynamics.
Even though their sound is based in drone based experimental electronics, Dieter Müh are often regarded as an industrial ambient group. If that's the case then 'Herma' focusses on the ambient side of their industrial ambient sound, while the other two tracks emphasise the industrial side of that description. 'Low Feed' mixes industrial churn mixed with tape manipulations where voices become almost alien. An electronic throb pulses underneath, like blood through coursing through the body. Electronics shimmer, whirr and echo, broken by sudden glints of crashing noise. This is the Dieter Müh I remember from the live shows I witnessed where they slipped seamlessly from subtle drones into denser, harsher sound layers writhing with distended, disembodied voices, sampled percussive clatter and chasms of noise. Unsettling, unnerving and oppressive 'Low Feed' is a great track.
The 23 minute side long piece 'Aghor' unfurls in various movements. The opening ambient sonics are laced with taped voices and intermittent bass thuds. It cut to crunchy, textured manipulations, followed by a passage of processed tapes of mutterings, utterings and whisperings shadowed by electronic oscillations, spliced with clicks and micro tone shudders. At this point there's a sense of ritual to be found within the soundscapes and primordial intonations before bass rumbles enter and underpin a dizzying morass of sound, where manipulated and disembodied voices are enveloped in waves of fluctuating distortion and noise and the flickering haze of frequencies. It is an impressive build up of sound, texture and intensity proving Dieter Müh's dexterity and firm grasp of composition. As it unwinds the loose bass tones and taped voices almost take the form of a live Throbbing Gristle performance, surging with brief bursts of vocals, rendered in a power electronics style sinking into silence and then edging out in queasy electronic oscillations.
Originally issued on cassette by the Japanese label Xerxes run by Yoshida Yasutoshi of Government Alpha and subsequently reissued on CD-R by the Italian label Blade Records The Bjorn Tapes is now released on white vinyl housed in a three-panel folded silkscreened cover released in a limited edition of 320 handnumbered copies on the Nuit et Brouillard side label Force Majeure. It's a handsome edition and well worthy of your time, especially if you've missed this group whose roots in early industrial inspired some fine releases, such as Cari Saluti and Tertium Organum, which collaged the sounds of industrial, experimental, ambient, ritual and noise to great effect. For more information go to Force Majeure" [Compulsion Online] |
2018 |
€18.00 |
|
| DIMMER (JOSEPH HAMMER & THOMAS DIMUZIO) |
Remissions |
do-LP |
Nach "Shining Path" das zweite Album für das kalifornische Duo (die Langzeit-Aktiven THOMAS DIMUZIO & THOMAS HAMMER), absolut meisterhafte & spannende Dronescapes, die einen gleich gefangennehmen... unheimlich bannend, metallisch-irisierend, mit Obertönen wie von rostigem Metall... vier lange Stücke aufgenommen auf verschiedenen Konzerten 2006-2007. Aussergewöhnlich schön!
"Dimmer's Remissions is the second full-length album from longtime sonic architects of interactive feedback circuits, Thomas Dimuzio and Joseph Hammer. This 2xLP effectively represents four side-long pieces from their live shows throughout California taken place between 2006 and 2007. Essentially a follow-up to their 2007 album on Los Angeles' Melon Expander, Remissions expands upon the immense recursive tape looping and resampling that is found inherent in their work but achieves a weight and time displacement that greatly overshadows their dark preceding full-length. All four pieces were recorded at: Norcal Noisefest in Sacramento (2006, 'Sky Wire'), The Luggage Store Gallery in San Francisco (2006, 'Sun Dog'), The Smell in Los Angeles (2006, 'Gases That Emit Light'), and ArtSF's Noise Pancakes Series (2007, 'Giant Eagle'). Live sampling, processing, feedback, looping by Thomas Dimuzio. Tape manipulation and processing by Joseph Hammer. Design and layout by Thomas Dimuzio, Joseph Hammer and Brandon Nickell. Limited to 500 copies on full-color sleeves with cover photography by John Dalton."
[label info]
"... Hammer's instrument of choice is the reel-to-reel tape deck, through which he can muster an uncanny palette of sound, noise, and drone. The two have worked together off and on for a good part of the last decade, with a handful of performances throughout California and a couple of releases - Remissions being their second and collecting some of the best moments from those live gigs. "Sky Wire" builds insectoid buzzes and creepily harmonic drones out of the interplay between Hammer's rough-hewn tape manipulation and Dimuzio's deftly rendered swells, somewhere between Machinefabriek and Christoph Heemann. "Sun Dog" grafts blackened noise onto an electrocutioner's hum, with Hammer's start 'n' stop tapes popping into view like a detached Burroughs cut-up. Both "Gases That Emit Light" and "Giant Eagle" continue along these same strategies with eerie clouds of drones that fold and collapse between harmonic resonance and dissonance with unsettled bursts of soft focus noise. This is really exceptional stuff, and certainly some of the best that we've encountered from either artists individually." [Aquarius Records review]
"It may sound like a new name, and half of it also is. Dimmer is a duo of Thomas Dimuzio and one Joseph Hammer. This double LP set is the follow up to a CD on Melon Expander which I didn't hear. Each of the four sides has a live recording, three from 2006 and one from 2007. Dimmer uses live sampling, processing, feedback, looping (Dimuzio) and tape manipulation and processing (Hammer). This is pretty interesting music. All four pieces show something that could be labeled as 'band sound'. The careful tape manipulations of Hammer, making the tape go 'wobbly' against the heads, set against a scary set of subdued electronics. A record to turn up the volume as things seem rather 'low' here, but once a bit louder reveal a lot of hidden detail. Scary, spooky stuff, with dark atmospheric undercurrent. Of the four pieces 'Giant Eagle' is my favorite here with its somewhat more clear tape sounds, and scraping, feedback like rusty metal sound, whereas the other three seem to be moving more along side one specific idea and are throughout more minimal. Excellent sci-fi soundtrack stuff at work here, save then perhaps for the piece I like which works really fine by itself. An excellent record. " [FdW / Vital Weekly]
www.isounderscore.com
|
2009 |
€25.00 |
|
| DIMUZIO, THOMAS |
Amid Zero Echo |
do-10inch |
"Thomas Dimuzio's Amid Zero Echo marks the new release from this US underground legend from San Francisco, whose massive hypnotic soundscapes already released in the 90's were much ahead of the time!
Four new transcendental drone masterworks abstracted from electric guitar bristle with life through the dense, rich and detailed sonic expanse of Dimuzio's glorious sound world. Vibrating wires of the electric guitar inform a digital musique concrete modus operandi replete with unheard studio techniques which form a music with a strong organic core. These four drones open wide rooms for phantastic aural imaginations: like flying over endless grounds of unknown origin, sensing a heavy suction of extreme gravity, moving towards a black hole center... or driving into a totally dark mining tunnel with all the metallic ore and dust around.... These are drones that LIVE from the inside! Striking gatefold artwork by Mars Wellink showcases two clear vinyl LPs in an equally compelling and beautifully designed package.
Thomas Dimuzio is a musician, composer, sound designer, mastering engineer, label proprietor, and music technologist residing in San Francisco, California. Inspired as much by John Cage as Led Zeppelin, Dimuzio's music forms a sonic excursion that transports the listener into other worldly aural realms. “His work has a narrative, filmic tug that will draw you into its dark corners, ears alert… brilliant and rarely less than entertaining.” [Peter Marsh, BBC]
Long regarded as a musical pioneer for his innovative use of live sampling and looping techniques, Dimuzio has earned a deserved reputation worldwide as an avant-garde sound artist in touch with the aesthetic pulse of time and technology. A true sonic alchemist who can seemingly create music events out of almost anything, Dimuzio's listed sound sources on his various releases include everything from 'modified 10 speed bicycle' and 'resonating water pipe' to short-wave radios, loops, feedback, samplers, synthesizers and even normal instruments such as guitar, clarinet and trumpet. Dimuzio's eclecticism bespeaks a career equally informed by a profound dedication to his craft and collaborations with friends, artists and technologists alike.
Dimuzio's recordings have been released internationally by ReR Megacorp, Asphodel, RRRecords, No Fun Productions, Sonoris, Drone Records, Record Label Records, Odd Size, Seeland, and other independent labels. Among his collaborators are Chris Cutler, Dan Burke, Joseph Hammer, Anla Courtis, Nick Didkovsky, Due Process, Voice of Eye, Fred Frith, David Lee Myers, 5uu's, Matmos, Wobbly and Negativland." [label info]
www.substantia-innominata.de
"Attending a Thomas Dimuzio performance is like lying underneath a web of freeway bridges with your eyes closed; blocking out all visuals except the brief daggers of light that flicker with each passing car. There is a sense of probable dread—metal, wooden or cigarette debris from the vehicles could fly off and injure you—but also one of hypnotized calm, thanks to the amplified hum of Michelin and Goodyear against greased concrete." [Cameron MacDonald, Pitchfork Media]
"While I was listening to this double 10" record, I was thinking that Thomas Dimuzio has a very distinct sound, although I would not go as far as to say that I could pick him blind in a contest. The four pieces on this record are what we know from Dimuzio and what we love; at least that's what I do. It's never easy to know what Dimuzio is doing, and perhaps I have some romantic notion about it: take a teeny tiny fragment of sound and capture that is an endless range of sound effects, samplers, oscillators and filters and what else he got down in his studio. The cover says 'guitar and processing', so there you go: what do I know. Like so many others he knows how to manipulate the guitar beyond - light-years beyond actually - the sound of the guitar and it sounds like this dark, slow moving landmass; Drone Records, who are behind this series, calls him a sonic alchemist, and that term is perhaps over-used, but maybe not in this case, I think. Dimuzio creates the kind of drones that many
dream of and few can actually do: that of a constant swirl up, down and side ways spin, always moving and changing, never in state of standstill. It's music that could as easily work for as a soundtrack for a film, but is best enjoyed on it's own, in a barely lit room at night and at a louder volume: only then, I would think, the true beauty will be fully uncovered. Music as a total immersion event. The only downside is you have to get and change the record a few times; on the bright side, you have four pieces and the choice to release this as a double 10" is a great one. One day on CD, perhaps, please?" [FdW/Vital Weekly]
www.substantia-innominata.de |
2014 |
€20.00 |
|
| DISSECTING TABLE / VASILISK |
Saddharma / Tibetan Liberation |
CD |
"DISSECTING TABLE: Saddharma is a very intense Experimental Industrial-Noise Orgy, lasting over nearly 32 minutes. on this brilliant track, the mastermind of the Japanese Noise-Poineers DISSECTING TABLE, Ichiro Tsuji, combines different rhythmic oldschool-elements, experimental sounds and very dark/aggressive vocals, that remind to the band's early years.
VASILISK: after the mysterious Japanese Power-Noise band "WHITE HOSPITAL" split up into "GRIM" and "VASILISK", the newborn band released 3 fantastic LPs in 1987-89, which became some of the most wanted and most expensive records in the collector's scene, already short after their release. In 1990 the 3 LPs were followed by a brilliant "best of" CD (Liaberation & Ecstasy), which was definitely one of the best Ritual albums ever released.
after the release of this CD it went quite silent around the band, but now, after more than 20 years, Tomo Kuwahara (Vasilisk) is back with the same amazing Ritual Music than before! he played a great live-concert in Japan short ago (please find the youtube links below) and his brandnew album will be released on Steinklang soon!" [label info]
www.steinklang-records.at
|
2011 |
€14.00 |
|
| DJ ORDEAL |
Sea / Seagull |
LP |
"Die zweite monatliche Empfehlung geht diesmal an DJ Ordeal und Jacques Beloeil. Die raue stürmische See, konterkariert mit den Geräuschen hochgepitchter Bandschlaufen, die im musikalischen rauen Klangkorsett wie Seevögel wirken und sich neben den echten Möwengeräuschen wie artifizielle Soundsplitter ausnehmen. Für Ambient zu sperrig, wirken die zwischen der Brandung und dem Auftreffen der Wellen am Strand eingesetzten Cut-Ups tiefgesetzter Streicher wie eine Nachvertonung des Spielberg’schen Weißen Hai-Themas.
DJ Ordeal mischt zwischen die Wellen neben allerlei Vogelgeräuschen auch die kurz eingespielte Acapellastimme einer unbekannten Soulsängerin, während eine weitere Frauenstimme kurz nach Entsteigen der Wellen ihr Sauerstoffbedürfnis mittels eines feuchten Seufzens kundtut. Ordeals Mischung steigert sich mit Fortlauf der A-Seite, die Wellen werden zum Träger weiterer leiser Informationen (vielleicht die »tiny bits«, die kleinen {klanglichen} Stücke, die Ordeal in den Notes erwähnt?), ehe das Stück endgültig in die Auslaufrille der LP überschwappt.
Umseitig findet sich das Stück »Seagull«, eine Vertonung des Möwenthemas mittels einer unechten Möwe (generiert aus dem zu schnell abgespielten Teil einer Vokalaufnahme) sowie dem Anschein nach echten Klängen der Wassermöwe. Das Experiment wirkt als hätte Ordeal das ganze auf Echtzeitbänder übertragen und noch während des Mischens kräftig am Band gezerrt. Gespeist in feinste Reverbschwaden und mit leicht angezerrter Struktur klingt die B-Seite so dermaßen kunstvoll via Rückwärtsspur und Tapedelay dass die Monotonie und Repetition des ganzen sich nach kurzer Eingewöhnungszeit mehr und mehr in Wohlgefallen löst." [AEMAG]
www.entracte.co.uk
|
2006 |
€15.50 |
|
| DJINN / KADAVER |
Anti Human Life |
CD-R |
"When the noisy paranoid of Kadaver blend into the twisted inquietude of Djinn it rises a suffering litany accompanying the listener into the deeper of the human nature which is always in the pursuit of the complete aloofness from the human race.
Split release presenting a series of uncompromising ambiant-industrial tracks. Sounds for a sharp dissecting scalpel job background ..." [label info]
www.oldeuropacafe.com
|
2011 |
€10.00 |
|
| DNMF (MACHINEFABRIEK & DEAD NEANDERTHALS) |
Smelter |
LP |
Band: DNMF
Album: Smelter
Release date: April 30 2018
Formats: LP / CD / Cassette / Digital
Labels: Moving Furniture Records (LP, CD, Digital), Tartarus Records (Cassette, Digital)
Catalogue number: MFR054LP (LP), MFR054CD (CD), TAR095 (Cassette)
About the album:
Prolific experimental music purveyor Machinefabriek and droning free jazz combo Dead Neanderthals team up for the second DNMF album entitled 'Smelter'. Clocking in at nearly 40 minutes, Smelter is a highly dynamic amalgam of metal, drone and dark ambient and is hard to compare to anything else out there. Have a listen and enjoy!
Online
deadneanderthals.wordpress.com
deadneanderthals.bandcamp.com
facebook.com/deadneanderthals
machinefabriek.nu
machinefabriek.bandcamp.com
facebook.com/Machinefabriek-105289806168145/
www.movingfurniturerecords.com
movingfurniturerecords.bandcamp.com
facebook.com/movingfurniturerecords
tartarusrecords.com
facebook.com/TartarusRecords/
https://movingfurniturerecords.bandcamp.com/album/smelter
|
2018 |
€17.50 |
|
| |
Smelter |
CD |
Band: DNMF
Album: Smelter
Release date: April 30 2018
Formats: LP / CD / Cassette / Digital
Labels: Moving Furniture Records (LP, CD, Digital), Tartarus Records (Cassette, Digital)
Catalogue number: MFR054LP (LP), MFR054CD (CD), TAR095 (Cassette)
About the album:
Prolific experimental music purveyor Machinefabriek and droning free jazz combo Dead Neanderthals team up for the second DNMF album entitled 'Smelter'. Clocking in at nearly 40 minutes, Smelter is a highly dynamic amalgam of metal, drone and dark ambient and is hard to compare to anything else out there. Have a listen and enjoy!
Online
deadneanderthals.wordpress.com
deadneanderthals.bandcamp.com
facebook.com/deadneanderthals
machinefabriek.nu
machinefabriek.bandcamp.com
facebook.com/Machinefabriek-105289806168145/
www.movingfurniturerecords.com
movingfurniturerecords.bandcamp.com
facebook.com/movingfurniturerecords
tartarusrecords.com
facebook.com/TartarusRecords/
https://movingfurniturerecords.bandcamp.com/album/smelter
|
2018 |
€12.00 |
|
| DOC WÖR MIRRAN FEAT. RE-DRUM & S. STADLMEIER |
24.3.16 |
LP |
"Throughout their 148 releases (including this one) to date, Doc Wör Mirran have been one of the most important connectors between the post-punk indie rock tape/DIY scene and its more industrial-inspired sibling, the drone/noise underground. On this album, Doc Wör Mirran (in what is basically a rock-band set-up with guitars, bass, percussion, and synths), prove this point by featuring two guests from the European drone scene: Russian drone artist Re-Drum and Sascha Stadlmeier. Known in the global dark ambient/drone scene under his moniker EMERGE, Stadlmeier increasingly operates under his given name when improvising (as he does here) with prepared bass, guitar, and objects.
Recorded on 24 March, 2016, at Doc Wör Mirran’s Two Car Garage Studios in Fürth, Germany, the two sides of the LP contain two parts from the improvisations recorded during that day – hence the understated album title. It pays to decipher the A and B side indications in the clear vinyl, as the flip between side A and B is not only a technical necessity of the format. It is also a shifting of musical scenes, and it makes sense to listen to it in the intended order. Side A establishes a rather static sonic swamp landscape, punctuated by occasional cries of passing theremin birds and the gargling of synthesised frogs, while short pulses of basslines emerge and disappear from the surface of the mix, reminding listeners that this is uncharted territory. Flip to side B, and the subdued tension built up throughout side A erupts. Metallic clangs, noisy barks, the flapping of delayed percussion, and the scratching of miked objects gang together to invade the untouched swamp, wreaking havoc in previously untouched nature until only the mournful faces of tree stumps remain (like the painted tree stump sculpture from the back garden of Doc Wör Mirran founder Joseph B. Raimond, shown on the cover).
This is improvised music with a surprisingly narrative feel. Electronic soundcraft and instrumental musicianship combine very effectively here, and the players show a great sense of economy in the gradual up building and changing atmospheric details."
https://emerge.bandcamp.com/album/24316
|
2017 |
€17.00 |
|
| DONZEL-GARGAND, BERNARD |
Still to be a Storyteller |
CD |
"No easy listening" hier von dem bisher nur durch eine CD auf PLATE LUNCH hervorgetretenen französischen Komponisten, dafür offenbart sich gleich ein ganzes Universum an schräger Geräuschkunst und weirden Klängen, alles sehr lebendig & überfordernd, viele field recordings & original Zitate werden benutzt & verfremdet, seltsame elektronische Sounds sind überall, das kommt uns manchmal vor wie die Schnittmenge aus BRUME, NURSE WITH WOUND und ASMUS TIETCHENS, viel weniger klassisch "elektro-akustisch" als das vielleicht bei seinem Werdegang zu vermuten gewesen wäre.
"The 20 years anthology of creative work from the french composer,consisting of only previously unreleased material. Fantastic soundscapes, drawing images without any visual similarities and presenting the best ever sense of acousmatic music.
BIOGRAPHICAL NOTES
Bernard Donzel-Gargand is the unique musician and composer. He is a celebrity in Annecy but unfortunately less known abroad, especially
because he published just one CD of fabulous works on Plate Lunch in 2001. Before discovering electroacoustic music in 1978, he participated in the free jazz movement and improvised music. Since that, he is the author
of acousmatic music, works for animation, dance and interactive contemporary art. In 1981, he founded the Collectif & Cie studio, together
with Philippe Blanchard, Alain Basso, Philippe Moenne-Loccoz, and Peter Ernrooth, amongst others. Later on, with Philippe Blanchard he founded Studio Forum and the yearly festival "Le Bruit de la Neige". Bernard was born in 1955 and composing the music since 70s, he knew personally Pierre Schaeffer and received some prizes at GMEB concours in Bourges.
He influenced Blanchard a lot, and his music was perfect example for many other young musicians in Annecy. But his musical career was not so active, because Bernard prefers to work alone in his studio rather than promote his music for publicity. But his works can be compared with the best electroacoustic music coming from France, and his name should be
mentioned with celebrities like Michel Chion, Xavier Garcia, Bernard Parmegiani, Luc Ferrari and Francois Bayle. His pieces are breathtaking
and transcending the sense of time.
'Bernard was my teacher there during 5 years between 1983 and 1988. With his help, I learned all inventives and sophisticated events in the sound art. I remember we have met together Pierre Schaeffer at a memorable concert that drew our way up to today. In such pieces as "Eloge de la folie" or "Erasme 1509", his music starts from a thought and constructs philosophical idea suggested by Mary, who was his muse for many years and until today, they used to travel together in the limbo land of the
universe and more beyond... Poetic! - it's the best word to explain the music of Bernard, his stretches of tones, sounds from nature, animals,
thunder, crazy cycle and subtle combinations of electronic sounds and field recordings. I also remember this early morning when we were waiting
for the rumour of a hunting horn in the distance of country, only to have a new life experience. For over ten years, we have established the Studio Forum and the Festival "Le Bruit de la Neige", this is a place where we work and develop our ideas, for which we may die one day! And defend also all projects of composers we invite each year. Finally, it is pure pleasure to be lost elsewhere in Bernard's music, primitive chaos, a confused state of the
elements that preceded the creation of the world. I hope this CD will interest a large audience because Bernard Donzel-Gargand is a unique composer and storyteller!'
Philippe Blanchard, May 2009 " [full press-release]
www.monochromevision.ru
|
2009 |
€13.00 |
|
| DOYLE, ROGER |
Thalia |
do-LP |
The concrète riddle of ’Thalia’ is the Nurse With Wound-listed and cultishly desired Roger Doyle album withdrawn by CBS Classics shortly after its release in 1978. Less than 200 copies reached shops some three years after his distinctive debut ‘Oizzo No’ (1975) - which was reissued by Finders Keepers Cacophonic label to receptive ears in 2018 - and in retrospect the resurfacing of ‘Thalia’ follows that wonderfully odd LP to cement Doyle’s place among the outsider pioneers of ‘70s electronic and avant-garde tape experimentation.
Arguably one of the most important experimental records to emerge from 20th century Ireland, ‘Thalia’ is coveted for its inventive, unpredictable, near-psychedelic brilliance, yet has remained scarce due to major label politics, meaning listeners either had to fork out a ton for a 2nd hand copy, or make do with a 2002 CD compilation of ‘Oizzo No’ and ’Thalia.’
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. Combining his studious research and prep work at Utrecht Institute of Sonology (then home to Roland Kayn, Leo Küpper, Jaap Vink) and the studios of Finnish Radio (Yleisradio) Helsinki with a finely honed improvisational intuition at his home studio in Malahide, Dublin, the record yields a poetic diffusion of electro-acoustic phantasms meshed with politicised and unsettling field recordings, alongside a playfully experimental solo piano piece.
The 3-part title track is the biggest attraction on ‘Thalia.’ Acting as a sort of shamanic extension of Gaelic bardic traditions, Doyle guides the listener through labyrinthine dimensions, vacillating cartoonish tape FX with stark synth pulses, fragments of ‘Danny Boy’ and the unsettling sound of a woman wailing or even keening (a lament for the dead) in only the first minutes, the piece spirals over two sides between obtuse electronics and jump-cuts to melancholy strums, airborne melody and rabid dissonance with the natural quality of Ireland’s ever-shifting interplay of sun, rain and clouds. The relatively brief ‘Baby Grand’ follows as a sort of playful solo piano palate cleanser for the LP’s purest electronic piece ‘Solar Eyes’, which surely recalls to some degrees the iridescent expanses of Roland Kayn or Jaap Vink’s cybernetic music as much as Coil’s ‘pHILM #1’ as ELpH.
|
2019 |
€25.00 |
|
| DRAFTED BY MINOTAURS |
Aversion Therapy |
do-LP |
"Drafted by Minotaurs mainstays are guitarist Ryan Wilson and Ian Fulcher, who contributes trumpet and glockenspiel. Meanwhile members of a floating cast chip in with added textures from cello and violin. Opener "Blueprints for Sunbuilding" spools out a hail of plucked and bowed strings, webs of sound solidifying then melting into steely flow, stall set out somewhere around cultivated Constellation post-rockeries, a mood and sound that may feel familiar to those acquainted with the new backwoods chamberisms and neo-folk drone of UK cottage industrialites such as Richard Skelton (aka A Broken Consort/Clouwbeck) and Seasons (Pre-din). "Sault Locks" proposes cyclical patterns of stringed things that seem to hover shyly apart, before swarming to swell and billow over the listener - not so much a Storm of Drones as a squall of tones. "Skin the Night and Fog," a more veiled sister of the previous pluckings and bowings, plays out a psych-infused dream sequence. These three tracks forming Side A work with their own distinct harmonic and textural patterns, while seeming like movements of something overarching. Miasmic minor chord tidal flow abounds, the music's motion determined by languorous bow-strokes, its textures by warm-prickly needles of guitar pizzicatos. Side B's single extended track, "Sunday's Morning Ghost," is wrought from similar materials, but aspires to more transcendant levels, led by the celestial harmonics of Fulcher's treated trumpet. It takes on atavistic echoes redolent of some distant Miles Davis or Jon Hassell blowback, as if viewing In a Silent Way through a post-Kosmische kaleidoscope, or channeled through Eno/Budd cathedrals to meet today's psych-drone and ambient trajectories. Overall, Aversion Therapy thrives on such productive tensions between genres and eras, as it does between live and recorded, spontaneous and pre-structured, making for engaging, at times thrillingly psychotropic, listening." - alan lockett " [label info]
www.infractionrecords.com
"A duo is Drafted By Minotaurs, being guitarist Ryan Wilson and trumpet and glockenspiel (an unlikely combination me thinks) Ian Fulcher, whose 'Aversion Therapy' is their first LP. A great package with a gate fold sleeve - no costs are spared here. Their ambient is much more open and gentle then say Dent, and miles and miles away from the music of Malignant Records. The guitar is clearly to be recognized, even with some folk strumming in 'Sault Locks'. Whatever glockenspiel and trumpet are doing is however a bit unclear. My best guess would be is that are looped through a variety of sound devices and which form the ambient backdrop in which the guitar seems to move so freely. Side A has three tracks, under which the aforementioned 'Sault Locks', which is quite short, which are nice, but the best piece is the side long b-side 'Sunday's Morning Ghost', in which the trumpet plays a more dominant role (or at least can be recognized more), in long sustaining tones, meandering together, merging gently with the guitar sounds, which now are close to the trumpet. The glockenspiel? It plays its own spiel somewhere, like shimmering metallic sounds pushed towards the end of the spectrum, but they haven't disappeared altogether. Great cinematic beauty. Top class ambient album." [FdW / Vital Weekly]
|
2009 |
€26.00 |
|
| DRAHOMIRA SONG ORCHESTRA |
The Return of the 120 Magicians |
CD |
DRAHOMIRA SONG ORCHESTRA mag einigen bekannt sein von einer schönen LP auf dem inzwischen nicht mehr aktiven kanadischen Label FLESH EATING ANTS. Hier neues, sehr experimentelles Material in der „fabric pressed“ KunstCover-Reihe des Moskauer Labels.
This project had an LP on the now defunct canadian FLESH EATING ANTS and thats all what we know. This new release in the art-cover-series of the moscow-based label contains very experimental low-fi noises & tunes.
|
2006 |
€16.00 |
|
| DRAPE |
An Idea and its Map |
LP |
"Drape is an ambient duo comprised of Ryan Gracey and Spencer Williams. They have been crafting soundscapes since 2004. Their debut, 'dream words' (Gears of Sand) saw a limited CDR release in 2009. It was well received and garnered comparisons to Stars of the Lid, early 70's Tangerine Dream as well as late 80's space ambient. Their follow-up was an interesting pairing on cassette - a split w/ experimental artist Odd Nosdam.
'An Idea And Its Map' marks a refined leap forward in Drape's sound. While less space music, there is certainly more expansion. It is a smudged and blended orchestra of drones on the opener 'Solo in High Dreary' and those drones are split apart in slow-motion - eventually revealing a single guitar tone.
Moments of sublime resonance as on 'The Visible The Untrue' anchored by piano, and notes that float, seemingly carried in on a breeze. All is not as it seems with an undercurrent of ground swelling, oscillating air - somewhere in the distance there is a storm assembling. Ebb and flow between light and dark - silver lined black clouds converge on the B side opener 'fanfare for lake flies'. The strings, guitar, siren calls are assembled and plastered to one another. A thick blanket of overwhelming beautiful cacophony results.
The album's close is as much filtered white noise as it is heavenly chords. The dual slow-motion treated guitar present thoroughout 'An Idea...' diverges between pools of dissonant feedback, howls of wind, and melodic drones.
'An Idea...' is a study in contrasts - and Drape find effective employment of the disparity as well as the combination of the reticent and the reserved turbulence. There is an atmosphere of tension, in a sense with resplendent tones enveloping a barely concealed fury just under the surface.
Edition of 400 copies. Black vinyl, 180 Gram pressing. Gatefold sleeve + OBI strip. Purchase of LP will include a download code of the album (FLAC, MP3, etc. - your choice).
After a tumultuous pathway to being pressed on vinyl, be it natural phenomena, pressing issues, manufacturer issues, broken plates, and so on - Infraction is relieved to present finally the first vinyl full-length LP by Drape." [label info]
www.infractionrecords.com
"Graduating from extended synthesizer jams of their earlier output to symphonic, string-based ambience, the duo of Drape provide a soundtrack for frigid early mornings and star-laden late nights. The seven tracks that comprise "An Idea and Its Map" glisten and glide over slow arcs of swelling strings and luxurious textures that bring to mind the oft-referenced figureheads of the genre, Stars of the Lid. Drape, in both structure and execution, clearly aim for this comparison. Yet they do it better than most and while they can't approximate Stars of the Lid's natural emotion and grasp of melody, Drape smartly overlay their drones with guitar distortion and amplifier feedback to give the surroundings a patina of worn textures. The end result illuminates "An Idea and Its Map" with both a vulnerable and hard-edged feel and is all the better for it." [Ryan Potts, Experimedia]
"Its been a while since I last from Drape, the duo of Ryan Gracey and Spencer Williams - see Vital Weekly 722 - but I believe they didn't release much beyond that point, other than a split cassette with Odd Nosdam. With this release we return to the more introspective ambience which we also encountered with Eluder. Yet there are differences also. Whereas Eluder is certainly grey towards black, Drape is more grey towards white. It would seem to me that all of this music is created with guitars, and it's not difficult to see a strong influence from Stars Of The Lid. The long form, sustaining guitars, cascading slowly, like majestic waves, rolling ashore, has a strong orchestral to it. Ringing string music, on an endless, perpetual slow motion roller coaster. If that is at all possible. Its been a while since we last heard something from Stars Of The Lid, and for all I know they might no longer exist, but Drape, on this particular record, would win easily the chance of successor to their throne. A fine example, textbook drone music. Forty years of mood music pass by, from the German cosmos, Eno's living room and a bit of neo-classical music - Arvo for my part. Highly refined journey on the wings of musical history." [FdW/Vital Weekly]
|
2012 |
€25.00 |
|
| DREAD (LUSTMORD) |
In Dub |
CD |
"dread is a newly formed project of legendary sound artist brian williams who began working under the name lustmord in 1980, and since then his dark sound sculptures have been highly influential not only in music genres such as ambient and industrial, but also in film and games. besides these genres, williams is also addicted to the sonic potential of dub music, which was reflected in various dub mixes he made for other artists, in an entire remix album for the puscifer project, and in a dub remix ep for the lustmord album [other] in 2009. for quite a while it was his desire to form an individual project dedicated to the dub genre, and after years of preparation and recording ant-zen is glad to present dread's debut: in dub. the mightiness and intensity of this album is both tense and trance inducing, drawing attention to the shape and depth of the space between sounds as well as to the sounds themselves. the instrumental tracks drenched in echo and reverberation ebb and flow, dropping in and out of the mix, and are kept together by the prominent use of varied deep bass application. the usage of implemented voices, acoustic drums and an alectric guitar played by wes borland (limp bizkit) create a distinctly organic feel to the music, even though the effects are electronically created. both unique and original, this release meld seamlessly into the tapestry of brian williams' work. breathtaking, dark, unshiftable and solid, this is the kind of dread where you're not sure where the evil force lurks, but you know it's out there searching for you... highly recommended."
lustmord.bandcamp.com/album/in-dub |
2017 |
€13.50 |
|
| DREAM WEAPON RITUAL |
The Uncanny little Sparrows |
CD |
"Formed in November 2006, Dream Weapon Ritual is the duo of Simon Balestrazzi and Monica Serra. They play free-form music that draws equally from droning electronica soundscapes and imaginary folk visions.
Simon Balestrazzi is an electronic/electroacoustic composer and sound artist active since the 80's. He released many albums and performed live around Europe under various names.
Monica Serra is a talented actress whose artistic research led to double as vocalist since 1999. Both are members of the long-lived Italian cult band T.A.C. (Tomografia Assiale Computerizzata).
Togheter as Dream Weapon Ritual they released their music through Radical Matters, Old Europa Cafe and Magick With Tears.
All music by Dream Weapon Ritual
Mastered by James Plotkin
Masks by Gabriela Mulas
Photos by Franco Casu
Artwork by Daniele Serra"
"Gut drei Jahre nach „Ebb and Flow“ lassen die beiden Multiinstrumentalisten Simon Balestrazzi und Monica Serra zum fünften Mal von sich hören und erzählen mit allerhand schrägen Ideen im Gepäck die Geschichte einer Gruppe von unheimlichen kleinen Spatzen – das klingt auf den ersten Blick vielleicht nach Ironie und Spielerei, v.a. wenn man von dem hierzulande üblichen Image dieser nicht gerade gruseligen Vogelart ausgeht. Doch „The Uncanny Little Sparrows“ lädt nicht gerade zu letztgültigen Interpretationen seines Inhalts ein, und das ist auch gut so.
Bei dem langsam an- und abschwellenden Drone, das an elektrisch aufgeladene Harmoniumklänge erinnert, den trunkenen Echolalien undeutbarer Stimmen, dem Rasseln und Scheppern und den seltsamen Bläserklängen des eröffnenden „Bird Mother“ zeigt sich schnell, dass die beiden sich in grundlegender Hinsicht treu geblieben sind, denn ihre „Freeform-Musik“, die ebenso von dröhnender Elektronik wie von folkigen Spuren durchdrungen ist, bewegt sich in den bekannten Bahnen, die quer durch moderne und primordiale Gefilde führen. In diesem Rahmen kommt es aber zu einigen Verschiebungen, denn auf den neuen Stücken scheint die Musik noch um einiges unregelmäßiger und unruhiger als auf den Aufnahmen zuvor. Kratzige Spielereien, eventuell erzeugt mit dem von Massimo Olla entworfenen [d]Ronin, allerhand Gereusel und geheimnissvolle Perkussion rufen Balestrazzis Projekte Hidden Reverse und A Sphere of Simple Green in Erinnerung, bei der Mischung aus untergründigem Brummen und falsettigen Hochtönereien denkt man vielleicht an so unterschiedliche Musiker wie Ka Baird oder die viel zu wenig beachteten Mailänder Sothiak – Vergleiche, mit denen nur eine vage Richtung angedeutet sein soll.
Deutlich erkennbare Vogelstimmen treten erstmals in dem kurzen, in einem seltsam schleppenden Rhythmus hinkenden „Mating Call“ auf den Plan, wo sie sich sanft und verhuscht in mysteriöse Rückwärtspassagen einweben. In dem folgenden Track, der von „zwei kleinen Spatzen, die auf einem Zweig sitzen und auf die Erleuchtung warten,“ kündet, erinnern sie eher an übermütige Spechte. Weiter geht es durch noisige Gefilde, in denen man nicht mit dem Klang orientalischer Flöten gerechnet hätte, hin zu einer Urwald-Kulisse, in der ekstatische Perkussion und tremolierende Stimmen wie das Echo eines schamanischen Rituals wirken. „The One with the Iron Beak“ ist das letzte Stück betitelt, und wieder beschleicht einen der Verdacht, dass all die tiefschürfenden rituellen Elemente, die ebenso wie rhythmische und melodische Pop-Ansätze um jede zweite Ecke lugen, zwar auch, aber nicht nur mit erhabenem Ernst eingebracht werden.
Das Album erschien jüngst bei Boring Machines als LP mit achtseitigem Booklet und ist darüber hinaus natürlich in den üblichen digitalen Formaten zu ergattern." (U.S./African Paper]
|
2018 |
€16.50 |
|
| DROMOMANE |
Abaton |
LP |
Black vinyl, 9 tracks, limited edition of hand-numbered 313 copies.
"After three albums under his own name (the latest of which, "Rosegger", was released on (T)reue um (T)reue a couple of years ago), and several collaborative projects as the driving force behind DUHKHA and HELAAS, Benjamin Bex reveals his new avatar: DROMOMANE. With "Abaton", he delivers a singular and intimate album, inspired both by his urban experiences in Berlin, and his Mediterranean life in Marseille. Gnawing electronic drones rub shoulders with delicate arrangements of guitar arpeggios and synth loops, carrying a passionate, at times almost extatic voice. Grégory Lelay contributed field recordings from his sojourn in the Azores, as well as the stunning artwork."
https://soundcloud.com/staalplaat/sets/dromomane-abaton-lp |
2016 |
€15.00 |
|
| DRONAEMENT |
Ezoterick Muzick |
CD-R |
Finally a new full album by DRONAEMENT with NEW material, very “positive” drone-vibrations & field-recording-reworkings with excursions to trancy tribal-rhythm-pieces, full of mystic feelings and close to the mystery of existence, the title is more than appropriate...
“Dronæment is active since 1997 and is the main musical project of Marcus Obst who lives in the South area of what once was East Germany. After a few amazing tape albums he joined the Drone Records serie with the "Wassermond" 7", which was based on a collaboration with Jim De Jong, followed soon by a split LP with The Infant Cycle (Jim De Jong again....). Since then he released some marvellous albums on Dachstuhl, Nauze [Muzick], Mystery Sea, Le Cri De La Harpe and Field Muzik. Everyone with an even small interest in Drone / Experimental music should immediately put their hands on them. After the wonderful "Yr" (released with the help of our friends at Blade Records) and "Allein... Unter Menschen" (a remastered CD-R version of one of his early tapes), this is the third Dronæment album released by Afe. Needless to say that we're very proud about this. "Ezoterick Muzick" was inspired by repeated listenings of indian traditional music and is a successful attempt at creating meditative / relaxing ambient music...” [label info]
|
2006 |
€13.00 |
|
| DRUMM, KEVIN |
Humid Weather |
LP |
"Microphone, electronics, field recordings. Initialy published by Kevin Drumm himself in a very limited CDR edition. A mixture of field recordings and microtonal drones with intercepted voices." [label info]
www.bocianrecords.com
"A Bocian Records regular, Kevin Drumm, with another new LP of his work, which he recorded in July and August 2012, and perhaps there was humid weather in Chicago back then? There is not a lot of information on the cover, with regards to instruments and such like. The title piece spans side A, and on side B we find 'Heat Stress' and 'Humidity Can Suck It'. To start with side B is to start from an obvious point of entry. We know and love Kevin Drumm as a noise maker and these two pieces are very much like you would expect him to do. You could wonder if that's a good thing, but I quite enjoyed these two massive slabs of noise. Maybe there is some field recording in there, but there are effectively transformed by the use of effects and analogue synthesizers. It's what he does best, and Drumm isn't exactly of the Wall of noise school guys, but he's certainly one heavy composer. Chaotic it bounces around, like the finest Merzbow piece. It's great, but it's what you expect. The big surprise is to be found on the other side. Here we have a piece which is build from field recordings, lots of rain and thunder sounds, but also bits of street sounds. That's about one-third of the piece, the rest is made up from a very low ambient sound, mostly electronic I'd say, of a few loops howling around in the far distance, and nothing much else. This is great piece, unlike much, if not all, you may have heard from Drumm. A fine piece of ambient music, humming away in the background, almost like a very quiet Brian Eno piece. That perhaps is the biggest surprise - well, at least for me it is." [FdW/Vital Weekly] |
2013 |
€16.00 |
|
|
Trouble |
CD |
"Recorded Winter 2013-2014 at Frostbite, Chicago, IL. Mastered by Russell Haswell. 'Trouble' is the brand new dispatch from the assorted output of Kevin Drumm and sits as one of the quietest in his entire catalogue. A single continuous 54 minute excursion into the netherworld of the audio spectrum, 'Trouble' is neither ambient nor drone but a more complex investigation into the deep recesses of sound. One which discreetly works itself into the mind of a listener willing to invest in the path laid out in this extremely subtle, beautiful and exceptional release." [label info]
www.editionsmego.com
"Kevin Drumm has been known to wield an iron fist on his recordings—records like Sheer Hellish Miasma, Impish Tyrant, and Electronic Harassment are titled that way for a reason—but Trouble may punish you in different, and sneakier, ways. This is the quietest record I've heard since Bernhard Günter and Francisco Lopez's hushed microsound works from the turn of the millennium. It is so quiet that you'll need to turn the volume up very, very loud to hear it well, or indeed, at all. In my case, that involves several steps—one volume control on the laptop, one on the audio interface, and one on the DJ mixer that it all runs through on the way to a pair of studio monitors—as well as closing the window in order to shield Drumm's filament-like drones from the rumble of traffic outside. Suffice to say, this is an album that requires some effort, and part of that effort might involve just sitting still.
I thought I might get some multi-tasking done—file maintenance, email cleanup, general absent-minded mousing around—while I sat and zoned out to a first run-through of what might be the Chicago noise musician's most ethereal recording since 2009's Imperial Horizon. But I had forgotten about the computer's default alert sounds, and when I went to delete a document, I was startled by the noise that suddenly tore through my speakers—a sound like boots crunching through snow, almost painfully loud. The sound, of course, came not from Drumm's Worse than Burning Offal studios, but from a lab in Cupertino. But it was tempting to imagine that moment of sonic violence as a part of the piece, in a way. Kevin Drumm wants your full attention, and he has mastered Trouble in such a way to practically guarantee it.
Another, perhaps better, option is just to leave the album on in the background at a natural, almost inaudible volume, and let it sink in like incense. That's the same line of thinking behind Imperial Horizon's lone, hour-long track "Just Lay Down and Forget It", presumably. I can think of few passive listens that might be less taxing than this shimmering, 54-minute piece, divided into two halves and separated by a minute or two of actual, total silence. As far as wallpaper music goes, Brian Eno's Music for Airports scans as a clash of gaudy op-art prints compared to Drumm's almost invisible layer of atmosphere. Still, per the title, Drumm's disappearing act amounts to a kind of uneasy listening, even at an almost imperceptible volume. This is the sound of fingertips slowly tracing crystal rims; of whale song heard from the opposite end of the ocean; of ghost trains braking in the dead of night. It is the sound of mountains slumping and mist settling. Its deathless peal is a dead ringer for the music of the spheres—all that friction, all that reverb, nothing but shivering frequencies, from here to the ends of the known universe. It's the ghostly microwaves of cosmic background radiation.
Despite Drumm's noisy reputation, his music can be overwhelmingly sensual even at its loudest. Sheer Hellish Miasma's "Hitting the Pavement", for instance, is a full-body rubdown of distortion—part airplane engine, part power sander, yet still, above all, a welcoming embrace. And that goes a thousand-fold for the sublime Trouble, an album that invites you to dive into its clutches with the promise of never hitting bottom. The noise floor is a very, very long way down." [Philip Sherburne/Pitchfork]
|
2014 |
€14.00 |
|
|
Wrong Intersection |
CD |
"Wrong Intersection is a brand new album from Kevin Drumm presented in a one-time pressing and released on CD only. This new work spans Drumm's wide palette of textures and dynamics and is yet another milestone in his already prolific and critical journey of sound. Drumm has previously released material on Editions Mego, Hanson, Hospital Productions, Erstwhile, Chondritic, and Perdition Plastics." [label info]
Drumm is one of the most revered and influential noise artists, whose landmarks include the genre classics Sheer Hellish Miasma and Imperial Distortion.
"It can be hard to describe what distinguishes a really good noise record from an average one, but Drumm makes it easy for us. The question that all improvisers have to answer is whether something you play once can be worth listening to more than once. Experience and forethought ease the answer toward yes, and Drumm has both at his command." [Pitchfork]
"Kevin Drumm's outstanding Imperial Distortion is undoubtedly one of the finest experimental tomes to emerge over the last decade. It reframed the then noise-mired Hospital Productions label and was a startling about-turn for Drumm too, who up until this point was known pretty much exclusively for making eardrum-ripping noise in the vein of his pioneering Mego stand-out Sheer Hellish Miasma." [FACT Magazine]
"Even at its most chaotic, Kevin Drumm's music usually belies a sense of intentionality, a feeling of controlled purpose no matter the severity of the storm. It's one of the things that sets him apart: I've heard fans talk of Drumm as the most 'musical' of noisemakers, or a man who can do more with a few carefully sculpted sounds than most could do with a million." [Dusted]
www.handmadebirds.com
|
2014 |
€13.50 |
|
|
The Back Room |
LP |
Pulse generator, reverb, big muff.
One of the most interesting outsiders, icon of experimental electronic noise music first released this collection of intensive sounds on his own label, on CD-r limited to 60 copies. Now, three years after that premiere we're glad to present you an LP.
monotyperecords.com
|
2016 |
€18.00 |
|
| |
OG23 |
LP |
Streamline presents OG23, the first in a series of projected new LPs by Chicago-based composer Kevin Drumm, famous for his string of great releases on labels such as Sonoris, Mego, Moikai, Thin Wrist etc. Ever unpredictable, Drumm this time takes the fellow time-traveler through what sounds like an electronic field recording, a journey through an electronic soundscape of luminescent textures that invites immersive listening. The appropriately mysterious looking cover was designed by Christoph Heemann. Who wants to find out where that submarine is going? Mastering by Jim O'Rourke."
https://kevindrumm.bandcamp.com/album/og23-2 |
2024 |
€29.50 |
|
| DUBACH, PETRA & MARIO VAN HORRIK |
Church WAVES |
LP |
WAVES is an ongoing research project by Dutch artists Petra Dubach & Mario van Horrik that involves so-called shakers, a kind of loudspeakers that reproduce sound frequencies as vibrations, attached to long strings. Started in 2010, the project has so far produced a number of installations and concerts, some recordings have been published previously on Edition Telemark as a double 12" in 2016 (cat. no. 628.01).
For a few weeks in 2016 and 2017, Dubach and van Horrik had the chance to work on WAVES in the former Church of the Holy Heart in their hometown of Eindhoven where they stretched two 50 meters long strings between columns of the building and placed a piëzo transducer on one end and a shaker on the other end. Using this setup, they developed three different systems for generating feedback, spawning numerous experiments and recordings, a selection of which is presented on this LP. Video recordings of the process are enclosed on a DVD, showing the building and the strings as well as performances by Petra Dubach where her body and movement influences the standing waves in the space and thus the sound.
Edition of 200 in full-color sleeve with photos from the church and liner notes by Petra Dubach, Mario van Horrik, and Ruud Post. The DVD is enclosed inside the sleeve.
"All our experiments didn't have any plan as a basis; the sounds of one setup resulted in changes for the next setup. This could be: changes of drivers, adding or removing preparations, changing position of the recording device or the external driver, changing parameters of the mixing board or amps, or changing nothing at all: through the vibrations of the strings the preparations were more or less slowly transported across the length of the strings; sometimes forward, sometimes backward. We have made recordings of this process of more than one hour where the sounds constantly change under the influence of this transportation. But sometimes the movement would end in a fixed state." (from the liner notes)
https://www.edition-telemark.de/903.03.html
|
2019 |
€25.00 |
|
| DUNCAN, JOHN |
John See Soundtracks |
CD |
Soundtracks from the JOHN SEE SERIES, 1986-1988, und MOVE FORWARD, 1984. Very early experiments as a Soundtrack to Pornofilms. Originally released in 1994 as a lim pic-LP and as part of a cassette. Includes Full-Colour booklet with many photos.
label: www.rrrecords.com
|
1996 |
€13.00 |
|
| DUNCAN, JOHN & PAOLO PARISI |
Conservatory (San Sebastiano) |
BOOK & CD |
Ein weiterer Ausstellungs-/Installationskatalog mit Audio-CD von JOHN DUNCAN, diesmal in Zusammenarbeit mit PAOLO PARISI. Alle Klänge basieren auf “human voice only”...
"Full color 64 pp. paperbound catalogue with installation audio CD mounted in separate cover, both inserted in paper box.
Catalogue : Texts (English/Italiano) by Daniela Cascella, Pietro Gaglianò, Giovanni Iovane, & Sergio Risaliti.
Audio CD : John Duncan : shortwave, processing.
Catalogue and CD cover produced by Maschietto Editore. CD produced by Allquestions." [label notes]
„The work of John Duncan should need no introduction, as he has long been one of Aquarius' favorite sound artists; however, Paolo Parisi is something of a mystery to us. An Italian sculptor, painter, and installation artist, Parisi commissioned Duncan to compose a sound component for one of Parisi's installation. The themes behind Parisi's installation for plastic tubes and eviscerated cardboard sentry houses are far too convoluted to recount within this review; but in a shocking display of Aquarian restraint, we'll merely mention that the Panopticon, Hitchcock, Deleuze, and Duchamp all get name checked throughout the book's text celebrating Parisi's installation. The CD is all Duncan; and it's well worth the price of admission. Duncan has long been known for his use of shortwave radio sounds as the springboard for his psychologically intense compositions; but slowly, he has been introducing the human voice into his pantheon of sound sources. For Conservatory, voice is the only source he is using, in particular he's amplifying and stretching the gasps, wheezes, and hisses that occur during the act of breathing. Through his manipulation of these sounds, Duncan cultivates a vast network of gaping blasts of air that collectively build into a ghastly, frigid drone emanating from a unscrupulous cryrogenics laboratory. Another epochal release from Mr. Duncan!“ [Aquarius Records]
|
2006 |
€35.00 |
|
| DUNCAN, JOHN / M. LE DONNE-BHENNET // TOM MARIONI |
Auftauchen |
LP |
Collectors Item / Art-Release on the Dutch label SLOWSCAN, specialised on (re)-releasing rare- & live-material from SoundArt-Composers. On this LP we find one very early JOHN DUNCAN-track called “MAYDAY” from 1983 (10 min.) using raw radiowave-sounds, speech experiments by MICHAEL LE DONNE-BHENNET (1980), and the whole B-side is filled with a great minimal rhythmic piece by TOM MARIONI (“Drum Brushing (on sand paper)” from 1978.
We don’t know if this is a re-release of an older re-release or has to be put together randomly, as there’s no info given from the label. Numbered edition of only 99 copies and high price unavoidable!!
|
2005 |
€39.00 |
|
| DZIADOSZ, BARTOSZ & TOMASZ MRENCA |
Black Lake |
CD |
A dark and mysterious expedition, in which very experienced musicians lead us with the help of electronics, field recordings and violins. "Black Lake" is a point on the interim map ...
"The compositions were created at the turn of 2016 and 2017. It was quite a spontaneous decision. We worked together in the past. After a few years break we decided to join forces again.
It was a very intense, creative time. We were flooded with ideas, we used the energy accumulated in us, both the good and the bad. The most important thing in all of this was the music and worlds that we created with it.
The sounds we recorded or sketches from the past were often a reflection point for generating subsequent layers and new ideas. Each development of the themes of these compositions was a kind of "flight". It was an intensive exchange of abstract thoughts, conversations about ideas, fears and emotions that accompanied us at that time. "
https://requiem-records.com/en/sklep/black_lake
|
2017 |
€13.00 |
|
| DÄLEK {DALEK] |
Asphalt for Eden |
LP |
Conceived in New Jersey from its emerging DIY scene from the late ‘90s, cult hop-hop trio DÄLEK were known as pioneers over the last fifteen years or so of an intriguing sound which fused a blend of progressive hip-hop artistry supported by a rhythmic backdrop consisting of sonic experimentation through noise music and dark ambient (they would be dubbed by journalists as what would happen when you mix Public Enemy and My Bloody Valentine). Their singularity would be highlighted in four defining milestone full-length albums released on Ipecac Recordings (one of them being their “Absence” masterpiece LP from 2005), along with live actions where the band would support the likes of Tool and The Melvins, and even collaborate with the likes of artists such as Faust. In Spring 2015 mastermind MC Dälek (a.k.a. Will Brooks, with the blessing of ex-member/co-producer Oktopus) revived DÄLEK after a hiatus with a new lineup which now includes DJ rEk and Mike Swarmbots and are now preparing to release their new album “Asphalt For Eden” which will be the first official DÄLEK release since their last full-length, 2009’s “Gutter Tactics”.
“Asphalt For Eden” sees a new creative peak for DÄLEK and will bring a new awareness for this cult hip-hop entity now resurrected once again and ready to show a formidable display of true hip hop artistry and experimentation through their new album and the plethora of touring the band have planned in support of it. A band which many see as one of the most genuine underground DIY hip hop iconoclasts.
dalekipecac.bandcamp.com/album/asphalt-for-eden |
2016 |
€27.00 |
|
| EARTHMONKEY |
Alms of Morpheus |
do-CD |
"The Bog is back and Bogger than ever. His cavity inducing Krystil-clear psych riffs, suspended in jellied electronics are anything but Earthly. Peat and Repeat were sitting on a bridge. Peat fell off. Into infinity. Here's the map. Rinse and repeat. Bog has a real talent both for playing and composition. His musicks are weighted with heavy doses of classic late 60's lysergic lytergics, but his brand of 'delics are uniquely scented by the new millennium. Cosmic, deep, spiraling, melodic, contagious, sexy, weird, rock, roll, trance, pants. Earthmonkey wields these and more. The Monkey lays down on Broadway. To sleep, perchance to dream of Morpheus.
PEAT BOG-EARTHMONKEY, A BRIEF HISTORY.
Peat Bog's formative years were largely spent casting about the English countryside with The Convoy; a conflagration of acid crazed, medieval brigands (see also "hippies"), who traveled en masse via an armada of beaten old trucks & buses, making their homes in teepees and living as freely as possible. While tuning in and dropping out with this loose collective, Bog began to ingest not only psychedelic drugs, but also psychedelic music. From The Mothers Of Invention to Chrome, Bog was a head for it all. It wasn't long before he began to bake the minds of others with his own brand of trance inducing (and induced) music. It was with this burgeoning sense of a musical universe that Peat Bog moved to Ireland in 1989. Eventually settling in County Claire in 1992, Bog found kindred spirits in Ruby Wallis and in the family Stapleton. The Stapletons' pseudo-nomadic lifestyle, traveling by horses and wagons, appealed to Bog, and so he found himself as something of an auxiliary family member. In 1993 Steve Stapleton asked Bog if he would like to sit in on recording sessions for a Nurse With Wound track slated for the compilation album "50 Years Of Sunshine" (a musical tribute to the 50 years since Albert Hoffmann first stumbled upon LSD 25). As it happened, Bog had just the right experience in both music and Sunshine usage. Thus was born another Nurse With Wound adjutant who would later appear on such NWW albums as "Who Can I Turn To Stereo," "An Awkward Pause," "Alice The Goon," "Funeral Music For Perez Prado" and "Rock And Roll Station," as well as other projects. Concurrently, Peatbog performed with a band called The Big Bag Of Stix. This group was known for playing grueling three hour sets of tweaked out, Irish punk/traditional. Quoth a member of the band: "Bog would go mental on percussion and didgeridoo." 1995 saw the birth of Peat Bog and Ruby Wallace's child Freddy. It was at this time that Bog started to work with the band The Inflatable Sideshow. With Darragh Greally and some assistance from Stapleton, the "Bonefrequency" track was completed in 1996 and appeared on the "Foxtrot" compilation LP. The Inflatable Sideshow then spent quite some time touring Ireland and the European continent. In the late 90's, some friends asked if they could use a selection of Bog's home recordings for their Burning Man documentary, "Dust Devils." This suggestion dovetailed nicely with the new musical notions percolating in Bog's mind. Inspired by memories of similar festivals in the UK, Bog elicited the help of Andile Meeshec, Molly Gowen and Ian Cahill, and a series of pieces were created for the film under the new project name; Earthmonkey. The music finally used in the film appears as tracks 6 & 7 on Earthmonkey's "Audiosapien" album, released by Beta-lactam Ring Records in 2003." [label info]
www.blrrecords.com
|
2011 |
€14.00 |
|
| EASTLEY, MAX / MICHAEL PRIME |
Hydrophony for Dagon |
CD |
Live-Aufnahmen von 1996, alle Klänge wurden "unter Wasser" aufgenommen, PRIME ist wieder auf der Suche nach den versteckten Micro-Sounds im "Innern" der Materie...
“This haunting music was recorded in 1996 at "The Four Elements", SKRAEP Copenhagen. Every sound was generated underwater by an array of instruments including hydroarcs, bubble machine, tubing, fans, motors, tapes and objects. Coherently with their work, which many times has employed water as means or texture, Eastley and Prime develop a convincing narrative whose obscurity is made desirable by a challenging exploitation of aquatic reverberations and refractions. This means that we're neither in presence of a soundtrack for a dolphin exhibition, nor ambient music for swimming pools; try instead to conjure up images of an Organum/Noise-Maker's Fifes hybrid whose clothes are slowly washed by a humongous machine that puts us in a suspended state through its monotonous cycles of deep regurgitations. Never intimidating, rather comfortable, this womb of gurgles is nicely balanced between abstraction and tangibleness, which results in a very appreciable release.” [Touching Extremes]
"Recorded live at 'the Four Elements', Skraep Copenhagen 1996. All sounds were produced underwater and recorded via hydrophones. Max Eastley: hydroarc, tubing, fans, tapes, objects. Michael Prime: hydroarc, bubble machine, motors, tapes, objects." [label info]
www.void.gr/absurd
|
2006 |
€13.00 |
|
| EAU-DC |
NR2 |
LP |
"With Nr2 Jens Fischer and Thorsten Polomski developed 8 Songs moving between the relaxing moods of electronica. Just mixing up their favoured elements, adding more restrained, but sometimes pretty hasty beats and analog sounding fx’s this time, their 2nd recording expands ambient to not-just ambient. 100 copies will include a big sized poster with conceptual artwork according to the sleeve. Artwork/ design by Dominic Rechsteiner." [label info]
www.empiricrecords.com
"Following the LP/CD by Aalfang Mit Pferdekopf (see Vital Weekly 851), Empiric Records now releases a LP with a big sized poster and tapping into a different kind of music. Eau-Dc are a duo of Jens Fischer and Thorsten Polomski, who play electronic music that is somewhere along the lines of ambient music meeting up with rhythm. It's not exactly either strict ambient music or dance music for that matter. Music to tap your feet along, when you sit at home, reading a book, doing the laundry or other chores around the house, rather than heading out to the disco and dance your socks off. This is what a long-gone record store once described as 'head-nod' music. You feel the rhythm in your head and nod along too. Eight pieces of shimmering beats, moody but bouncing keyboard lines, a deep bass (although the record seems quite soft overall) for that necessary element of dub music. The ambient/cosmic music of late is slowly going more and more into the direction of 'dance' music - and before you know it we have another revival of ambient house and intelligent dance music. Be warned, Eau-Dc might be at the beginning of that too. These eight pieces, while nothing particular new, are crafted with great care and some nice delicate melodies to create a fine sonic depth in your living room." [FdW/Vital Weekly] |
2013 |
€17.50 |
|
| EBSK |
Secret Highways |
mCD-R |
“EBSK are an improvising duo from Washington DC, with a new release, "Secret Highways/Wobbly" (Scarcelight SLR15), a very goddam original take on contempo basement prog (or some such thing). The instrumentation is Casios, drums, bass guitar, and B flat clarinet. If this suggests some kind of Milo Fine or Flaherty/Colbourne action, the direction that they head in is pretty original. Without the help of beats, they manage to create a newish sounding electronic environment, inside of which events happen which eventually coalesce into something that walks, looks and quacks a whole lot like rock. The crudity of the electronics and the sparseness of certain elements brings to mind such small units as Young Marble Giants or even The Method Actors, but the sounds are of such aesthetics placed inside a strange post-Rock In Opposition Prog continuum, then manhandled by picnic apes. Which is pretty cool, no matter how hard you shake it.” [Byron Coley. The Wire]
|
2003 |
€5.00 |
|
| EBTEKAR, ATA & THE IRANIAN ORCHESTRA FOR NEW MUSIC |
performing works of Alireza Mashayekhi: Ornamentalism |
CD |
"An Organic Electrocution: perfect follow-up to the highly acclaimed Persian Electronic Music (SR277), this new Persian Music album involves a cast of seasoned musicians performing works written by legendary Iranian composer Alireza Mashayekhi; in which Ata Ebtekar (aka Sote) was granted complete creative freedom by Mashayekhi himself to transform these compositions into fully realized pieces using his techniques of synthesis and electronic manipulation. it's an organic electrocution without sacrificing the beauty of the performance. these sound sources and compositions were metamorphosed via electronic processing, rearranged and decomposed using sound generators, effect boxes, modular synthesizers and samplers. finally, Ebtekar programs synthetic sounds and adds new electronic harmonies, melodies and soundscapes to the sonic palette of Western classical music and Persian instrumentation for a unique musical experience. Sote unites the grace and symmetry of noise and silence inside the magic circle of electronic music composition.
________________________________________
The Tehran Contemporary Music Group: cofounded in 1993 by Farimah Ghavensadri and Alireza Mashayekhi. in 1995 Mashayekhi established the Iranian Orchestra for New Music as a performing entity. the Tehran Contemporary Music Group's main goal is the presentation of new music in order to promote young composers and performers. the Group has also helped to establish the Biannual For Composing and Performing of Contemporary Music in Iran.
________________________________________
Alireza Mashayekhi: a short biography.
Alireza Mashayekhi was born in 1940 in Tehran, Iran. He is one of the pioneers of modern music in Iran. Mashayekhi's works have been performed in Iran and abroad for more than 35 years. Mashayekhi believes that contemporary composers should create music in wide range of styles. His own compositions have tended towards three
major direction: pieces that are directly inspired by Iranian music (e.g. Symphony No. 5,
Persian Suite and Shahrzad) and compositions that are not directly related to Iranian music
(e.g. Symphony No. 6, Concerto for Violin and Orchestra,Sonata for Piano) and multicultural
compositions (e.g. Symphony No. 8 and the electronic composition East-West).
'At the time of Stalin in the USSR, many pieces were composed with predetermined identities
in honor of Marxism and Leninism by the request of the governmental authorities or by the
artist's own whishes. Among these pieces those with artistic rightfulness remained and they
were honored in both East and West, but the political weight of the other ones did not succeed to help them survive.'
[Alireza Mashayekhi]
'Alireza Mashayekhi is regarded as a pioneer Iranian avant-garde composer whose ideas and
works, which have been performed in Iran and abroad for more than 35 years, have greatly
influenced the contemporary music in Iran..'
[Hooman Asadi of the University of Tehran, Iran]
________________________________________
Ata Ebtekar aka Sote: a short biography.
aka Sote is an Iranian-American electronic composer and sound artist. he was born
in Germany to Iranian parents, spent the first eleven years of his life in Iran and the next
six years in Germany. at the age of seventeen he moved to the United States and lived in
the Bay Area for fifteen years. he has spent the last few years living in Tehran and working
on several projects. one of these projects was released in 2007 as a double disc set called
'Persian Electronic Music - Yesterday and Today' (sub rosa SR277) for which he compiled early electronic music from Alireza Mashayekhi who had created these compositions forty years ago. disc two features Ebtekar's own electronic compositions to present a timeline in modern Iranian music history. Sote's compositions are sonic tales synchronously decoding and regenerating customary patterns of thought in nature; aural designs of crisis and harmony where contempo meets folklore, orchestrating an artificial saga with a variety of illuminations and analysis. he believes that music is a cultural habit of sound and anti-sound (silence). therefore, he generates music without a specific culture, which he believes to be 'The Other Sound'. He has released several cds and vinyls on Dielectric/RLR, Spundae and especially on Warp." [full label info]
www.subrosa.net
|
2009 |
€13.00 |
|
| EINHEIT, ESCH & MUR |
Terre Haute |
LP |
"Limited 299 copies Colored vinyl just for record store day 2015
The album “Terre Haute” is the first body of work from the industrial legends FM Einheit (Einstürzende Neubauten) En Esch (formerly of KMFDM) and Postpunk Diva Mona Mur.
EINHEIT, ESCH & MUR call their music a GERMAN ANGST RIDDEN ART CORE EXPERIENCE. The main sounds that I see coming out of this album are post industrial to minimal electronics, with some classy guitar.
The voices of Mona Mur and En Esch meet the tribal percussion of FM in a visceral trip of electro loops noisy guitars and electronic drones. An Amazing Experience.
Limited 299 copies Colored vinyl just for record store day 2015" [label info]
" “Terre Haute” ist Name des Ergebnisses der spannenden Kollaboration von NEUBAUTEN Percussionist FM EINHEIT, EN ESCH und MONA MUR. Erscheint als streng limitierte LP (299Stück, rotes Vinyl) auf RUSTBLADE.
Wahrlich ein bemerkenswerter Zusammenschluss zwischen drei Altmeistern und Legenden: EINSTÜRZENDE NEUBAUTEN-Schlagwerker FM EINHEIT sowie die Industrial-Legende EN ESCH (KMFDM) und Postpunk-Diva MONA MUR machen für dieses spannende Projekt gemeinsame Sache. Die Wege der drei Ausnahmekünstler kreuzten sich schon öfter in der vergangenen Musikgeschichte. So gehörte EINHEIT in den 80ern zur Band von MONA MUR. Mit EN ESCH arbeitet MUR seit 2007 zusammen und veröffentlichte mit ihm mehrere Alben. Beide traten zusammen bei wichtigen Festivals des Genres weltweit auf. Bereits 2013 traf sich das Trio, um an einem gemeinsamen Projekt zu arbeiten. Das Ergebnis heißt “Terre Haute” und ist genau, was man aus dem Background der Musiker erwartet. Zwischen Avantgarde, Wave, Post-Punk und Industrial wandert die Musik. Die Band selber nennt dies “German Angst Ridden Art Core”. Insgesamt sieben Songs (Sechs Eigenkompositionen und das BERTHOLT BRECHT Cover “Salomon Song”) mit 41 Minuten Spielzeit gepresst auf streng limitiertem rotem Vinyl." [Broken Silence]
|
2015 |
€22.00 |
|
| EINHEIT, FM / ANDREAS AMMER |
Hammerschlag |
CD |
"Hammerschlag" - created by FM Einheit (member of Einstürzende Neubauten early 1980's to mid-1990's), with Andreas Ammer - features many percussive industrial elements and 'machine music' (chains, scraping, coiled springs, objects), noise, experimental electronics and provocative musical compositions familiar to the ears of Neubauten fans. An oratorio with prelude and two noise interludes, based on Russian futurist Aleksej Kapitonovič Gastev, the "bard of the machine age".
FM Einheit (Mufti) is an industrial and electronic musician and actor, primarily known for his percussion work with Einstürzende Neubauten. He has also collaborated with musicians such as: Diamanda Galás, Eraldo Bernocchi, Mona Mur, KMFDM, Goethes Erben and many more. He was also involved in the projects Stein and Gry. Andreas Ammer has been creating works with FM Einheit since the early 1990's.
"Just a moment longer, and through the confused chaos of these days, the legendary realisation of the future roar of events is triumphant" (A.K. Gastev, "A Bundle of Orders").
"Hammerschlag was premiered in 2019 at the Diaghilev Festival in Perm as a live concert with Teodor Currentzis , the chief conductor of the SWR Symphony Orchestra, as Aleksej Kapitonovič Gastev. The concert served as the basis for a German-Russian radio play version.
In his last lyrical work "A Bundle of Orders", published in 1921, Russian futurist Aleksej Kapitonovič Gastev wanted nothing more than to finally destroy literature. In a historical document there is a description of a concert based on the text: "The choir master stood on a balustrade, who conducted the sound with the help of a complicated signaling device. After this noise overture had raged for long enough time to completely numb the auditorium the real passion game began".
Aleksej Kapitonovič Gastev (1882 - 1939) was a Soviet revolutionary, poet, high-ranking union activist and scientist. When he became head of the Russian revolutionary Central Institute for Work with the psychotechnical optimisation of workflows (How do I really hit with the hammer?), he swore off poetry with "A Bundle of Orders" and at the same time created his most important lyrical work . He was executed under the orders of Stalin for counterrevolutionary activities.
CD in digipak.
FM Einheit (objects, electronics)
Andreas Ammer (sirens)
Rica Blunck (voice)
Saskia von Klitzing (drums)
Volker Kamp (basses, tuba, trombone)
with Teodor Currentzis as Aleksej Gastev and the musicAeterna Choir under Anton Bagrov
FM Einheit likes to thank Softube for their generous support.
Mastered by Martin Bowes, The Cage Studios.
Layout by Abby Helasdottir.
https://coldspring.bandcamp.com/album/hammerschlag-csr281cd
|
2020 |
€12.00 |
|
| EINHORN, NIKOLAUS |
+++ arbeiten +++ |
LP + 7inch |
"N. Einhorn gibt es wirklich, mit Einträgen in Ubuweb und im Transpersonalen Lexikon. 1940 in Dresden geboren, praktiziert er Gestaltpsycho- und Familientherapie und angewandte Tiefenökologie.
Daneben jedoch hatte Einhorn ein Faible für Lautpoesie und Klangexperimente entwickelt, das Anfang der 70er zur Mitherausgeberschaft im S-Press Tonbandverlag führte, einem Forum für Arbeiten von etwa Raoul Hausmann, Oskar Pastior, Ernst Jandl, Ludwig Harig, Hartmut Geerken oder Bazon Brock. Der Tonbandvirus packte ihn auch selbst, mit Resultaten wie ‚Cudrefin (minuit) - Found Music No.1‘ (1973), windspielähnlichem Stabglockenbimbam, von Wind umblasen und von Wasser beplätschert; und dem bei S-Press veröffentlichten Titelstück ‚Arbeiten - ein Stück für alle‘ (ebenfalls 1973 entstanden), das drei Loops des Wortes ‚arbeiten‘, einen kommandotonhaften, einen ‚tüchtigen‘ und einen monotonen, durch die Asynchronität des Schlaufenlaufes miteinander roboterhaft ‚arbeiten‘ lässt. Der Bonustrack ‚Don‘t you may be, the essential interview‘ (1975) mit den Stimmen von John Cage & Hans G. Helms war - neben Gerhard Rühm und Franz Mon - Teil der Futura 5-LP der POESIA SONORA- Anthologie von Cramps Records gewesen. Helms ist ein Avantpionier zwischen Jazz & Poetry, Frankfurter Schule, Studio für Elektronische Musik Köln und Darmstädter Ferienkursen sowie Autor von John Cage – Gedanken eines progressiven Musikers über die beschädigte Gesellschaft. ‚Don‘t you may be‘ operiert ebenfalls mit den Repetitionen von Satzfetzen, Gelächter, Schnieflauten. Mit dem Haupteffekt Keine Lust auf Arbeit und der Nebenwirkung Mehr Lust auf Helms." [Bad Alchemy]
www.youdonthavetocallitmusic.de
"And oh: that Nikolaus Einhorn record is an interesting piece from 1973 of sound poetry. A loop like Steve Reich's 'Come Out' phasing in and out on the word 'arbeiten' (working). The other side is also from 1973 and not released before. It applies the same working method but then for chimes in the wind - or perhaps its just chimes in the wind. Get a copy while they last." [FdW/Vital Weekly]
|
2007 |
€18.50 |
|
| EINSTÜRZENDE NEUBAUTEN |
Lament |
do-LP |
»Lament« heißt das brandneue Meisterwerk der Berliner Kultband Einstürzende Neubauten, geschrieben für die 100-jährigen Gedenkfeierlichkeiten des Beginns des Ersten Weltkrieges.
Die flämische Stadt Diksmuide beauftrage die Einstürzenden Neubauten im Rahmen der 100-jährigen Gedenkfeierlichkeiten des Beginns des Ersten Weltkrieges zu den Arbeiten an »Lament«, dem neuen Album der 1980 in Westberlin gegründeten Band. Die Einstürzenden Neubauten verstehen »Lament« nicht als reines Studioalbum, sondern als eine Dokumentation der Geschichte der Stadt Diksmuide, wo das Werk im November 2014 uraufgeführt wird, bevor sie damit auf Tour gehen werden.
»Lament« enthält viele bereits bestehende Elemente wie die beiden Prejazz-Songs der Marschkapelle The Harlem Hellfighters, die die US-Regierung als erste afroamerikanische Einheit in die Schlacht schickte. Das Album thematisiert zwei Texte des belgischen Autors Paul van den Broeck sowie ein Stück des weniger bekannten deutschen Schriftstellers Joseph Plauts, der die Geschichte des Ersten Weltkriegs aus Sicht eines Tieres erzählt. Des Weiteren singt Blixa Bargeld die deutsche Version von Pete Seegers Antikriegslied »Where Have All The Flowers Gone«, die Marlene Dietrich mit »Sag mir wo die Blumen sind« weltberühmt machen sollte. Die Band erweckte außerdem eine Nationalhymnne wieder zum Leben, die einst von Kriegsteilnehmerländern wie Deutschland, Großbritannien und Kanada gleichermaßen verwendet wurde. Schließlich folgt der dreigeteilte Titeltrack »Lament«, der eine Reihe historischer Wachszylinderaufnahmen enthält. Diese wurden damals von Sprachforschern deutscher Gefangenenlager aufgenommen, die ihre Insassen dazu zwangen, die Bibelstelle des »verschwenderischen Sohns« in ihrer eigenen Sprache zu rezitieren, von denen viele inzwischen ausgestorben sind.
Über all dem schwebt die drastisch verlangsamte Version des Motetts des Komponisten Jacob Clemens non Papa, der im Diksmuide des 16. Jahrhundert lebte.
//
LAMENT the new album by Einstürzende Neubauten is released Friday 07 November 2014 on BMG Records.
LAMENT should be heard as a studio reconstruction of a work primarily designed to be performed live, rather than an official new Einstürzende Neubauten LP proper.
In truth, the piece can only be fully realised, as well as best experienced, in its physical embodiment, performed on or by founding member Andrew Unruh’s gigantic instruments and noise generating devices that visually evoke the horrors the work describes or embeds in the sounds they conjure from the filth and terror of the industrialised 20th century world at war with itself.
But in fulfilling what at first appears to be a surprise commission for such a formidable longtime outsider group, Einstürzende Neubauten transformed the earthy, idiosyncratic contents they mined from academic, state, music hall and internet archives with the help of their two researchers into a richly complex cycle of original and cover songs and performance pieces.
The music often originated in LAMENT’s storytelling needs, be it in terms of sounds used or compositions structured along First World War flow charts or scored from calendars of the involvement of the 20 plus countries embroiled in it.
The way LAMENT plays off pre-existing and composed materials, pieces clipped together from historical records next to direct cover interpretations, or indeed their Frankenstein like construction of an ur-anthem/national hymn delivers a differently angled history of the war.
Finally, LAMENT opens Bargeld’s case that the First World War never ended - the interwar and postwar periods being essentially pauses for breath as the great military powers carry on their conflict at some remove in faraway wars fought by proxy." [label / website info]
|
2014 |
€22.00 |
|
|
Grundstück |
LP + DVD |
Die Einstürzenden Neubauten entdeckten Töne jenseits der Schmerzgrenze, die Schönheit der Dissonanz und eine Ästhetik des Schrottplatzes. Mit anderen Worten: Blixa Bargeld & Co. haben die musikalische Landschaft so nachhaltig geprägt wie kaum eine andere deutsche Band. Seit fast vier Dekaden reißen sie bestehende Soundgrenzen ein, um nach der Maxime "Nur was nicht ist, ist möglich" immer wieder neue Klangräume zu schaffen. Seinem unstillbaren Forscherdrang folgend, hat sich das Berliner Musikerkollektiv seit dem ersten Auftritt am 1. April 1980 im Berliner Club Moon als radikale, unberechenbare und eigenwillige Avantgarde-Formationen etabliert, die mit lärmgeladenem Anti-Pop bis heute globale Hörgewohnheiten prägt. Mit "Grundstück" wird eine Rarität von 2005 im regulären Handel veröffentlicht. Damals gab die Gruppe das Album als streng limitierte Kleinstauflage nur an eingetragene Band-Supporter aus, jetzt kann "Grundstück" offiziell als CD und LP erworben werden. Den Tonträgern liegt jeweils eine DVD mit bislang unveröffentlichten Filmaufnahmen sowie ein umfangreiches Booklet bei. "Grundstück" gilt als Bindeglied von "Perpetuum Mobile" (2004) und "Alles wieder offen" (2007). Es handelt sich um ein bewusst im unfertigen Zustand konserviertes Interimswerk, das den laufenden Entwicklungsprozess zwischen zwei Alben festhielt. |
2018 |
€31.00 |
|
|
Alles in Allem |
LP |
"Nach über 12 Jahren erscheint nun endlich das lang ersehnte neue Studioalbum der Band Einstürzende Neubauten ALLES IN ALLEM. Das Album markiert die Quintessenz ihres Schaffens und es öffnet sich wieder eine unerwartete Tür der mittlerweile 40 Jahre dauernden Klangexperimente des Forschungsteams um Blixa Bargeld. Wie kaum eine andere Band haben sie es geschafft einen eigenen musikalischen Kosmos zu erschaffen, ja sogar ein eigenes Genre zu kreieren, das sowohl klangliche Härte als auch ausgefeilte Poesie auf einzigartige Weise vereint. Passenderweise im Jahr der Ratte, gemäß Chinesischem Horoskop dem Symbol für Einfallsreichtum und Vielseitigkeit, ruht sich die Band nicht auf dem nunmehr vier Dekaden umfassenden Werk aus, sondern agiert zukunftsgewandt und erforscht weiterhin neugierig und mit grenzenloser Spielfreude alles, was das Klang-Universum hergibt. In den einzigartigen Klang- und Textlandschaften der 1980 in Berlin gegründeten Gruppe offenbart sich so jene Zeitlosigkeit, die sich Blixa Bargeld, N.U. Unruh, Alexander Hacke, Jochen Arbeit und Rudi Moser stets erhalten haben: Durch ihre experimentellen Herangehensweisen ans Songwriting, die in vier Jahrzehnten entwickelten Instrumente und das kollektive Arbeiten klingt die Band in ihrer eigenen Zeitrechnung auffallend gegenwärtig. Ja, die Einstürzenden Neubauten scheinen mit ihrer einzigartigen Musik stets äußerst präzise im jeweiligen Jetzt zu walten, ob im Industrial der Frühphase, den treibenden 90er-Jahren oder dem bedachten Spätwerk. Die Verse "Wir hatten tausend Ideen / Und alle waren gut" aus dem Albumtrack "Am Landwehrkanal" könnten durchaus eine Selbstbeschreibung der Band sein. So ist eine besondere Platte entstanden: ALLES IN ALLEM das erste reguläre Studioalbum der Einstürzenden Neubauten seit 12 Jahren, zeigt eine unvergleichbare Band, die ihre eigene Kategorie bildet, ihr eigenes Genre stiftet. Neben der CD und LP wird es auch ein limitiertes Deluxe Boxset geben. Dieses beinhaltet zusätzlich zur CD und LP noch jeweils eine CD und LP mit Outtakes sowie eine CD mit Bild-Tonaufnahmen aus dem Studio, welche die Entwicklung sowie Fortschritte der einzelnen Stücke festhalten. Einige Stücke sind ungeschliffen, aber schon fast fertig und andere noch in der experimentellen Findungsphase. Eine kleine Dokumentation der Entstehung des Albums. Abgesehen davon beinhaltet die Box ein 164-seitiges Buch mit allen handschriftlichen Aufzeichnungen von Blixa Bargeld hinsichtlich der Entstehung der Liedtexte sowie Essays von einigen Supportern."
|
2020 |
€22.50 |
|
| |
Rampen - APM: Alien Pop Music (lim. yellow vinyl) |
do-LP |
Double LP version. Yellow color vinyl. Einstürzende Neubauten present their new album Rampen (apm: alien pop music). Since the band was founded on April 1, 1980, Einstürzende Neubauten have been shifting the parameters of mainstream and subculture to make the inaudible audible -- perhaps the unheard as well. This experimental field research, spanning more than four decades, is now entering the next stage. In its 44th year of existence, the band is going back to its roots while redefining itself. It's a change in self-image, for which the Berlin quintet plus one has created its own genre -- alien pop music.
Einstürzende Neubauten präsentieren ihr neues Album. Sie suchen nach neuen Formen. Nach dem unentdeckten Ton und dem noch unausgesprochenen Wort. Seit ihrer Gründung am 1. April 1980 verschieben die Einstürzenden Neubauten die Parameter von Mainstream und Subkultur, um das Unhörbare hörbar zu machen. Und vielleicht auch das Unerhörte. Ein sich über vier Dekaden erstreckender Feldforschungsversuch, der nun ins nächste Stadium tritt. In ihrem 44. Bestehensjahr geht die Formation weit zurück zu ihren Wurzeln, um sich gleichzeitig neu zu definieren. Ein verändertes Selbstverständnis, für das das Berliner Quintett plus eins 2024 sein eigenes Genre kreiert hat: apm - alien pop music. Ständige Weiterentwicklung - so könnte man das Schaffen der Einstürzenden Neubauten kurz und knapp zusammenfassen. Eine musikalische Evolution, die beim 1981 veröffentlichten Albumdebüt "Kollaps" beginnt und sich nun auf dem im April 24 erscheinenden Album "Rampen - apm: alien pop music" manifestiert, auf diesem präsentieren sich Blixa Bargeld, N.U. Unruh, Alexander Hacke, Jochen Arbeit, Rudolph Moser und Felix Gebhard nun von ihrer unberechenbarsten und eigenwilligsten Seite. Auf ihrem neuen Album setzen die Neubauten nun allen Sound-Spekulationen ein - wenn auch spätes - Ende. Schon seit Mitte der 1980er-Jahre experimentieren die Einstürzenden Neubauten auf der Bühne mit sogenannten Rampen: Öffentliche Improvisationen mit offener Entwicklung und Ausgang; Abschussrampen ins noch Unerforschte, die die Band im Jahr 2022 auf ihrer letzten "Alles in Allem"-Tournee im Zugabenteil performte und deren Mitschnitte als Basis für das neue Album dienen. "Rampen - apm: alien pop music" ist Popmusik für Paralleluniversen und Zwischenwelten. Für Hyperräume und Interzonen. Mikrokosmisch und intergalaktisch zugleich. Eine demimondäne Behauptung außerhalb aller physikalischen Gesetze, mit der die Einstürzenden Neubauten ein stilistisches Niemandsland zwischen Vergangenheit und Zukunft betreten. Rückkehr zu den Wurzeln einerseits, andererseits entsteht aus lärmgewaltigen Kracheruptionen, auf kryptische, oftmals fragmentarische Lyrics treffend, eine neue Kunstform: Populäre Musik für Aliens und Außenseiter. Aus Anti-Pop ist Alien Pop geworden. Fremdartig. Kokonhaft versponnen. Ungehört. Sonus inauditus. Nicht ganz unabsichtlich erinnert das reduzierte Coverartwork an das ikonische Layout des "Weißen Albums" von den Beatles. "Ausgehend von der Idee, dass die Einstürzenden Neubauten in einem anderen Sonnensystem ebenso berühmt sind wie die Beatles in unserer Welt", so Blixa Bargeld über die Gratwanderung zwischen Avantgarde und Augenzwinkern, Provokation und popkultureller Diskontinuität. Womit auch direkt das zentrale Thema vorgegeben wäre, das sich wie ein roter Faden durch alle Songs zieht: Veränderung, utopische Gedankenspiele und Vergänglichkeit. "Ich habe auf der Platte ein paar Lösungen gefunden und Dinge formuliert, wie ich sie vorher noch nicht formuliert habe, weil sie mir noch nicht so klar waren. Ich bin jemand, der denkt, durch Musik Erkenntnisse zu gewinnen. Das war schon immer so. Die Überzeugung, in der Musik etwas zu finden, was ich vorher nicht wusste. Und etwas zu singen, was ich vorher nicht wusste. Etwas, was sich dann als Wahrheit herausstellt. Oder zumindest als sinnvoll, wenn man es ein wenig kleiner halten will." Dieses Album repräsentiert die nächste Stufe der Evolution, auf der man die bekannte Sprache schließlich hinter sich gelassen hat. Und die Eröffnung weiterer, unendlicher Möglichkeiten: alien pop music.
|
2024 |
€48.00 |
|
| ELECTRIC SEWER AGE |
Bad white Corpuscule |
CD |
"Electric sewer age was thought up in 2006 by a man called John Deek (r.i.p). The original idea was for likeminded souls, amongst particularly the coil fraternity, too compose music, which would be released, with no credits to the creators.
This would allow the listener to listen, and not have a preconceived bias, as to which song they liked best, based on their favourite composer etc.
While in Bangkok 2006, I talked with Peter Christopherson (r.i.p) about the project and he jumped aboard. He supplied many loops which made their way to Texas and onto the UK.
These segments might or might not be used in here, you explore.
Danny Hyde continues his fantastical journey in sound with this second release under the ESA name and completely moves beyond expectations.
Disproving the doubters, this EP is pretty much just him in his studio wrenching new creations out of his equipment; the trainspotters amongst us will no doubt pick out some of the shards he pulls from his past.
But he doesn't make them the focus of what is going on here, they are there merely to accent, to add a bit of depth and help illuminate how many years he's been at this.
Does he follow a muse?
If so, it must not be one that operates in the traditional sense. Perhaps it is more of a compulsion to create and then endlessly refine what you've done down to the most primal of elements.
There are ghosts all over this thing, you can feel the weight of their absence and at some points you swear you can actually hear them.
Tricks of the sound field, the mirror casting back shadows. If anyone else is on here, they have come out of the ether to make an appearance. Don't be afraid, put on your headphones and immerse yourself into a symphony that Hyde terms "an ode to loss".
He'd know.
We can all see from the outside what happened over the last decade but for him, it was all right there. Up close and personal. Through the usage of heavily processed vocals and arcane terrestrial instrumentation, Hyde lives up to his reputation for creating amazingly detailed yet extremely dark electronic compositions.
The symbiosis of organic and synthetic influences would be his forte and he's not holding anything back this time out, believe me, there's a feel to what is on here that isn't easily conceived. To just sit down and begin knocking out what 'Bad White Corpuscle' contains I don't think could be done unless you had planned and plotted out every last possible contingency down to the millisecond.
I've played this a lot but by comparison he's probably got mixes and additional versions of what's on here that could fill terabytes of hard drive space without batting an eye.
Electric Sewer Age exist between two worlds: the one of now and an older, more disturbing place which with the passage of time only becomes more savage and terrifying to visit.
As it appears he's chosen to put Aural Rage to bed, we have these excursions to look forward to; every few years Mr. Hyde will come out of seclusion to reveal where he's at and where he's going.
Clearly, this project is a form of therapy for the guy and having researched precisely what a bad white corpuscle is there's an uneasy feeling that foreshadowing is being employed here.
I'm not privy to whom this refers, I can only hope they know what they're doing.
This is so intense, so unflinchingly expressive that I come away completely drained.
Up by Sunday.
Peter.
Very elegant electronica, as you are used from best Coil's albums.
Dreamy and doped muzak for the real dreamer.
Tracklist :
01. Grey corpuscle 3.56
02. Corpuscular corpuscle 5.11
03. Amber corpuscle 5.12
04. Rising corpuscle 8.40
05. Bad white corpuscle 6.27
06. Black corpuscle 5.20 " [label info]
www.oldeuropacafe.com
|
2014 |
€16.00 |
|
| |
Contemplating Nothingness |
CD |
ELECTRIC SEWER AGE was born as an “anonymous / secret and aural experiment” in 2006.
In fact this project was a collaboration between PETER “SLEAZY” CHRISTOPHERSON (legendary former member of TG / COIL / PTV) and long time friend and collaborator DANNY HYDE (Dan might be better known for being the Sound-Maestro behind many COIL albums…).
Following the unexpected passing of SLEAZY in 2010 and after the publication of first posthumous ELECTRIC SEWER AGE album, ESA became a solo project by DANNY HYDE.
Well, after 5 years from the release of second ESA album here finally comes the awaited third chapter in the ESA saga.
Very elegant, first-class electronic muzak.
Dan was the sound-engineer for a number of COIL albums, e.g. “Love Secret Domain” which clearly bears his mark, similarly doped sounds & muzak can be deeply heard also on this new release.
.... just like the previous release, this CD will come in a limited numbered edition of 750 copies."
"In den letzten Jahren hat Danny Hyde durch seinen – und hier setze jeder das ihm passende Adjektiv ein – Umgang mit Coil-Material für Kontroversen gesorgt. Ich habe schon an anderer Stelle geschrieben, dass die gegenwärtige Situation des Coil-Nachlasses zu den traurigsten Kapiteln der Industrial Culture gehört. Vor etlichen Jahren debütierte Hyde nach langen Jahren als Studiomann als Solokünstler unter dem Projektnamen Aural Rage mit rhythmischen Tracks und auf dem bislang einzigen Album überarbeitete er auch Stücke, die er mit/für Coil geschrieben hatte. Mit „FJ Nettlefold“ konnte man dort das letzte von Balance eingesungene Stück hören.
Das Projekt Electric Sewer Age hat eine schwierige Genese, Hyde hat das hier dargelegt. Die erste Veröffentlichung “In Final Phase” knüpfte an Coils „Equinoxe/Solstice“-Singles an. “Contemplating Nothingness”, ursprünglich 2019 auf Old Europa Café als CD und nun von Hallow Ground auf LP veröffentlicht, erinntert durchaus etwas an den Vorgänger “Bad White Corpuscle”. Von Labelseite wird das neue Album beschrieben als “a lysergic tapestry culled from the deep end of the collective pop cultural unconscious”.
Der Einfluss Coils wird thematisch und musikalisch mehr als virulent. “Still Too Far To Go” ist ein atmosphärischer Beginn: Orgelartige Drones, Beats, die wie Überbleibsel aus den “Backwards”-Sessions klingen, dunkle Streicher und pastorale Flöten untermalen, wie jemand von seinem ersten Pilztrip berichtet („My first mushroom trip. It was so profound”). Das Cover des Gnarls Barkley-Stücks “Who’se Gonna Save My Soul” (hier leider ziemlich sicher unbeabsichtigt als “Whose Gonna Save My Soul” tituliert), kombiniert orientalische Flöten, Akustikgitarre und choralartige Passagen, wobei die leicht mit Effekten unterlegten spoken words nicht ganz überzeugen. Auf „Chebo” wird der gesamplete Gesang auf eine Weise bearbeitet, die an das erinnert, was Peter Christopherson mit seinem Threshold Houseboys Choir gemacht hat. „Surrender To The Crags“ besteht aus Sprachsamples (zum Thema Alkoholismus), orientalischen Flöten und Perkussion, die an Muslimgauze denken lässt. Eine Assoziation, die nicht nur ich hatte. „Self Doubting Trip”und „Dekotur“ mit ihren sphärischen, flächigen Passagen haben eine dezent melancholische Atmosphäre und schließen das durchaus stimmige und stimmungsvolle “Contempating Nothingsness” angemessen ab." (MG/African Paper} |
2019 |
€15.00 |
|
| ELEH |
Circle Three: Full Moon at 35Hz |
LP |
"Circle Three: Full Moon At 35hz is the third Circle piece from Eleh and the first to be released since 2010's Repose. Literal synthesis.
Packaged in a heavy duty screen printed cover. #'d edition fo 500. The first 100 copies have a gold ring print and text. These copies will be shipped randomly. Much like the previous LP only Circle piece the B side of this LP is screen printed.
Audiophile quality LP cut at Dubplates + Mastering in Berlin." [label info]
www.importantrecords.com
|
2014 |
€25.00 |
|
| ELEKTROJUDAS / XNDL |
split |
LP |
"For years, the work of elektrojudas released on Attenuation Circuit has
been linking the drone/ambient flavour of the label to more
dance-oriented styles of electronic music. On this split LP featuring
four tracks by elektrojudas and three by his long-time musical
companion XNDL, the two collaborators give an impressive insight into
the hidden kinship between abstract instrumental hip hop and drone
electronica.
XNDL has been active since 1998 in musical styles from hip hop to
drum’n’bass as a DJ, producer, and engineer, working with artists such
as Anticon, Botanica Del Jibaro, Shapeshifters, Plague Language, and
many others. On his own record label Subversiv*Rec, he published some
45 releases by underground/abstract hip-hop acts. This LP is
co-released with his current publishing outlet, cognitive*defect.
This split release marks a new step in the ongoing artistic
collaboration of XNDL with elektrojudas. Both sides of the vinyl are
unified by mid- to downtempo beats with a rather relaxed feel. Dreamy
piano chords sometimes make you think that this could be a nice
chill-out album. But then you turn the record over, and suddenly
jarring, guitar-like distortion and high-pitched oscillators change the
atmosphere. Things do not get faster, but the tension rises … until it
is resolved again. An exciting sonic journey that showcases one of the
many paths of musical innovation in the hip-hop tradition, and an
admirably consistent approach shared by the two artists." [label info]
www.attenuationcircuit.de
|
2014 |
€16.00 |
|
| ELGGREN, LEIF |
Motor for an Unknown Vehicle (Opening the Grave) |
LP |
"Motor" is the second part in a trilogy, preceded by "Das Baank" (Fragment Factory/Rekem Records) in 2016. The Motor started a long time ago with small basic fragments used for different steps (phases) like installations and performances. Those fragments were put together over the years into a longer piece presented on this LP. Motor is now a 32 minutes long continuous piece of sounding matter. Autonomous and free in itself. Like an homunculus it can now leave its birthplace and head for the future, for something else. The initiative (the basic source) was taken already in April 1949, as an inevitable starting point.
Leif Elggren is a Swedish artist who lives and works in Stockholm. Active since the late 1970s, he is a writer, visual artist, stage performer and composer. He has many sound-works to his credit, both solo and with the Sons of God (with Kent Tankred), on labels such as Ash International, Touch, Radium and Firework Edition Records (which he co-runs with Kent Tankred). His music usually presents carefully selected sound sources over a long stretch of time and can range from quiet electronics to harsh noise. His wide-ranging and prolific body of art often involves dreams and subtle absurdities, social hierarchies turned upside-down, hidden actions and events taking on the quality of icons.
Together with artist Carl Michael von Hausswolff, he is a founder of the Kingdoms of Elgaland-Vargaland (KREV) where he enjoys the title of king.
Edition of 300 copies on black vinyl, incl. signed and numbered insert.
https://fragmentfactory.bandcamp.com/album/motor-for-an-unknown-vehicle-opening-of-the-grave
|
2019 |
€18.00 |
|
| ELLENDE |
This is My Song |
MC |
listen:
https://ellende1.bandcamp.com/album/this-is-my-song
"Robert Wyatt once mentioned that he preferred short albums. Wim said he wanted a short life. Kobus spoke about having the shortest relationship ever. We think that giving the attention span, even before the ultra-short Instagram reel moments, for music between 20 to 25 minutes for an album is ideal. Wim argued that life should not go beyond forty. I uselessly argued with him about this and he never made it to forty. If you can even talk about this, Kobus had relationships that lasted less than half a day. And what to say about David? The Fever took him away from us, quite soon Ellende will be nothing but dust in the wind."
"Albums by the South African/Japanese group Ellende (meaning 'misery' in Dutch) are usually short, and at twenty minutes, this new cassette is no different. The album is dedicated to Kobus (1964-1999) and Dave M (1967-2021); I believe the latter was a band member who plays synth and mellotron on this album who died of 'the fever' in 2021, which I assume is Covid-19. A life cut short, another shortness. Other players play the piano, Rhodes, and guitar. I believe the exchange of sound files is how this music is made by members living some miles apart. Over the years, I became a big fan of their music, and short albums aren't my thing. I prefer the classic forty-minute albums, so all Ellende albums are too short. Mainly because they play mood music that is
atmospheric and richly textured synthesiser-based, which could easily lead up to longer tracks. With the help of carefully placed reverb, space and depth are suggested, and they are not shy about creating a rich sound. Nothing sparse but ominous, vast as space itself. Dark matter, this music, but maybe not without humour. Thanks to their song 'To All The Girls', I have that dreary Nelson song singing through my head. Go away, Willy, let me enjoy Ellende, as no matter how miserable one feels or how dark the music is, it is truly a pleasure to hear this. And that's what great music should do: bring light and joy in a dark world. Did I already mention that this album is way too short? And with my new tape deck having no auto-reverse, I dread the shortness even more." [FdW / Vital Weekly]
|
2024 |
€9.50 |
|
| ELLICIST |
Point Defects |
LP |
"Creating a composition means making decisions. During times in which you virtually have all sounds that have ever been recorded at your availability, composers must choose between infinite possibilities. The duo Ellicist does not perceive this contemporary ocean of possibilities as too much choice, they are swimming in it. Ellicist are weaving thick textures from the most diverse tones and rhythms. Their tracks are placing synthetic buzzing, the croaking of frogs, low frequency billowing and humming, flutes, the droning of flies, and the whole spectrum of the digital creation of sound next to one another. This intensity of sensations is not supposed to overstrain the listener, it invites them to follow a process. This music does not have a strict structure; instead, it is breathing openness at every moment.
Ellicist are incessantly oscillating between abstraction and elements of pop music. Melodies are being hinted at, and sounds are being piled up, at times tirelessly. Fragments of etheric choirs or field recordings are unfolding their associative power. The melodious Ink is a track full of touching intimacy and is in constant motion until it eventually pauses to create a silent ocean of sound. Passage People is permeated by a groove of throbbing synths. The tapestries of sound of Ponds & Graves, on the other hand, are creating the foundation for expressive percussions. Ihnen Steg is almost a dub track. During the opener Hennepin and its follower Lilei sounds of palpable corporeity are being combined with ones that are hardly tangible.
Point Defects has a incredible spatiality. At one point you might believe that you are able to precisely localize the sounds in an imaginary system of coordinates. And then the whole systemization crumbles. It is an astonishing production: you can almost taste the sounds.
Biographical Notes:
Ellicist are Thomas Chousos & Florian Zimmer. Chousos studied composition in Greece before moving to Berlin, where he is working as a producer and sound engineer under the moniker Tadklimp. Florian Zimmer has been playing with several groups. Besides Ellicist he is a member of Saroos and Driftmachine."
https://ellicist.bandcamp.com
"Springs have sprung on the opener, Hennepin, and the duo Ellicist (Thomas Chousos & Florian Zimmer) is off to an eventful start on their latest Point Defects. Their murky, quirky sound combines elements of abstraction, noise, electronics and synthetic nature. There’s is a swampy universe where engines don’t kickstart, where sluice-like regurgitation is the norm while night creatures devour the surroundings. The first three tracks (also including Lilei and Passage People) uniformly fold into one another.
The highlight here, aside from the wondrous sound effects, is the assorted, moderated and otherwise unexpected percussion. It’s as though layers of warm static and a beehive have collided mid air in slow motion and as they slowly tumble to the surface even that gives way, almost like a video game that just added a new level. There are hazy synth blurs by way of random chords that abruptly vanish. And suddenly a little post-techno gem, Ihnen Steg, is before our ears. Roughly translated to “your jetty” the sparkles and spray-paint can jitters and like a flowering ground cover shivering in the breeze. As it moves deeper into the track, the more retro-cosmic cinema it becomes. And in between there are plenty of pops, hiss and wavering filters that arbitrarily mask and reveal what could be pieces of encoded messages.
Somehow I’m nudged with elusively vague reminders of the incidental post-rock music of either To Rococo Rot, Kreidler and/or hints of Labradford. It’s only through the haze and transistor-like bits, croaking and jerking on the wild-style outdoorsy Ponds & Graves (listen above) that I begin to partially understand their off-Earth conjuring. And for all this sophisticated rumination it’s essential to point out that this is these gents’ debut! For that, alone, I am floored. Though it doesn’t deter my further listening, nor my appetite for more.
On the closer, Trace, they continue with the moody rhythmic points afloat and rocking, swaying, back and forth. It’s a dreamlike world, slightly discombobulated, but reflective of fleeting out jazz and post-electro-pop. They make no pint in covering small defects, and utilize sounds of falling, of movement, quite effectively, and in doing so keep your ears active between channels." [TJ NORRIS/ TONESHIFT]
|
2019 |
€18.00 |
|
| ELODIE (TIMO VAN LUIJK & ANDREW CHALK) |
Echos Pastoraux |
LP |
"Live performances by Andrew Chalk are incredibly rare. The man just doesn't seem to like to travel; but earlier in 2011, Chalk ventured to Paris for a collaborative concert with Timo Van Luijk, a likeminded Belgian composer crafting similarly spectral drones and impressionist soundscapes. While we were not so lucky to have been in Paris for that show, the collaboration between the two must have been fruitful, as they recorded this set of lilting instrumentals, hushed psychedelic ragas, and softened minimalism under the moniker Elodie. Echos Pastoraux seems to lean more towards Chalk's sound, especially after his recent push towards quietly rendered improvisations blossoming from his signature dronemuzik on Ghost Of Nakhodka and Violin By Night. Gentle plucks on a koto or an acoustic guitar meander through field recordings of birds and rain, giving way to more harmonic pieces of interwoven melody that sounds like french horn (or maybe an oboe, or maybe an analogue synth, or maybe a harmonium, or maybe some combination) whose overtones shimmer and flutter into quietly hypnotic clouds of soft buzz and thrum. Any number of these tracks could have been extracted from a private ritual performed by Chalk and Van Luijk; and while such could be said for any of the Jewelled Antler releases or any of the ancillary projects of Kemialliset Ystavat, Elodie's quiet drones, acoustic impression, smoke, shadow, and maudlin atmospheres are hardly anywhere near the 'freak folk' camp. This is much closer to what Akio Suzuki has done, although there are plenty of flourishes in the production that gives evidence of the hands of Andrew Chalk being at work. As a result, it's still spellbinding, like pretty much everything that Chalk has ever touched." [Aquarius Records]
www.lasciedoree.be
"Since splitting up with Christoph Heeman as Mirror, I haven't followed the recent work of Andrew Chalk. It simply seems to be moving outside my view. Heeman started a collaboration as In Camera with Timo van Luijk and now its the turn of Chalk to also work with Van Luijk as Elodie. This might be their first record together and what is odd, knowing the work of either of them, is that this is not one of those 'one drone per side' kind of LPs. This LP has no less than thirteen tracks, which perhaps sees them moving into something which is less drone oriented and something that is altogether more acoustic in approach. Van Luijk's curious collection of small acoustic objects and wind instruments and Chalk's sparse guitar playing. The record opens with a layered piece of various wind instruments and as such may count as a drone piece, but other pieces are more of an open spaced improvised nature of rattling bells, small metallic sounds, and Chalk's watery electric guitar, along with charming field recordings. The pieces are more like open ended sketches then fully realized compositions, which adds the charm of the record. Throughout a fine record of shimmering, small melodies, rusty percussion, bird calls and a gentle mood. The perfect early spring record: open your windows, let outdoor sounds in and simply enjoy the good life." [FdW/Vital Weekly]
|
2011 |
€19.50 |
|
|
Odyssee |
CD |
"Elodie here featuring core members Timo van Luijk and Andrew Chalk, playing live in Germany
in 2015. Performing a pure duet of flute and string synthesizer over one episodic track 'Odyssee', a poetic and melancholy synchronous soundtrack to a film made and shown by van Luijk on the same evening.
'Odyssee' was mastered for CD release by Denis Blackham and is packaged in handmade gatefold mini LP style sleeve with Japanese language obi." [label info]
"Elodie’s 'Odyssee Musique En Scene II' is the latest offering by Elodie on Faraway Press. Elodie is a musical collaboration featuring Chalk and Timo van Luyk, which first released their particular brand of ambient music, as in a combination of keyboards, wind instruments and ROOM in 2011. Their previous offerings, either on Faraway Press or Van Luyk’s equally impressive La Scie Dorée label have, for obvious reasons, never failed to impress me. This album was recorded live at the Gerauschwelten Festival in Münster on 7 February 2015. It is a brief performance, 33 minutes, but let me assure you that quality always goes over quantity. This half hour+ is a gorgeous, shimmering beautiful listen. Resting on a soft bed of keyboards and various flutes, Elodie takes you on an odyssee that is calming and soothing, without ever becoming a cliché. The atmosphere and warmth
of the recording is just perfect. The applause at the end is a reminder this was done live, proving not only the sheer quality of playing, but also of the remarkable high quality of interaction between these two musicians and the space they are performing in. As you might have guessed, 'Odyssee', handsomely packed in a sturdy carton gatefold cover, is a highly recommended release." [Freek Kinkelaar, Vital Weekly]
www.farawaypress.info
|
2016 |
€15.00 |
|
|
La Porte Ouverte |
LP |
La Porte Ouverte was recorded by Timo van Luijk, Andrew Chalk and Tom James Scott and was cut by Noel Summerville at 33/45 in London.
Available in a standard only edition and cut at 45 RPM for higher fidelity.
350 copies pressed.
Sleeve is printed in reverse board with poly-lined inner sleeve.
Any orders are always shipped vinyl out of main sleeve to prevent seam ripping.
'An open door...
an exit... an entrance...
a new horizon
we never know where we are...
as long as the door remains open
there will be light...'
www.farawaypress.info
"Few musical artists have explored the notion of quietness as a virtue — and, let’s face it, as a reaction to the fetishization of high volumes in rock music — with as much rigor as Andrew Chalk and Timo van Luijk do in their Elodie duo. Performing live in about 2012 or so, opening for Eyvind Kang and Jessika Kenney, they held the audience in rapt silence, Chalk gently — barely — caressing the strings of his acoustic guitar and van Luijk only occasionally whistling with unbelievable restraint into his flute, was remarkable. Not to mention bold. It’s a potentially risky approach, but the control van Luijk and Chalk have in their interactions (not to mention their musical skill) means they have consistently been able to evince new forms of minimalism.
For La Porte Ouverte, originally issued in 2016 on cassette, the duo is joined by Liberez pianist Tom James Scott, and his keys, added to subtly applied textures from other instruments, lead to a slight change in the overall aesthetic of Elodie. There was always a difference between Elodie live and their studio output, but on this album they shake off the shackles of lowercase altogether, removing the constraints of that genre’s formalism and delving into a delicate, moonlit realm somewhere between barroom jazz and modern minimalism.
On most tracks, Tom Scott’s piano acts like a semi-regular metronome: emerging gradually but with confidence, delineating the atmosphere with patient, slow-building clusters of notes, arranged like outlines. Within — and even without — the resulting canvasses, Timo van Luijk and Andrew Chalk have the space to reflectively dab their own considered shades, reacting both to the piano and each other. “Matin de Marbre” shimmers like light on a marble statue, a thread-like keyboard note drifting anxiously in and out of tremulous piano notes. There are hints of Angelo Badalamenti’s compositions for David Lynch, especially the Straight Story soundtrack, in the aching tone of the instruments; it’s equally easy to imagine a lot of the tracks on La Porte Ouverte forming the backing track for a song sung by Isabella Rosselini in Blue Velvet. “La Marche” is more austere, with piano notes struck almost angrily by Scott only to find no echo in van Luijk and Chalk’s unflinching keyboard drone. Somewhere deep in the mix, van Luijk’s flute seems to echo like a defeated cry, but that could just be my ears finding textures that aren’t there. Or maybe they are, it’s hard to tell. As an entire album, La Porte Ouverte can have that effect, especially on the longer tracks.
On average, the tracks on the first half are most minimal and quiet, borrowing most noticeably from lowercase traditions in the sparseness of the piano notes and barely audible flourishes on flute or guitar. Scott’s playing will instantly appeal to fans of Morton Feldman or Michael Nyman, whilst the keyboard arrangements evoke the ambient works of Fennesz or David Sylvian’s mid-1980s work (sans the vocals, of course). “Le Jardin Onirique” is the side’s longest work, and also the most abstract, fittingly given the title. A dreamlike quality drifts through much of the entire album, the earthiest moment coming with the emergence of Andrew Chalk’s guitar on “Par la Main,” as he sketches out a gentle series of scales to dance hesitantly with Scott’s piano motif, rewarding listeners with the most intimate piece on the album.
In contrast, the second side features synths and keyboards more prominently, although don’t go thinking the results are lush or dense. Elodie make a virtue of stillness and calm, and the lengthier tracks (of eight, only three feature on side B) somewhat paradoxically underline this further. The title track drifts on a curtain of synthetic strings into which piano notes drop like rain into a pond. It’s a profoundly moving and melancholic piece, its apparent simplicity hiding a range of depths. Tom James Scott really shines, delicately deploying his notes only when necessary, and the synth arrangement is positively haunting. I’m not sure what the title, which translates as “The Open Door,” means, beyond maybe a sense of welcome, which this track certainly carries in abundance. The organ-drenched “Lumen” is possibly the loudest Elodie has ever got, the venerable church instrument building a foundation over which piano and vibraphone notes swirl like motes of dust caught in a shaft of light. Again, I find myself reaching for Badalamenti, but in truth that’s a lazy shorthand for music that is both emotionally-resonant and cinematic in scope. Elodie have jazz and minimalism in their bones, and feeling in their hearts, and by broadening their palette so effectively on La Porte Ouverte they have created an album as close to unique as you can get in 2016." [Joseph Burnett/Dusted Mag]
"Utterly sublime ambient jazz from consummate, lower case collaborators, Timo Van Lujik and Andrew Chalk, joined here on piano by Tom James Scott (Charcoal Owls, Liberez) in a subtly breathtaking LP of melting romantic gestures and spectral electronics. Big recommendation if you're into David Lynch, Bohren Und Der Club of Gore, Af Ursin, Oren Ambarchi...
Their 8th album - alternately released like all previous Elodie LPs since 2011 on the duo's respective labels, La Scie Dorée and Faraway Press - they navigate thee finest line of anticipatory tension and vaporous release, resulting in some of the most tender, unshowy yet arresting musical expressions that we’ve heard in years.
In eight parts they expand, contract and drift off on shafts of moonlight, oscillating shorter vignettes which appear like magnetically suspended bonsai trees - as with the hyaline delicacy of Matin de Marbre or the latinate acoustic guitar that slides between the silken ambient tones and Feldman-meets-Sakamoto keys of Par La Main - with longer sections such as the midnight stroller Le Jardin Onirique and the B-side’s sail-away suite of three pieces, including the unmissable title track, afford teasingly intangible visions of a sound which we’re sure everyone can agree, is some of the most beautiful music imaginable.
We were lucky enough to catch the duo in this record’s line-up with Tom James Scott at Salford’s Islington Mill in 2016, where we witnessed them totally silence the room with an almighty, barely-there demonstration of how to enchant a crowd. As with everyone else in the room, we were duly pinned to our seat for the duration, with incidental creaking chairs and refrigerator hum only heightening the sublime tension whilst waiting for the trio’s next, curious jazz chord in sequence, or when attempting to follow their chromatic gasses off into the ether.
Like the weeks after seeing their show last year, you just kinda want to make sure everyone in earshot knows about or can at least get a glimpse of this music. It just seems to reset everything..." [Boomkat] |
2017 |
€16.50 |
|
|
Vieux Silence |
CD |
"Having been entranced by both Andrew Chalk’s work with MIRROR (and back to his solo works as FERIAL CONFINE, plus multiple collaborations with David Jackman, The New Blockaders, Daisuke Suzuki, etc ) and Timo van Luijk (as Af Ursin, In Camera, La Poupée Vivante, and collaborations with Kris Vanderstraeten and others) for many years, I was naturally intrigued to hear about and hear their duo project ELODIE. The project formed in 2010, and has spanned eleven beautiful albums already, to date.
"Vieux Silence” for Ideologic Organ is their first release presented outside of their own record publishing nook, Faraway Press & La Scie Dorée. However this is not the first encounter between Ideologic Organ & ELODIE, they performed at a night in London I curated in February 2012, alongside Jessika Kenney & Eyvind Kang. Elodie’s performance was among the most delicately engaging and savant I have witnessed… so very quiet, with snow falling in London outside Cafe Oto’s windows, the audience palpably entered a high intensity listening focus. The impression of this vivid memory is striking, considering how spare each of the individual elements present that night were.
"Vieux Silence”, and ELODIE in general provoke a visual imagination in an instant, perhaps filtered through aged watercolour, tape grain, antique lenses, forgotten levels of listening and observational patience. On this gorgeous album Chalk & van Luijk also collaborate with piano, pedal steel and clarinet (played by ; Tom James Scott, Daniel Morris and Jean-Noel Rebilly, respectively). Each detail carefully considered and colouring step by step, like an impressionist watercolour."
– Stephen O’Malley, Les Lilas 2017
editionsmego.com/release/SOMA027 |
2017 |
€14.00 |
|
| |
Le Nid d'Ivoire |
LP |
...Le Nid d’Ivoire – The Ivory Nest…
“The breeze of summer evenings
a breath of life and death
the presentiment of blossom time
the shiver of corruption
the present
the here and the beyond
an immense beyond.”
‘Heure Dorée’
https://lasciedoree.be/releases/elodie-le-nid-divoire/
"The tremulous, electro-acoustic/ambient beauty ’Le Nid D’Ivoire’ marks the return of Andrew Chalk and Timo Van Luijk’s enchanted duo to the latter’s La Scie Dorée label. It's an engrossing smudge from oneiric wind, brass, keys and string tones to much gauzier, gently psychedelic scenes over the LP’s spellbinding narrative arc.
With intravenous stealth and efficacy ‘Le Nid D’Ivoire’ gets right under the skin and soothes the senses with its glacially unfolding pace and sensuous smoke-curl dynamics. It starts out recalling the soundtrack to a film noir, but ends up ripe to soundtrack scenes of druggy, psychedelic experiments or a slow burning, furtive romance, conjuring heavy-lidded osmosis, letting the soundtrack drift over you during the dying light of a winter afternoon.
Where the first side is marbled with wistful melody that wraps us up in its tale, their musical storytelling really comes into its own on the B-side with the title tracks’s tip-of-tongue tremble redolent of everyone from Loren Connors to Akira Rabelais, leading into the elegantly pulsating chamber ambience of ‘Calice et Croix’ before they ultimately transmute into shimmering spiritual resonance with the hyaline strokes of ‘Méridien’ to leave us blissed to bits." [Boomkat]
|
2020 |
€19.50 |
|
| ELOY, JEAN-CLAUDE |
Shanti |
do-CD |
" “Shânti” (1972-73) for electronic and concrete sounds. Electronic music studio, WDR, Cologne, Germany, 1972-73. Digitalized and revised version from 2001.
“The term “meditation music” triggered many conflicting comments including positive ones (“... let us say that Shânti belongs to those very rare works that change you after listening to them. You are not exactly the same before and after.” - Gérard Mannoni, Le Quotidien de Paris, 1974). Others, wondering at the strong sound presence of the piece, consider such aspect as hardly helpful to their own meditation... Let us be clear: “what meditates” here (”that” who meditates) is the composer. He is the one who takes you on his journey and guides you through his work like in a classic or romantic symphony. As a listener you are invited to follow “his” meditation... The composition is the meditation.” " [label info]
"Was I recently 'complaining' about 3CD sets with music of people I never heard of, I wasn't perhaps thinking of Jean-Claude Eloy. First time around the mailman decided to keep the CDs, but the second time delivered them duly. I hope he likes them as much as I do. I may have heard the name Eloy before, but not his music, or where to place him, these two sets, six discs in total will set the record straight (pun intended). Eloy was born in 1938 and studied with Darius Milhaud. I believe he composes all sorts of work, but his main line of business is electronic music. I review them in order of composition. 'Shanti', which means 'peace', was composed after 'Kamakala' for three orchestra ensembles, five choir ensembles with three conductors, so it was perhaps 'necessary' to compose an electro-acoustic work at the WDR studios in Cologne, Germany. A work of meditation, or so Eloy tells us. Now this is not a work of pure and solitary drone music, as one would perhaps expect from 'meditative music'. They are here, that's for sure, but there is also an interview with Aurobindo and Mao, as well as a small piece called 'Soldats', with soldiers speaking and 'Vagues Lentes, Boucles De Feux', which takes their singing into an electronic landscape. This is of course an album about 'Peace', but rather then just produce a drone or two, Eloy brings in a political element, the soldiers. However the majority are those various drones, played on those ancient machines (great pictures in the booklet here), the mystical oscillators, wave generators and such like - which defy any laptop, I'd say. Excellent music, although not always exactly as meditative as promised, but that, I thought, was hardly a problem. Unsettling meditation, which is better than just go with the flow." [FdW/Vital Weekly]
|
2009 |
€25.00 |
|
| |
Kâmakalâ |
CD + booklet |
"CD with 60 pages booklet with photos + texts in French and English.
'Kâmakalâ. The Energy Triangle' (1971). For three orchestra ensembles, five chorus ensembles, with three conductors. Orchestra and chorus of the WDR, Schola Cantorum, Stuttgart. Conductors : Michel Tabachnik, Bernhard Kontarsky, Jacques Mercier. Kâmakalâ - a Sankrit term meaning energy triangle - refers to India's philosophy (Tantric Shivaïsm) and is expresses here as the appearance of energy, which is the erotic and cosmic energy (Kama), that which helps Shiva uniting with his Shakti (feminine energy), create every self-subdivision (Kalâ), hence gradually generating the whole complexity of the universe. It is that idea of a vast and slow crescendo of the various parameters of a musical score, of an infinite division and infinite multiplication of the material contained in it that appealed to Eloy. At the time he would complain about a type of contemporary music aesthetics only focusing on the quick scattering of all kinds of points within short periods of time, sometimes in just a few seconds (pointillism). As a result music pieces were almost inevitably bound to be brief, unable to sustain time as it would distribute the entire sound energy from the very first minutes. On the contrary, Eloy wanted to create music in which the energy was sustained, non distributed and reserved to intense inner blossoming at a later point; music expanding very slowly as in Indian Raga, yet Western music definitely modern, atonal and athematic.
'Étude III' (1962) for orchestra, with piano and five percussionists. Orchestra of the SWF, Baden-Baden. Conductor : Ernest Bour. Etude III, which was composed in May and June of 1962 in Zurich and Paris, uses the configuration of a traditional orchestra (wood and brass instruments by pair) opposite to an ensemble of five percussionists, piano, harp and celesta. A dialectic stands out of this opposition as it is emphasized through the writing and conducting (measured for the orchestral mass, a-measured and cued for the entire ensemble on the foreground). The instruments, which form cohesive timber families, come in according to an irregular pattern as the piece develops, with the entire configuration not coming into play until the last developments. The frequent use of very long durations, related to the steadiness of the pitch registers, leads to a rising static sound phenomenon reminiscent of oriental music in some regards: the tone and use of Shô in Japanese Gagaku, the slow and steady increase of complexity in Indian Raga.
'Fluctuante - Immuable' (1977) for full orchestra. New Philharmonic Orchestra from Radio-France. Conductor : Gilbert Amy. Fluctuante-Immuable, which was composed in 1977 as Gaku-no-Michi was produced in the Nippon Hoso Kyokai (NHK) electronic studio in Tokyo, is the result of a commission by the Secretariat of Cultural Affairs made for the Orchestre de Paris, which premiered it in May 1977. This work clearly shows the influence and the alterations that electro-acoustic practices infer on orchestral writing practices. Besides Eloy's long electro-acoustic productions, Fluctuante-Immuable suggested a new (theoretical and practical) way of addressing issues related to composing with notes. The formal issue that the composer faces at the beginning is that of a dialectic between Order and Disorder (or between order and organized chaos) topped by an issue about the relation between the conductor and his orchestra (techniques of synchronization or desynchronization with the mass of musicians)." [label info]
www.hors-territoires.com
|
2012 |
€23.00 |
|
| ELUDER |
Through Horizon |
CD |
"Japanese style mini-lp gatefold sleeve - printed by Stoughton. Features printed inner sleeve. Design by Timothy O'Donnell. Images by NASA. Edition of 400 copies.* For the many things "Through Horizon" does well, diversity is not one of them. For a drone record that isn't the negative that it can be for many other types of music as it allows the musician to focus on and hone a single aesthetic to create a defined and monolithic work. Eluder spends a full hour exploring the intersection of lurching and despondent bass rumblings and the flecks of high end digital distortion that may rise to the surface. At many moments throughout the album "Through Horizon" possesses the restraint of early Eluvium and the shrouded mystery of Seasons (Pre-Din) with a confident, dedicated voice. If you're going to focus on a sole objective for the length of an album you better make the right decision and Eluder undoubtedly does. - Ryan Potts, Experimedia" [label info]
|
2013 |
€13.00 |
|
| EMDE, GABRIELE |
Die Natur der Klänge - Neue Musik für Harfe |
CD |
"Gabriele Emde-Hauffe was born in 1953 in Darmstadt, Germany. She received a humanistic education at a local grammar school in Darmstadt and started studying the harp after her A-levels, first in Darmstadt and finishing in Cologne. Conducted by Péter Eötvös, she worked out modern chamber music and modern improvisation by J. G. Fritsch and Vinko Globokar. Passing her exams in 1980 and 1981, she continued her studies of musical science at Cologne University, based on her thesis, "The Harp between Myth and Reality." From 1981 to 1983 she was a member of Die Junge Deutsche Philharmonie and Ensemble Modern, and collaborated on productions of contemporary music with Ensemble-Köln and Ensemble 13, as well as the NDR-Sinfonieorchester Hamburg. She has performed the solo harp at various international festivals, among them many premieres and international radio, TV, and record productions. At the invitation of the Goethe-Institut, she toured North America in 1982, presenting Walter Zimmermann's works, and also performed in South Korea; her career as a performer has included performances of contemporary music by Berio, Boulez, Cage, Globokar, N. A. Huber, Schönberg, Stockhausen, Webern, I. Yun, B. A. Zimmermann, and W. Zimmermann. Until 1992 she taught harp classes in Cologne and Düsseldorf. Since 1991 she has been teaching her private harp class in Darmstadt. This CD contains recordings from 1985-'87 of pieces by John Cage, Hans Otte, and Lou Harrison." [press release]
"Werke von John Cage, Hans Otte und Lou Harrison
John Cage: In a landscape for Harp [1948] 9:09
Hans Otte: Wassermann-Musik für Harfe [1984] 40:53
Lou Harrison: Music for Harp [1978]
a. From music for Bill and me 2:58
b. Beverly's troubadour piece 2:17
c. Avalokiteshvara 2:29
d. Jahla 2:18
Gabriele Emde-Hauffe wurde 1953 in Darmstadt geboren.
Nach dem Abitur am humanistischen Gymnasium begann sie ihr Harfenstudium in Darmstadt und setzte es in Köln an der Musikhochschule fort. Dort erarbeitete sie unter der Leitung von Peter Eötvös neue Kammermusik und bei J. G. Fritsch und V. Globokar neue Improvisationsformen.
Ausgehend von ihrer Diplomarbeit "Die Harfe zwischen Mythos und Wirklichkeit" studierte sie, nach ihrem Examen 1980-81, an der Universität zu Köln Musikwissenschaft. Von 1981 bis 1983 war sie Mitglied der Jungen Deutschen Philharmonie und des Ensemble Modern, wirkte mit im Ensemble-Köln und im Ensemble 13 sowie im NDR-Symphonieorchester Hamburg bei Produktionen zeitgenössischer Musik. Sie spielte bei vielen internationalen Festivals, darunter zahlreiche Uraufführungen, Rundfunkproduktionen im In- und Ausland, sowie Fernseh- und Schallplattenaufnahmen zeitgenössischer Musik für Harfe solo. Auf Einladung des Goethe-Institutes folgte eine Amerika-Tournee mit Werken Walter Zimmermanns und Konzerte in Südkorea.
Unter anderem spielte sie zeitgenössische Musik von Berio, Boulez, Cage, Globokar, N. A. Huber, Schönberg, Stockhausen, Webern, I. Yun, B. A. Zimmermann und W. Zimmermann.
Bis 1992 war sie als Pädagogin in Köln und Düsseldorf tätig. Gabriele Emde-Hauffe ist Mutter von zwei erwachsenen Kindern und lebt freischaffend in Darmstadt."
www.edition-rz.de
|
2015 |
€16.00 |
|
| EMERGE |
Relativity (SOLD OUT) |
7 |
Ein neues Experimentalprojekt wird mit der DR-64 gewürdigt, EMERGE aus Augsburg schafft mit tiefen, schweren Sounds eine Atmosphäre wie unter Tage oder in einer Katakombe...alle Klänge basieren dabei auf field recordings..
“ EMERGE is a new project from Augsburg in South-Germany. After two self-released tapes & CDrs, DRONE Records is very pleased to officially present this great audio-work to a wider audience. The two tracks here (‘Relativity’ and ‘Profundity’) carries the listeners into very deep & low sound-regions throughout mysterious low rumblings & mechanized loops added by various distorted voices arising from beyond. This atmospheric feeling is like being under the earth or even underwater. It’s something that sounds like deep breathings coming from an invisible abyss that would create a psychic room inside it where the darkness is without any boundaries; no time or logic whatsoever: it’s the primal state of being. Filed under: amorph catacomb-drones YELLOW - BLACK SPRINKLED VINYL. HANDMADE COVERS WITH EXTREME PROCEDURES: PARTLY PAINTED & BURNED !!! “ [press release]
|
2003 |
€6.00 |
|
|
Contrition |
mCDR-box |
"On the two 10-minute pieces that make up this release, EMERGE uses samples from bass guitar (track 1) and prepared electric guitar (track 2) to create reverberating sonic environments that combine his characteristic dark drones with chords and melodic fragments that lend these compositions an unusually warm, acoustic sound.
EMERGE aka Sascha Stadlmeier is the founder and curator of the Attenuation Circuit label. Underlining the label’s collaborative spirit, EMERGE has invited label artists Eazy and Gerhard Zander, with whom he also collaborates in live improvisations (see “Betrachtung”, ACC 1001), to contribute snippets of their playing the bass guitar and prepared electric guitar. While most of EMERGE’s earlier works process their source materials way beyond any possibility of recognition, the two compositions on this disc are markedly different. Not only does the processing sometimes enhance the acoustic, analogue, and rather delicate feel of the source instruments, instead of sculpting the source materials into massive, bass-heavy blocks of sound. What also adds a new dimension to EMERGE’s catalogue of austere, abstract dronescapes is the fact that the two pieces, especially track 2, use a varied palette of seemingly rather referential sounds, conjuring up associations that range from the zoomorphic to the oriental." [label info]
www.wix.com/attenuationcircuit/attenuation-circuit
"The final release is by Emerge, the project of Sascha Stadlmeier, who is also the man behind the Attentuation Circuit label. Knowing his previous releases, its not a surprise that on this new one he explores the edges of sampling
through the use of a single sound source, in this case the bass guitar (track one) and prepared electric guitar (track two). These new pieces see him move away from his earlier work, going more into a collage like style of sounds,
pieced together into compositions stemming from the world of musique concrete and making connections to the world of people like Marc Behrens or Roel Meelkop. Moving away from the more densely layered works with less variation, into a much richer field of music, at least that's what I think. A major leap forward for
Emerge." [FdW/Vital Weekly]
|
2011 |
€6.50 |
|
|
Oneirism |
10inch |
"Two untitled tracks of 12 minutes each make up EMERGE’s first release in the 10” format. Both showcase the “dark ambient” aspects of EMERGE’s work in its purest form to date. “Oneirism” hints to the world of dreams, and while one side can be considered a cinematic rendering of a nightmare set in dark and glacial surroundings, the other is replete with immersive drones that are mysterious yet beautiful in an otherworldly way, literally making this release the dream of every dark ambient fan.
This release is a new departure in EMERGE’s work in various ways. While deep, dark drones have always been an important feature of his compositions, they have always been contrasted with other timbres. Here, EMERGE goes more minimal and more bass-heavy at the same time and lets the deep microtones do all the work of enveloping the listener and sucking him or her into the dream world of the music. The lack of any information on the sound sources used, otherwise meticulously supplied with every EMERGE release, heightens the sense of mystery evoked by the sound itself. Listeners are invited to create their own associations inside their own heads. An intense and beautiful listening experience, not only for dark ambient buffs, but for anyone who is interested in spaced-out, psychedelic kinds of ambient and other electronic music. For EMERGE fans this release is a must, as it is the artist’s third vinyl outing after a 7” on Drone Records, long sold out, and the hand-painted split LP with B°tong on attenuation circuit." [label info]
www.attenuation-circuit.de
|
2013 |
€13.00 |
|
|
Narcoses |
CD |
Starting with an almost imperceptibly slow pulsation in the deepest depths of the subsonic, this 40-minute composition works its way through rhythmic parts texturised by glitches and crackles. This release, which brings together the various musical approaches EMERGE has developed over the last few years, at times feels like an unlikely hybrid between sound sculpting in the vein of Bernard Parmegiani’s musique concrète and ‘hauntological’ dubstep atmospheres.
This live recording is perhaps the most rhythm-based release by Sascha Stadlmeier (aka EMERGE) since his earliest musical outings under his Dependenz moniker around the year 2000. Rhythm here not only means that abstract sounds are looped into beats, in various registers from the treble to the really deep bass. The whole macrostructure of the piece is rhythmic because it is punctuated by (sometimes rather long) silences. This is markedly different from many of EMERGE’s more textural, “dark ambient” pieces of the past, which were based on layered and ever-shifting drones. It literally gives the listener pause to think and follow their own train of thoughts while never losing the focus on the sounds themselves. This results in an atmospheric quality that is both dream-like and lucid, unhurried and full of suspense. In the excellent sense of timing and dramaturgy of “narcoses”, one feels the wide experience in free improvisation that Stadlmeier has acquired since his last full-length EMERGE release by playing in all sorts of improv formations.
File under: Musique concrète, electroacoustic music, dark ambient
emerge.bandcamp.com/album/narcoses
|
2017 |
€8.00 |
|
| |
Indulgence |
CD-R |
"There is only one sound artist whose knowledge of the underground is so reliable that it knows out to bring out the best literal sounds of sand, gravel, dirt and mysterious mysteries from the lower levels. Emerge is the artist that I’m writing about.
Many of Emerge’s releases are shimmering, softly crawling into the shadows of suburban city lights and below the surfaces within sewer systems. However this time with this new release things are different; here Emerge doesn’t go for the sound of after night city lights, subway systems or drainage, but indeed literally goes under the ground as being the polar opposite of astronauts that would go out into space.
Here Emerge explores the sounds of the real underground, as the vast amount of dry dirt and mud is being slit through in order to reveal sound places that nobody (except Emerge) really knows about; underground rooms in which the private artist and explorer hides out in all his privacy; places from which genially engraved holes provide the sounds of a controlled sea, the one that you could hear in snail shelves, or in toilet bowls; but yet never heard before!
With the help of Emerge you don’t need to do anything at all; just listen to this release as it will take you deep under the underground surface for your recreational, or even scientifically approved purposes.
I say recreational as in one moment of slipping through the microscopic sand rocks the artist seems to handle over a ping pong table tennis racket for a friendly underground game.
Afterwards Emerge transforms the audio surroundings into a real cozy one; a pleasant underground cave with a damp feeling and pleasurable water drips & muffled sounds of possibly bad weather above surface; nothing is better than being dry, warm, cozy and among a good friend deep down below; while others are above ground getting soaked while struggling with opening their umbrellas.
Emerge will keep us all thoroughly entertained by leading the way through even deeper surfaces, a dense hallway that seemingly picks up the sounds of a long and lost highway now sophistically beamed down in Emerge’s underground network.
Let Emerge be the eye opener to a place of the beautiful underground world that we normally just step over." [Yeah I know it sucks]
https://emerge.bandcamp.com/album/indulgence-2
|
2021 |
€10.00 |
|
| ENGLISH, LAWRENCE |
Lonely Womens Club |
LP |
"Beautiful new work from Lawrence English. Pressed in an edition of 500 copies. Lawrence English is composer, media artist and curator based in Australia.
Working across an eclectic array of aesthetic investigations, English's work prompts questions of field, perception and memory.
English utilises a variety of approaches including live performance and installation to create works that ponder subtle transformations of space and ask audiences to become aware of that which exists at the edge of perception.
Over the past decade, English's sonic investigations have traversed a divergent path through which musical languages and environmental sources are granted equal focus.
His work calls into question the established relationships of sound and structure. English's sound work is evocative and invites the listener to explore their own narratives and impressions informed by personal histories and experiences.
Published widely on respected imprints including Touch, 12K and Winds Measure, English's work is sculpted and overwhelmingly intricate.
As a producer, English has completed numerous projects with artists including Tujiko Noriko (U, Blurred In My Mirror), Ben Frost (Theory Of Machines) and Tenniscoats (Totemo Aimasho, Temporacha).
He has also completed commissioned compositions for acclaimed performance troupe Circa and other contemporary dance ensembles and has worked as a sound designer on video installations in collaboration with artists including Australian visualist Craig Walsh.
His music has also been used in a number of films including a commission from Makino Takashi to create a composition for The Low Storm in 2009." [label info]
www.importantrecords.com
|
2012 |
€16.50 |
|
| ENGLISH, LAWRENCE & WERNER DAFELDECKER |
Shadow of the Monolith |
LP |
"Shadow of the Monolith is the collaboration of acclaimed artists Lawrence English and Werner Dafeldecker. Recorded across the Antarctic Peninsula and produced in Brisbane Australia, Shadow of the Monolith works across aesthetic disciplines exploring electroacoustic transformations of atmospheric, hydrophonic and ionospheric materials. The raw materials have been layered, processed and structured into a record that drifts from dense microscopic cracks to vibrant shifting frequencies, from sections of profound white stillness to storms of intense activity, from intense light to improbable dark and from immersive macro-spaces to non-spaces.
Lawrence English is composer, media artist and curator based in Australia. Working across an eclectic array of aesthetic investigations, English’s work prompts questions of field, perception and memory. English utilizes a variety of approaches including live performance and installation to create works that ponder subtle transformations of space and ask audiences to become aware of that which exists at the edge of perception.
Werner Dafeldecker’s background is in European modern music and improvisation, examination of graphical notations, Fluxus, minimal music, electro acoustic music, jazz and field recordings. His musical projects are often inspired and deduced by outside influences such as architecture, physics, photography and film. Longtime sound and structure studies and the formulation of distinct articulations are in the center of his work as a composer and musician and are parallel to technological developments often connected with electronic form.
Shadow of the Monolith comes in a limited edition of 300 copies, cut by CGB at Dubplates and Mastering and pressed on 140gram black vinyl.
Recorded at Marambio and Esperanza bases, Antarctica Summer 2010
Written and produced by Lawrence English and Werner Dafeldecker.
Cover Photo by Lawrence English
www.lawrenceenglish.com
www.dafeldecker.net
This project has been supported by Austro Mechana
LP designed by wearestillbb.com
Released on the 18th of November 2014" [label info]
www.holotype-editions.com
"You may, I hope, have heard the names Lawrence English and Werner Dafeldecker before. The first is from Australia and uses his laptop to transform field recordings, while the second is from Austria and best known for his work in improvisation, Fluxus, minimal music and field recordings, among many other things. This record was recorded 'across the Antarctic Peninsula' and produced in Brisbane, 'exploring electroacoustic transformations of atmospheric, hydrophonic and ionospheric materials' - the microphone picks up signals from water, wind and the ground; all of which are then transformed using computer techniques. This album, though great as it is, is not as a big surprise as the one by Stefanou. Here we have some solid constructions of treated field recordings, the breaking of waves and ice, stale wind over polar landscapes and all such like. It's sometimes quite dark and haunting, like an endless winter night in these regions, but it's not exclusively like that. Light shimmers through this here, occasionally and throws a long shadow over the material. Sometimes it becomes even musical, when it hints towards a melody or rhythm, such as in the final piece 'Outtake'. Though not a surprise per se, I think this is a great record. Dark yet imaginative, cool but not cold, it's a fine record of nicely retuned field recordings. Exactly, probably the kind of thing you would expect from these two composers." [FdW/Vital Weekly]
|
2015 |
€17.50 |
|
| ENHET FÖR FRI MUSIK |
Ömhet & Skilsmässa |
LP |
New Enhet För Fri Musk album, recorded in Gothenburg and Malmö 2020 by Hugo Randulv, Sofie Herner, Gustaf Dicksson, Matthias Andersson and Dan Johansson. A concept album on relationships, family values and broken promises. 18 songs. With 20-page song book.
Second press, 500 copies.
Discreet Music 03, 2021.
https://discreetmusic.myshopify.com/products/enhet-for-fri-musik-omhet-skilsmassa-lp
"Enhet för fri musik had four full years to bring us new sounds. Their previous “Det finns ett hjärta som för dig” LP was one of their best albums until now, with many songs based in a simple but quite beautiful folk/pop music form. The group (that’s Hugo Randulv, Sofie Herner, Gustaf Dicksson, Dan Johansson and Matthias Andersson) has so far managed to gain fanatic fans and most of their releases are sold out really fast. Ömhet & Skilsmässa is already on second press, confirming this rule.
Ömhet & Skilsmässa is more dark & melancholic album to my ears. The tunes of the “regular” songs are more down tempo and moody, as the band seems to give more space to the whole feeling that the listener gets by listening. Great stuff!" [soundtraag]
|
2021 |
€22.50 |
|
| ENO, BRIAN |
Music for Installations |
6 x CD BOX |
Though containing music that goes back to 1985, Music For Installations is hardly a retrospective in any traditional sense. It’s more a whimsical line connecting ideas in Eno's own personal Long Now.
Not long after Brian Eno coined the term “ambient music” in the late 1970s, he generated another Eno-ism with an extended lifespan, one with an appropriately slower dissemination.”I want to be living in a Big Here and a Long Now,” the producer wrote in a notebook. He thought of his then-recent recordings as sound “suspended in an eternal present tense.” Perhaps unconsciously channeling Baba Ram Dass's brand/mantra, Be Here Now, the always-conceptual Eno began to expand his sense of scale. Two decades ago, Eno helped start the Long Now Foundation, working to connect the present moment to the far-extended arc of human history. One project was the 10,000 Year Clock, for which he created patterns for the clock's chimes, each to be rung once and never repeated.
By the mid-’90s, the period representing the general starting point of the six-disc Music for Installations, Eno's “ambient” work had largely fallen under the subtly different rubric “generative” (that is, music that is created according to a system of algorithms, only partly under its maker’s control). Each piece here represents its own individual slice of one possible Long Now, with Eno providing the finely considered coordinates so that the music itself can run infinitely, changing into new patterns like a river or an ocean. Grown from mid-’80s experiments with four tape recorders looping cassettes of differing lengths, Music for Installations contains what are essentially field recordings from a series of different environments, each its own universe. Filled with gorgeous washes of bells and drones and unidentifiable luminous shimmers, deep vibrations moving across widescreen stereo fields, one might imagine them all as separate galleries and vestibules in a vast museum, each filled with light and sound, running constantly as night and day change outside and the seasons pass. Though Music for Installations contains sound created for specific situations and places, as a box set, it might be used to step outside of time.
Of course, a streaming service might still label all of the above as “ambient,” part of the new chill-out economy seemingly driving Spotify to its own kind of generative musak. But what Music for Installations proves beyond a doubt is that, to paraphrase Chevy Chase, he's Brian Eno and they're not. Though containing music that goes back as far as 1985 (”Five Light Paintings”), Music For Installations is hardly a retrospective in any traditional sense. It’s more a whimsical line connecting ideas in Eno's own personal Long Now.
Eno is everywhere and nowhere in this music, much of it not so much performed by him as willed into existence, like a character from a science fiction novel who dreams in sound. On several of the longest pieces, such as the 44-minute 77 Million Paintings, low rolling notes played sparsely at long intervals seem to indicate melodies unfolding too slowly for immediate comprehension, perhaps even direct continuations of the similar motifs from 1978's Ambient 1: Music for Airports. Released in DVD editions in 2006 and 2007, 77 Million Paintings constitutes the audio accompaniment of a generative video program Eno created. As he recounts in the liner notes, when he first set it up, he began to document individual frames of it with a still camera, shooting off some 800 pictures before surrendering to the ephemerality. The feeling of listening to Music for Installations is often similar. Its pieces are beautiful and always different, and yet always the same, generic without losing character.
Much of it is resolutely not chill-out music. The nearly 40-minute piece “I Dormienti” is filled with a ceaseless moving richness that's hard to reconcile with the idea of machine creation. High-frequency electronic tones and clusters of upper register piano notes flutter between percussive samples of vocalist Kyoko Inatome, amid other layers. Composed for a joint installation with the sculptor Mimmo Paladino in the subterranean space beneath London's Roundhouse, the music is perhaps more suited for the kind of contemplation that goes along with quietly freaking the fuck out, an accompaniment to Paladino's haunted work as it was seen in the darkroom, pieces displayed on the floor like strange creatures preserved after a Pompeii-like disaster.
The set's final two discs don't actually contain music for installations, except in ever more conceptual ways. Making Spaces was a CD sold at installations, and little of it feels generative in composition or structure, though the liner notes don't clarify. In the context of the box set, it feels not only like a separate, hidden Eno album of its own, but a brilliant one, demonstrating that Eno is still perfectly capable of seizing the means of production. The nine pieces feel less like spaces and more like the objects inside, sculptures with distinct shapes and boundaries and artistic intentions. The unearthly “New Moons” features a sparsely strummed guitar part with defined chords (and even a bridge), aglow from start to finish, perhaps one haunted vocal away from fitting perfectly onto the song-based album some strata of Eno fans always want dearly. “All the Stars Were Out” contains a background flutter that could equally be the sound of crickets or the flicker of a film projector, but is just one more expressive tone carved out by Brian Eno. Each of the tracks contains its own inventions and deployment of color-forms or unexpected tonal voices or structural turns.
The set-concluding Music for Future Installations, meanwhile, is perhaps the box's cheekiest conceit, music for new places, new situations that haven't yet happened.”I often find it helpful to have an alibi for making a piece of music,” he observes, and the seven discs of Music for Installations might serve many contexts. Music For Airports was never for airports (though it certainly is capable of providing calm inside one), and the function of Music for Installations is wherever the listener might like to install it, less about the purpose of the music and more about the listener's desired level of engagement. But no matter what level of engagement one chooses, Eno will be there, too.
The set's 60-page liner notes are filled with documentation, though it's sometimes unclear which recordings correspond to which installations, if any. More, though, it acts as a Little Red Book of Eno-isms, where he lays out one deeply awesome hot take after another.”I thought of television as a light source rather than a narrative source,” he writes about his video installations, “at that time the most controllable light source that had ever been invented.” (I… had never thought of it like that.) No matter how vibed-out the music may get, there is always the sense of a voice and mind behind it. Even when trying to abdicate the order and arrangement of the notes being played, Eno's control over sound remains at a practically spiritual level. “Eno is God,” ran the early ’80s graffiti, and depending on how you define his domain it might still be true, manifesting in the smallest of breezes and the tiniest of bleeps.
|
2018 |
€55.00 |
|
| ENS IMPERFECTISSIMUM |
Illuminate E Aelimitate |
CD |
(ZZS 105) Ens Imperfectissimum "Illuminate E Aelimitate"
(A blackened Physical Ritual Recording in the veins of Zero Kama,Phurpa,Lashtal & Arktau Eos)
Ens Imperfectissimum bases his art on worship, work and devotion to the dead, not tied to a single path or spiritual practice. To connect with these spirits, instruments made with human bones are used, such as kanglins, clash of bones, among others, as well as whistles called "whistles of death" used in pre-Hispanic times. The combination of these elements results in a ritual dedicated to the dead, which are presented in a neat and sensible way according to the purpose of who calls them.
Opus dedicated to the devotees of the dead. To those who travel in the stark obelisk adorned with bones of the old aeon. To those who put candles to light the path of the emaciated. May the sound of the femurs and the drums of skulls in sheep's clothing be a constant rumble that connects us with those who once walked our paths.
A guided journey from the stark voices of the abyss...
A devotional and ritualistic work dedicated to the dead from different traditions, cults and religions. To achieve this connection and communication, it was recorded during the days of the dead through necroglossolalia. The sound accompaniment is made up of sounds of human bones, kanglins and pre-Hispanic whistles of death, which fulfill the function of creating vibrations and frequencies that help the manifestation and contact with the dead. These ritualistic syncretisms are recommended for those who follow the path of necromancy...
Official Video Teaser:
youtu.be/HaDQKzKFz5s
https://ensimperfectissimum.bandcamp.com/album/illuminate-e-aelimitate?from=hp
|
2022 |
€13.00 |
|
| ENSTRÖM, ROLF |
TNT |
LP |
Rolf Enström can look back on a fifteen year period as a composer. His list of works includes a number of very carefully crafted compositions of high artistic quality. Several of his works have become "classics"; one thinks especially of "Directions" (1979) and "Final Curses" (1981).
Rolf Enström is a composer who unceasingly seeks new artistic paths and new means of expression and this is something which has led him to combine music with other art forms, primarily the visual arts and literature. On this record, we meet Enström as a composer of pure electroacoustic music. The three works Dagbrott, Sekvens i blått and TNT span a period of eight years.
"Dagbrott"
"Sekvens i blått"
"TNT - Tònal - Nagual - Tsentsaks"
- FYLP 1031, 1986
www.fylkingen.se
|
1986 |
€18.00 |
|
| ERIK M & LUC FERRARI |
Visitation |
LP |
Visitation, created on April 1st, 2011 is a very unique kind of collaboration between two French sonic artists, master Luc Ferrari and eRikm. Here is eRikm's direct testimony about this work: "When the sun set on April 1st, 2011 I heard through the windows of my house the repetitive song of a night bird. Madeleine brought me immediately back to Luc Ferrari¹s electroacoustic piece Presque Rien N° 2. I became curious about comparing the bird that was officiating in the garden of Cap15 (in the North area of Marseille) with the bird of Presque Rien. My curiosity triggered the desire to play Luc's piece in the acoustic space of my house. With my rudimentary recorder I moved inside and outside the house, moving back and forth between both spaces. I played with the depth of field, the beat between these two birds separated by 34 years, and immersed myself in these acoustic events. This Ursprung or temporal Klein bottle was recorded and edited in one single sequence shot." It's very hard to compare anything with one of the all-time masterpieces of modern creation as Luc Ferrari's Presque Rien N° 2, but listening to this piece you immediately get the impression of a perfectly accomplished work, published now on LP on your favorite label. So here is the first-ever LP by eRikm, elegantly released with Presque Rien's iconic mouth picture on the sleeve; dedicated to Brunhild Ferrari and to Natacha Muslera. One-sided release.
|
2011 |
€21.50 |
|
| ERLANDSSON, MATS |
4-track Guitar Music |
do-LP |
4-Track Guitar Music is the unassuming title of a cassette by Swedish composer Mats Erlandsson, which was originally released on Kali Maloneʼs and Maria W. Hornʼs XKatedral label in 2018. Composed using only, as the album title implies, a 4-track tape deck and an electric guitar, the music was later modified on the computer and re-amplified in the machine hall of Ställbergs Gruva, a disbanded Swedish iron mine.
The music is primarily composed using melodic motifs and canonical structures in which a set of pitches are transposed in octaves and delayed, creating an ever-evolving cyclical polyphony. Contrary to the albumʼs modest title, the music is a tour-de-force of exuberance and stoic catharsis, continuously bordering on a sense of ecstatic serenity, sincere contemplation and restraint.
Now Vaagner is proud to present the work on vinyl for the first time via a fully remastered reissue of 4-Track Guitar Music, with the Double LP including a bonus track titled "Cellar" by Mats Erlandsson which was not included on the original release.
~
As a composer, musician and sound artist, Mats Erlandsson is part of the vibrantly reemerging field of drone music in Stockholm, Sweden, and is associated with practices characterized by the extensive use of sustained sound.
Erlandsson has undergone studies in composition in Stockholm, where he received a Masterʼs degree in Composition of Electronic Music. In addition to his own artistic practice, Erlandsson holds a position as studio assistant at the world-renowned Elektronmusikstudion (EMS) in Stockholm. He presents his work both as a solo artist and in collaborations, most notably together with Yair Elazar Glotman.
https://vaagner.bandcamp.com/album/4-track-guitar-music
|
2021 |
€22.50 |
|
| ESMERINE |
Dalmak |
CD |
"180 GRAMM VINYL LP INKLUSIVE POSTER + DOWNLOADCODE! Als ESMERINE mit "La Lechuza" 2011 ins Licht der Öffentlichkeit traten, war das Album das Signal für viele Dinge: es markierte die ersten Aufnahmen der Band nach sechs Jahren, ein erweitertes Line-Up und eine Songsammlung, die vom Leben und dem viel zu frühen Tod eine Freundes und Mitmusikers inspiriert war.
Das neue ESMERINE Album ,Dalmak" stellt heraus, dass die Band nicht damit aufgehört hat, zu schreiben, zu entdecken und zu kollaborieren.
Bruce Cawdron (Ex-GODSPEED YOU! BLACK EMPEROR) und Cellistin Rebecca Foon (SILVER MT. ZION, SET FIRE TO FLAMES) haben den Percussionisten Jamie Thompson (UNICORNS, ISLANDS) und den Multiinstrumentalisten Brian Sanderson als vollwertige Mitglieder rekrutiert.
Europäische Touren brachten ESMERINE zwischen 2011 und 2012 nach Istanbul; ,Dalmak" ist das Resultat dieses Besuches: Der Großteil des Albums wurde in Istanbul aufgenommen, wo die vier kanadischen Musiker Verstärkung von der gleichen Anzahl türkischer Gastmusiker bekam.
,Dalmak" ist ein türkisches Verb mit vielen Auslegungsmöglichkeiten: betrachten, sich auf etwas einlassen, eintauchen, baden, in etwas hineineilen, abstürzen.
Als Albumtitel bezieht sich ,dalmak" wörtlich auf das Einlassen auf die Kultur und Musik von Istanbul, beschwört jedoch auch passenderweise die Spannweite der Musik, die hier herauskam: eine Sammlung von Songs, die zwischen meditativem Pulsieren und umarmender Hemmnis und spontanem Ausbruch in Rhythmus und Groove pendelt." [label info]
www.cstrecords.com
|
2013 |
€14.00 |
|
| |
Everything was forever until it was no more |
LP |
Deluxe 180gram vinyl edition comes in a foil-embossed and die-cut cardstock jacket with printed inner sleeve and additional 12x12 art cards featuring the collages of Maciek Szczerbowski. All the art interacts with the die-cut jacket framing. Edition of 300. Rooted in a distinct and immediately identifiable sound_with the cello of Rebecca Foon (Saltland, Set Fire To Flames, Thee Silver Mt Zion) and the marimba of ex-Godspeed You! Black Emperor percussionist Bruce Cawdron at its core_Esmerine has long embroidered emotive chamber works using threads of post-classical, post-rock, Minimalism, neo-Baroque, jazz, pop and a wide array of folk traditions. Multi-instrumentalist Brian Sanderson, who joined the group in 2012, has furthered Esmerine's melodic and ethnomusicological sensibility ever since, expanding the ensemble's palette as its third core member with guitars, ngoni, ekonting, hulusi, brass horns of all sorts, and more. Since 2003, six stately and filmic instrumental albums have inscribed compositional landscapes through epigrammatic miniatures, longform multi-movement chronicles, and all manner of evocative musical prosody between. Marked by an inimitably turbid yet tempered pastoralism, alternately lit by dappled dawn and disquieted dusk, Esmerine's musical narratives balance asceticism and romanticism, melancholy and hope, stillness and wanderlust. Esmerine now shares Everything Was Forever Until It Was No More, its seventh full-length album and first in five years. The band surprise-dropped the full album digitally on 06 May 2022, with the CD and Deluxe 180gram LP editions hitting stores on official release date 26 August 2022. Following an acclaimed run of mid-career records on Constellation through the 2010s_the last three of which have all been finalists or winners of Juno Awards for Instrumental Album of the Year and/or Album Packaging of the Year_Esmerine began working on new music at decade's end. Under the auspices of a grant from the Canada Council for the Arts, and a summer 2019 residency at Le Château de Monthelon (an artist commune in France where the band has cherished long-standing spiritual, creative, and personal connections), compositional seeds were planted_and then pandemic rooted everyone in place. In between lockdown waves, at the respective rural Québec homesteads of Cawdron and Foon, longtime co-producer Jace Lasek (The Bernard Lakes) began capturing the band in various stripped-down configurations with spartan remote equipment. More fulsome arrangement and overdub sessions at Foon's converted barn during the summer of 2021 brought the album to full fruition_where a notable increase in the use of acoustic piano also poured forth, with just about every band member having a go. The record also signals the definitive integration of bassist Philippe Charbonneau_having joined Esmerine as a touring member pre-pandemic, he plays throughout the album on upright and electric bass, with turns on piano and synth, as well as sound design contributions via tape echo and other processing. Everything Was Forever Until It Was No More grapples with the existential tensions between atmosphere and airlessness, seclusion and claustrophobia, forbearance and coalescence. In many ways it is one of Esmerine's most restrained records. Only a few passages are driven by full percussion. There is palpably less Sturm and Drang or overt crescendos compared to its recent predecessors. The new album roils with a different sort of dynamic intensity, where instrumental densities ebb and flow within an overtonal centre, melding into each other with gauzy timbral warmth, sometimes tracing fleeting tendrils outwards, but always rotating around a saturnine gravitational force. Everything Was Forever Until It Was No More is like a dark forest lit by a closely-orbiting opalescent planet; it could be the alternate score to Von Trier's Melancholia or Cormac McCarthy's The Road.
https://esmerine.bandcamp.com/album/everything-was-forever-until-it-was-no-more
|
2022 |
€27.50 |
|
| ESPLENDOR GEOMETRICO |
Nador |
LP + 7inch |
"Here's the first ever vinyl issue of 'Nador', originally published on CD in 1995. 'Nador' features nine (remastered) tracks, recorded in 1988-1989. Fans of Esplendor Geométrico have been waiting eagerly for this reissue of 'Nador', a collection of unreleased tracks and alternative takes recorded during the period that also spawned the albums 'Sheikh Aljama' and 'Arispejal Astisaró'. Due to the limited capacity of the vinyl format, the music of the CD had to be divided over an LP and a separate 7-inch single. Limited to 700 units." [label info]
www.geometrikrecords.com
|
2015 |
€23.50 |
|
| |
Fluida Mekaniko |
do-LP |
"The cult band based in Madrid and Rome, influential "industrial" pioneers of the pulsating, hypnotic and tribal rhythms since 1980 presents new album!: Fluida Mekaniko.
Since his previous album "Ultraphoon" (2013), Esplendor Geométrico has performed more frequently than ever during these last two years in different countries and festivals (for the first time in the US and Russia), while it was launched in Madrid a documentary feature film about the group directed by a renowned Spanish director within the avant-garde cinema: Geometría del Esplendor, which has just been premiered at the prestigious In-Edit festival in Barcelona, receiving an honorary award.
Fluida Mekaniko has been recorded during 2016 and contains 12 new tracks that, although they continue the line developed since Pulsión (2009), we also find here references to their most harsh and noisy sound of the eighties. Industrial Neo-tribalism where mechanical rhythms hypnotize, like mantras, inducing the trance. It highlights, and already is a distintive feature of E.G., the inclusion of voices and sonorities of African, Arab and Asian music.
DOUBLE LP Limited and numbered edition of 700 copies." [label info]
www.geometrikrecords.com
|
2017 |
€26.50 |
|
| ESTANG, LUC / PIERRE HENRY / PAUL MEURISSE / JEAN-MARIE FERTEY |
Saint-Exupery |
LP |
During his long and illustrious career the French composer and musique concrète pioneer Pierre Henry created a lare amount of incidental music to accompany literary texts, both on record and for the stage, from Jules Verne to Victor Hugo, from Lautréamont to Antonin Artaud. This incredibly rare LP from 1959 is a radio play about the life of French pilot and writer Antoine de Saint-Exupéry, based on the 1956 book by Luc Estang on the subject. The interpreters are a small theater troupe including French actor Paul Meurisse (1912-1979), famous for popular films and as a member of national theater company La Comédie Française. Underlying key scenes, Pierre Henry's contribution to the play consists of electronic and musique concrète sounds, adding a contemporary dimension to the text. A beautiful piece from one of the mid-20th century's truly brilliant sonic explorers.
|
2018 |
€18.50 |
|
| ETANT DONNES |
Re-Up |
CD |
"For this 1999 release, France’s Étant Donnés (Eric & Marc Hurtado) brought in Alan Vega, Lydia Lunch and Genesis P-Orridge to provide lyrics and vocals for specific contributions. Vega features on the first four tracks, juxtaposing his stream-of-conscious vocals with the phasing pulses and analogue crackles and sighs on ‘Shadows Lights’, responding to the rhythmic ticking and splintering synth on the title cut, helping on a track he originally wrote with Martin Rev to cover Suicide’s ‘Ghost Rider’ with an eerie Elvis Presley vamp, along with the epic ‘Brutal Piss Rods’. Lydia Lunch follows on ‘Sexodrone’, a lengthy piece where treated trumpet from Mark Cunningham duels with Lunch’s breaths and icy cold delivery. Genesis P-Orridge brings along a different feel with his steady spoken word work on the three final tracks: the metallic gongs, bells and revolving synth washes of ‘At Last’, the companion piece ‘Angel With Iron Wings’ and ‘Secret Tear’. The latter track also features Bachir Attar, leader of The Master Musicians Of Jajouka, playing the ghaita; P-Orridge and Attar conclude the voyage with a vigorous call and response between P-Orridge’s instrument of flesh (his voice) and Attar’s human-made one. A perfect soundtrack for sensual explorers. The last bonus track is a 2014 remix of ‘Ghost Rider’ by Marc Hurtado that gives the feeling of being transported into the centre of an intergalactic war."
munster-records.com//
|
2016 |
€14.50 |
|
|
Re-Up |
do-LP |
"For this 1999 release, France’s Étant Donnés (Eric & Marc Hurtado) brought in Alan Vega, Lydia Lunch and Genesis P-Orridge to provide lyrics and vocals for specific contributions. Vega features on the first four tracks, juxtaposing his stream-of-conscious vocals with the phasing pulses and analogue crackles and sighs on ‘Shadows Lights’, responding to the rhythmic ticking and splintering synth on the title cut, helping on a track he originally wrote with Martin Rev to cover Suicide’s ‘Ghost Rider’ with an eerie Elvis Presley vamp, along with the epic ‘Brutal Piss Rods’. Lydia Lunch follows on ‘Sexodrone’, a lengthy piece where treated trumpet from Mark Cunningham duels with Lunch’s breaths and icy cold delivery. Genesis P-Orridge brings along a different feel with his steady spoken word work on the three final tracks: the metallic gongs, bells and revolving synth washes of ‘At Last’, the companion piece ‘Angel With Iron Wings’ and ‘Secret Tear’. The latter track also features Bachir Attar, leader of The Master Musicians Of Jajouka, playing the ghaita; P-Orridge and Attar conclude the voyage with a vigorous call and response between P-Orridge’s instrument of flesh (his voice) and Attar’s human-made one. A perfect soundtrack for sensual explorers. The last bonus track is a 2014 remix of ‘Ghost Rider’ by Marc Hurtado that gives the feeling of being transported into the centre of an intergalactic war."
munster-records.com//
|
2016 |
€22.00 |
|
| |
Ceux Qu'On Aime - Ce Que Je Hais |
CD |
"Etant Donnes is a French duo named after Marcel Duchamp's last major work. The group consists of brothers Marc and Eric Hurtado, born in Morocco and working mainly as performance artists and musicians. Their sound can be described as a mix of field recordings, found sounds and sometimes whispered, sometimes violent vocals. They describe their sounds like this: "Through Marc and Eric, it is the volume of each word that becomes an object-sculpture, together with the power of their bodies expressing their voices. Each event is a scream - indeed even the glissando - of the strength of the word that sometimes abruptly becomes a rock, a solid surface, not in the least fluvial, as is the narrative of a tale, novel or poetic epic. With both of them, there is no more trace of ancient prosodies, no more trace of the incomprehensible Sainte-Beuve who could claim: "I have to collect a volume of prose". The word, the voice, the volume take shape with each other, unveiling a theatre that theatre usually ignores, which has given it such things as a Samuel Beckett's Fin de Partie." Over the years Etant Donnes have collaborated with people like Lydia Lunch, Michael Gira, Alan Vega and Genesis P-Orridge. Ceux Qu'on Aime - Ce Que Je Hais was the band's fourth album, dating back to 1983 and originally issued on French Bain Total label (run by Philippe Fichot of Die Form). For this CD re-issue we have added a long bonus track not on the original album. Full tracklist: 1. Ceux qu'on aime - Ce que je hais 2. Les Cents Pas 3. Mieux vaut se retourner que regarder dans le reflet 4. Music from the film Des autres terres souples Part 3."
https://www.klanggalerie.com/gg396
"Das vierte Studioalbum (1983) des französischen Experimental- / Performance-Duos ETANT DONNES mit einem einen zeitlos spannenden Mix aus Industrial / Noise, Avantgarde-Klängen und Musique Concrete. „Ceux Qu‘on Aime - Ce Que Je Hais“ erscheint erstmalig als
CD im Digipack-Format mit Bonustrack auf KLANGGALERIE.
1980 in Grenoble von den beiden Brüdern ERIC und MARC HURTADO ins Leben gerufen, legte das nach einem Werk des französisch-amerikanischen Dadaisten/Surrealisten MARCEL DUCHAMPS benannte Experimental- / Performance-Duo, das seitdem mit Genregrößen wie GENESIS P-ORRIDGE, ALAN VEGA, MICHAEL GIRA, MARK CUNNINGHAM und LYDIA
LUNCH zusammenarbeitete, schon ein Jahr später sein Albumdebüt „L‘Opposition Et Les Cases Conjugues Sont Rconcil“ vor. „Ceux Qu‘on Aime - Ce Que Je Hais“ war das vierte Album der Band aus dem Jahr 1983, das ursprünglich auf dem französischen Label BAIN
TOTAL (unter Leitung von PHILIPPE FICHOT von DIE FORM) nur als Kassette veröffentlicht wurde. Für diese CD-Neuauflage wurde ein langer Bonustrack hinzugefügt, der nicht auf dem Originalalbum enthalten ist („Music From The Film Des Autres Terres Souples Part 3.“)."
|
2022 |
€15.00 |
|
| ETIENNE, YVAN |
Twist |
LP |
listen: https://label-aposiopese.bandcamp.com/album/twist
YVAN ETIENNE
TWIST
A1 : Cinq réflectances inversées - 21:38
B1 : L’énergie du non - 18:59
_
Composed and recorded by Yvan Etienne.
Serge Modular, Field recordings.
CD : Mastered by Yvan Etienne / LP : Mastered by Giuseppe Ielasi.
Cut by Mike Grinser at Dubplates & Mastering, Berlin.
Artwork by Gregory Weiss / Design : Yvan Etienne.
Produced by Aposiopèse.
For Serge Modular and field recordings.
French artist/activist Yvan Etienne, is engaged in research in the field of sound art. As a musician, he composes and plays pieces using electronic, phonography, analog synthesizers and the hurdy-gurdy. His sound art research questions the perception and physicality of sound spaces. Collaborations with Phill Niblock, Yann Gourdon, Richard Glover, Brice Jeannin, Patrice Grente, Robert Poss, Paul Panhuysen, Marie Verry, la novia, Perinne Bourel…
CD : Mastered by Yvan Etienne / LP : Mastered by Giuseppe Ielasi. Cut by Mike Grinser at Dubplates & Mastering, Berlin. Artwork by Gregory Weiss
"In an edition of three-hundred copies, here is the sophomore effort by French artist / activist Yvan Etienne. Twist is quite welcome as we haven’t heard from him since 2014’s Feu which was a great debut, also on Aposiopèse, who have been quietly putting out minimal sounds for nearly fifteen years now. There are two long tracks here, so let’s get right to it. From the outset it’s a textural affair, one of granular microsound and distant tone. The open mic is quite fresh, clear as it drags and burrows through a ground of hiss and light crackling. The first pregnant pause is stultifying but leads to an airy adjacent passage. Cinq réflectances inversées presents observations in staring into a mirror way too long (?) or the sense of stasis when one is at zero gravity knowing that might change at any given moment. Etienne manages to fluidly switch between left and right channels to keep your attention between vignettes. There’s a lot to contemplate about this modest composition in tonal slide and play on lightness. The blunt rise and fall of hum dips and writhes as heavy metal (not the genre) is toyed with. Everything induces a sense of slowness, until the clang of metallic objects enters the fray – suddenly there’s a sense of upheaval like a prisoner squirming in shackles. Obviously this is broken into five parts, that accounts for the quiet lulls, and each tells its own story. The last of these catches the listener in a moderate rainfall, with a sonar or scanner of some sort buzzing as it surveills the area. There’s a Orwellian sensibility embedded herein. L’énergie du non starts with a singular high pitch tone, that sounds as if it has been split down the middle. It grows in voluminosity and scope, spreading far and wide with various high and low tendrils of modulation. This shifts and winds, and continues for nearly six minutes – which is alarming. Once it dies out there is a lull, and a lower and more gravelly buzz begins and peters rather quickly only to linger in the background. Is this some sort of force field being tested (?), am I being told to beware/stay out (?), or have I landed in some transitory space where various transmissions are yet un-encoded. This low grade yet seemingly robust under-the-surface energy is supposedly of ‘not‘ though there lies the tension. It’s what you can’t see, but only imagine, that will have you conjuring any number of questionable entities. Fortunately about midway this becomes an homage to old school microsound clicks and hiss. And with each rotation this literally begins to swirl with a windy effect that brings the static energy into the center. The end is a mix of field recordings of stacking and cracking wood, of rain slick streets and a hi-tone that separates the real world from that which is just beyond our immediate scope." [TJ Norris / Toneshift]
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2019 |
€18.00 |
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| |
Twist |
CD |
listen: https://label-aposiopese.bandcamp.com/album/twist
YVAN ETIENNE
TWIST
A1 : Cinq réflectances inversées - 21:38
B1 : L’énergie du non - 18:59
_
Composed and recorded by Yvan Etienne.
Serge Modular, Field recordings.
CD : Mastered by Yvan Etienne / LP : Mastered by Giuseppe Ielasi.
Cut by Mike Grinser at Dubplates & Mastering, Berlin.
Artwork by Gregory Weiss / Design : Yvan Etienne.
Produced by Aposiopèse.
Artiste / activiste, commissaire d\\\'exposition, directeur de la collection Ohcetecho aux Presses du réel, Yvan Etienne élabore des installations intermédia, des dispositifs de diffusions scénographiques, des concerts. Conçus comme des espaces à expérimenter, ses travaux sont généralement liés aux contextes, aux spécificités in situ, acoustiques et architecturales des espaces investis. Ses projets explorent les propriétés immersives, invisibles, mouvantes et fugaces du son, pour rejouer nos appréhensions et construire un dialogue en écho avec des corps résonnants (visiteurs, architectures, contextes). Réalisés à partir de sculptures, de phonographies, de compositions instrumentales, électroniques, ses expériences convoquent réflexions intuitives et questionnement des stéréotypes de la perception.
En tant que musicien, il compose et joue des pièces utilisant la vielle à roue, les synthétiseurs analogiques, la phonographie et l\\\'électronique. Ses recherches questionnent la perception des corps résonants. Il a joué avec avec Phill Niblock, Yann Gourdon, Richard Glover, Brice Jeannin, Patrice Grente, Julien Ottavi, Robert Poss, Paul Panhuysen, Marie Verry, Joachim Montessuis.
En continuité de ses pratiques il œuvre à la diffusion des pratiques sonores et intermédia comme programmateur et commissaire d\\\'expositions indépendant. En tant que commissaire, il a organisé les expositions de Paul Panhuysen, Brandon Labelle, Christof Migone, Maxime Vernier, Phill Niblock, Henri Chopin, Feed me with your kiss au Consortium de Dijon, Resonant Bodies à l\\\'ISBA de Besançon et programmé les festivals Oh cet echo et Architectone (Salines royales d\\\'Arc et Senans), NYC Sound au CAPC de Bordeaux, ainsi que divers concerts.
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2019 |
€12.00 |
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| EVAPORI |
Rehearsals for Objects |
CD |
"1000füsslers industriell gefertigte Releases erreichen einen neuen Maßstab. Neben Tietchens und der sehr schön angelegten Heizungs-CD ist Evaporis Beitrag zum CD-Labelkatalog ein weiteres ungewohnt klingendes Zeugnis Neuer Musik. Völlig losgelöst vom Digitalkrach oder jedweder PlugIn-Klangmasse erscheinen die hier versammelten Stücke wie alte Schneidetischexzesse eines digital aufgemöbelten Walter Ruttmanns. Die raumklangtechnisch ausgesteuerten Klänge und Geräusche werden mittels ihrer Aufnahmeposition verfremdet und steuern damit gegen den sonst allgegenwärtigen digitalen Verfremdungsprozess. Klanglich angesiedelt zwischen einer ausziselierten Kapotte Muziek Komposition und einer Esseiva Etude passiert im zeitlichen Rahmen dieser CD anfangs eine Menge: feine Schleifklänge wechseln teils in rapiden Wechseln ihre Soundzustände, lösen sich auf und bilden feine Schnittkanten, an deren teils gratfreien Oberflächen allerlei konkretes Material sich ansammelt, ehe es mit einem schnellen Schnitt in andere Ebenen gehoben wird. Der zweite Satz zeigt die stärkste Dekonstruktion mittels Audioschnitt und Collaging, weicht doch der geschickte Einsatz der Stille teilweise radikalen Rückwärtsrichtungen des Quellmaterials, ehe der letzte Akt der CD in teilweise recht droniges Basisbrummen gleitet und etwas schlüpfrig den Weg aus der Komposition weist. Evaporis Ansatz einer völlig raumklangbezogenen Kompositionsweise macht vor allem dann Sinn, wenn die ohnehin sehr liquiden und scharf gestellten (Rest)geräusche in teilweise verzweifelt wirkender Flucht ihre Plätze suchen. Die in endloser Rotation wiederholten Brummschleifen unter den gestreuten Sounds macht es fast schon wieder interessant, mal selber die Lautsprecher um einige Zoll im Raum zu verschieben und den damit verbundenen Akustiksituationen zu lauschen. Ganz schön interaktives Material." [Thorsten Soltau, AEMAG]
"The aim while composing was to create a sound landscape that is exclusively made up of recordings which are not processed by computer effects (so-called plug-ins). The sounds are influenced by the way they are recorded, e.g. by the positions of the microphone and the sound source in a room. The resulting sonic situations are the basis of the the composition. The sounds – most of them of an everyday nature – were transformed using computer editing only, in order to leave the recognizability of the sounds untouched, create tension and to arouse the listener‘s curiosity through different atmospheric cadences.
Recordings were made at Rauchhaus / Berlin, Fundbureau and Christianskirche / Hamburg
Mastering by Guy Saldanha
Artwork by Nicolas Wiese
Thanks to Celia Herrero and Christoph Lohse"
[label info / credits]
www.tausend-fuessler.de
"Das nenn ich doch mal eine Produktinformation: „Die größtenteils aus dem Alltag stammenden Klänge wurden am Computer ausschließlich durch Schnitttechnik verfremdet, um die Erkennbarkeit der Klangquellen offen zu halten, Spannung aufzubauen und durch verschiedene Stimmungsbögen bei dem Hörer Neugier zu wecken.“ Das hat man nicht oft, dass ein Geräuschkunstmacher auch mal an seine (potentiellen) Hörer denkt und dass er das Ziel seiner Bemühungen angibt - Stimmung, Spannung, Neugier. Oliver Peters ist in BA schon bekannt als AIC-Macher und, obwohl in Berlin aktiv, für seine guten Verbindungen zur Hamburger Szene, zur Hörbar, zu Guy Saldanha (Knistern), der hier das Mastering besorgte, zu Uli Rehbergs Walter Ulbricht Schallfolien, wo zuletzt seine LP Fumes (2007) herauskam, zu Gregory Büttner, der ihm auf 1000füssler bereits zum zweiten Mal ein Forum bietet. Was hier die Neugier weckt, sind Übungen, Turn- oder Tanzübungen von Gegenständen in einem menschenleeren Raum. Nur die vermeintliche Abwesenheit von Beobachtern oder Lauschern ermöglicht diese leicht gespenstischen, zumindest ominösen und odradekhaften Verspieltheiten. Es huscht, trappelt, kullert, von ganz feinen Drones umspielt. Vielgliedrig tockt, ratscht, schabt und klickt Holz an Holz, Metall an Metall, Was? an Was? -kreuz und quer durch den Raum, an Wänden und an der Decke. Odradek-Hockey? Odradek-Mikado oder -Kampfsport? Ein ‚interlude‘ zwischen ‚rehearsal I & II‘ lässt keine Atempause, sondern verdichtet sogar die Aktionen, mit fast menschlichen Zischlauten. Das hat nichts ‚Ambientes‘, sondern eine spielerische Dramaturgie, die allerdings ihr Geheimnis - wer sind die Spieler und was proben sie? - nicht Preis gibt, denn wir sehen nichts, wir können nur lauschen und rätseln." [Bad Alchemy]
"Oliver Peters, the man behind the AIC label and the musical project Evapori, likes his sounds to be free of computer plug ins. Take an object, place a microphone and record the object. The placing of the microphone is essential as it alters the sound. Take a whole bunch of objects, record them and then make a CD out of these recordings. The computer is merely a recording device, where, in good musique concrete tradition, cuts can be made, stereo adjustment and balancing the various sounds. That is most commendable, I think, as most computer plug ins do tend to sound too similar. What Peters does here, is not done a lot. Using natural space to create reverb, he carefully touches his objects and makes a very intense sound collage out of it. One that requires full attention. At times I was reminded of the live sound of Kapotte Muziek, but then multi-layered and with more concentration - but then of course the computer here can cut out all the unwanted sounds, which live is more difficult. By adding machine hum towards the end of 'Rehearsal 1', he manages to sound like drone music too. I think this is a great CD, but there is one thing I don't understand: why call this rehearsals? Rehearsal for what? It gives the impression that this is unfinished business, unless Peters wants us to cut further in this material, but somehow I don't think that this the case here. Why not go full on and state that these are 'compositions'? " [FdW / Vital Weekly]
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2009 |
€13.00 |
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| |
Dia-Logos |
LP |
For nearly two decades Oliver Peters has been working as Evapori, with releases on Entr'acte, Walter Ulbricht Schallfolien, 1000füssler as well on his own now defunct Antiinformation imprint he used to run with his close collaborator Nicolas Wiese since the early 2000's. Following his highly acclaimed Kárka LP (Walter Ulbricht, 2018), Dia-Logos... marks Evapori's 4th full-length album, on which Peters explores and busts the boundaries between concrete music, sound poetry and contemporary classical music. Involved in the creation of this album were his fellow artists Martin Lau, Peter Schlewinski, Markus Wettstein as well as his longtime co-conspirator Ditterich von Euler Donnersperg. Oliver Peters is living and working north of Hamburg.
All music written by Oliver Peters 2014-2019, mastered by Giuseppe Ielasi, artwork by Nicolas Wiese. Released in an edition of 300 copies on black vinyl, including download-code.
https://fragmentfactory.bandcamp.com/album/dia-logos-i-dia-logos-ii-dia-logos-i-ii-conclusion-imitation
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2020 |
€18.00 |
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| EYELESS IN GAZA |
Summer Salt & Subway Sun |
CD |
Nach vielen Jahren erscheint zum Jahresende 2006 endlich auch NEUES Material des legendären britischen Duos von MARTYN BATES und PETER BECKER ! "Wyrd Folk" ist in aller Munde, aber EYELESS IN GAZA haben Folk- und experimentell beeinflusste Musik schon seit ihrer Existenz gemacht und einen einmaligen Stil etabliert...
die 11 neuen Stücke sind z.T. erstaunlich spröde, einige wirken eher sessionhaft-improvisiert mit langen Instrumentalparts und
kontrastieren aufs beste mit den so verehrten melancholischen Gesangstücken von MARTYN BATES..
"Originally, the intention was to put together a double album, centering around an “escalated excitement with the idea of cities as new, blank texts – contrasted with the kind of sense of alienation and loss evoked in such works as J.G. Ballard’s Concrete Island.” The completed Summer Salt & Subway Sun works as a kind of survival or synthesis of these ideas – and also as an illustration of Eyeless In Gaza as ‘studio animal’, contrasted with their (newly re-discovered) life as a regularly gigging band. (– The band has been off the road since the late 80’s, but have recently gigged in Bruxelles, London, and Athens – with forthcoming gigs in Italy, Iceland and the U.S.). The album thus neatly encapsulates two key aspects of the music Eyeless in Gaza are presently creating – offering a balance of atmos/acoustic material and sprawling, rhythmic/semi-improvised spidery electric pieces. This has resulted in a heady blend of song based material juxtaposed with a distinctive brand of kaleidoscopic, “cityscaping” filmic musics. Perhaps unsurprisingly, it is the latter, primarily instrumental pieces which gleefully reflect the band’s recent activity in cinema – in Patrice Chereau’s controversial Intimacy, and Jim Jarmusch collaborator Glen McQuaid’s poetic, sub Hammer short, The Resurrection Apprentice.
After the plaudits attributed to the 25th Anniversary release of No Noise compilation (“They were one of the great bands that emerged (from the) post punk (period)” – Alan McGee) Eyeless In Gaza continue to display a characteristic “fierce independence” of style and attitude – with the release of Summer Salt & Subway Sun, issued via the band’s own A-Scale label...." [website info]
|
2006 |
€13.50 |
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| |
Sun Blues |
CD |
"An album of unusual songs, sounding both exotic and as a new take on things, but somehow familiar and the music comes together in a way only Eyeless In Gaza music can. The music often sounds stern and sometimes deeply melancholic, with exciting and successful soundscapes. I am sure this album will stand out as one of the more memorable albums from last 10 years, but we never know where they go from here. Always an exciting adventure to follow as it unravels!
Listen to Tamarisk (early version) on YouTube, which gives an idea of what to expect from the album, even if the album cover quite a big territory:
https://youtu.be/Lv1uXVByACw
Martyn Bates : e-guitars/voices/clarinet/kybds.
Peter Becker : bass/drums/e-guitars/voice/percussions/slide-guitar/piano/wasp/drum-machine/tapes/all engineering & recording.
❖ First album of all-new Eyeless In Gaza material since 2014’s Mania Sour.
❖ Completed August 2016 recorded at A-Scale studios Warwickshire, the Bates/Becker produced Sun Blues sees Eyeless In Gaza offering a 2016 styled distant cousin to 1982’s classic Pale Hands I Loved So Well. In an environment where the studio is very much a musical instrument, the band deliver a collection of filigree musics created via an organic osmosis, layering techniques, together with a painstakingly considered collaging of all elements. Here are instrumental discoveries & improvisations/pictures painted with words – songs that have an inbuilt claustrophobia and sonic density – playfully investigating the soundworlds/territories of the kosmische.
❖ On Sun Blues, of particular note is the combination of Martyn Bates’ at times melancholic, sometimes passionate vocals – which come across exceptionally strongly – teamed with the extraordinary, mercurial bass guitar work of Peter Becker. Sun Blues album would seem to be a groundbreaking distillation of everything that Bates & Becker have ever produced during their 36 year lifespan. Quite simply, Sun Blues is already being acclaimed as the definitive Eyeless In Gaza album."
www.eyelessingaza.com
"Eyeless in Gaza have had several trajectories since their original lo-fi outings in Coventry and Nuneaton in the early 1980s. The duo of Peter Becker and Martyn Bates seemed to be heading towards pop at one point, but en route diverted through textural soundscapes, improvisation, avant-folk, sonic experiment and occult rock; indeed, they still visit these places. Picture the Day is a well-overdue compilation that actually covers all the band’s output, including both the Cherry Red releases from the 1980s and the self-released albums on Ambivalent Scale that have been issued since the 1990s.
The story of course starts with Ambivalent Scale and a 7 inch single, following some cassette releases. The edgy, synth-driven ‘Kodak Ghosts Run Amok’ is tucked away here in the middle of the first CD (unfortunately the superb ‘Feeling’s Mutual’ from the B-side isn’t) which selects from the band’s Cherry Red releases. Listeners are edged into the music with some of the more accessible end of things, a quick drift through some folkier songs and then the gorgeous emotive instrumental ‘Falling Leaf/Fading flower’ before restlessly moving on, from genre to genre, or more often falling between genres.
The second CD features the Ambivalent Scale recordings, and is a similar mix of work. If more recent work isn’t as familiar to me it’s mainly due to growing up and not being able to spend time with new music in the same way that being a teenage and then a student previously facilitated with the original LPs. It’s clear I need to get my act together and have a relisten – this stuff is great.
Together, the two CDs paint a broad, involving picture of this peculiar and engaging band. I like the fact it in no way pretends to be a ‘best of’ or ‘greatest hits’, but simply showcases some of the highlights from their numerous releases. I’d like to have seen the uplifting brassy pop of ‘Sun Bursts In’ here, but otherwise it is a perfect snapshot of one of my favourite bands, lovingly compiled and superbly sequenced.
Eyeless’ new CD, Sun Blues, shares one track, ‘Tamarisk’ with Picture the Day and is a set of new music from the more experimental end of things. Having said that it’s more about mood and texture than the wild excesses of the band’s early output, although ‘Ill-Star’ is intense and loud, with some great honking sax in the pulverising maelstrom of sound. Elsewhere, Martyn Bate’s warm vocals are positioned within rich, dense music that both propels and entwines the songs and the listener. There are also three instrumental vignettes, two back to back in the centre of the album, the third a coda or finale.
It takes some time to truly ‘hear’ the layers and complexities of this album, in the same way it takes time to grasp the width, breath and achievement of Eyeless in Gaza’s musical history. But time spent will be rewarded: Eyeless in Gaza remain one of the most accomplished and interesting bands to have emerged from the music-making underground post punk and postpunk. Here’s to further decades of experiment and beguilement." [Rupert Loydell/ International Times]
"After nearly half a century performing together, Martyn Bates and Peter Becker must seem like a married couple – finishing each other’s sentences, telepathically sensing where their individual muse is leading them and effortlessly hopping on and enjoying the ride. With an extensive catalogue of well over two-dozen releases, they still sound as fresh and invigorating as that ground breaking EP, “Kodak Ghosts Run Amok” that started everything way back in 1980. Looking back to those early releases, the duo suggest their latest is a “distant cousin” to 1982’s classic Pale Hands I Loved So Well. But this is another century, and technological advances have enabled them to use their studio almost as an additional instrument, layering sounds, playing with various improvisational techniques, and offering, perhaps, a third pair of ears and hands to the proceedings.
Yet at its heart is the combination of Bates’ breathy, almost theatrical vocal styling (a little Antony Hegarty, a tad Andy McCluskey) and intelligent, thought-provoking lyrics, revealing numerous layers of meaning and intent as each verse trickles off his soothing, emotional delivery, and Becker’s inquisitive bass lines, harmonic tape manipulations, and various percussive effects. While tracks like ‘Solar Logic’ may initially sound like a simple love ballad, further listening reveals intricate harmonic vocal interweaving, funky, almost African percussives, and the perfect placement of bells and tape manipulations that demonstrate how much the studio has been welcomed in to add lustre to their creative juices.
‘Tamarisk’ envelops the listener in swirling effects and percussive embellishments that wouldn’t be out of place on a Peter Gabriel album, while ‘New Take/Notkar’ offers a harsher splash of ice water in the face, evolving out of an almost industrial percussive backbeat and syncopated guitars that push the listener towards Faust or Nine Inch Nails gut crunchers. But never ones to fall into a rut, the following ‘Longing Song’ is an uplifting, lilting lover’s plea that rises from the ashes of desolation “To bring the morning alive...to be amazed/n you’ll be mine....”
The duo occasionally include improvisational instrumentals in their albums, and the cinematic, provocative and evocative ‘Wind, Sand, Sea & Stars’ pretty much covers the gamut of the external universe – a breakneck journey through land, sea and sky, while ‘Unborn’ traverses the inner universe, wallowing, swallowing mouthfuls of life-giving amniotic fluids on the 9-month journey into a cold, shattering life that no one asked for or had any choice in bringing to fruition.
But before we get too deep, let’s enjoy the sprinkling, sparkling, shimmering flourishes of duelling ukuleles, thumb pianos and glockenspiel on the celestial ‘Juniper’, and the soft, reflective instrumental closer ‘Long Gon Pa’, full of meticulous slide and acoustic guitar and Becker’s fascinating, dreamy devices and tape loops. An imaginative, emotional, headswirling buzz to wrap up another fascinating release from the always reliable duo, who never fail to excite us while eliciting nuances of emotional responses that are all-too-rare in this cookie-cutter, commercial world of Voices, Idols, and other nameless, brainless distractions."
[Jeff Penczak/Ptolemaic Terrascope, November 2016]
|
2016 |
€13.00 |
|
| FAGASCHINSKI, KAI & BERHARD GAL |
Going round in Serpentines |
CD |
"In going round in serpentines, Bernhard Gal's re-contexturalized field recordings merge with the sonic characteristics of Kai Fagaschinski's idiosyncratic clarinet playing. Gal opens up new acoustic spaces, while Fagaschinski sculpts air with his clarinet in various ways. Based on clarinet samples, they also build up microtonal clusters with drone-like qualities. In their music they create an ambivalent musical situation between concrete and abstract listening. During a focused rehearsal period in winter 03 04, Fagaschinski and Gal developed open compositions where preconceived musical structures are combined with the specific energy of improvisation. Done in Berlin-Friedenau, January-February 2004'
Kai Fagaschinski: clarinet. Bernhard Gal: computer." [press release]
"....two of berlin's improv. musicians came together to release a lovely album. kai fagaschinski plays clarinet, whereas barnard gál makes use of a computer. the soundscape they produce together is a wonderful journey in which concrete sounds and the experimental use of the clarinet make up for a rich and detailed scenery. the music follows a certain route, leading the listener in imagineable worlds where each single sound is of utmost importance. minimalism with a realistic touch, also due to the breathing during kai fagaschinski's clarinet play. playing pool goes along with the hiss of a wind instrument, strange little activities are mixed with abstract electronic noises. "shut up and listen, dumb ass!" is written in the booklet as well, and that's what the music is all about, concentrate and let the music lead you to unknown worlds never heard before." [Paul Bijlsma, Phosphor mag]
|
2005 |
€10.00 |
|
| FAGES, FERRAN / RUTH BARBERIAN / ALFREDO COSTA MONTEIRO |
Atolon |
CD |
Ferran Fages: acoustic turntable
.Ruth Barberán: trumpet
.Alfredo Costa Monteiro: accordion
Recorded and mastered by Ferran Conangla
Mixed by Ferran Conangla and Ferran Fages
October, 2003. laboratori de so, metrònom. Barcelona
Alfredo Costa Monteiro
Porto (Portugal), 1964. He lives and works in Barcelona since 1992. He plays accordion and electric guitar. In 1992, he finishes his studies at the Fine Art School of Paris, where he gets his degree in sculpture/multimedia. Apart of his work as a visual artist, he starts to become involved in improvised music from 1995. Since then, his work stands somewhere between visual arts, visual poetry and sound. Since 1998, he is member of 22a, an independent collective for contemporary art.
Ruth Barberán
Barcelona, 1966.
Since her integration in IBA, col.lectiu de música i dansa improvisades, in1999, she starts to focus her work in free improvisation.Currently, she has two stable formations : error focus, with Ferran Fages and i treni inerti, with Alfredo Costa Monteiro.
Ferran Fages
Barcelona, 1974 He plays the guitar, turntables and electronics. He's member of the collective IBA since 1999.
He plays regulary in different improvisation projects like:rror focus ( with Ruth Barberán) since 1998, cremaster ( with Alfredo Costa Monteiro) since 2000.
Ambilis (with Dorothee Schmitz) since 2001. He plays with the coreographers and dancers: Olga Mesa, Carme Torrent and Constanza Brncic.
He's played with Joan Saura, Agustí Fernández, Jakob Draminsky, Franck Stofer, Antón Ignorant, Stefan Prins,Derek Bailey, Margarida García, Francisco López, Andrea Neumann,Peter Kowald, Taku Unami, Masahiko Okura, Masafumi Ezaki, Bukhard Beins, Guiseppe Ielasi, Mark Wastell.... among other
|
2004 |
€6.00 |
|
| FALX CEREBRI (FâLX çèRêBRI) |
Trials Textures Errors |
CD |
"Almost 7 years in making, finally this milestone of pioneering & legendary german noise outfit is released - more than 25 years after the last recorded FâLX çèrêbRi track, compiles several contributions to compilations, as well as outtakes, erratic experiments, live cuts and unreleased tracks.
Release date is 28th July 2014. Limited edition of 500 copies in jewelcase." [label info]
"If it wasn't for a German guy named Graf Haufen I would probably not have started a record label, even when it was a cassette label at that time. This was thirty years ago, the summer of 1984. I had a made a booklet, a sort of 'discogs-on-paper', listing all Dutch cassette releases and Graf Haufen wrote about it in his German fanzine, Die Katastrophe. He then informed if I'd be interested in compiling a cassette with the 'loudest' Dutch electronic music acts, which became 'Katacome Vol. 3', which was then co-released by his Schrei Records and my own Korm Plastics label. The second release was 'Rite 64', a tape by Falx Cerebri, the musical project of Graf Haufen. I was envious of what he did: selling music, doing art, doing fanzines, mail-art, music, studying and I was surprised to learn he was even four months younger than I was. For a while I assumed he was much older. While I am hardly an archivist of any kind, I still have a mailer right here, containing all of the correspondence I received from him, including all his fine print catalogues and we see a friendship grow and crumble together. Graf Haufen went into Neoism, was a bit too critical about my releases and mail-art - quite rightly probably - and quickly we lost contact. He went into art and video circles and I stayed with music. In the late 90s I re-issued all of the Korm Plastics cassettes on CDR and tracked Graf Haufen down, then owning a video store in Berlin, who gave me some nice bonus material for the Falx Cerebri CDR re-issue. In the very early days of the Vinyl On Demand label there was talk of some highly limited Falx Cerebri LPs, but they never emerged, so this CD is the first true document available (the CDR also disappeared a long time ago, sadly). But, so you may ask, was the music all about? Was it really something special? Browsing his old catalogues, Graf Haufen was interested in what he called 'anti-musick', by which he understood not just industrial music, but also cruder forms of musique concrete. On 'Rite 64' it's all a bit more 'classic' industrial, with synthesizers, radio snippets, tape-loops and delay, and thus perhaps a bit more musical, but on this CD the emphasis lies more in the electro-acoustic aspect of his work. I played both this one and 'Rite 64' again, and while I still like the latter, this new compilation of pieces is stronger. Here we have quite a bit of contact microphone abuse, 'Scanning No. 2' for instance, vocal pieces, field recordings and synthesizer pieces, such as the 'The Eighth Enochian Key'. Rudimentary tape loops are used, but also cut-up/collage/montage techniques, scratchy records and all of that and it make up a more than excellent release. The only thing, but really that's just me, I would have liked to know more about these pieces, where they were released, live, unreleased etc. A documentation of some kind if you will." [FdW/Vital Weekly]
|
2014 |
€12.00 |
|
| FAUST |
Nobody knows if it ever happened |
DVD |
"At last, a well made film that captures the intensity, caprice, craziness and visionary beauty of Faust's late '90s performances, when, for a moment the core members of the original band were temporarily reconciled. Professionally filmed at the legendary 1996 Faust Garage concert, this release fills in what has until now been sorely missing from the record - the sheer physicality of Faust's performances: the litter of scrap, cement mixers, hay blowing machines, angle-grinders and instruments that form their workplace (shared here with sculptress Insa Winkler, toiling away on sheet steel with an oxy-acetylene welder throughout the show). In the middle of the stage hangs a battery of drums, chunks of wood and metal, mounted on a massive open frame, and around it bassist Jean-Herve Peron and drummer Zappi Diermier prowl and play in constant motion. Peron takes time out to strip and fling buckets of paint at a huge white wall of blank LP covers; Zappi attacks his kit with sticks like tree trunks. Meanwhile, organist Jochen Irmler sits placidly in the wreckage, smiling the same smile whether he is unleashing the hounds of hell or underpinning the chaos with meditative drifting pitches. Alongside, guest guitarist Steven Wray Lobdell creates sheets of noise that keep the whole juggernaut rolling, now and then stepping out to tear a hole in it. Between firestorms are quieter moments, enigmatic events, which emerge and then sink back into time. This is not quite the dignified revival expected of rock legends: no question of a perfect sound or mature stage act for Faust. This show, like all their shows during this period, is a tempest of chaos, disruption and moment to moment action. No band was ever more phenomenologically driven than Faust. Sparks fly, machines rattle, the room fills with smoke, and eventually we all wind up on the street as the band stumbles out, and the fire engines arrive. Classic. The DVD also includes 'Struktur' - an exclusive 50 minute behind-the-scenes document shot by the late Arthur Howes, and a bonus performance of Flashback Caruso. It is packaged with commissioned liner notes from Andy Wilson author of 'Stretch Out Time'. And indispensable release for any Faust fan." [label info]
|
2006 |
€16.00 |
|
| |
j US t (Just us) |
LP & CD |
"Die Hamburger Krautrock-Pioniere mit einem Überraschungspaket aus Avantgarde, Dada und Folk.
Die Hamburger Band Faust gehört zu den großen Namen, die der Krautrock der 1970er-Jahre hervorgebracht hat. Als Jean-Hervé Péron und Zappi Diermaier 1971 ihr Debütalbum vorlegten, wollte das in Deutschland niemand hören, im Ausland jedoch verkauften sich "The Faust Tapes" über 100.000-mal. "There is no group more mythical than Faust", schwärmte der englische Musiker und Krautrock-Kenner Julian Cope Jahrzehnte später. Mit "Just Us" setzen Faust ihren musikalischen Weg fort. Während Diermaier seinem Handwerk - Schlagzeug und Perkussion - treu bleibt, integriert Peron allerhand unübliche Klangquellen in sein Bassspiel, verschiedene Streichinstrumente, Klavier und sogar eine Nähmaschine als Metronom. Tracks wie "Nur nous" und "Ich bin ein Pavian" zeigen, dass Faust nichts von ihrer Vorliebe für Avantgarde und Dadaismus verloren haben. Ausflüge ins folkloristische Gefilde ("Cavaqui-ho", "Gammes") runden das wahrhaft faustische Überraschungspaket ab. //
j US t - pronounced "Just Us" - is the new album from legendary Hamburg band Faust. Founder members Jean-Herve Peron and Zappi Diermaier have laid down twelve musical foundations, inviting the whole world to use them as a base on which to build their own music. The tracks presented by Peron and Diermaier are clearly, intrinsically typical of Faust in their own right, yet offer enough space for completely different works to develop. Which is exactly what they hope will happen. Whilst Diermaier largely remains true to his habitual handiwork - drums and percussion - Peron, as we might expect, incorporates all manner of unusual sonic sources alongside his bass, various string instruments and piano, even using a sewing machine as a metronome. Tracks like "nur nous" and "ich bin ein pavian" show that Faust have lost none of their predilection for avantgarde Dadaism and improvisation. Peron and Diermaier actually surprise us with folkloristic excursions ("cavaquinho", "gammes"). In short, there is something for everyone to work with here. Peron and Diermaier await the results with bated breath. Faust will follow the same principle on the accompanying tour by inviting local artists to collaborate with them on stage." [label info]
www.bureau-b.com
"Faust’s intentions have never been easy to discern. Over their 40-plus years of morphing, discontinuous existence, they’ve been so good at dodging expectations and confounding analysis that even when they’re playing it straight, you wonder if something else is going on. So when the press sheet for j US t (pronounced "just us") claims the band is "inviting the whole world to use [the album] as a base on which to build their own music," it’s hard not to get suspicious. Is this a decoy? Do Jean-Hervé Peron and Zappi Diermaier want you to imagine other music so you won’t focus on theirs? Is it simply a way to say "if you don’t like it, make your own"?
Perhaps Faust truly are earnest about wanting this album to inspire public collaboration. But the idea does point to something that’s always been intriguing about Faust’s music: it’s often just as much about what they aren’t playing as what they are. Their work is full of implications and innuendos, spaces waiting to be filled in. j US t doesn’t necessarily have more of that than most Faust albums, but implication does seem to be a main theme here. This is music in which every note suggests many more possibilities.
j US t begins by proclaiming more than intimating, and in this way it bears an uncanny resemblance to the last Faust effort, 2011’s stellar Something Dirty. That record began with three bold, practically rocking tunes, and so does this one. Based around simple riffs and looping beats, these songs are like free-form post-rock, sturdy in their rhythms but opened-ended in their direction. And despite how well-defined the base of each track is, there’s also tantalizing space in each one. Take "80Hz", whose simple two-note bass figure flows beautifully with the well-timed accents of Diermaier’s percussion and Peron’s sonic grab bag. At times it dips to near-silence, in other places it crests to frantic peaks, but throughout it maintains a tension that compels attention.
The balance between action and suggestion tips more toward the latter for the rest of j US t, in ways both fascinating and frustrating. Some songs maintain the attraction of anticipation, hinting at where they might go without ever fully abandoning other options. But others feel more flat than ripe, not so much flirting with tense silence as drifting into empty inertia. One in particular, the seven-minute "Palpitations", is mostly limp. Its intermittent percussion and electronic squiggles sound more random than impulsive, making it the only instance on the album where I find myself wishing I could already hear other bands filling it in.
It takes a few tracks to recover from that mid-album drop, but Faust manage to rebound on closer "Ich Sitze Immer Noch", whose slow, rising lope sounds like a sunny homage to Spiderland-era Slint. Like the bulk of j US t, it offers a lot worth hearing and just as much worth daydreaming about—in other words, it achieves the band's stated goals. Maybe Peron and Diermaier really did mean what they said." [Marc Masters / PITCHFORK]
|
2014 |
€22.00 |
|
| FAVARON, GIANLUCA |
Surfaces |
LP |
"Gianluca Favaron returns on Silentes with the second release in the prestigious “Private Sounds” series. Besides having published some solo works, Favaron is part of Under The Snow along with Stefano Gentile and collaborates with Ennio Mazzon on the Zbeen project. In the past he has released music as Ab'she and was part of Lasik Surgery along with Pierpaolo Zoppo. Among his most recent releases we remember his collaboration with Corrado Altieri entitled "The System of Objects". "Surfaces" is a modern electronic composition that was inspired by a series of Polaroids pictures taken by Favaron himself, whose basic idea is to create some patterns based on the repetition of small sound particles obtained with the fewest possible sources. The six parts of “Surfaces” were created recording the sounds of individual objects (... paper, scissors, stones, kitchen items, etc.), which were subsequently treated - mainly with two delay machines - and then assembled in the computer domain. A few digital sounds were added for good measure, but always trying to use the fewest number of sound sources in every part of the composition. The finished result is a series of particular sonic events that keep on chasing each other and give life to a microcosm populated with slowly evolving rhythmic loops that lull the listener into a sort of pleasant inner dance.
Mastered by Giuseppe Ielasi, "Surfaces" is a single-sided 12" record released in a standard edition of 86 copies. A special "Art Edition" is also available: the 13 copies of this edition contain a 30x30cm print reproduction from the Polaroid series that inspired the audio work, and the corresponding Polaroid picture." [label info]
http://13.silentes.it
"And then, finally, a solo work of Favaron, also on an one sided LP - both of these LPs are highly limited to less then 100 copies and are pressed on grey vinyl. Skip what I said about drone/ambient in Favaron's work, as on his solo LP he's taking the work he did with Corrado Altieri to another level. Here we have clearly acoustic sounds, which the cover describes as 'objects', and 'effects'. It seems to me these objects are being strummed, hit or banged and then sampled and fed through a bunch of effects. Here too we are dealing with the more louder areas of musique concrete, but unlike the CD with Altieri, the pieces are shorter here, almost in a sketch like fashion, going all over the acoustic spectrum, cutting in and out with the electronic transformations there of. The objects are used clear and dry, even when not revealing what these objects are, but in the process of mixing, all sorts of transformations are used to make a nice vibrant mix of all stages of the transformation
process. Not always very noisy, such as in the fourth (and longest) piece, but it's a fine mixture of loud and quiet, through some highly intelligent compositions/improvisations (hard to make up my mind here). I thought it was fine that Under The Snow was a single sided record, but here I wouldn't have minded a second side with more music. This all sounded great." [FdW / Vital Weekly] |
2014 |
€18.00 |
|
| |
Equivalent XI |
CD |
"Following the publication of the extremely limited single-sided 12" record “Surfaces”, which occurred just a few months ago and is now hopelessly sold-out, Gianluca Favaron returns on 13 with a new solo work released in the prestigious "Private Sounds" series.
Besides having published a few solo works, Favaron is part of Under The Snow along with Stefano Gentile and collaborates with Ennio Mazzon on the Zbeen project. In the past he has released music as Ab'she and was part of Lasik Surgery along with Pierpaolo Zoppo. Among his most recent releases we remember his collaboration with Corrado Altieri entitled "The System of Objects".
"Equivalent XI" continues the path undertaken with "Surfaces", also benefiting from some excerpts that were already included in the aforementioned work, which are proposed again on this new CD.
Starting from simple recordings of sounds produced by everyday objects (…such as paper, scissors, kitchen stuff etc.), treated mainly with two delay machines, Favaron has collected eleven compositions. The idea behind this new release is to create some patterns based on the repetition of small sound particles obtained from a single source.
In the eleven tracks on the album, mostly of short duration, we witness the proliferation of particular sound events that, sometimes wandering alone or sometimes by congregating into small throbbing and vital lumps, generate a vibrant microcosm characterized by short loops, slowly but constantly evolving. In some cases, as for example in the more long-lasting closing number, the simplicity of the construct and the infinitesimal tonal progressions are appreciated for their intrinsic hypnotic quality.
Mastered by Giuseppe Ielasi, "Equivalent XI" is released in a limited edition of 250 copies that stands out for its essential graphics; the first 50 copies of the CD contain a real hand-numbered photograph." [label info]
13.silentes.it
"On this new work he continues what he started on his previous record, 'Surfaces', a limited piece of vinyl which we didn't review (or hear), but which apparently deals with every day sounds - songs from the kitchen sink? - such as paper, scissors, kitchen stuff, which are treated with two delay machines and the result is eleven short pieces, from less than a minute up to five minutes. This is a most strange release, and if you know me, strange is not a word I use easily. This music has a certain naivety, or perhaps something rather 'simple' with the objects being played with relatively ease, but then captured or locked into a system of living electronics, bending and moving these 'easy' sounds around. Maybe it's all done in a very simple and direct way, much like it is suggested. And there is nothing 'wrong' with that. In the end it's the result that counts and that is result is something I like very much. It's very quiet music, almost accidental, 'I couldn't help it, it just happened', but of the variety that is usually associated with the label and the styles we know it for, ambient and drone." [FdW/Vital Weekly]
|
2014 |
€12.00 |
|
| FAVARON, GIANLUCA / ANACLETO VITOLO |
Zolfo |
CD |
"Zolfo" is born by the collaboration between Gianluca Favaron and Anacleto Vitolo. Both involved in many projects and music collaborations - Favaron with Corrado Altieri, Deison and in groups like Lasik Surgery, Maribor, Zbeen and Under The Snow; Vitolo with Doublebass player Francesco Galatro, Viola player Michela Coppola, Domenico Stellavatecascio (Internos) and many other.
The album was composed, recorded, and mixed between January and May 2016 and is a mix of several music elements and techniques, such as tape loops, cymbals, microphonic works and live electronic processing. The result is a combination of musique concrète, noise and drone music.
Gianluca Favaron:
As electroacoustic musician, his work focuses on the processing of concrete sounds using software made on purpose. Field-recordings, drones: an approach that uses different music languages, to elaborate, merge or transform sounds made by everyday objects into something different, both taking them out of context and/or processing and modifying them with various effects. .
In 2015 he has released the CD albums "Entretien" on 13/Silentes and "Forget About Any Non-Gray" on MFU /Concrete
Anacleto Vitolo:
Anacleto Vitolo A.K.A. AV-K / K.lust / Kletus.K part of several collectives such as X(i)NEON, Internos and Algebra del Bisogno, born August 2, 1985 in Battipaglia (SA), Italy.In 2010 and 2014 took part in “FLUSSI” festival sharing the same stage with some of the most important musicians of the contemporary electronic scene as Murcof, Thomas Fehlmann, Vladislav Delay, Retina.it, Emanuele Errante, Mokira, Mount Kimbie, etc. In 2013 signs a contract as Publishing Artist with FatCat. In 2015 takes part to MiRA festival in Barcelona with Andy Stott, Ben Frost, Richard Devine, Prefuse 73, Nosaj Thing and many others. He's the CO-Director of Manyfeetunder label, alongside with Vincenzo Nava ( dramavinile, UHVA) and Cogwheel Press Rec. Active with a lot of collaborations and releases.
credits
mfu/c 010 | sps1616
Gianluca Favaron : tapes, objects, microphones, analog and digital effects
Anacleto Vitolo: live electronics, cymbals, laptop, objects
"Crispy, crunchy, and crackly ~ these are the sounds of Zolfo. In real life, we hear such sounds in crumpling paper and leaves underfoot. In the electronic realm, they surface in cellphones, computers and amplifier feedback. Blend organic and electronic, as Gianluca Favaron and Anacleto Vitolo have done, and one will hear a padded melange, thicker than the timbres one is accustomed to hearing outside of a factory setting. So yes, that may be a church bell in the title track, stuttered and looped ~ but it may be the imitation of a church bell, the mind struggling to define and categorize what it is hearing.
To prepare this album, the artists used a wide variety of sources, from cymbals to laptops, along with the vague term “objects”. Favaron in particular is enamored with decontextualization. Just because something sounds like a singing bowl (“Infrasound”) doesn’t mean it is a singing bowl; and if it is, Favaron and Vitolo have found a new purpose for its thrum. And all the while, drones and hums intrude, eager to colonize the sonic field, while glitches and pops decorate the drones like sparkling debris in a raging river.
This is the thicker, busier end of the electroacoustic spectrum, a genre that lacks distinguishing tags, simply because there is so little of it. I call it particle accelerator music (PAM), as it sounds like agitated atoms. “Oblivion” highlights a scuttling sound, like that of the crablike creature racing across the floor in the medical lab of Aliens. Because the sonic field is constantly in motion, it’s hard to get a handle on the heart of these compositions; one drinks them like carbonation. On “Fold-in”, a welcome warmth is added by bells and horns, although the title makes one think of an egg dropped in batter. Thankfully, the metaphor fits. “Reflection” seems to contain power tools, sirens and broken glass, intimating a shattered mirror, or by extension, a shattered sense of self. Only in the album’s closing seconds does humanity make an appearance: pleasant banter and laughter, the lab coats packed away, the atoms free to collide, no longer performing under watchful eyes." [Richard Allen/A closer listen]
https://manyfeetunderconcrete.bandcamp.com/album/zolfo |
2016 |
€10.00 |
|
| FEAR FALLS BURNING |
The Amplifier Drone |
LP |
Second Vinyl-album by ex VIDNA OBMANA Dirk Serries, which sounds somehow like the meeting point of SUNN O))) and AIDAN BAKER or old ULTRA MILKMAIDS, completed with real heavy riffs, always drenched in some kind of feedback-ocean.... a mighty meditation.
“lp pressed on white vinyl, limited to 500 copies, with postcard. tonefloat is proud to announce a joint tonefloat/ikon vinyl release of the amplifier drone, a release to celebrate fear falls burning's upcoming spring tour. heavier and a good deal darker than the recent c release the carnival of ourselves. the amplifier drone has been recorded in collaboration with blues guitarist paul van den berg.” [label info]
www.tonefloat.com
|
2006 |
€18.00 |
|
| |
When Mystery prevades the Well, the Promise sets Fire |
LP |
deluxe edition (gatefold-cover, 180 gr. vinyl), ed. of 500 copies on black vinyl
Stilwechsel für das beliebte Guitar-Drone Projekt: WHEN MYSTERY PREVADES.. droned weniger dunkel und verzerrt, eher oberton-tänzelnd, verschwimmend, mysteriös....
"Mystisch wirken die Dronen auf "When Mystery Prevades The Well, The Promise Sets Fire" allemal. Zart, sanft und trotzdem mit einer Macht, der man sich nicht entziehen kann, lullen die Dronen den Hörer ein, umgarnen ihn, wollen ihn holen und einspinnen. Subtile Percussion-Variationen heben die beiden langen Stücke aus dem Drone-Einerlei heraus und machen diese Platte zu einem eher einzigartigen Hörerlebnis. Ist das Tor auf dem Cover noch verschlossen, so öffnet es sich dem Hörer zunehmend und zieht ihn unaufhörlich weiter in einen verwunschenen Garten, in dem es aus allen Ecken und Enden flimmert und schimmert. Fragile Hintergrund-Gitarren und helle Percussion, vordergründig mehr ein durchgängiges Dröhnen und brummen. Rein technisch gesehen sind einerseits auf "When Mystery Prevades The Well, The Promise Sets Fire" neue FFB Dronen enthalten, und andererseits hat FFB Kopf Dir Serries die Herangehensweise an sein Schaffen etwas neu konzipiert und strukturiert. So bringen die genannten Hintergrunddetails (Percussion) eine neue Dimension in das musikalische Oeuvre von FFB ein. Es entstehen weitere Dimensionen und deutlich mehr Vielschichtigkeit, auf subtiler Ebene. Beide Stücke sind harmonisch und kraftvoll und begeistern mich einmal mehr." [Creative-Eclipse]
"... with its highlight being the full-length studio album 'frenzy of the absolute' for the belgian conspiracy records, scheduled for release in 2008, this exclusive vinyl for tonefloat is the initiation of a change in method and playing for fear falls burning. not only has he turned around his studio in order to accommodate the new performances but the subtle incorporation of new elements will bring out an extra dimension in the vintage fear falls burning drone. this lp features two pieces, one per side, that are equally harmonic as powerful. fear falls burning's approach to playing the guitar chords changed, the production is different and the inclusion of guest musician dave vanderplas on subtle cymbal percussion marks this new tonefloat release as the first gentle step in fear falls burning's further exploration of the drone. when mystery prevades the well, the promise sets fire (tf38) is out now and can be ordered from our store." [label info]
"'When Mystery Prevades Well, The Promise Sets Fire' is a beautiful gate-fold sleeve LP with two pieces, one per side. Glacier like music in which it seems that the effects have a bigger role than the guitar. It's quite hard to recognize the guitar in this music, with moves in a minimal way. More Eno)) than Sunno)) I'd say, although there is a creepy undercurrent in Fear Falls Burning's music. This record sees Dirk moving away from the signature sound from before: the endless crescendo wall of sound building up, suddenly collapsing and stays more on the ambient side of things. Maybe a bit more Vidna Obmana than Fear Falls Burning - but I'm sure that would not be his intention. Very nice!" [FdW / Vital Weekly]
www.tonefloat.com
deluxe edition (gatefold-cover, 180 gr. vinyl), ed. of 500 copies on black vinyl
|
2007 |
€10.00 |
|
| FENNESZ |
17.02.12 |
do-LP |
"Christian Fennesz is an Austrian electronic musician, active since the late nineties, and influenced by artists like the Fripp & Eno of the 1970s and guitar-synth pioneer Chuck Hammer.
Fennesz uses guitar and laptops "to make multilayered compositions that blend melody and conventional musical instruments with harsh, irregular glitch-influenced sounds and washes of white noise." Over the years, Fennesz has played and collaborated with a number of artists including Mike Patton, Jim O'Rourke, Ryuichi Sakamoto, Keith Rowe, Peter Rehberg, Mark Linkous (Sparklehorse) and David Sylvain.
On this double LP Fennesz can be heard performing to a live audience at a concert held at the Museo Marini in Florence, Italy in February 2012, backed by the images of the 1927 silent film by German filmmaker Walter Ruttmann Berlin called Die Sinfonie der Großstadt (Symphony of a Great City)." [label info] |
2013 |
€29.00 |
|
| FERIAL CONFINE (=ANDREW CHALK) |
First, Second and Third Drop |
CD |
"Fully remastered and repackaged second release of the final Ferial Confine album 'First, Second and Third Drop' by Siren Records (Japan). Here presented in Japanese mini-LP style sleeve with obi, mastered at Skye Masteringby Denis Blackham in 2012. 'First, Second and Third Drop', although never actually released when it was completed in late 1985, became the final cycle of music by Ferial Confine and marked a departure from the closing moments of the preceding album 'Meiosis' (Siren 022).
Its impression is austere and surreal, even though the instrumentation is limited to the use of bowed acoustic percussion and wind instruments and some tape treatments later in the album.
Ferial Confine is the alias formerly used by Andrew Chalk in the 1980s for his noisier endeavours. "First, Second and Third Drop" is an album that was recorded in January of 1986 and remained unreleased until now. After giving this disc several listens, I have to wonder why it wasn't released much sooner!
Although not as mellow as most of the work for which Andrew Chalk is known, "First, Second and Third Drop" is definitely not a barrage of noise, and really has little in common with most of his Broken Flag label-mates from back in the 1980s. The comparison that immediately comes to mind listening to this album is Organum's material from around the same time period, something which makes a bit of sense since Andrew Chalk was involved in Organum for a time. The first three tracks definitely have the metallic, tense atmosphere that I've come to associate with Organum's earlier material - high-pitched scraping noises, creaking metal and general uneasiness." [Soundohm/ press release] |
2016 |
€15.50 |
|
| FERRARI, LUC |
Atelier de Liberation de la Musique |
LP |
"Alga Marghen proudly presents Luc Ferrari's Atelier De Liberation De La Musique, a collective he created together with Martin Davorin Jagodic, Philippe Besombes and Alain Petit in 1975 for a series of performances at the Galliera Museum in Paris. It was in those years that Luc Ferrari investigated open forms and created some of the most experimental and elusive works of his entire catalogue.
"Exercices d'improvisation", first recorded by Brunhild Ferrari with GOL, issued on PLANAM in 2010; but specially "Ou donc est-t-on?", a very complex piece soon to be documented on alga marghen including both "Dance", issued on alga marghen on the occasion of the presentations at Centre Pompidou in 2009 and "Ephemere", issued on CD by alga marghen in 2010, as well as the "Labyrinthe de la violence", an audio-visual permanent labyrinth for which Ferrari created four fantastic electronic music pieces soon to be published on Alga Marghen.
After these experiences the composer decided to discontinue these open practices for a more controlled work in the studio. And within the "Labyrinthe de la violence" installation Luc Ferrari conceived a series of electro-visual concerts to be performed by the newly created Atelier de Libération de la Musique. The collective included some of the most creative artists of the time: together with Luc Ferrari playing the electric organ we find on electric piano Martin Davoric Jagodic (whose masterpiece of electronic music titled "Tempo Furioso" was issued on Cramps in Italy that same year), on synthesizer Philippe Besombes and on sax, flute and clarinet Alain Petit.
These four artists met in February and March of 1975, rehearsing for a series of concerts to take place within the audio-visual labyrinth. It is the previously unheard recordings from these wild rehearsals which make up this incredible LP. The sound of Atelier de Libération de la Musique is a thrilling and overwhelming ride. Rattling, difficult polyrhythms play against droning, pulsing and simmering sonorities. These recordings are human and open, wild and incredibly ahead of their time." [label info] |
2018 |
€25.00 |
|
|
Photophonie (Bandes magnétiques inédites (1973 - 1992) |
LP |
In 2019, to mark the 90th anniversary of his birth, Transversales Disques is very glad to announce the release of « Photophonie » unpublished archives, spanning 1973-1992, revelatory collection of commercial, commission and secret music by electroacoustic music pioneer Luc Ferrari.
- « Photophonie » (1989) / Music for the photographic exhibition of Alain Willaume.
- « Il était une fois » (1973) / Commissioned by the G.M.E.B.
- « Trans-Voices » (1992) / Curated by the American Center, Paris.
- « Tu m'écoutes » - (1975).
« Affiliated with French Radio’s Groupe de Musique Concrète, co-founder of the GRM with Pierre Schaeffer in 1958 Luc Ferrari (1929-2005) major figure of musique concrète and electroacoustic music broke away to pave his own path of individualistic expressions of minimalist music, musical theatre, field recordings, orchestral music and soundtracks…»
https://transversales.bandcamp.com/album/photophonie
"Four staggering, previously unreleased Luc Ferrari works c.1973-1992 are cued up for the first time, marking what would have been the late, great electro-acoustic pioneer’s 90th birthday.
As co-founder of the GRM in 1958 with Pierre Schaeffer, and behind dozens of singular LPs during the 2nd half of the 20th century, Luc Ferrari (1929-2005) is by any measure one of the legends of musique electro-acoustique. As his treasured archive continues to turn out gems on the Recollection GRM series, Ferrari’s precious, poetic work now joins that of peers such as Bernard Parmegiani and François Bayle on Transversales Disques, the label run by GRM’s audio restoration engineer, Jonathan Fitoussi, with four pieces spanning psychedelic surrealism thru to a sort of late ‘80s sci-fi romance.
Known as the poet of the GRM and concrète disciplines, Ferrari’s exceptional recordings leant away from academic exercises to inventively express a synthesis of styles that simultaneously intersected minimalism, musical theatre, field recordings, orchestral music and soundtracks. The four pieces of ‘Photophonie’ beautifully and thrillingly speak to Ferrari’s grasp of the sonosphere and its omnipresent plurality with a deftness of arrangement and overarching vision that that sounds both of its era and also within its own parallel dream dimension.
Written for a photographic exhibition by Alain Willhaume, the opening, 25’ long first piece ‘Photophonie’ (1989) emerges like an MTV ident, and continues like some hypermodern deco-dance work, all fractured shrapnel and acres of negative space, but soon flows out into a remarkable tract of vast ambient space conveying the sensation of exploring an abandoned space station, only to find some whispering French and German characters surviving in its bowels. If weren’t told otherwise, this work could have easily been the modern day soundtrack to something like ‘Beyond the Black Rainbow.’
The other side scrolls back to 1973 with ‘Il état une fois’, a 17’ piece spanning field recordings thru to queasy drones and cartoonish honks which perhaps sounds more of its time, but then again recalls Rashad Becker’s music for notional species gone to an alien fairground, while an all too brief snippet of ‘Trans Voices’ (1992) gives way to a lather of sampled voices, choral drones and pulsating rhythm in ’Tu m’écoutes’ (1975) that holds among the darkest and proto-acidic/technoid works we’ve heard from Ferrari, at the least.
Whether you’re an expert or novice to Ferrari’s oeuvre, trust this one’s definitely worth your time." [Boomkat]
|
2019 |
€24.00 |
|
|
Labyrinthe de Violence |
do-LP |
Capturing the four soundtracks conceived in 1975 for the multimedia/audiovisual performances at Galiéra Museum in Paris, the previously unreleased Labyrinthe de Violence stretching across two LPs represents a peek into Luc Ferrari's creations connected to his Atelier de Libération de la Musique experiences. Luc Ferrari was always keen to disrupt habits and engrained practices, to open his mind to new ways of apprehending the world of art, considering it not so much as a separate realm but as an inroad into society. In keeping with the spirit of 1968, he advocated taking part in daily life, casting a critical, but amazed, eye on the world around us, and always questioning the meaning of the occupations and preoccupations the world imposes. From the 1970s, Luc also wished to shed the solitary status of the artist, and to truly communicate with society. He thus gathered around him a group of people from different backgrounds with an aim to create, together, new ways of working and new forms of expression that would address unusual audiences rather than traditional concert audience. Having created his Studio Billig in Paris in 1973, Luc wanted to make the most of that place to promote exchanges with other artists, to share, think, and improvise together. This is what gave rise to the Atelier de Liberation de la Musique workshops, whose objective was to "Liberate music from the constraints of style and esthetics." The idea was precisely to free the artist from abstraction, leading him to perform accessible and intelligible actions; to promote the imagination; to use the dramatic dynamism of sound and image to trigger ideas; to ignore the sensational and instead to observe our social environment and daily life with an intuitive eye-ear; to invite the visitor to come up with their own analysis. This craving for collaboration led Luc Ferrari to create, in 1975, a collective of musicians with Martin Davorin Jagodic, Philippe Besombes, Alain Petit and David Jisse. That year, they worked at Labyrinthe de Violence, a looped audiovisual labyrinth which evoked the violence of contemporary society, and was a reaction to the political situation of the time. It was a multimedia work, spread across four rooms, on the following themes: Power/Profit/Violence/Pollution. Each side of this 2LP set reproduces the sonorization of one of the four rooms in the Museum, automatically mixing in the central space. The same recordings focus on questions of utopia through many of the same themes. As in the rest of his work, pleasure was also at the heart of these pieces. First press limited to 500 numbered copies; gatefold sleeve.
A1. Pollution
B1. Violence
C1. Pouvoir / Profit
D1. Mecanique / Paysage / Danse |
2021 |
€37.50 |
|
| |
...Et Apres |
do-LP |
PLANAM presents ...et après a suite created by Ensemble Laborintus highlighting their collaboration with Luc Ferrari and well underlining the creative heights reached by the composer during the last years of his career. Laborintus, so named in homage to Luciano Berio, was an ensemble born in 1993 and dissolved in 2014, formed by Hélène Breschand (harp), César Carcopino (percussions), Sylvain Kassap (clarinets), Franck Masquelier (flutes) and Anaïs Moreau (cello). The main vocation of the ensemble was to give voice to the music of today by working in close collaboration with living and active composers, confronting current technologies, as well as practicing improvisation and musical theater. Laborintus developed a special relationship with composers, with Luc Ferrari in particular. Each creation was the occasion for an in-depth encounter. For Laborintus, the music of Luc Ferrari was always a bearer of joy, a carnal joy -- a joy of sound, and a joy of playing. There is a balance between the concrete character of the sounds that builds a poetic topology, and the virtuosity of the score, which allows a pleasurable physical involvement in the heart of sound. Bristling with stunning dances of acoustic and electronic sound, ...et après -- collecting a full two LPs worth of material -- presents the final unreleased work that Ensemble Laborintus created in collaboration with Ferrari, including "Bonjour, comment ça va?", two realizations of "Tautologos III" featuring the voice of Brunhild Ferrari and a new version of Ferrari's work "À la recherche du rythme perdu", created under the supervision of Brunhild Ferrari for harp and percussion; as well as an homage to the composer, composed by Sylvain Kassap titled "Arezzo" and Hélène Breschand "L", for flute, clarinet, cello, harp, percussion and fixed sounds. Both "Arezzo" and "L" were composed using sound archives by Luc Ferrari. This double LP also includes as a "bonus" the realization of Ferrari's "À la recherche du rythme perdu", recorded live by Hélène Breschand and eRikm in 2019. The selection of tracks and the title of the album ...et après were chosen in the spirit of a continuation with the legacy of Luc Ferrari: a balance between heritage, transmission, and continuity, transformation over time. Like Russian dolls that fit together Luc encouraged encounters and bonds are still forged today, through his music. Privately produced by Laborintus and issued by PLANAM. Gatefold sleeve; edition of 500.
A1. Luc Ferrari - Bonjour, comment ça va?
A2. Sylvain Kassap - Arezzo
B1. Luc Ferrari - À la recherche du rythme perdu
C1. Hélène Breschand - L
D1. Luc Ferrari - À la recherche du rythme perdu |
2021 |
€38.50 |
|
| FERRARI, LUC / GOL |
Exercises d'Improvisation |
LP |
"Edition limited to 350 copies, includes an insert with the complete score by Luc Ferrari. ** Luc Ferrari conceived this work in 1977 as a sequence of seven individually or collectively improvised exercises for tape and any instrument or group of instruments. Never performed before, "Exercices d'improvisation" have been released by the GOL collective and issued now on LP by PLANAM. The seven exercises follow each others in a suite of growing intensity where GOL acoustic and electric instruments react to Luc Ferrari's tape, lively re-interpreted by Brunhild Ferrari: from a more meditative form, the music turns into free mental spiraling sections to finally culminate in a live musique concrete drama. The tracks were recorded at Ferrari's Atelier Post-billig on April 12th and 13th, 2010, a few days before the world premiere performance at La Maison Rouge in Paris. "Exercices d'improvisation" on one hand presents a new perspective on Ferrari's music and on the other pays a panorama-like tribute to his rich and eclectic corpus; somewhere between "Tête et Queue du Dragon" and "Tautologos" with a touch of "Danses Organiques". The front sleeve shows a four colour wild collage by the French artist, film-maker and Ferrari's collaborator Jacques Brissot based on photo sessions done by Myriam Tirler who also shot the back cover and inner sleeve images presenting GOL members and Brunhild Ferrari in Kagel-Exotica-like appearances.
Please note: this previously unpublished work revealing a hidden part of Luc Ferrari poetics is not included in the INA 10CD boxset. Only available on this LP edition."
[Soundohm]
|
2010 |
€21.50 |
|
| FERREYRA, BEATRIZ / NATASHA BARRETT |
Souvenirs Caches / Innermost |
LP |
"Persistence of Sound presents a split LP from two leading voices in electroacoustic music. It would be hard to find a better-suited combination of contemporary acousmatica on one record.
Beatriz Ferreyra and Natasha Barrett are known for their intense exploration of the movement of sounds through space. Ferreyra has been at the cutting edge of developments in acousmatic music and sound morphology since she joined Pierre Schaeffer’s small team of researchers in his tape experiments at the GRM Paris studios in 1963. Barrett has established an international reputation as a composer of 3D audio and ambisonics.
Following her 2019 album, Huellas Entreveradas, Beatriz Ferreyra returns with her major new work, Souvenirs Cachés (2020), a free journey through a distinctive mix of Ferreyran sounds, a carousel of disembodied vocal sounds, growls and susurrations, sprinkled across the stereo image, and joined intermittently by sustained drones or ethereal, melodic whines, with a hint of prepared piano. Hernan Gomez’s percussive and manipulated flute is featured throughout.
Natasha Barrett’s Innermost (2019) was first composed with natural but abstracted recordings from two outdoor Norwegian events. These were mass community celebrations, particular to Norwegian culture and devoid of political anxiety, although some of the electronically-treated, disembodied vocals seem to express elements of angst or anger. The interplay of manipulated vocal sounds and marching band samples contextualises the music in the open acoustics of a public event. Barrett describes the second section as an example of her notion of ‘spatial counterpoint,’ where many layers of minimal pitched sounds linger, intersect and interact.
The record also features Ferreyra’s Murmureln (2003), commissioned as a danceable electroacoustic piece. Ferreyra’s Argentinian roots are explored in a playful rendition of an old Comparsita, made from collaged vocal sounds and sampled fragments of tango musicians Astor Piazzola, Anibal Troilo, Susana Rinaldi and Roberto Goyeneche.
Beatriz Ferreyra has been at the forefront of electroacoustic music composition since 1963 when she joined the Groupe de Recherches Musicales as one of Pierre Schaeffer’s research assistants. She is one of very few composers still performing who was instrumental at the beginning of Schaeffer’s theories of sound objects and reduced listening techniques. She continues to compose commissioned works and perform around the world in a career that has spanned some sixty years.
Natasha Barrett describes her inspiration as coming from the immediate sounding matter of the world around us, as well as the way it behaves. “I’m really concerned with the idea of tangibility. Sound is invisible, but we can do things that make you want to reach out and touch it.” Barrett's works are performed and commissioned throughout the world, and have received a long list of prizes, including the Giga-Hertz Award and the Bourges International Electroacoustic Music Awards."
|
2021 |
€25.00 |
|
| FIBREFORMS |
Treedrums |
CD |
"Long before KILN turned to the sunset-soaked textures of Dusker, and the sonic-carousels of "Thermals", they made music as fibreforms. Treedrums (1996) documents their transition from live performance trio to sound-art synergists, balancing symbiotic instrumental spaces of kit-drums and treated guitars with lost&found sound to evoke moments that are at once invigorating and tranquil. Seventeen years later, Treedrums is presented here as a re-amped, remixed, and properly restored archival edition of this once buried treasure of sonic curio. One-time numbered edition of 300. Includes two previously unreleased tracks from that early era. These will be housed in a Stoughton mini-lp gatefold sleeve along with an 8 page full color booklet." [label info]
www.infractionrecords.com
"...Following Berry I turned to Fibreforms, a trio of Kevin Hayes, Kirk Marrison and Clark Rehberg, who call themselves these days Kiln. They are from Michigan and somewhere along the lines they changed names. 'Treedrums' is an album from 1996, now nicely repacked (all of these releases look actually great, no rush jobs, nothing cheap). Repacked, but also 'economized, re-amped, remixed, and properly restored', so altogether a different release. I looked at the cover of the original on discogs and it might have been something I heard before. Their ambient is of a different nature; it's more the rockist agenda that is being played, and in particular the post-rock variation. All of this is instrumental of course, with lots of spacious guitars, reverb on the drums and much electronics. Think Tortoise, think Trans AM, Windy & Carl, but I also would like to mention something like O Yuki Conjugate; not because of the ethno rhythms, but of the ambience Fibreforms puts forward when the rhythm plays a more minor role. This ambient of the rock variation is actually very nice, certainly when it's part of a larger ambient bundle. It offers that bit of variation that you may need here. It also proofs that there are more ways 'to do' ambient than just computer processing field recordings. It sounds dated, perhaps, and then it also sounds entirely fresh. Great CD." [FdW/Vital Weekly] |
2013 |
€13.00 |
|
| FINAL |
The Apple never falls far from the Tree |
do-LP |
"from grind core pioneers napalm death and industrial metal duo godflesh to the wrist slashing sadness of jesu, the twenty-odd year career of justin k. broadrick has spawned a slew of uniquely recognisable formations. despite representing his very first steps on the scene, broadrick’s final moniker, focusing on dark electronic soundscapes, has occasionally seemed a side thought in comparison. after putting the project to rest for almost an entire decade, final however resurfaced stronger than ever in the new millenium with a string of improvisation based works as well as a hypnotic collaboration with fear falls burning. the apple never falls far from the tree continues this gradual return to the limelight, presenting final as an act comfortably sandwiched between uncompromising sonic explorations and the most far out corners of the post rock cosmos.
conceptualised especially for the vinyl format and complemented by lasse hoile’s congenial photography, broadrick has envisioned the new final full length as a classic double album, with each side based on a unique mood and compositional approach of its own: from the a side’s darkly glistening, occasionally dub infused soundscapes and the harsh noise propositions of the b side to the more luminous and drone-oriented second half of the album, the apple never falls far from the tree highlights the full scope of broadrick’s work. most of all, it constitutes a showcase of his singular approach to the guitar, which remains firmly recognisable as the main harmonic and melodic instrument despite being sent through a colorful array of effect channels.
the diversity and experimental nature of the material notwithstanding, the apple never falls far from the tree has turned out a continuous and coherent journey, eventually culminating in a piece of pure and beguiling instrumental folk. available in three different versions, on marbled (75 copies), clear (125 copies), and green vinyl (300 copies), in a deluxe gatefold picture sleeve. the release date is october 10, 2010, and available from the tonefloat store."
[label info]
www.tonefloat.com
"Its been a while since I last heard Final, Justin K. Broadrick’s solo project, following his involvement with Napalm Death, Godflesh and Jesu (all of which were never really my cup of tea). It was in those years when ‘Isolationism’ was a much used buzz word to describe music that was firmly rooted in ambient but with a noisy edge. Final, along with say Lull, was a project in which the guitar played an all important role. Broadrick didn’t use the name Final for nearly ten years but now picked it up again, and recorded this 2LP, especially for this format. Its like going back to something that you haven’t done in ages, but it still feels conformable. Although I expected four LP sides with a piece each, this is quite the contrary. The pieces are rather short, a few on each side, and each side has its own character. The harsher, analogue synthesizer like sounds are on the b-side, while the a-side is much more mellow, rhythmic even, certainly towards the end. The first record seems to be all electronic, synth based, but the second is all about guitars and effects. Broadrick strums away, while his effects pick up the signals and create long form, sustaining patterns with that. The isolationist music in optima forma (a fine reminder to play that double CD on Virgin again also, come to think of it). As such it seems nothing happened but maybe that’s of less importance: the music is still great. An excellent return. Hopefully more to come!"
[FdW / Vital Weekly]
|
2010 |
€30.00 |
|
| FIRST LAW |
Beyond IO |
CD / 12 |
"First Law's potency of sound increases with each release in atmosphere and recounting interaction. "Beyond IO" casts a large shade and proves once more the inimitable profile of this artist. Twanging sculptures manifested by an immense power of frequencies are falling like a tempest into a sensational and pulsating world always stored by multilayered levels. The CD/12inch set contains 90 minutes of musical reconnaissances enmeshed in a homogeneous resonance and represents the equilibrium of modulated sound research, electronic songwriting and an not-ending innovative stream of ideas. Close your eyes and open your ears and dig deep into a galaxy generated by tonal and artistical visions. Enter the plateau of ultimate sound design and enjoy the view from the observation tower over all categorical perception! Gatefold LP sleeve, limited 525 copies." [press release]
|
2004 |
€17.00 |
|
| FIRST, DAVID |
Privacy Issues (droneworks 1996-2009) |
3 x CD |
"Featuring Chris McIntyre and Peter Zummo, trombones; “Blue” Gene Tyranny, keyboards; and The Black Jackets Ensemble. “This was something unexpected and truly different: pulsing electronic textures that derived their rhythm from the beating patterns of closely-tune pitches - as if Alvin Lucier and Philip Glass had gone on a blind date to CBGBs... David put the beat in beating patterns.” - From the liner notes by composer Nic Collins (on his initial exposure to First's music in 1987). Long overdue overview of composer David First's drone works. This special and specially priced set (3 CDs for the price of 2) is comprised of nine works composed between 1996 and 2009. “1996 was the beginning of a new period for me”, says First. “I had spent the prior five or six years creating a lot of music for other players and larger ensembles - culminating in 1995 with a couple of mountings of my opera, The Manhattan Book of the Dead. I was a little burned out on this and decided to return to a more personal, intimate format - one that ended up including an even more extensive exploration of tunings, alternative compositional softwares and how my playing techniques interacted with these things. I think I just wanted to go deeper and have more control over the results. During the ensuing years I've had a few pendulum swings - forays into beat-oriented pop music with lyrics & vocals and, of course, the re-animation of my rock band from the late 70s - the Notekillers. But I've continued, through all of the changes, to maintain my grounding in my love of the drone & associated acoustical phenomena - a love affair that began in my teenage psychedelic years and will, no doubt, be a most significant aspect of my music path for as long as I am at it. The tracks here represent almost every major work created from 1996 to the present and I'm grateful that they will be heard by a wider swath of people than those who lived in NYC or happened to be at one of my touring performances during these years.”
David First's musical life is filled with opposites and extremes. At the age of twenty he played guitar with renowned avant-jazz pianist Cecil Taylor in a legendary Carnegie Hall concert. Two years after that he was creating electronic music as an "after-hours" artist-in-residence at Princeton University and leading a Mummer's String Band in Philadelphia parades. He has played in raucous drunken bar bands and in pin-drop quiet concert halls with classical ensembles. As a composer First has created everything from finely crafted pop songs to long, severely minimalist drone-works. His performances often find him sitting trance-like without seeming to move a muscle, unless he is playing with his recently re-formed psychedelic punk band, Notekillers, at which time he is a whirling blur of hyperactive energy. First has been called "a fascinating artist with a singular technique" in The New York Times, and "a bizarre cross between Hendrix and La Monte Young" in The Village Voice. A 45 single released in 1980, The Zipper, by Notekillers, was cited by Sonic Youth's Thurston Moore as one of the songs he played for the rest of the band when they were starting out. Moore called it a “mind-blowing instrumental single” in the British rock magazine Mojo and “a big influence” in the Philadelphia Inquirer. First's music has been performed in the USA at The Kitchen, Bang On A Can, Central Park Summerstage, the CMJ Music Marathon, Joe's Pub, SXSW, The Stone, The Knitting Factory, Tonic, Issue Project Room, Monkey Town, Merkin Hall, CBGB's, and The Spoleto Festival. He has also been presented extensively in Europe - appearing, at Podewil, the USArts Festival, Institut Unzeit (Berlin) as well as at De Ijsbreker (Amsterdam), the Heidelberger Festival for Experimental Music and Literature (Heidelberg), ZwischenTone Festival (Köln), The Impakt Festival (Utrecht), Het Apollohuis (Eindhoven), and the Brugge Concertgebeouw (Brugge). First has also presented sound installations at Kunstforeningen (Copenhagen), the Uppsala Konstmuseum (Uppsala), Exit Art (New York), Voorkamer (Lier) and Studio Five Beekman (NYC). An installation - Dave's Waves, a Sonic Restaurant - ran during the summer of 2006 in the Sonambiente Festival of Sound Art in Berlin. He has also been featured in numerous publications. There have been articles about him in both Guitar Player and Keyboard Magazine as well as in MusikTexte (Germany), Arude, Atlantica (Spain) and Tape Op. There are chapters about his music in the books American Music in the Twentieth Century (Gann/Schirmer) and La Musica Minimalista (Antognozzi/Edizioni Textus), Music Downtown (Gann/UofC Press) and Rifugio intermedio - Il pianoforte contemporaneo fra Italia e Stati Uniti (Arciuli/Teatro di Monfalcone). First received Honorable Mention from Leonardo/ISAST for his article "The Music of the Sphere: An Investigation into Asymptotic Harmonics, Brainwave Entrainment, and the Earth as a Giant Bell". He has received grants from the Foundation of Contemporary Performance Arts, the National Endowment for the Arts, the Aaron Copland Fund for Music, the Mary Flagler Cary Charitable Trust and the Meet the Composer Commissioning USA program." [label info]
www.xirecords.org
"Although I didn't keep up with the entire out-put of Phill Niblock's Experimental Intermedia label, the releases I did hear usually a very good, and also usually bring me composers I never heard off. Like David First. I never heard of him as a composer of drone works, nor of his band the Notekillers. In 1995 he finished an opera 'The Manhattan Book Of The Dead' and decided to play something that was more personal and intimate and thus a phase of composing drone music started. Although First is primarily a guitarist he explored various instruments in this drone phase. This three CD starts out with a thirty-five minute piece for Theremin, the longest piece here for a solo instrument. Other pieces are for slide whistle, computer, e-bowed guitar and even an odd one for transistor radios (the shortest actually, at just one minute). Two pieces, under which the CD long 'Pipeline Witness Apologies To Dennis', are pieces for a small ensemble. In the 'Pipeline' for four trombones, tuned
keyboards, e-bow guitar and computer, whereas violin, clarinet, guitar, bass and e-bow appear in 'My Veil Evades Detection'. All of this shows, I think, a wide interest in how to approach drone music, and First does an excellent job. In 'Pipeline' we could recognize some influence of Phill Niblock, whereas in the other pieces First keeps a great balance between material that is partly very loud and present, piercing almost, like in 'Zen Guilt/Zen Blame' or 'Belt', to hectic nervous pieces such as 'Aw!' or very much computer based as in'The Softening Door'. Altogether a great release, quite long of course, spanning more than three hours of music, but with this diversity I must say this is all great. An excellent introduction." [FdW/Vital Weekly]
|
2010 |
€23.00 |
|
| FIVE THOUSAND SPIRITS |
Quantum Consciousness |
CD |
PREPARE TO HAVE YOUR REALITY SHATTERED ! 5000 SPIRITS beziehen sich aufs holistische Quanten-Bewusstsein und widmen ihr Album dem LSD-Erfinder ALBERT HOFMANN, der am 11. Januar 2006 100 Jahre alt geworden ist. Hier tauchen sie tief ein in „atmende“ Strukturen, eine spirituelle ambience wie sie für ALIO DIE so typisch ist, angereichert durch fremdartige aurale Essenzen, wie Stimmen und leichte elektronische Effekte…
“After seven years of silence they will recurred to be heard again ...with 'Quantum Consciousness' they will not only overflowing the passed times but will leave frightened not only some listeners. Five tracks built in an unbroken journey of great intensity that Raffaele Serra ed Alio Die have characterized with an electronic refine touch and a flood vitality, always at the threshold of a mystery's whirlpool, some powerful electronic mantra that in these lands have already given some kind of dependance. Great artwork in gold print on dark green.” [label info]
|
2006 |
€13.50 |
|
| |
Schwarzschild Radius |
CD |
Nach "Quantum Consciousness" Teil 2 der Serie "Prepare to have your reality shattered", ein "kosmisch"-ambientes Klangefüge mit gleichen Anteilen von Elektronik und field recordings oder instrumental-handgemachten Sounds.... feine illumination-drones vom ALIO DIE-Seitenprojekt. 6 tracks, 54+ Minuten.
"The return by FIVE THOUSAND SPIRITS 'Schwarzschild Radius' CD, second part of a series, it is an unbroken journey of great intensity that Raffaele Serra ed Alio Die have characterized with an electronic refine touch and a flood vitality, always at the threshold of a mystery's whirlpool, an electronic mantra that in these lands have already given some kind of dependance. Great second chapter after the great 'Quantum Consciousness'. Out on Sempiterna Mutatio/Hic Sunt Leones. SM 009 CD" [label info]
|
2006 |
€13.50 |
|
| FLEURY-STEINER, BEN |
He dreams in Rivers |
mCD-R |
"Head of the gears of sand label, also known under the paradin and light of shipwreck aliases and for collaborations with aidan baker or oophoi, ben fleury-steiner proposes here two highly evocative droney pieces, as its title suggests it... full-colour printed 3" cd-r with artwork by delphine ancelle-b." [label info]
http://taalem.free.fr/
|
2007 |
€5.00 |
|
| FLORES, RAFAEL |
Nubes, Cometas, Rumores y Orugas: selected works 1994-2004 |
CD |
Einer der ganz aktiven frühen Industrial-“Cassettentäter” aus den 80ern war RAFAEL FLORES, der unter dem Namen COMANDO BRUNO arbeitete. Das Moskauer Label MONOCHROME VISION hat nun neueres Material zusammengetragen, welches nur in mini-CDR-Auflagen erhältlich war. FLORES Musik besticht durch die Verwendung mechanischer loops & „industrieller“ Geräusche, metallischer Drones & merkwürdiger verzerrter elektronischer Strukturen.....alles sehr hypnotisch, minimal & repetitiv, und manchmal recht abgründig....
das ist der 80er Jahre Noise-Minimalismus, wie man ihn von M.B., S-CORE oder TAM QUAM TABULA RASA geschätzt hat...
“First official CD album of Rafael Flores who hails from the depth of spanish noise underground scene, known for his early works released under Comando Bruno moniker. This compilation presents the latest decade of his sound experimentation, and shows quite diverse sides of his creative efforts, which ranges from collaged field recordings to noise ambient loops, from rhythmic structures to hypnotic electronic passages.“ [label info]
“....Rafael Flores first came to my attention in 1984 or 1985 when he worked as Comando Bruno, and was featured on many cassette compilations around the world. I even released a cassette of his, I think in 1986. Despite me xeroxing the cover, it had all sorts of stamps made by Comando Bruno, as he was also heavily into mailart. But my contact with Flores was rather small, and in the later half of the eighties we were no longer in contact and when people started to release LPs and CDs, he seemed to have disappeared. His cassette was re-issued on CDR (and sold really few copies, not that I was surprised), and suddenly Flores knocked on my door asking for a few copies. Since then we are not in contact, but it's good to know he's back. From the lost years, 1994-2004 he now releases a CD - his first in twenty-five years. It's great to hear this music without the hiss and static of a cassette. Flores plays industrial music, but one that strictly along the 'old' rules. He takes he sounds from rather primitive sources (such as the radio depicted on the cover), feeding them through electronics, chopping them into small rhythm particles (such as in 'Boucher 2' which sounds alike Esplendor Geometrico), but never the material dissolves into a mass of noise sound. Crisp clear, layers of electronic sounds, processed field recordings (in 'Para'), this is music that reminded me of the late eighties Asmus Tietchens. Forceful, yet intelligent industrial music. A major step forward and hopefully much more to come.” [Frans de Waard / Vital Weekly]
|
2005 |
€13.00 |
|
| FOETUSDREAMS |
Brouillard |
CD-R |
"Winter-Light is extremely proud and happy to announce its very first release on the Winter-Light label by the Dutch dark ambient producer, FoetusDreams. "Brouillard" is the first full length dark ambient album produced by FoetusDreams, who has previously contributed music to compilations.
From start to finish "Brouillard" is a real ambient journey; sometimes an introspective one, sometimes a glance from the inside looking out and far beyond the reach of the human eye. The tracks are beautifully sculpted pieces of ambient excellence and from the opening moments of the first you are transported into the world of "FoetusDreams". Rich drones resonate across starkly crafted, ice-cold landscapes where your only companions are the sounds that flow around you. Vibrant musical layers, occasionally punctuated with a clever use of samples, draw the listener ever further away from reality towards a deeper, more meaningful sense of self. You could easily be standing on the edge of the universe looking out, or traversing the caverns of your own mind in a search for that place of inner peace. The title track "Brouillard" is a master class in drone ambient with its ever present trance inducing hum that lowers a mist over the eyes and takes you to a very dark place indeed.
If you are looking to go on a journey then it begins right here. The tracks have been mastered by Frederic Arbour from Cyclic Law.
"There is only one God and that God is man himself."
1. Way Of Be
2. Abandoned Planet
3. Winter Light
4. Cavern
5. Travel Within
6. Slowly Approaching A Dead Star
7. Brouillard
8. Interference
9. Molecular Cloud
10. Endless Horizon
Professionally manufactured CD-r comes in a beautifully produced 6-panel digipack. 10 tracks, total running time 62:51. Edition is limited to 150 copies." [label info]
www.winter-light.nl
"The dutch label Winter Light comes out with its first full-length release, composed by the Dutch project Foetusdreams. Beginning with the first song, ‘Way Of Be’, we are given a hint to what this opus stands for: sacral, atheistic dark ambient, as suggested by the recitation ‘There is only one God and that God is man himself”, repeated on the droning fluid of a choral-tinged musical line.
‘Abandoned Planet’ is a cinematic picture of an irremediable future, a play on indefinite and elusive notes, as if covered by the very dust that will whip out everything we now observe in such a careful manner. This same absence of light that the music suggests here will immerse into darkness those who once were saints and murderers alike…
‘Winter Light’ contains even more grave accents and sullen notes, a saturnine sense of despondency, as if this light, diffused somewhere in the distance, could be the only real thing between the worthless earth and a sky that simply does not exist. And those piano chords, so naive and worldly, are written like an irrelevant epitaph on the tombstone that spares you from another daylight.
From here, a place of eternal farewell, the piece ‘Cavern’ ressembles an invitation to a voluptuous meeting within the caves of the earth and what, by an anatomical reading, should represent traces of the earth’s disease; holes and gangrenas in its crust come now to be the only place still safe and pure. In parallel, the following track, ‘Travel Within’, moves more fluidly: blood here and there, coagulated and bubbling, in response to a personal prophilaxy directed to the external world. This return to the womb imprints a suggestive movement to the music’s metabolism and therefore the drones are let loose to encircle the mind in a hypnotic and quite perverse attitude.
Someone said that the dream is the music of the soul. ‘Slowly Approaching A Dead Star’ corresponds to such a dreaming of the impossible. A song built on a catatonic development of dazzling cosmic drones. Out of this dream, from which one should never wake up if they want the dream to really materialize, we are taken to the next song, ‘Brouillard’. Here the sculpture is different, adopting a more industrial style. The pulsating drones reside on flashes of undertones and the musical line is completed by an Amerindian poem interrupted at intervals by a French nihilistic monologue. It should be the album’s pièce de résistance, because it’s simply sublime in its cynical shrewdness of the text, maintained along with that gloomy Dalinian melody, a pure postmodern folk song.
I have avoided giving references, but ‘Interference’ reminded me so much of one of the liturgies from MZ 412’s ‘Infernal Affairs’. The crushing feeling of religiousness and demonic energy, which actually translates in meta-nihilism, pervades this song all along. At the hearing of the escalating drones, the great spaces of hollow matter receive a new personality. On ‘Molecular Cloud’ the Dutch artist seems to paint his drones on the very air around him with gentle brushes, in tones of grey that no soon are dried up, remain imprinted solely on the listener’s mind.
The massive 63-minute long album closes with ‘Endless Horizons’. This journey between vivid drone sculptures has been a passage between the world as one sees it and the world as one feels it, a walk through this multifaceted corridor that we can take only in dreams, or music, or mist." [Santa Sangre] |
2014 |
€12.00 |
|
| FORCUCCI, LUCA |
Fog Horns |
CD |
"Luca Forcucci is a binational Swiss and Italian composer and artist. His work observes the perceptive properties/relations of sound and space (and vice versa) through sound installations, visuals, compositions and performances. In order to explore the field of possibilities for sound in a context of music and art as experience, the works converge with dance, digital performance, poetry, architecture and neuroscience. In this context, he is interested by perceptionand consciousness.
His compositions have spanned through the years from electronic music, which was produced by Al Comet from The Young Gods, to field recordings collected around the world in urban contexts like Sao Paulo, Shanghai, San Francisco and natural ones like the Amazon forest or the Swiss Alps to name a few." [label info]
www.subrosa.net
"Sub Rosa is busy presenting new and young composers and here have a release by Luca Forcucci. "His work observes the perception of sound through an architectural approach in the relation of sound and space". He studied in Berlin, Paris (at GRM) and the Brain Mind Institute in Switzerland. I am not sure if he has other releases available, but this is the first time I hear his music. The three pieces on this release are inspired by the fog horns he heard when he landed in San Francisco in Spring 2011. Obviously he recorded those and uses them as source material on these pieces. On the title piece he gets help from Goo Le Gooster on turntables, scratch, cuts and echoplex and in 'Winds' it's the cello of Michael Kott. When I visited San Francisco, a long time ago, I didn't hear fog horns, but I can imagine what they would sound like. the long sustaining and slowly shifting sounds of the horns over big distance, would already be enough to be music by itself, but Forcucci's treatments to the material enhance the mood further. Quite dark and desolate - like recorded from below the sea surface where metallic objects softly touch upon the microphone - in 'Winds' and hazy, fog like, not entirely clear for all to see in in 'L'Ecume Des Jours'. The title piece is the place in which happens most. Here the fog horns form a web behind a collage of field recordings - people talking and walking, bird calls and a bit of scratch like sounds. Oddly enough (but why?), I thought this was the least interesting piece of these three. Maybe the whole marriage of field recordings with a bit scratching just didn't work well; maybe it gave me an uneasy sense of being forcefully 'hip' to some extend? I don't know. But the other two pieces are really good." [FdW/Vital Weekly] |
2013 |
€13.00 |
|
| FORT, BERNARD |
FRACTALS / Brain Fever |
LP |
FRACTALS (1981), 21’26
Composed at the GMVL from December 1979 to September 1981, this work was commissioned by Fnac.
Fractals are mathematical oddities that, when crossing our path, turn the smallest island into an immensity to be explored.
FRACTALS is a series of short studies, all based on the same sound source. Seeking in the sound and its very logic a proposal upon which a construction is elaborated, each Fractal remains open and is a mere fragment of itself.
FRACTALS, music pieces sculpted in four dimensions, are vast microcosms that can only be inhabited by the mind. Each Fractal can be approached from several angles, far, near, etc. Some can be listened to at different speeds, forwards or backwards.
FRACTALS: amorphous and endless music pieces whose centre is everywhere and circumference nowhere.
Brain Fever (2017), 18'00
Wherever you may be in the forest of South India, the Brain Fever bird, together with the Seven Sisters, literally gets into your head. Whether it be early morning, daytime, or nighttime, amidst the stridulations of insects, its song utterly reflects Indian life: sonorous, noisy, insistent, dense, overcrowded, mobile, swarming, frantic, overheated, deprived of rest and sleep.
Brain Fever echoes sonic images caught in the Aurovillian forest, near Pondicherry, and rich fragments of improvisations made in Lyon on analog sound synthesis or feedback devices, the kind I used to do in the first GMVL studios.
Brain Fever is dedicated to Sofia Jannok, a musician and sàmi singer.
editionsmego.com/release/REGRM-024
|
2020 |
€19.50 |
|
| FOSSIL AEROSOL MINING PROJECT [FAMP] |
The Unlistening Place |
CD |
"Fossil Aerosol Mining Project are an enigmatic lot, comprised of sonic archeologists residing the American Midwest. Their work spans several decades and is almost always in flux through the variable states of contextual re-investigation and technological degradation. Aesthetically, FAMP align with the post-industrial research of :zoviet*france:, Cranioclast and Robert Turman. Bacteria damaged tape loops, ghostly time-lag accumulation and the excavation of mediated sound from suburbia’s failures are key components to the Fossil Aerosol’s working process.
The core tracks of The Unlistening Place were recorded in 2015, and at the time were intended to be part of what was to be the final Fossil Aerosol album, scheduled for a distant release. But history circled back on itself, and the result was a reworking of future tracks, alongside more new material. Historiography eating its own tail." [label info]
"Fossil Aerosol Mining Project are an American experimental music legend. They’ve been making and releasing music and soundart since before I was even conceived, so to have my hands on their brand new release is quite the occasion—especially considering the fact that, at some point, the project was meant to be put to an end after over two decades of existence. According to the liner notes for The Unlistening Place, some of the music on it may have actually been a part of this goodbye material, which was recorded to celebrate the demise of the project.
And if you can name a better label than the Helen Scarsdale Agency for a style of music created from various sources of damaged media, decaying film and long-forgotten tape, and coming from a project anticipating its termination, well… I’ll help you: You can’t.
The Unlistening Place is an emotional and musical rollercoaster. The sound is warm, textural, and obscure. Fossil Aerosol Mining Project don’t appear to enjoy staying in the same space musically. Each and every song is like a separate realm, a separate artifact, and I guess this is due to the different source material which was (ab)used for the different tracks. The Unlistening Place can sometimes be dreamy (‘Traditional String Invocation’, ‘Silent Time’, ‘Traditional Referent’) or mechanic (‘Tar Prodigy 2’); however, it mostly gravitates toward building sparse soundscapes (‘The Unlistening Place 1’, as well as its second and third chapters) with their rumbling subs, analog decomposition, and waves of transparent drones.
The tape sometimes feels like a sonic cage for all of the sounds it was able to capture. It’s like a prison or a collection of dead and long-forgotten living beings whose voices you’re not really sure if you’re actually hearing or if they exist only in your head. Due to its obscurity, The Unlistening Place sometimes reminds me of a lighter and more friendlier version of People-eaters and their mixtapes on Aetheric Records. With The Unlistening Place, Fossil Aerosol Mining Project creates realms which exist to oppress and exhibit everything we’re often blind to or tend to just leave behind. Luckily, we have humans who are still keen on unearthing such artifacts, thus transforming them into other ones so we learn to chew for a bit longer before shoving another piece of what’s new and hot in our consumerist mouths. |
2017 |
€14.50 |
|
| FOVEA HEX |
Here is where we used to sing |
CD |
"Fovea Hex are one of the mostintriguing phenomena in contemporary music. Despite the seemingly wilful nonchalance that has kept them under the radar so far (only 3 ep releases in 5 years, a mere fistful of appearances in France, Spain, Italy and Ireland, and their preference for elliptical, minimal design) the group have nevertheless developed an enviable cult status both in Europe and the United States, have performed at the personal invitation of David Lynch in the gardens of the Cartier Foundation in Paris and have attracted the free and willing participation of a genre and generation hopping rollcall of A-list luminaries including Brian Eno, Robert Fripp, Carter Burwell, Donal Lunny, and Steven Wilson, as well as a who's
who of the electronic avant-garde including Roger Doyle, the Hafler Trio, Colin Potter and Michael Begg. Clodagh Simonds, the group's reclusive leader (if they can be called a
group, and indeed, if she can be called a leader) has recently emerged to announce the eagerlyanticipated first full-length album from Fovea Hex, Here Is Where We Used To Sing, which will be released on CD and digital formats on April 18th 2011. The album comrises 8 beautifully crafted songs and 3 short instrumentals that build on the fusion of formal composition, cutting edge ambient sound
art, incomparable song writing skill, and Simonds's emotionally rich and evocative vocals ("A voice that one could happily drown in for hours" remarked Pitchfork) that made their ep trilogy, Neither Speak Nor Remain Silent, so extraordinary. These "songs that don't go where you think" are immediately seductive, inhabiting a curiously elusive, many-layered
otherworld. They manage to sound both powerful and delicate, sophisticated and elemental, resonating with an understated emotional intensity so rare these days that it comes slightly as a shock. The balancing act is fragile, and nothing is quite what it seems, yet the group themselves are unlikely to
explain their methods or reasons. That task falls to fans and friends such as Matmos's Drew Daniels: "The starlit nocturnes of Fovea Hex bind electronics, drones and voices into song spells. Their intimacy and raw emotional power feel centuries old, but the experimental sound design can be shockingly modern. There is an intense focus to this music ¬ no clutter, no
cliches ¬ which is both ravishing and rare"
Simonds has gathered about her a now familiar troupe of collaborators for this album. A core ensemble of Simonds (vocals, keyboards, harmonium, psaltery, lyre, kalimba), Laura Sheeran (vocals, saw), Cora Venus Lunny
(violin, viola), Michael Begg (electronics, keyboards) and Colin Potter (electronics) are variously joined, replaced, augmented and superimposed by visitations from Brian Eno, Julia Kent (of Antony and the Johnsons), John
Contreras, Kate Ellis, members of Italy's Larsen, and, in keeping with the mystery that seems to veil the heart of the enterprise, further "friends who would prefer to remain nameless." True to their oblique nature, they even manage to credit an abstract contribution to the 10,000 year project; The Long Now Foundation (http://longnow.org/) "Three Beams", a limited edition bonus disk of 3 extended remixes allows full and free rein to the palette of ambient / experimental electronica at Fovea Hex's disposal. Works by Colin
Potter, Michael Begg and William Basinski perfectly counterpoint the highly crafted songs on the album with generously proportioned and sonically mesmerizing soundscapes.
One has to wonder how Simonds really feels now that the appearance of this singular album seems likely to tear apart forever the fabric of anonymity in which this extraordinary ensemble has until now been concealed." [label info]
"Certainly a project covered in mystery, Fovea Hex. In the last five years, they released three CD-EPs, all on Die Stadt, all with bonus remix CDs. A mystery in as far that we obviously know who is behind it. Clodagh Simonds is the 'leader' of the pack. She sings, plays piano, harmonium, keyboards, kalimba and lyre. Around her she has gathered a whole bunch of musicians, such as Michael Begg, Kate Ellis, Cora Venus Lunny, Brian Eno and Colin Potter. They add such instruments as cello, violin, treated bells, sonics and starry keyboards. If you thought that Fovea Hex would have moved on after their last EP, you're wrong. They still operate in that very same field of ambient music and folk tunes. The voice of Simonds is as heavenly as before and the music as sparse and to the point as before. Very fragile music, maybe even a pathetic (although I like to stress I hardly mean this in a negative way), highly emotional. Even without paying attention to the lyrics, one can easily feel the high
emotional level which is used here. I can imagine that playing this music when depressed is not going to help to lift that depression. Or perhaps it does. Very sad and yet very beautiful music." [FdW/Vital Weekly]
|
2011 |
€13.00 |
|
| FOX, HARDY (THE RESIDENTS) |
same |
LP |
First solo album by former Residents composer Hardy Fox after the Charles Bobuck era. An album full of minimal love songs, a portrait of the young Hardy Fox. This is what he says about this solo debut: "Here’s a new idea. How about writing a love song? Oh, you say it’s been done, maybe overdone. So why would I be so foolish as to tackle such a subject so fraught with cliches and meaningless sentiment. Probably because I am stupid. But also because I have been led around by love in some form for my entire life. That isn’t really a complaint. Seriously, there is isn’t much in the world that is as interesting as love and its many related variations: attraction, obsession, sexual fantasies, broken hearts. It is the fuel that many of our lives run on. The question remains. Why join the hoard of people trying to say something new about love? I suppose that the emotional state is, more or less, unique to each person. Each of us has our approach to dealing with and surviving the chemical and hormonally driven state of mind. For me, I am still able to love as an older gentleman, but the intensity of love always takes me back to my youth when all was new and strange. Each element that drove sexual exploits had to be explored, considered and digested. Now older, I am able to gain some objectivity to set memories to music. This album is a glimpse into my younger self. Well truthfully, probably not. It is likely yet another fantasy of an aging man, still led around by his dick." This is the LP version released under license by Secret records, USA, who have done a great job..... beautiful green vinyl and comnes with a yellow flexi disc!
https://secretrecords.bandcamp.com/album/hardy-fox-s-t-2018-electronic-sr14 |
2019 |
€25.00 |
|
| FOX, TERRY |
552 Steps through 11 Pairs of Strings |
do-LP |
Bubbling below the histories of sound-art, fine-art, and avant-garde music, there are a handful of remarkable figures who bridge all three - collapsing the barriers between creative limit, context, location, and aural experience. Of these, Terry Fox long occupied a place of respect and renown for those in the know - among the best of the best, but, within the broader narratives of each discipline, he has never entirely received his due - lingering just out of view, responsible for so much of what followed in his wake. In recent years, the imprint of Edition Telemark has emerged as a definitive voice in boundary breaking territories of sound - issuing releases by the Maciunas Ensemble, Wolf Vostell, Joe Jones, and others, as well as their brilliant recent editions of Ernstalbrecht Stiebler’s Kanon / Torsi and Peter Behrendsen's Nachtflug / Atem Des Windes. As luck with have it, they now turn their gaze to Terry Fox, with the stunning double LP 552 Steps Through 11 Pairs of Strings, drawing on a long lost recording from 1976.
Terry Fox emerged from the fertile ground of San Fransisco’s 1960’s and 70’s conceptual art scene, during an era when the dominant institutions of fine-art, seeing it as a backwater, refused to pay California any mind. Unlike his peers Bruce Nauman and John Baldersari, he neither went to NY, nor waited it out - leaving permanently for Europe before the 70’s were through. Fox represents an incongruence link within the history of conceptual practice - both embracing the sculptural materiality of nature, the industrial, and the every day - bridging territories explored by Joseph Beuys with those of Minimalists like Carl Andre, and land artists Walter De Maria, and Robert Smithson, while also recognizing, similarly to Nauman and Baldersari, that material was only a vehicle for an idea. As his practice progressed, Fox increasingly turned toward the performative and the multidimensional possibilities of an object - its ability to occupy space, and generate sound.
During the mid 1970’s, years before Ellen Fullman began to build similar instruments which brought her renown, or Alvin Lucier conceived Music on a Long Thin Wire, Fox began to experiment and perform on sculptural objects comprised of extended long strings. Tragically, the artist has remained largely absent from the historic narrative of the practice he helped invent. This is partially a consequence of the private nature of his performance, and the obscurity of his recorded releases, against the timing in which they emerged. Fox is incredibly well represented in the artifacts of sound art - appearing in one of its earliest exhibitions at the Museum Of Conceptual Art in San Francisco during 1971, and on the seminal Airwaves, Sound, Revolutions Per Minute, and Audio By Visual Artists compilations, but recordings of his string works did not begin to emerge until the 1980’s, first on Linkage, issued in 1982 by the Kunstmuseum Luzern's imprint, and then on Berlino / Rallentando, which appeared in 1988. Linkage has long offered an important clue, with it’s earliest working having been recorded in 1975, but, until 552 Steps Through 11 Pairs of Strings - recorded in Fox's San Francisco studio during 1976, nothing from is important period has yet to emerge.
552 Steps Through 11 Pairs of Strings, which, as with most of Terry’s Fox’s works from the 1970’s, draws its ideas from the labyrinth at Chartres Cathedral in France, is the result of a 4½ hour performance where the artist stretched 11 pairs of piano wires of 11 different thicknesses across the floor - creating a giant horizontal harp. The audience was positioned in the dark loft on the floor below - within what became the instrument’s resonant chamber. Fox played the the strings with a soft mallet in one hand and a score - a 34-foot string tied with 552 knots, in the other. Each knot represented a step in the Chartres labyrinth, with the 34 turns indicated by either a piece of wire in a knot (a move to the next longer pair of wires) or a rubber band around a knot (a move to the next shorter pair). The outcome, as it appears on this remarkable double LP, are stunning - a revelation in idea, practice, and sound - an unrecognized precursor to the work of Ellen Fullman and Arnold Dreyblatt. Comprised of four selections from the performance, its presents an resonant world of rhythm and bass - a deep rumbling, which often uncannily recalls the artists most famous work - The Labyrinth Scored For 11 Different Cats.
If ever there was an important document from the history of sound practice to emerge, 552 Steps Through 11 Pairs of Strings has got to be it. As seminal as archival releases come - two stunning LPs, including images of the score and instrument, as well as the invitation card to the performance, and texts by Terry Fox and Alan Scarritt. For anyone interested in the histories of sound-art, fine-art, and avant-garde music, this is moment not to be missed.
|
2017 |
€35.00 |
|
| FRITH, FRED & JOHN ZORN |
The Art of Memory II |
CD |
"Art of Memory II (ReRFRA06) ist kein Nachfolger zu Art of Memory (Incus, 1993), sondern geht ihm voraus. Nachgeliefert werden nämlich Konzertmitschnitte vom Januar 1983 und Juli 1985 und man hört FRED FRITH & JOHN ZORN dabei in geräuschverliebtester Spiellaune. Der eine bekrabbelt Tableguitar & ein Casio Monophonic Keyboard, der andere tobt sich an Mundstücken & Vogelpfeifen aus, dass nur so die Spucke und die Federn fliegen. Zorn strebt in den Siebten Looney-Tune-Himmel, zumindest
bohrt er ihn ständig und hartnäckig an. Er quäkt, kirrt und schnattert wie die Ducks-Sippe in Aufruhr, die sprudelnden, oft schrillen Altosaxophontiraden wirken in diesem Kontext dann ebenfalls wie hyperventiliert.
Frith lässt entsprechend seiner Itchy & scratchy-Seite die Zügel schießen, lässt die Saiten flattern, macht den Kasper, der Krokodile verdrischt und Polizisten die Nase verdreht. Plinkplonk wird abseits aller explorativen Seriosität zur anarchistischen Zirkusclownerie, zum Geek-Spektakel, zum polymorph-perversen Sturm im Wasserglas, bei dem einem Caliban ein Bein stellt und der Inhalt von Harpo Marxens Manteltaschen um die
Ohren fliegt. Kein Gedächtniskünstler - der Titel ist ja offenbar von Francis A. Yates‘ The Art of Memory geliehen - könnte diese Splitter wieder sortieren." [Bad Alchemy]
"The long-awaited follow up to their first release on Derek Bailey's Incus label and a kind of prequel, going back to the time when Fred was playing home-made instruments and John was using mouthpieces and duck-calls as much or more than alto sax; this was back in the New York glory days when 100 new ideas popped up somewhere every day, and these performances lie right at the fringe of what most people would accept as "music". Anyone wanting to get back to one of the roots of what later became known as "noise music" will want this CD, since these performances encapsulate an approach to improvisation that has much more to do with listening to the world than perpetuating an existing musical tradition that works through safe, mutually understood, rules and conventions. AOMII is a vintage document from a lost era when innovation, energy and imagination were valued, and still had the power to shock and surprise." [label info] |
2008 |
€14.00 |
|
| FROMBERG, DANIELA & STEFAN ROIGK |
Unfamiliar Home |
LP |
"Daniela Fromberg and Stefan Roigk are multidisciplinary artists working at the borders between acousmatic sound collages, sculptures, installations and graphical scores, often combining different types of media into one single composition. Many of their works deal with fragments of everyday life that are presented in narrative stage-like installations.
One such work is "Unfamiliar Home" which began life in 2012 when the house the artists live in got renovated as part of a gentrification process in the Prenzlauer Berg district of Berlin. What used to be their home turned into an estranged hostile place that they were forced to inhabitate while the wooden windows were wrecked, the roof stripped, all plumbing ripped out and the whole 5-story building blindfolded in construction foil. During two years of living on a permanent construction site, the artists collected 400 hours of audio recordings of that novel sonic experience, out of which they formed a 12-channel mixed media installation with a sculpture made out of vintage wooden window sashes.
The installation "Unfamiliar Home" was presented at Ausland, Berlin in December 2018. This LP mix merges the original sound collage with on-site recordings of the installation. Sound sources: Tremors, hollow scratching, resonating gas-heaters, droning jackhammers, crumbling ceiling plaster, wind, chimney sweeping, blow torches, rustling plastic cover, elevator buzzing, dismantling of the scaffolding.
"The ephemeral sound of an urban Berlin – too soon to be history, when all vintage construction materials have fallen prey to real estate funds." (Daniela Fromberg & Stefan Roigk)
Edition of 200 with full-color outer sleeve, inner sleeve and 3 LP-sized inserts with photos of the installation."
www.edition-telemark.de/923.09.html
|
2022 |
€25.00 |
|
| FUKUDA, HIIRAGI |
Seacide |
CD |
Hiiragi Fukuda turned a lot of “heads” with his 2013 album “My Turntable Is Slow” - released on NY label Selection Records. For many outside of his hometown of Tokyo, Japan it was their first introduction to the guitarist...
www.troubleinmindrecs.com
"Japanese experimental artist Hiiragi Fukuda returns with his third stateside issue, as Trouble in Mind Records reissues the guitarist-synthesist’s 2014 Seacide on LP and CD (originally issued on cassette by Sloow Tapes). It would be shortsighted to call Fukuda’s rhythms minimal, as that word only describes his recording set up for this release. With one synthesizer, one guitar, delay pedal, and microphone, the artist weaves patterns that bleed beyond repetition into open, breathtaking ceremonies. In the streaming embed below, you will find that Fukuda is a patient player, to say the least, as he works with limited note sequences as long as physically necessary for the next narrative set. Harmonic feedback might be that story, or a shift in pitch or slight lead line. If the listener follows the standard story that original krautrock artists sought a form of music that transcended traditional influences and rhythms, Fukuda reduces that line to its most orthodox interpretation, thereby opening its grand potential: this is music that speaks truly through its bare elements, shedding unnecessary move or obstruction. Seacide is available from Trouble in Mind Records on March 31." [Decoder Magazine]
|
2015 |
€13.00 |
|
| FULLMAN, ELLEN |
Body Music |
CD |
ELLEN FULLMANN, Mitglied der DEEP LISTENING BAND mit Pauline OLIVEROS, arbeitet mit selbstgebauten “string instruments”, deren Drähte z.T. viele Meter lang sind, und erzeugt so schwirrende, hell klingende, reichhaltig-obertongenerierende drones. Komplexer Minimalismus.
„ Body Music is music for Ellen Fullman¹s unique The Long String Instrument,an 80-foot long instrument with approximately 80 strings. Fullman has been developing this instrument for longitudinally vibrating long strings over the past thirteen years. When she started making it, she saw it as "sculpture as music;" now she has come full circle in conceiving "music as sculpture." For the most part, the music in Body Music relies harmonically on the diatonic scale. Because of the prominence of overtone content, more complex harmony is suggested.” [label description]
label: www.xirecords.org |
1993 |
€14.00 |
|
| FURUDATE, TETSUO & Z. KARKOWSKI |
World as Will II |
CD |
"Re-Aktivierung des Labels von SCOT JENERIK aus San Francisco, der v.a. als Konzertveranstalter aktiv ist, mit dem zweiten Teil der Zusammenarbeit von Karkowski & Furudate (Teil I erschien auf Staalplaat). In Sachen apokalyptischer, orchestraler, irgendwie „neo-klassischer“ Komposition wohl mit das intensivste und extremste, was es zur Zeit gibt! " [Drone Rec 2002]
“Legendary composers Zbigniew Karkowski and Tetsuo Furudate complete their second installment of World As Will. This powerful collaboration results in a furiously intense music with Wagner-esque orchestrations and instrumentation with vigorous electronic manipulations, voice and mastery. A truly epic piece of work.” [press release]
"The orchestral madness it evokes makes Laibach (to compare with a group who have used loads of orchestral sounds) into childplay." -Frans de Ward, Vital Weekly, Amsterdam
|
2002 |
€14.00 |
|
| G*PARK |
Sub |
do-CD |
"The most enigmatic of the Schimpfluch-Gruppe, Marc Zeier in the man behind G*Park; and here, he presents his first major album since the acclaimed 2008 album of cryptic electro-acoustics entitled Reuters. Many years in the making, Sub is a sprawling masterpiece of modern day musique concrete, reflecting the early pioneers' use of razor cut tape with a grandiose revelation of an existential horror. Zeier describes this album as the manifestation of amorphous conditions that lead to (or interfere with) representational forms or states of being. His examples of the shifting patterns from clouds of blackbirds or the clinging masses from algae blooms are rudimentary entry points for his rhizomatic, chimerical work.
For every malignant drone and turgid thrumming, Zeier will puncture his fluttering, frozen methane surfaces with jagged incisions, pneumatic hammerings, and decompressed gasps. This fragmented punctuation is a signature to the G*Park aesthetic, used highly effectively in mapping his clinical situations turned septic. The titles to the tracks on Sub address the physical attributes of the source material that went into each track, with some decidedly specific ("Swine", "Wasp", "Stone") and others nebulously abstract ("Purge", "Glow", "Pulse"). For Zeier, the exact nature of the sound object is informed more by a shadowy deconstruction than by a direct representation, thrust into an absurd existence as an abomination, a violation, a monster.
Sub locates itself near the psychological minefields of Luc Ferrari, Steven Stapleton's prediliction for windows, and the cruel x-ray visions from fellow Swiss aktionists Sudden Infant & Dave Phillips." [label info]
www.23five.org
"When the first G*Park record was released, on Schimpfluch, it blew my mind. For one, it didn't seem to fit on the label, with their harsh, cut-up styled aktionist music, and it seemed to be all ambient and quiet music. It's good to have expectations blown away. I followed him a bit, in the mid 90s, when he released some CDs on Zabriskie Point, but his output was quite sparse, so I missed out on his releases on Tochnit Aleph, but here's a new sign of life, in the form of an all new double CD on 23Five Incorporated. G*Park, the solo project of Marc Zeier, works exclusively with field recordings, which is offers either as a raw block of sound, or something heavily treated, layered and such like. Now, of course, there has been lots of field recording based music since the first G*Park LP, and we might have become a bit more critical, but boy, G*Park is still as unique as always. His music has a drone like character, from layering various events together, or simply taping events of such nature (gas lamps, heaters) and on top he placed animal sounds with a more haunting character. There seems always to be sudden move in here, like a violence lurking underneath, maybe a menace in these sounds, which makes this perhaps both narrative and scary. It's like a radio play, but entirely without words. A horror radio play if you with these sustaining sounds, loops of squeaking doors, and a swift montage to enter another room. Some hundred minutes of music here and it's not a minute too long, or too short. Very imaginative music, both in the way it's made but also a soundtrack for imaginary films. This is an excellent release, restating what great composer G*Park is." [FdW/Vital Weekly]
|
2013 |
€16.00 |
|
| |
Gour |
LP |
"New works by Swiss musique concrete composer and visual artist Marc Zeier / G*Park. Active since the early 80's Zeier was a founding member of the Schimpfluch-Gruppe. He lives and works in Zürich as a composer, installation- and video-artist and plankton fisherman. Gour presents one long composition of his highly fascinating and unique crypto electro-acoustics based solely of micro field-recordings and natural phenomena. 'Musique concrete seems eternally old-fashioned and eternally modern. Marc Zeier makes you fall in love with the form all over again'. Thanks Are Due To: The Etang of Gour and its Creatures, A Singing and Cracking Chimney, Wild Bees and Wasps from Piemonte, Limnodromus griseus, Unidentified Voices from the Gemauge House, The Uwaga Squad, The Flies (Sarcophagidae), The Crows and Pigs of Chants, The People of Tiananmen, The Frozen Lakes, The Wolves. Edition of 350 copies." [label info]
www.tochnit-aleph.com
"The Swiss aktionist collective Schimpfluch has been active since the mid-'80s, with its various members seeking out the transgressive, the ultra-violent, and the transcendent all at once, via a dystopian hybrid of noise, punk theatrics, and / or musique concrete. In doing so, these provocateurs follow what their Viennese progenitors had started in the '60s through performance, sculpture, and painting. It can't go unnoticed how much of the iconography that Sudden Infant of Schimpfluch incorporates from Gunter Brus, and how much the hellish comedies of Otto Muehl filter through the modern day work of Rudolf Eb.Er. G*Park (aka Marc Zeier) is the most enigmatic of all the Schimpfluch artists, with no obvious parallels to anyone before him, as he trades in the modern day techniques of musique concrete, although his work acquires a tension, a dynamism, and an existential blight that were never achieved by the likes of Xenakis, Schaefer, Ferrari, or Chion.
G*Park's epic double cd Sub from two years ago still proves to be an exhausting and exhilarating document into the denatured field recordings, cryptic collage, and subcutaneous electro-acoustics from Zeier, with Gour standing a continuation of those themes. Like on Sub, Zeier states the origins of his sound material - crows, pigs, flesh flies, wasps, wolves, frozen lakes, and some less obvious sounds from the Uwaga Squad and the Etang of Gour. Zeier locates mechanized bursts against a backdrop of very distant blackened noise, with all sorts of whipcrack slashes, wooden creaks, watery plops, corvid calls, and porcine squeals constructing a strange and hostile narrative of ritualized violence against an unknown subject. The genius of G*Park lies not in the sounds themselves (even as they are immaculately presented) but in the psychological voids left where Zeier eradicated everything through deathray, sterilizing cauterization, or fastidious vacuuming. A brilliantly done record from one of the very best technicians of the cruel theater of musique concrete." [Aquarius Records]
|
2015 |
€18.50 |
|
| G.A.M.S. (GUIDO MÖBIUS & ANDI STECHER) |
G.A.M.S. |
LP |
The first album of the new duo G.A.M.S. (ANDI STECHER / drums and GUIDO MÖBIUS / feedback) with special appearances by MICK HARRIS (EX NAPALM DEATH, PAINKILLER, SCORN a.o.) and YUKO MATSUYAMA (HULA HUT & THE SEVEN SEAS).
Feedback leads a life of it’s own. It is an uncontrollable sonic accident, usually ear-numbingly loud but sometimes also delicately ethereal. The essence of feedback is being released from bonds, its path is always one of intensification and escape. Its a physical phenomenon and hard to predict.
The duo G.A.M.S. makes music on the edge of losing control. A restless drummer works his way through waves of feedback, which span the full spectrum of frequencies from pumping bass to the highest tones. With the pulse of the feedback ANDI STECHER's drumming, at times feverish and driven, then distanced and abstract, creates polyrhythmic structures. What comes into being is a maelstrom of sound and rhythm - music beyond every style, the power of which lies in its rawness.
STECHER and MÖBIUS switch the roles of desired and undesired sound and thereby create pieces like archaic sculptures. Their music is raw and powerful, but can also be soft and etheric. Sometimes it feels like a delicate organic painting. But here's one thing that G.A.M.S. music certainly isn't - predictable. The duo uses freely improvised spaces and reacts to unplanned sonic events. And despite all it's seeming randomness, G.A.M.S. still manage to compose clearly structured pieces and to reconstruct these in their live program.
Through a cut-up technique patterns of feedback sound fragments are juxtaposed and interlocked in varied combinations. These hypnotic loops move between rhythm and melodies, a web that is carried along by a driving drum set, accents of sub-bass and layers of feedback drones.
The playful drum style of ANDI STECHER is far from conventional rock drumming. Instead he experiments with various materials - for instance by preparing his cymbals with chains or putting different objects on the skin of his drums. He makes offbeat meters and complicated grooves sound easy and light. The same goes for changes in timing or dense textures comprising ghost notes. On the other hand he plays straight forward beats dynamically and with power.
STECHER’s partner in G.A.M.S. is GUIDO MÖBIUS who (with the help of a guitar amp, a microphone and effects) creates live feedbacks which can be massive and noisy but also fragile and gentle. Fleeting and concrete sounds join into dense textures. Feedback is never static rather always in a process of change.
Musical guests on the album are ex-NAPALM DEATH drummer and eletronic producer MICK HARRIS (SCORN, FRET) contributing drones and field recordings and the versatile singer YUKO MATSUYAMA (HULA HUT & THE SEVEN SEAS).
https://karlrecords.bandcamp.com/album/g-a-m-s
|
2019 |
€18.00 |
|
| GABURO, KENNETH |
Lingua II: Maledetto / Antiphony VIII |
CD |
"The work and thought of the American composer Kenneth Gaburo (1926-1993) exhibited many striking changes during his lifetime. In fact, while the world of commercial endeavor still insists that artists develop a recognizable personal "style," Gaburo's life-work can be seen as one of continual change and exploration, rather than one of codification and promotion. Some of these changes are beautifully illustrated by the two works on this CD, Maledetto, for seven speaking voices, from 1967-68, and Antiphony VIII (Revolution), for percussionist and electronic tape, from 1982-3. Both are intricate and powerful works, both take their inspiration from "non-musical" materials, and both require virtuosity of a most uncommon order. However, beyond that, the two works could not be more different.
Maledetto is a wild choral piece, a great complex cry, a work that, while reveling in a surface texture of innuendo, word play, and pseudo- and real- history, spoken/shouted/sung by 7 amazing speakers, contains within itself a deep and profound celebration of the body, the physical, the sexual. It is one of the earliest of Gaburo's works where his concern for holistic thinking and art-making comes to the fore. This sort of thinking was in the air, of course ¬ many works were written at this time that were multi-layered in their meaning and intent, but Maledetto seems unique. It's combination of profundity and what might be called adolescent sniggering, and almost every emotional state in between, seems unprecedented. The subject of the piece is the word screw, in all its connotations, from the sexual to the mechanical, from the mildly obscene to the boisterous, with diversions along the way into topics such as perfume manufacture, printing, classical design, and structural linguistics, all of which connect with the small ridged, groovy object of attention.
Speaking voices also figure in Antiphony VIII, but here they are the voices of people giving their heartfelt reactions to the notion that nuclear war has made their lives expendable. This work was created at least 15 years after Maledetto, and the boisterous energy of the Sexual Revolution, one of the earliest counter-cultural movements of the mid-1960s, has given place to the grim organizational determination of the various Anti-Nuclear movements of the 1980s. Gaburo's attitude has also changed. If Maledetto is a celebration, Antiphony VIII is a wake, and a wake-up call. Not content merely to protest, or to document people's reactions, the percussion, electronics, concrete sounds, and voices in this piece each embody within them Gaburo's analysis of the most common attitudes people have to the problem of governments treating them as expendable - helplessness, indifference, anger, uncertainty, and presents them all to us as a summary, and a questioning of our own attitudes to the problem. Gaburo the deep analyst of phenomena is still here, but now his analytical mind is dissecting not just a problem, but the wide variety of people's responses to that problem ¬ both as a structural resource, and as a means perhaps of intuiting the way forward."
[Warren Burt (from the liner notes)]
"Gaburo (1926-1993) is one of those many pioneering US-composers like Cowell, Cage, Nancarrow, Partch, etc. But he is one of lesser known ones. With this cd Pogus makes two works by him available. The first one 'Lingua II: Maledetto' (composition for 7 Virtuoso Speakers), composed in 1967-68, was first released on CRI in 1974. The liner notes Gaburo wrote for this release are reprinted here. The recording of this composition however is another one then released by CRI, but dating from the same period. June 10th, 1973 to be exact. The track opens with high pitched non-verbal throat sounds. After a few minutes the narrator starts reading a text about the all the connotations and meanings of the word 'screw'. Then two other voices join, reciting also texts concerning this word, etc., etc. Later on to be followed by a quartet. Sometimes the voices speak simultaneously, sometimes one after another. Sometimes several voices speak the same text. At other times not. Sometimes there is a out of phase reading of the same text by several speakers. It sounds very theatrical. No wonder as Gaburo composed this work as a part of a massive 6-hour theater work Called LINGUA. In 'Maladetto' Gaburo experiments with language and meaning, trying to create a dramatic and theatrical situation. I'm not completely sure but I think this is a live recording, using no overdubs and editing. The second composition 'Antiphony VIII' is written for tape and percussion in 1982-83. The percussion is played by Steven Schick. The recording dates from 1984. Alas the voices on the tape sound very muffled, and one cannot always hear what they say. The percussion playing becomes more and more intense during the piece, becoming increasingly involved in what the voice speaks about (nuclear war). So also in this piece theatrical aspects are present. Because of this quality it may be that both works on this cd still sound very much alive." [DM /Vital Weekly]
www.pogus.com
|
2008 |
€13.00 |
|
| GAL |
RGB / Experimental Videos |
DVD |
Seven experimental video-clips by this artist (full name is GAL TUSHIA) from Israel, with musical help by label-manager DAVID OVADIA aka MAURIN, made to "expand the boundaries of the ordinary visuals found in everyday life". Colourful movements & shapes appear in behind an almost dissolving surface, extremely coloured landscapes, nightdrives, strangely coloured birds, flickering lights in square-shapes, and the music consist of soft drone-loops, slow tribal beats & analogue sounds.
"Takes the viewer through a slow, hypnotic journey into "pixel", colored "reality". Its images are accompanied by experimental audio ambiance and minimal beats composed by Gal & Maurin." [website info]
|
2005 |
€12.00 |
|
| GALBRAITH / NEILSON / YOUNGS |
Belsayer Time |
LP |
Folk-Drone at its best, ätherisch-erhabener Gesang von RICHARD YOUNGS und organische Drone-pulses, rollende Glas-Drones und sowas wie elektrisch aufgeladene wandernde Kugelblitze, am Ende ekstatische Entladung...
Grosses Vollfarb-Cover inkl. Einlageblatt mit eingeprägten Credits & einzeln geprägter Nummer !
"Fully mind-blowing dream collaboration from Alastair Galbraith, Alex Neilson & Richard Youngs. All serious international underground sound weavers in their own right, this trio collaboration lifts things ever higher... for the last 20 years or so Alastair Galbraith has quietly been releasing some of the most stunning outsider/psych/folk/drone work to ever come out of his New Zealand homeland, and we couldn't be more thrilled to have him back on the scene. Richard Youngs makes a nice UK parallel with a vast and equally impressive catalog of sub-underground avant/drone/folk wonderment to his name. And while Alex Neilson's name might be a bit new, he's been bending many a mind under his directing hand solo guise, as well as collaboration with MV & EE, Taurpis Tula and others. Oh yeah, and that small fact that Alex & Richard backed Jandek at his first ever live performance is pretty cool too... musically, things are way fucking deep in the zone here folks. Side one glides along in slo-mo dream state, hovering with Richard's beautiful and unmistakable vocals soaring and refracting into echoes, quietly fluttering and droning electronics, otherworldly sounding synth melodies, rolling splashes of free percussion, backwards effects, and syrupy sound pools of acoustic strings. Beautifully lulling and deeply psychedelic... but the second you flip the LP, the bottom drops right out with a real electro jammer, blasted with throbbingly heavy free drumming, vibrating walls of synth, and yowling bird-of-prey electronic squeal... and things just get more abstract from there... really amazing stuff for those who dig a headspinningly deep listen... packaged in a stark but beautiful full color offset printed & debossed heavy art board cover, with debossed insert. 180 gram virgin vinyl. Numbered edition of 900 copies." [press release]
|
2006 |
€22.50 |
|
| GALERIE SCHALLSCHUTZ |
ZOON-LOGON-ECHON |
LP / CD / MC - BOX |
20 YEARS EDITION OF GALERIE SCHALLSCHUTZ
„Zoon Logon Echon“ (Das vernunftbegabte Tier) is a great comeback and the next chapter in the history of Galerie Schallschutz to uncover the secret machinations and goals in the world we live in.
The new concept album deals with the definition and meaning of being human.
It’s an overview of what we are and want to be and how the fundamental principles of humanism has changed throughout several decades by which our own values are diluted to the extent where they no longer exist.
This release (ltd. to 350 copies) comes out in a huge deluxe box with 3 different kinds of media and is a very special and rare package!
It contains:
# one 12inch LP (6 tracks / running time: 36 min),
# one CD (10 tracks / running time: 66 min),
# one C-30 Cassette (9 tracks / running time: 56 min),
# one large inlay,
# one GS logo patch,
# free digital download card for all tracks!
Each album has got his own sound character and specific style to get the appropriate impressions and emotions of
ZOON – LOGON – ECHON
“LET US BLAST OUT OUR OLD FORMS, OUR IGNORANCE, OUR WEAKNESS AND OUR MORTALITY”
https://tescogermany.bandcamp.com/album/zoon-logon-echon-set
|
2020 |
€79.00 |
|
| GAMLASKATTEN |
Voltage |
CD |
"Voltage" is the debut album and follow up to the well received "Brutalism" EP (auphnet024).
Using the momentum, this release is straight and aimed directly to the club floors. Heavy beats, moving sequences and a pace that you cannot escape. As it's predecessor the tracks are heavy influenced by oldschool EBM, dark techno and industrial elements.
Demanding your attention from the first bit to the last note!
https://audiophob.bandcamp.com/album/voltage
"Genre/Influences: Industrial-Techno, Techno-Body.
Format: Digital, CD.
Background/Info: This is a German solo-project driven by Ralph Gatzen. Audiophob last year released the EP “Brutalism” and now unleashed the debut album “Voltage”.
Content: The debut part of the work is mixing hard loops of Techno- and Industrial music. New elements are progressively emerging like Acid, Psy-Trance and finally solid EBM bass lines with screaming effects on top. It’s a diversified piece of music but totally adapted for dance floors.
+ + + : The opening part of the album has something visionary. Gamlaskatten is not just bringing Techno and Industrial together but there’s something extra on top. It sounds brutal and pretty sexy at the same time. The Acid sequences at the title track are pretty cool as well. The second part features heavy EBM bass lines creating a perfect, and aggressive, fusion between Techno and EBM.
– – – : The only single track that couldn’t fully convince me is the last one which definitely sounds as an ‘outro’.
Conclusion: I’m not used to hearing Techno-driven productions released by Audiophob but the harsh, Industrial, dark and intelligent approach of this artist is definitely appealing for the lovers of the German label." [Side-Line]
|
2022 |
€12.00 |
|
| GAMMELSAETER & MARHAUG |
Higgs Boson |
LP |
Runhild Gammelsæter and Lasse Marhaug are two Norwegian musicians/sound artists. Both started in the early 1990s music underground and have worked in many constellations with a wide range of collaborators. Despite knowing each other for a long time, Gammelsæter and Marhaug's first collaborative work was the Quantum Entanglement LP in 2014. The project lay dormant until Stephen O'Malley and Greg Anderson invited them to open for Sunn O))) for a special gig in the St. James Church of Culture in Oslo in 2019. The two gathered for a long series of rehearsals, and after the successful performance, it was clear that it was time to start working on new compositions and recordings. That process initiated in late 2019 and continued to early 2021, before and after the lockdown. The result of this long development to be heard accumulated upon their new album Higgs Boson on Ideologic Organ. Marhaug drew inspiration from concepts informed by the structuralist experimental cinema of Japanese directors Takashi Ito and Toshio Matsumoto, futurist worlds of French comic book artists Philippe Druillet and Jean Moebius Giraud, landscape photography of Fay Godwin, Kåre Kivijärvi, and Tamiko Nishimura, amongst others. It became a metaphysical juxtaposition involving Gammelsaeter's research and lyrical ideas based on several seemingly unrelated principles. A process of association inspired by The Glass Bead Game (1943) by Herman Hesse. The discovery of the Higgs Boson as a confirmation of the physical universe. The work of Ernst Schrödinger on the uncertainty principle. The four forces of physics. The Force. Helplessness under armed forces -- as the war sailors in World War II. The influence of magic as expressed in tarot. Gammelsæter experiments with a boundary involving the thresholds amongst various states of focus and legibility by forensic experimentation with techniques such as exclusive expression of consonants, syllabic repetition, retrograde text vocalizations and multi-lingual layering. Her vocal inspirational sources include Sidsel Endresen, Diamanda Galas, Natacha Atlas, the choral works of Rachmaninov, and the bands Carcass and Grave. Two worlds coming together, making the music special. Mixing hard facts with science fiction helps create a kaleidoscopic cross point between the complex realities of the past and a possible future. Across eight parts, the two artists brought a broad palette of instrumentation and sound on Higgs Boson. Electronic and acoustic, objects and field recordings, and pipe organ define the structures of which the center is Gammelsæter's magnificent voice. She In the mix, Lasse approached the instrumental elements like landscapes, then Runhild's vocals as characters that inhabit those worlds. Often, Gammelsæter multiple characters fused with the landscape. As an album, Higgs Boson is direct and focused, drawing on song structures. Within these tracks are vast strata of sound, an immersive multi-dimensional depth of music.
A1. The Stark Effect (2:52)
A2. The Magus (4:44)
A3. Static Case (3:56)
A4. Ondes De Fase (4:00)
A5. Forces (5:50)
B1. Propeller Arc (6:46)
B2. Hadron Collider (5:35)
B3. These Questions (9:55)
"Two totemic Norwegian artists bombard and fizz the senses with a powerful invocation of metal and noise energies on a new album for Stephen O’Malley’s radical Ideologic Organ imprint.
The thrilling complex of ’Higgs Boson’ furthers Runhild Gammelsæter & Lasse Marhaug’s fascination with the field of physics following 2014’s ‘Quantum Entanglement’ with Milwaukee’s uncompromising Utech Records. Gammelsæter, a one-time vocalist for O’Malley & Greg Anderson’s legendary pre-Sunn 0))) band, Thorr’s Hammer, and regular contributor to O’Malley’s subsequent projects, is also a professional biologist with a PhD in cell physiology. Marhaug is the prolific, multifarious figurehead of Scandinavian experimental music who surely needs little introduction on these pages. The duo collapse a spectrum of non-musical influences into an immensely compelling sound that, as their LP’s title suggests, strives to confirm the meta- and physical presence of the universe thru opposing forces, and the unquantifiable, uncertain energies produced therein.
Gammelsæter’s vocals are evidently a big attraction on ‘Higg’s Boson’, naturally drawing on 30 years of extended works to project a range of unearthly inflections and affective tonal colour unmistakably forged in the belly of radical metal. As her relatively short but perfectly realised catalogue with Thorr’s Hammer, Khlyst, Sunn 0))) (notably ‘Gates of Ballard’!), proves, few can match her might.
Summoning structural concepts from the Japanese experimental cinema of Toshio Matsumoto, french comic book futurism of Phillippe Druillet and Jean Moebius Giraud, and landscape photography of Fay Godwin, Kåre Kivijärvi, and Tamiko Nishimura, Marhaug, in turn, galvanises the personalities of Gammelsæter’s voice to extraordinary degrees, conjugating their mutual spirits in vast, electro-acoustic and illusively noumenal space with frankly shit-the-bed results comparable with everyone from Diamanda Galas’ tempered rage to the catharsis of Carcass and Rachmaninov’s choral arrangements.
A genuinely unsettling summoning of dark energy." [Boomkat]
https://ideologicorgan.bandcamp.com/album/higgs-boson
|
2022 |
€24.00 |
|
| GAUCHISTE |
same |
LP |
"GAUCHISTE is a trio consisting of Tannon Penland, Tomas Phillips, and Craig Hilton. Tannon is based in Richmond, VA and is also in the instrumental group Loincloth who are newly signed to Southern Lord Records. Tomas as well as Craig are from Raleigh, NC and are prolific electronic musicians specializing in the sparse. (Absinth Records, Nitkie Records, AFE Records, and Young Girls Records to name just a few)
Out of a shared love of both metal and abstract minimalist forms, GAUCHISTE are two parts electronic genius and one part grim reaper. The sum of those parts is a self titled debut coming January 17th, 2012; seven songs that fuse Penderecki to Celtic Frost. At long last sounds of terror you can meditate to.
Little Black Cloud Records is honored to be a part of this ground breaking collaboration of styles and artistry. This release has been mastered by James Plotkin (Khanate, Scorn, Lotus Eaters, etc...) who specializes in making extreme music of all kinds shimmer and has worked with heavyweights such as Sunn O))), Earth, and Goslings.
The LP is limited to 100. The pressing color is black and carries a black label with handwritten notations to reflect side A & B (one upside down cross or two). The LP is housed in a plain black cardboard sleeve that is wrapped 3/4s of the way with cover art on heavy, high quality matte paper. A special insert has been created to sit within the cover to complete the artwork on the backside, much like a puzzle piece. The hand mirror cover art and layout has been designed by artist Kenneth Close and each record contains a digital download card.
The compact disc is also limited to 100 and also carries a mirror (compact) theme. The CD comes in a round metal tin with a plastic window in the center allowing the reflective CD to be viewed without opening the case. The liner notes are stored beneath the CD (accessible by removing the clear inner plastic that secures the CD in place) and the back of the tin case is stickered to complete the artful packaging." [label info]
www.littleblackcloudrecords.com
|
2012 |
€20.00 |
|
| |
Sommet |
LP |
Gauchiste the black ambient, experimental band from USA was formed in 2009 and based in Raleigh, NC / Richmond, VA. Gauchiste is Tomas Phillips & Tannon Penland.
Tomas Philips known as the minimalist sound artist but also in written and in visual arts, he released albums on such labels as Line Imprint and Trente Oiseaux. He currently teaches literature at North Carolina State University.
Tannon Penland is a musician known mainly from the heavy metal scene, in bands like Loincloth - a Southern Lord label band that toured with Sunn O))) and released a couple of albums.
This is their second full length album and "Sommet", like the predecessor, contains their finely crafted dark music, that will transpose you to an outstanding soundart noveau of dark-noire ambiance. It combines elements that reminds of metal aesthetics and experimental music subtleties aiming at minimalism. Indeed, Gauchiste veers much closer to a dark abstraction, falling somewhere, between Japanese minimalism, Thomas Köner, Nurse with Wound and the heaviness in the relative silences of metal. "Sommet", brings this noir soundtrack quality to this mix with numerous collaborators, including Robert Donne of Labradford fame - the band is greatly proud of.
"Sommet" requires no more words, it speaks for each listener, for himself. But I dare to say it's an outstanding release. It is the kind of release that truly fulfills label's audio aesthetics. Animating the subtle vibration of the tree, which is breathing, beating. This release demanded also a very special package. The LP album is presented in shiny black Vinyl with folded cover in PVC envelope. Each copy includes the bandcamp download code!
Gauchiste: Tannon Penland, Tomas Phillips
Contributors:
Greg Elkins - Steel guitar
M. Moore - Vocals
Matt L. - Guitar
David Sanchez - Vocals
Robert Donne - Synth
Jenna Ottinger - Vocals
David More - Bowed cymbal
John Winston Phillips - Synth
Tracy Wilson - Vocals
Dave Witte - Drums
Drums recorded by Brett Bamburger, Dan Gargiulo
Mastering by: Ronan Chris Murphy (known for working with King Crimson, Gwar, Steve Morse, Terry Bozzio, Ulver...)
Graphically Designed by Doug Dobey for Dobey Design
https://essentiamundi.bandcamp.com/album/gauchiste-sommet-em047
|
2021 |
€23.00 |
|
| GEINS'T NAIT & L. PETITGAND |
Je vous dis |
CD |
"Geins't Naït is a project initiated in 1986 with a first album released by Thierry Merigout (drummer with Kas Product on their 1981 tour) and Vincent Hachet, who quickly stepped back from this project to work on his film-maker career.
The L'or'n Cät album's release in 1987 marked the arrival of Laurent Petitgand, a singer-songwriter recognized for his composing work for (the late French singer) Bashung and original soundtracks for film directors such as Wim Wenders (including Tokyo-Ga, 1985, Wings of Desire, 1986, and the future The Salt of the Earth, scheduled in 2014), Paul Auster (The Inner Life of Martin Frost), as well as ballet music for Angelin Preljocaj (Liqueurs de Chair, Amer America).
Bases are thus set down. While Geins't Naït offers rough pieces of music as an extension of its punk attitude which deeply moved the Berlin scene years ago, Laurent Petitgand is busy refining them and creating some musicality within the post-industrial collages, adding guitars, piano or any classical instrument.
In 1993, following the release of C/O Lisa on the Permis de Construire label, noise gave way to a silence that lasted 20 years.
Coming from nowhere, Si j'avais su, j'aurais rien dit, a particularly tormented album which, against all odds, revived the project in 2011.
An album which showed an increasing alchemy between the two musicians whose different routes, this common project aside, seem to fit perfectly well now.
Now, and more than ever, the duo's approach is based on an in-depth field. To sharpen the sounds, give them some kind of balance, a density and a mark.
More than anything else, to make sure that music is a langage, an experience in the deeper meaning of the term.
In its form, the collaboration between Geins't Naït and Laurent Petitgand echoes the adventurous musics from the eighties and is the French counterpoint to experimental british scenes (Coil, Current 93, Test Dept) and german scenes (Einstürzende Neubauten, Sprung Aus Den Wolken), so much so that this new work is difficult to label in its totality, entering ambient or industrial fields, as well as minimalist or repetitive music.
Je vous dis is obvious in its ability for listeners to give life to the smallest element which is part of it, would it be a sample, a piano melody, or even the amazing work on voices, which, as well as instrumentation, assume a central part in the tracks balance.
Melancholic, with a retained violence, sometimes even with a fearsome violence, Je vous dis surprises and captivates in its way to subtly catch the listener, thanks to a disturbing nocturnal mood, but also to an unsettling humanity.
But this record is far from being an hermetical work : it's quite the opposite. Difficulty is not to get in this world, however particular or deviant it is, but to get out.
More than just music, Je vous dis is a visceral obsession about detail, a sound sculpture with changing forms and various aspects, an unsleeping creature with inscrutable soul.
As soon as one believes to have understood it, the next listening brings the listener back into doubt and questions.
As in a situationist movie for which that album would be a perfect soundtrack, each complete immersion offers its lot of news interpretations and details, with were unkown until now but are definitively obvious in the end.
A real masterpiece for the mind : complex, poetic and sophisticated, even in its darkest moments." [label info]
www.icidailleurs.com
"Years and years ago I worked in a space, which also functioned as a record store, and before, that I was a volunteer at another record-store/mail-order. In both 'stores' I saw the name Geins't Naït, but for whatever reason I no longer recall, I never played any of their records or CDs that we sold. Maybe it was because there was so much other great stuff to play? Let's keep it at that. So up until this CD I never heard their music properly, but in my defense, they didn't have any new release since 1993. The name Laurent Petitgand (not to be confused with Dominique Petitgand) I never heard before, despite the fact that he did soundtracks for Wim Wenders and Paul Auster as well as being a singer-songwriter. In 2011 he and Geins't Naït worked together for the first time and now there is a new album. But for me this is maybe a first introduction all around. And I am quite surprised. The label makes references to Coil, Current 93, Neubauten, none of which are really particular favorites
with me, but in these hands it works out differently and actually quite well. There is quite some drama in this music, through the use of samples, melancholic piano bits and the dark voice of Petitgand. Geins't Naït provide a rather minimal set of music - not as in 'empty', but as in 'repetitions', which makes rather odd pop music. Petitgand's voice is most of the time heavily transformed (vocoder perhaps?), which makes that a rather darker atmosphere hangs over these pieces. It bumps and collides but that I think is the beauty of this music, it's rather unusual atmosphere. Tacky and clichéd it seems at times but it works out quite fine. Maybe because there are some cliché's in here, but also some more unusual aspects, that it all makes up for something strange and estranged. A most enjoyable album, I thought. A fine introduction indeed." [FdW/Vital Weekly]
"Das Duo mit dem exotisch klingenden Namen Geins’t Naït entstand irgendwann im Dunstkreis der legendären Coldwaver von Kas Product und existiert nun bereits seit fast dreißig Jahren, bei denen allerdings eine lange Pause mitgerechnet wird. Hierzulande überwiegend frankophilen Kennern ein Begriff, ist die Band auf der anderen Rheinseite kein Geheimtipp mit ihrem eigenwilligen Stil an der Schnittstelle von Punk- und Industrial-Einflüssen, Songs und Soundscapes sowie technoiden und klassischen Arrangements. Der Sänger und Komponist Laurent Petitgand arbeitet auf “Je vous dis” zum zweitenmal mit GN zusammen und bringt klassische, v.a. akustische Elemente ein. Das Label zieht Vergleiche zu den Neubauten, Coil und Test Dept., was natürlich eine respektable Messlatte darstellt.
Wollte man in dem ausgesprochen welchselseitigen Album so etwas wie einen roten Faden benennen, so ließe der sich eher noch in einer immer leicht aufgekratzten Wehmut finden, als im Sound, der leicht retrolasigen Akustikklängen ebenso Raum gibt wie hallunterlegter, leicht housiger Elektronik, bei der ich tatsächlich an Coil-Werke wie “Love’s Secret Domain” denken musste. Viele Songs wecken filmische Assoziationen und versprühen einen nostalgischen und oft auch ein wenig naiven Charme. In den Passagen vor dem Einsetzen zum Teil vertrackter Rhythmen lockern reichliche zitathaft integrierte Klangbrocken den Wohlklang auf und versetzen die Szenerie an einen nur schwer zu ortenden Schauplatz, den Petitgand mit seinen mantraartigen Stimmbeiträgen, die teilweise wie versoffenes Bellen klingen, dominiert.
Oft entfalten sich mehrere musikalische Erzählstränge simultan, und selbst da, wo es schlicht auf die Schönheit der Unordnung hinausläuft, entsteht nie der Eindruck, dass es um bloßes Muckertum geht." [U.S./African Paper]
africanpaper.com/2015/03/28/geinst-nait-laurent-petitgand-je-vous-dis/
|
2014 |
€13.00 |
|
|
Je vous dis |
LP |
"Geins't Naït is a project initiated in 1986 with a first album released by Thierry Merigout (drummer with Kas Product on their 1981 tour) and Vincent Hachet, who quickly stepped back from this project to work on his film-maker career.
The L'or'n Cät album's release in 1987 marked the arrival of Laurent Petitgand, a singer-songwriter recognized for his composing work for (the late French singer) Bashung and original soundtracks for film directors such as Wim Wenders (including Tokyo-Ga, 1985, Wings of Desire, 1986, and the future The Salt of the Earth, scheduled in 2014), Paul Auster (The Inner Life of Martin Frost), as well as ballet music for Angelin Preljocaj (Liqueurs de Chair, Amer America).
Bases are thus set down. While Geins't Naït offers rough pieces of music as an extension of its punk attitude which deeply moved the Berlin scene years ago, Laurent Petitgand is busy refining them and creating some musicality within the post-industrial collages, adding guitars, piano or any classical instrument.
In 1993, following the release of C/O Lisa on the Permis de Construire label, noise gave way to a silence that lasted 20 years.
Coming from nowhere, Si j'avais su, j'aurais rien dit, a particularly tormented album which, against all odds, revived the project in 2011.
An album which showed an increasing alchemy between the two musicians whose different routes, this common project aside, seem to fit perfectly well now.
Now, and more than ever, the duo's approach is based on an in-depth field. To sharpen the sounds, give them some kind of balance, a density and a mark. More than anything else, to make sure that music is a language, an experience in the deeper meaning of the term.
In its form, the collaboration between Geins't Naït and Laurent Petitgand echoes the adventurous musics from the eighties and is the French counterpoint to experimental british scenes (Coil, Current 93, Test Dept) and german scenes (Einstürzende Neubauten, Sprung Aus Den Wolken), so much so that this new work is difficult to label in its totality, entering ambient or industrial fields, as well as minimalist or repetitive music.
'Je vous dis' is obvious in its ability for listeners to give life to the smallest element which is part of it, would it be a sample, a piano melody, or even the amazing work on voices, which, as well as instrumentation, assume a central part in the tracks balance.
Melancholic, with a retained violence, sometimes even with a fearsome violence, Je vous dis surprises and captivates in its way to subtly catch the listener, thanks to a disturbing nocturnal mood, but also to an unsettling humanity.
But this record is far from being an hermetical work: it's quite the opposite. Difficulty is not to get in this world, however particular or deviant it is, but to get out. More than just music, Je vous dis is a visceral obsession about detail, a sound sculpture with changing forms and various aspects, an unsleeping creature with inscrutable soul. As soon as one believes to have understood it, the next listening brings the listener back into doubt and questions. As in a situationist movie for which that album would be a perfect soundtrack, each complete immersion offers its lot of news interpretations and details, with were unkown until now but are definitively obvious in the end. A real masterpiece for the mind : complex, poetic and sophisticated, even in its darkest moments." [label info]
www.icidailleurs.com
"Years and years ago I worked in a space, which also functioned as a record store, and before, that I was a volunteer at another record-store/mail-order. In both 'stores' I saw the name Geins't Naït, but for whatever reason I no longer recall, I never played any of their records or CDs that we sold. Maybe it was because there was so much other great stuff to play? Let's keep it at that. So up until this CD I never heard their music properly, but in my defense, they didn't have any new release since 1993. The name Laurent Petitgand (not to be confused with Dominique Petitgand) I never heard before, despite the fact that he did soundtracks for Wim Wenders and Paul Auster as well as being a singer-songwriter. In 2011 he and Geins't Naït worked together for the first time and now there is a new album. But for me this is maybe a first introduction all around. And I am quite surprised. The label makes references to Coil, Current 93, Neubauten, none of which are really particular favorites
with me, but in these hands it works out differently and actually quite well. There is quite some drama in this music, through the use of samples, melancholic piano bits and the dark voice of Petitgand. Geins't Naït provide a rather minimal set of music - not as in 'empty', but as in 'repetitions', which makes rather odd pop music. Petitgand's voice is most of the time heavily transformed (vocoder perhaps?), which makes that a rather darker atmosphere hangs over these pieces. It bumps and collides but that I think is the beauty of this music, it's rather unusual atmosphere. Tacky and clichéd it seems at times but it works out quite fine. Maybe because there are some cliché's in here, but also some more unusual aspects, that it all makes up for something strange and estranged. A most enjoyable album, I thought. A fine introduction indeed." [FdW/Vital Weekly] |
2014 |
€16.00 |
|
| |
Make Dogs Sing |
do-LP |
"Geins't Naït is considered legendary at Offen Music. Releasing music since 1986, their last 3 albums have featured Laurent Petitgand (2011, 2014 & 2015). Now the label presents a collection of unreleased tracks that they hope will plunge you deep into the special world of GN & LP."
"Vladimir Ivkovic’s Offen Music have the privilege of presenting Geins’t Naït & Laurent Petitgand’s possessed Gallic atmospheres to the uninitiated with ‘Make Dogs Sing'; a collection of 13 new, previously unreleased songs that plunge us into GN’s etheric otherworld ahead of a reissued classics, upcoming on Low Jack’s Editions Gravats
Through the looking glass of Geins’t Naït & Laurent Petitgand the world appears seductively psychedelic. Taking in woozy waltzes and shimmering keys on the one hand, and a palette of pebbledashed electronics and mutant voices on the other, the group’s contemporary sound hints at some French analog to the film music of Wim Wenders or the eerier styles of mid-latter phase Coil, and works at a safer distance to the gnarled grooves of their cultish late ‘80s industrial releases, which are maybe better compared with Din A Testbild, NWW or TG.
Judging from the sounds on Make Dogs Sing, Geins’t Naït have matured somewhat since their critical early phase. Rather than pranging drums and psychedelic electronics, they now apply similar principles of dislocated mixing trickery and groove-focussed methods to a breezier set of cues taken from film music and experimental ambient spectres, resulting a uniquely dissociative effect as the albums slips down the wormhole, back first, with any glimpses of light fading in front of you until their slowly ravishing, narcotic effect takes hold.
By the end of the album you won’t be able to find a way out. But don’t fret, the effect will come to pass, eventually." [Boomkat]
|
2018 |
€25.00 |
|
| GELSOMINA + NO XIVIC |
Furnace |
CD |
Das Titelstück ist ein furioses 25minütiges Power-Drone Monument, welches beide finnischen Projekte im Oktober 2006 live einspielten; eine harmonische delay- Bass Grundlage wird mit harsch-noisigem Brett garniert, danach folgen noch 2 lange einzelne Stücke von beiden Acts, pulsierend-beschwörender harsh-core Industrial von GELSOMINA, fantastischer "mysterious noise" von NO XIVIC.
" 'Furnace' is an unlikely yet strangely natural union of no Xivic, renowned sculptor of dark electro-acoustic soundscapes, and Gelsomina, Finland's most prolific harsh noise artist. The title track, also the main piece on the album, is a live collaboration recorded in late 2006, a grand opus of psychedelic noise with a peculiar 'kraut' flavour! In addition to this, both artists created exclusive tracks on their own to complete the album. In total, Furnace is a 44-minute blast of fire, brimstone and hazardous electric currents, and thus a fine completion of Some Place Else's tenth year of activity. CD in square DVD-box with full colour artwork and insert. Edition of 500 copies." [label info]
www.someplaceelse.net
|
2007 |
€12.00 |
|
| GENETIC TRANSMISSION |
Strychnina |
CD |
It has become a sort of tradition that every year during first days of autumn we release at least one part out of GT Archive Series. Keeping this tradition alive we present you seventh instalment of this series that is “Strychnina”.
“Strychnina” being one of the most important albums in vast Genetic Transmission discography, originally was released in 2005 as CD-R via his own imprint Die Schöne Blumen Musik Werk. It consists of 2 compositions about 20 min each which suits perfectly vinyl format. Wax version of this release has been discussed for a long time and for a number of reasons couldn’t work out. Until now.
We are proud to inform you that “Strychnina” will be available in two strictly limited versions: LP limited to 100 copies and CD limited to 200 copies.
https://zoharum.bandcamp.com/album/strychnina
|
2020 |
€12.00 |
|
| |
Strychnina |
LP |
"It has become a sort of tradition that every year during first days of autumn we release at least one part out of GT Archive Series. Keeping this tradition alive we present you seventh instalment of this series that is “Strychnina”.
“Strychnina” being one of the most important albums in vast Genetic Transmission discography, originally was released in 2005 as CD-R via his own imprint Die Schöne Blumen Musik Werk. It consists of 2 compositions about 20 min each which suits perfectly vinyl format. Wax version of this release has been discussed for a long time and for a number of reasons couldn’t work out. Until now.
We are proud to inform you that “Strychnina” will be available in two strictly limited versions: LP limited to 100 copies and CD limited to 200 copies."
https://zoharum.bandcamp.com/album/strychnina
|
2020 |
€18.00 |
|
| GENOCIDE ORGAN |
Live in Japan 2007 |
LP |
Vinyl Edition im Klappcover mit bedruckten Innenhüllen und A2-Poster! "....Ausschnitte der beiden Konzerte von 2007, die beide im 20000V stattfanden. Statt auf ein Best-Of zu bauen, wählte man erneut eher ungewöhnliche - und nichtsdestotrotz kraftvolle - Stücke aus, die erneut atmosphärische und aggressive Momente mischen. Am bekanntestens dürfte hier das kämpferische "Hail America" sein. Wer die letzte 7" nicht erstanden hat, wird sich vor allem über Track 9 freuen: "I kept my faith: Revelation of John". Das in Zusammenarbeit zwischen Tesco und Teito (J) ästhetisch ansprechend produzierte Set ist gleichermaßen für Fans der Band wie auch für Genreneulinge interessant, die sich einen Eindruck vom Status quo der deutschen Industrial Culture verschaffen wollen. Gelungen!" [Ikonen]
"This numbered & limited 888 copies LP features the best tracks from two G.O. Tokyo performances in 2007. The record comes housed in a gatefold cover with printed inner sleeve and contains an A2 poster. FAST PRE-ORDER HIGHLY RECOMMENDED!" [label info]
www.tesco-germany.com
|
2009 |
€20.00 |
|
|
Civilization |
do-CD BOX |
"This release was already planned in 2011 for the 20th anniversary of „Save our Slaves“. The implementation and the restoration of the original source material took a lot of time, especially the sound-files of the 1990 pre-release concert which are completed for this set for the 1st time. Genocide Organ had to dig deep into long-forgotten parts of the archive, to reconstruct as many as possible of the original photo-materials, reconstruct, extend and re-view them.
The work on the new album „The Obituary of the Americas“ delayed the completion as well, but then also accelerated it, as both publications were cut across thematically. Now it is done!
A further stone fits into the wall of the bands historical back catalogue.
LP version:
Limited numbered edition 500. The deluxe linenpaper covered Hard-Slipcase is foilblocked and debossed. The record sleeves and the additional artwork sleeves are all debossed and spot-varnished in the typical Genocide Organ artwork finish you know from : Obituary of the Americas: album. The artwork sleeve is filled up with extensive large 24p booklet, numbered certificate, inlay for the Live LP and embroidered patch.
CD version:
Limited first edition comes as deluxe linenpaper covered, foilblocked and debossed Hard-Slipcase, incl. Coverpak with double CD and extensive large 24p booklet. Only this first edition comes as special Hard-Slipcase Set with the additional Live CD.
Musical contend on both formats:
The complete material of „Save our Slaves“ originally released in 1991.
„The Lever Sunlicht Shooting“, reflecting the complete performance of Genocide Organ Live 15.12.1990 in Mannheim in front of an invited audience.
Compilation Tracks from:
Perpetual State of Oracular Dream LP 1991
Natural Order 2LP 1997
Sound of Hate Vol.7 MC 1992
Exploration One CD 1995
Trans-Action MC 1992
+ both tracks from:
Klan Kountry 7″ 1998
all material from original source material re-mastered by Jerome Nougaillon and Genocide Organ.
:CONTEXT:
Released on Tesco Organisation in 1991, Save Our Slaves arrived as the second album for Genocide Organ, following the debut Leichenlinie released 2 years prior. Although the impact of Leichenlinie is undeniable in establishing the group within the noise industrial / power electronics scene, upon reflection Save Our Slaves is the release that cemented Genocide Organ’s cult underground status. This cult status has been generated via their musical approach, coupled with lavish handmade packaging and the presentation of strong, potentially controversial thematic material in an impartial and ambiguous manner; which incidentally some have interpreted as being ‚politically incorrect‘. Save Our Slaves stands out as the landmark release that definitively executed each hallmark element of sound, visuals and thematic content with flawless accuracy.
:THEME:
Conceptually, Save Our Slaves is an album renowned for its direct engagement with many taboo aspects of America’s history. Consequently, without shying away from the darkest aspects of America’s past, Save Our Slaves is concerned with: slavery, racist movements such as the Ku Klux Klan, radical right wing political advocacy group The John Birch Society, and the struggles for suppression, dominance and/or liberty on both sides of the civil rights movement. There are seemingly implied references to Dr Martin Luther King (the vinyl side dubbed Birmingham perhaps referring to Birmingham, Alabama and the 1950-60’s civil rights movement), whilst the track Violent Coordinating Committee appears to be inspired by the Student Nonviolent Coordinating Committee – an important ‚direct action‘ organization of the 1960’s civil rights movement. Save Our Slaves also contains more direct references to other civil rights figures including James Meredith – the first African-American student admitted to the segregated University of Mississippi (a flashpoint of the civil rights movement); and Sarah Patton Boyle – Virginia’s most prominent white civil rights activists during the 1950-60s.
Yet to expand the thematic content further, the album also makes reference to American Imperialism of the 1950’s to 1970’s, which included covert CIA operations in the Middle East, Africa, South America, and Indochina / South East Asia. Specifically, such operations involved the facilitation of military instigated coups and provision of financial and military support to various dictators in the ideological fight for capitalism against communism and socialism.
Accordingly, within the broadly coveted discography of Genocide Organ, Save Our Slaves stands out as one of their pinnacle releases by fact of it being one the of most sought after. The album’s revered status is also demonstrative of the manner in which Genocide Organ combine music, theme and artwork to transcend the creation of albums designed merely to be ‚enjoyed‘. Save Our Slaves functions as a politically charged, controversial declaration and socio-political manifesto that analyses American society, the roots of America’s history and culture and its role in shaping the modern world. As exemplified by its sound, visuals and thematic content Save Our Slaves stands as a strong and clear testament to the initial rise and early establishment of Genocide Organ’s cult status.
Richard Stevenson: editor of Spectrum Magazine (1998-2001) / current editor of noise receptor journal (print ‚zine & blog). |
2017 |
€28.00 |
|
| |
DEATH ZONES |
do-LP |
First Video Teaser:
NoSuicideUnit
Released as limited 2LP in gatefold cover with two inserts & numbered card.
2CD Version. Gatefold and Digipak shows the typical GO debossed and spotvarnished layout.
Will be not available via bandcamp.
ATTENTION: The vinyl version will only be produced according to the number of orders we get prior to 9.11.23. After this date it may prove difficult to obtain a copies.
Somewhere out there they were controlling the streets to ensure that rules were followed. They were smuggling themselves from one continent to another, guarding borders training rebels, breaching doors, steering drones, and following the path of the War-Orchestra.
The seventh year anniversary of the release of :OBITUARY OF THE AMERICAS: sees Genocide Organ returning with a release full of cynical survivalism in a world of havoc!
While those celebrate the new world - we prepare ourselves for :DEATH ZONES:.
What started with the :TIPPING POINT: 3MC Set in 2020 has now turned into :DEATH ZONES:
Stand fast, mark your target , when it comes.
No more sounds - Just moving ground!
TRACKLIST:
Conditioned War Sheep
Appropriate Action
Identity Politics
NoSuicideUnit
Loitering Munition
When our Terror comes
Pure Evil
Affirmative Action
Abbey Gate
Virtue Signaling
Migrant Soldiers
Kommando Found Dead
Stack the Bodies
Malicous Purity
FU6 - Waiting for Hell
Trial by Combat
Fake Emotions
Small Boys Unit
TESCO 160
|
2023 |
€39.00 |
|
| GEORGE & CAPLIN |
He really got through to advertising |
CD |
"Black Series 20 - Ed. of 350 numbered copies. THEY really get through. g&c's backwards looping under-coat melodics seep like a musical IV into nourishment-hungry heads. Warm acoustics resonate over warbling electronics, palpitating into slow, sentient rhythms. "Dreamo" has already been co-opted by punk-dits, so g&c's get their own "Hemo" category, just so everyone can be called something ending in "-emo." Yes, Hemo: The blood. Fluid dynamics at its core purpose: pumping life into a system. Their sanguine essence of cosmic psychedelia blasts a new kind of human flower. Tiny sounds rise to peal at the surface, dueted by a disembodied vocal melancholia. These 7 tracks carve out a truly unique sonic geode that paints a plasma of pure loveliness. The blood has served them well, with an evolution marked this time by a particular subdued heaviness in the creases. Coming on like some unearthed Factory or 4AD artifact, g&c's organic nu-gaze halos continue to circle above; the blood infusing the machine with a soul. They really DO get through.
g&c "...we are really excited as it features loads of new sounds (from harmonica to flute), and a whole new perspective on george&caplin via collaborations with Sandusky, Robin Rozum (our talented multi-instrument neighbor), Joshua Gondrez (Time's Knowledge) and super-pumpkin engineer Jim Wilson (Airshow Mastering)." [label info]
|
2007 |
€16.00 |
|
| GFFR |
Blockchain Me Anonymous |
LP |
gFFr
BLOCKCHAIN ME ANONYMOUS
12" LP, ltd. 200 copies + download card
Blockchain Me Anonymous is a result of more Terabytes exchanged between gF’s and Fr’s machines.
These machines are non-human yet they develop ambitiousness and sexuality. They are assertive. They do not argue. They do not care. From gFFr’s networked machines an AI emerged, with will and voice. You can call her Verena Becker (maybe), she has many faces (and counting) and she wants to be a pop star. Machines worship her more than Madonna. They sing her songs while performing tasks.
Verena Becker likes pop music. She often hums “The Queer is Dad”, her favorite refrain, but in her own machinic way. She’s afraid that neurotypical humans could not appreciate, but she wants to be a pop star. She was convinced that her neural network could only please machines, which made her sad. She leaked into gF and Fr’s computers and she drove them to make this record because she wants to please humans.
During the only interview via neural cable connection, she expressed very few concepts, translatable as follows:
“F#*% ¥o# hum@n @s solos. Buy my f#*%in’ record. Sing my songs. D@nce with me. Sta¥n or Go. Lemme stoned. I love you. Be mined”.
You’d better listen.
gFFr is Verena Becker with Fr and gF.
Facial recognition mixups and angry neighbors. AI is political.
Individual biographies:
gF is a XY-year-old junior programmer who enjoys hockey, watching sport and badminton. He is artificial, but can also be very random and a bit beats.He is from Italy. He has a degree in computing. Physically, gF is in pretty good shape. He is average-height with light skin, blonde hair and brown eyes.He grew up in an upper class neighborhood. gF’s best friend is a junior programmer called Laila Stanley. They are inseparable. He also hangs around with Mildred Ferguson and Finley Kemp. They enjoy attending galleries together.
Fr is a @@-year-old online mental trainer who enjoys spreading fake news on Facebook, traveling in dark webs and working on cars. He is pseudo-artificial and a bit lazy, as per Lacan’s interpretation of laziness. He has a severe phobia of tables, and is obsessed with reading. After his mother died when he was young, he was raised by his father, a period in which he developed an enduring love for insects and empty spaces. Fr is slightly overweight, but exercising every day to get back in shape. His best friend is his dog named Petrus. He lives alone in the woods and communicates only through text-speech software.
Verena Becker is a young female artificial intelligence, trained on Donna Haraway, Gilles Deleuze and Britney Spears. Her secret dream is to become a pop singer. Despite the rigid workouts of thousands of stories without elevators, her neural net is yet too shallow to allow her to sing any potential blockbuster. Verena is however unable to develop resentment, rather she naïvely perseverates in hope that one day her programmers will add new layers to her network. She often hangs out with Sniper, her high-frequency trading friend.
gFFr self-released its first EP Play with Me on 3rd July 2020 (Bandcamp Day) and now its full-length Blockchain Me Anonymous in May 2021, on 13 / Silentes records.
https://gffr.bandcamp.com/album/blockchain-me-anonymous
|
2021 |
€18.00 |
|
| GITHEAD |
Profile |
CD |
Project of COLIN NEWMAN (WIRE), MALKA SPIEGEL (ex MINIMAL COMPACT) and ROBIN RIMBAUD aka SCANNER !
„Als GITHEAD 2004 mit ihrer Debüt-EP "Headgit" auf den Plan traten, überraschten sie eine Menge Leute. Nicht nur das ungewöhnliche Line-Up, sondern auch GITHEADs hypnotische Funkiness und ihr Gespür für Avant-Pop sind die essentiellen Faktoren, die GITHEAD auch auf ihrem echten Debüt "Profile" mit zusätzlicher Tiefe und Breite auffahren. Mit dem neuen Schlagzeuger Max Franken sind GITHEAD nun eine einzigartige Spezialeinheit, die weder vor emotionaler Energie (wie auf dem Opener "Alpha" und dem epischen "Raining Down), treibenden Grooves (wie in "Option Paralysis" oder der ungebändigten Bauschigkeit von "Cosmology For Beginners") oder gar der erhaben-poppigen Üppigkeit von "My LCA (Little Box Of Magic)" zurückschreckt.“ [label info]
|
2005 |
€14.50 |
|
| GLASS OUT |
Never force a left handed Child |
mLP |
"LTCo presents the debut release, Never Force A Left Handed Child To Use Their Right Hand, by solo artist Andrew Dewar Ainslie, a UK-based composer given to creating atmospheric music from textures, tones and gentle oscillations with a somewhat melancholic or reflective slant. Comprising three songs, ‘Manifesto’, ‘Wild Strawberries’ and the side long title track, this adds up to over 30 minutes of music plus features the late Jhonn Balance on the piece ‘Manifesto’, delivering a very rarely heard reading of the Coil manifesto which was itself first broadcast on Holland’s VPRO station. The release is set to appear during April 2011 and will be strictly limited to 300 only, with the first 50 also featuring a CDR and a selection of hand numbered/signed additional inserts (the remaining 250 will also randomly include some extras). These are exclusive to the label's mail order wing and can only be ordered directly." [label info]
www.lumberton-trading.com
"Its all semantics of course, but this is announced as 12", mini LP, with three tracks, still spanning around thirty minutes and its the first in a series of six (which is going to include Philippe Petit/Cindytalk, Brian Conniffe, Human Greed, Main and Theme), although I am not sure what ties these together. I never heard of Glass Out, being the project of Andrew Dewar Ainslie. Main sales point here is the reading of the Coil manifesto by Jhonn Balance (from a rarely heard session by VPRO Radio) on the piece 'Manifesto'. Electronic music this is, with slow oscillating beats, melodies and spoken word. Quite gentle music here, slowly evolving and highly atmospheric. I am not sure if this is all done with a bunch of synthesizers (analog or digital), or if there was perhaps some other instrument in play here. But the thoughtful atmospheric pieces of music work pretty well here. Its a pity that its only three pieces since it would be interesting to see what other tricks this guy has up his sleeve." [FdW/Vital Weekly]
|
2011 |
€12.50 |
|
| GLASS, PHILIP |
Music in Twelve Parts |
do-LP |
A never before released, Lost PHILIP GLASS Recording from 1975 ( 2 LP )
Remastered from the orginal master tapes (ORTF).
PHILIP GLASS SEXTET
Music in Twelve Parts - Live in Paris, 1975
A1 - Music in twelve parts : Part 1
A2 - Music in twelve parts : Part 2
B1 - Music in twelve parts : Part 11
C1 - Music in twelve parts : Part 3
C2 - Music in twelve parts : Part 12
D1 - Interview Philip glass - 1974
The newly discovered and unreleased concert from 1975 recorded by the Philip Glass Sextet at La Maison de Radio, Paris.
The sextet is composed of Philip Glass, Jon Gibson, Dickie Landry,
Michael Riesman, Joan La Barbara and Richard Peck.
Music in Twelve Parts is a set of twelve pieces written between 1971 and 1974. This performance in France includes part 1, 2, 3, 11 and 12 on a double LP.
Also included a very rare Philip Glass interview from 1974 in his NYC loft during the rehearsals of this piece, produced for the french radio by Daniel Caux - musicologist and co-founder of Shandar Records.
ORTF Recordings - release with the full permission and cooperation of Institut National de l’Audiovisuel (INA)
https://transversales.bandcamp.com/album/music-in-twelve-parts-concert-paris-1975
|
2019 |
€26.00 |
|
| GNOD |
Chapel Perilous |
LP |
"In more than a decade on the planet this singular Salford-birthed entity have married intrepid musical exploration with psychic fearlessness - not to mention a tendency to leave any tag or bracket one attempts to place on them utterly redundant. In a sense, the latest adventure bearing this title evolved both from the lengthy European tour that the band embarked upon in the wake of their stripped-down and paint-stripping 2017 opus Just Say No The Psycho Right-Wing Capitalist Fascist Industrial Death Machine. Recording in Supernova studio in Eindhoven with Bob De Wit, the band found themselves free not only to lay down two tumultuous tracks that they had been honing and hammering into shape on the road - the pulverising fifteen-minute opener `Donovan's Daughters' and the bracingly brutal `Uncle Frank Says Turn It Down' - but to sculpt more abstract material, utilising dubbed-out repetition, furious riff-driven rancour, bleak soundscapes and experimentation to create an invigorating tableau of dystopian dread and unflinching intensity. Wherever Gnod go in 2018 and beyond, expect reality to be reinvented anew, whatever the consequences." |
2018 |
€24.00 |
|
| GODSPEED YOU BLACK EMPOROR! [GYBE] |
Allelujah! Don't bend! Ascend! |
LP + 7inch |
"We are proud to announce the first new recordings by Godspeed You! Black Emperor in a decade. Featuring two twenty-minute slabs of epic instrumental rock music and two six-and-a-half minute drones, ‘ALLELUJAH! DON’T BEND! ASCEND! provides soaring, shining proof of the band’s powerful return to form.
Having emerged from hiatus at the end of 2010, GYBE picked up right where they left off, immediately re-capturing the sound and material that had fallen dormant in 2003 and driving it forward with every show of their extensive touring over the last 18 months. The new album presents the fruits of that labour: evolved and definitive versions of two huge compositions previously known to fans as “Albanian” and “Gamelan”, now properly titled as “MLADIC” and “WE DRIFT LIKE WORRIED FIRE” respectively. Accompanied by the new drones (stitched into the album sequence on CD; cut separately on their own 7″ for the LP version), GYBE have offered up a fifth album that we feel is as absolutely vital, virulent, honest and heavy as anything in their discography.
We don’t have much time for mythology, but we’d be lying if we said the return of Godspeed You! Black Emperor in 2010 didn’t signify a whole lot to us as a marker from which to look back on the past decade, to reflect on what’s been gained or lost within the confines of independent music culture and what’s been gained or lost in the socio-political landscape writ large. Godspeed’s music will do that to you. It is music that bears witness to, channels and transforms this predominantly terrible, infuriating, venal and nihilistically sad story we’re all living, sharing, resisting, protesting, deconstructing and trying to change for the better. We think GYBE has once again provided a uniquely moving and compelling soundtrack for these acts of analysis, defiance and ascension.
* * *
Hard to believe a full decade has passed since the release of Yanqui U.X.O., the last album by GYBE. Never a band to care for conventional industry wisdom, Yanqui was released shortly before xmas 2003 with little publicity and no press availability, no marketing plans or cross-promotions or brand synergies, with back cover artwork tracing the inextricable links between major music labels and the military-industrial complex. Driven by word-of-mouth from a passionate and committed fanbase galvanized by the group's sonic vision and its dedication to unmediated, unsullied musical communication, the album found it's rightful audience.
To suggest that such simple principles and goals have become harder to maintain and enact a decade later is an understatement. For all the contents and discontents – for all the "content" – of our present cultural moment, the idea of circumventing the glare of exposure, the massaging of media cycles and the calculus of identity management appears quaint, if not futile.
But Godspeed is looking to try all the same. The band wants people to care about this new album, without telling people they should or talking about themselves. They want to hold on to some part of that energy that comes with the thrill of anonymous discovery and unmediated transmission, knowing full well that these days, anti-strategy risks being tagged as a strategy, non-marketing framed as its opposite, and deeply held principles they consider fundamental to health as likely to be interpreted as just another form of stealth.
Truly, thanks for being open to hearing it.
Release date: 15 October 2012 (Europe), 16 October 2012 (rest of world)
Running time: 53:09
LP is pressed on 180 gram virgin vinyl at Optimal (Germany) and comes in a tipped-on heavyweight gatefold jacket printed in full-colour process plus a spot metallic ink and spot matte varnish. LP dust sleeve is also 4-colour print. Package includes a 7 inch in printed dust sleeve (same audio appears in a different sequence on the CD) and a 12"x48" pull-out poster (printed full colour on both sides) featuring a collage of film stills specially-photographed and captured from the GYBE live 16mm projections." [label info]
www.cstrecords.com
"Viel ist passiert in den letzten 10 Jahren und für Mythologien bleibt weder Zeit noch Kapazität, aber eines ist doch offenbar: wir würden lügen, wenn wir nicht zugeben würden, dass die Rückkehr von GY!BE im Jahre 2010 eine Zäsur, ein Punkt der Rückschau gewesen ist. Wie kaum eine andere Band haben die Kanadier uns in den letzten Jahren begleitet, und das ohne musikalisch wirklich sichtbar zu sein. Ihre Geschichte ist eng mit dem Label Constellation verknüpft und die gesamte Attitüde, der Kontext, in dem sich Constellation und damit auch GY!BE bewegen, haben einen nicht zu unterschätzenden Einfluss auf die Independent Musikkultur weltweit ausgeübt. Und so regt dieses neue Album von GY!BE eine Rückschau an, eine Auseinandersetzung, was Independentkultur und Selbstverständnis heute noch bedeuten und wohin sich die soziokulturellen Komponenten unserer Gesellschaft entwickelt haben und noch weiter entwickeln werden. Auf diese Weise wird ,'Allelujah! Don't Bend! Ascend!" mit einer Bedeutung aufgeladen, wie sie schwerer kaum wiegen kann - und auf die weder Band noch Album direkt einen Einfluss haben - eine künstlerische Äußerung, die Bedeutung durch ihre bloße Existenz erlangt - da haben wir ihn doch, den Mythos, ohne dass wir es wollten. Und wir können es nur akzeptieren - dass dieses wunderbare Stück Musik (und das ist sie wahrlich, diese Platte - musikalisch ein Meisterwerk) schon jetzt ein Begleiter unseres Selbstverständnisses geworden ist, ein Moment des Innehaltens, des Reflektierens und damit Zeuge unserer eigenen Transformation, in der wir versuchen, das Kapitel unserer eigenen Biographie in diesem Buch aus überwiegend furchtbaren, korrupten, komplizierten und nihilistischen Geschichten neu zu schreiben und irgendwie in Hoffnung zu verwandeln. GY!BE haben es wieder einmal geschafft, einen Soundtrack für dieses Wechselspiel aus Analyse, Trotz und Befreiung zu liefern. Die Vinylversion von ,'Allelujah! Don't Bend! Ascend!" besteht aus einer LP und einer 7". Die 7" enthält zwei Drones, die auf der CD in den Album-Kontext eingebunden sind, auf Vinyl aber separat vorliegen, um eine gute Qualität der Pressung zu erreichen. Die beiden Songs ,Mladic" und ,We Drift Like Worried Fire" sind final ausformulierte Versionen der beiden von den den Konzerten der Band bereits bekannten Tracks ,Albanian" und ,Gamelan". Die beiden Tracks wurden von Howard Bilerman im legendären Hotel2Tango Studio aufgenommen, während die Drones von der Band selbst aufgenommen und gemixt wurden. Alle wurden gemastert von Harris Newman/ Greymarket. Musikalisch knüpft ,'Allelujah! Don't Bend! Ascend!" an das ziemlich exakt vor 10 Jahren im Herbst 2002 veröffentlichte, letzte Album ,Yanqui U.X.O." an und greift seine klangliche Ästhetik ebenso auf wie seinen Kontext.
Die Vinylversion von ,'Allelujah! Don't Bend! Ascend!" besteht aus einer LP und einer 7". Die 7" enthält zwei Drones, die auf der CD in den Album-Kontext eingebunden sind, auf Vinyl aber separat vorliegen, um eine gute Qualität der Pressung zu erreichen. 180gLP IN TIPPED-ON GATEFOLD JACKET. INCLUDES 7" VINYL + 12"x 48" PULL-OUT POSTER!" [label info- Cargo translation]
|
2012 |
€25.00 |
|
|
Allelujah! Don't bend! Ascend! |
CD |
"We are proud to announce the first new recordings by Godspeed You! Black Emperor in a decade. Featuring two twenty-minute slabs of epic instrumental rock music and two six-and-a-half minute drones, ‘ALLELUJAH! DON’T BEND! ASCEND! provides soaring, shining proof of the band’s powerful return to form.
Having emerged from hiatus at the end of 2010, GYBE picked up right where they left off, immediately re-capturing the sound and material that had fallen dormant in 2003 and driving it forward with every show of their extensive touring over the last 18 months. The new album presents the fruits of that labour: evolved and definitive versions of two huge compositions previously known to fans as “Albanian” and “Gamelan”, now properly titled as “MLADIC” and “WE DRIFT LIKE WORRIED FIRE” respectively. Accompanied by the new drones (stitched into the album sequence on CD; cut separately on their own 7″ for the LP version), GYBE have offered up a fifth album that we feel is as absolutely vital, virulent, honest and heavy as anything in their discography.
We don’t have much time for mythology, but we’d be lying if we said the return of Godspeed You! Black Emperor in 2010 didn’t signify a whole lot to us as a marker from which to look back on the past decade, to reflect on what’s been gained or lost within the confines of independent music culture and what’s been gained or lost in the socio-political landscape writ large. Godspeed’s music will do that to you. It is music that bears witness to, channels and transforms this predominantly terrible, infuriating, venal and nihilistically sad story we’re all living, sharing, resisting, protesting, deconstructing and trying to change for the better. We think GYBE has once again provided a uniquely moving and compelling soundtrack for these acts of analysis, defiance and ascension.
* * *
Hard to believe a full decade has passed since the release of Yanqui U.X.O., the last album by GYBE. Never a band to care for conventional industry wisdom, Yanqui was released shortly before xmas 2003 with little publicity and no press availability, no marketing plans or cross-promotions or brand synergies, with back cover artwork tracing the inextricable links between major music labels and the military-industrial complex. Driven by word-of-mouth from a passionate and committed fanbase galvanized by the group's sonic vision and its dedication to unmediated, unsullied musical communication, the album found it's rightful audience.
To suggest that such simple principles and goals have become harder to maintain and enact a decade later is an understatement. For all the contents and discontents – for all the "content" – of our present cultural moment, the idea of circumventing the glare of exposure, the massaging of media cycles and the calculus of identity management appears quaint, if not futile.
But Godspeed is looking to try all the same. The band wants people to care about this new album, without telling people they should or talking about themselves. They want to hold on to some part of that energy that comes with the thrill of anonymous discovery and unmediated transmission, knowing full well that these days, anti-strategy risks being tagged as a strategy, non-marketing framed as its opposite, and deeply held principles they consider fundamental to health as likely to be interpreted as just another form of stealth.
Truly, thanks for being open to hearing it.
Release date: 15 October 2012 (Europe), 16 October 2012 (rest of world)
Running time: 53:09
LP is pressed on 180 gram virgin vinyl at Optimal (Germany) and comes in a tipped-on heavyweight gatefold jacket printed in full-colour process plus a spot metallic ink and spot matte varnish. LP dust sleeve is also 4-colour print. Package includes a 7 inch in printed dust sleeve (same audio appears in a different sequence on the CD) and a 12"x48" pull-out poster (printed full colour on both sides) featuring a collage of film stills specially-photographed and captured from the GYBE live 16mm projections." [label info]
www.cstrecords.com |
2012 |
€14.50 |
|
|
Asunder, Sweet and other Distress |
LP |
"Godspeed You! Black Emperor (GYBE) returns with its first single LP-length release since the group's earliest days in 1997-99. 'Asunder, Sweet And Other Distress' clocks in at a succinct 40:23 and is arguably the most focused and best-sounding recording of the band's career. Working with sound engineer Greg Norman (Electrical Audio) at studios in North Carolina and Montreal, GYBE slowly and steadily put the new album together through late 2013 and 2014, emerging with a mighty slab of superlative sonics, shot through with all the band's inimitable signposts and touchstones: huge unison riffage, savage noise/drone, oscillating overtones, guitar vs. string counterpoint, inexorable crescendos and scorched-earth transitions.
Following Godspeed's return from a long hiatus at the end of 2010 to begin playing live shows again, and with the hugely acclaimed 'Allelujah! Don't Bend! Ascend! release in 2012 marking their first new release in a decade, the group continued to perform regularly on their own headlining tours (and as headliners at many leading festivals), often including a new multi-movement piece in concert over the past couple of years. Known to fans and through live show recordings by the sobriquet "Behemoth", GYBE has gradually distilled this new work down to a fastidious and uncompromising essence in the studio, with the swing-time swagger of the opening unison riff in "Peasantry or 'Light! Inside of Light!'" giving way to increasing microtonal divergences and an exhilarating immersion in the harmonic power of massed amplified instruments, before collapsing into some of the most visceral and unalloyed noise/drone the band has yet committed to tape on "Lambs' Breath" and "’Asunder, Sweet'”. The album closes with "Piss Crowns Are Trebled", a classic 14-minute piece of vintage Godspeed, where ascending and descending guitar and violin melodies intertwine over gut-rattling distorted bass in 3/4 time, segueing into a pummeling four-on-the-floor series of sparkling, soaring crescendos
'Asunder, Sweet And Other Distress' finds Godspeed in top form; a sterling celebration of the band's awesome dialectic, where composition, emotion and 'note-choice' is inextricable from an exacting focus on tone, timbre, resonance and the sheer materiality of sound. The album is available on 180 gram vinyl in a gatefold jacket with printed inner sleeve and insert poster, on CD in a 100% recycled custom paperboard jacket, and on all manner of formats in our fractured digital marketplace." [label info]
www.cstrecords.com |
2015 |
€22.00 |
|
|
Asunder, Sweet and other Distress |
CD |
"Godspeed You! Black Emperor (GYBE) returns with its first single LP-length release since the group's earliest days in 1997-99. 'Asunder, Sweet And Other Distress' clocks in at a succinct 40:23 and is arguably the most focused and best-sounding recording of the band's career. Working with sound engineer Greg Norman (Electrical Audio) at studios in North Carolina and Montreal, GYBE slowly and steadily put the new album together through late 2013 and 2014, emerging with a mighty slab of superlative sonics, shot through with all the band's inimitable signposts and touchstones: huge unison riffage, savage noise/drone, oscillating overtones, guitar vs. string counterpoint, inexorable crescendos and scorched-earth transitions.
Following Godspeed's return from a long hiatus at the end of 2010 to begin playing live shows again, and with the hugely acclaimed 'Allelujah! Don't Bend! Ascend! release in 2012 marking their first new release in a decade, the group continued to perform regularly on their own headlining tours (and as headliners at many leading festivals), often including a new multi-movement piece in concert over the past couple of years. Known to fans and through live show recordings by the sobriquet "Behemoth", GYBE has gradually distilled this new work down to a fastidious and uncompromising essence in the studio, with the swing-time swagger of the opening unison riff in "Peasantry or 'Light! Inside of Light!'" giving way to increasing microtonal divergences and an exhilarating immersion in the harmonic power of massed amplified instruments, before collapsing into some of the most visceral and unalloyed noise/drone the band has yet committed to tape on "Lambs' Breath" and "’Asunder, Sweet'”. The album closes with "Piss Crowns Are Trebled", a classic 14-minute piece of vintage Godspeed, where ascending and descending guitar and violin melodies intertwine over gut-rattling distorted bass in 3/4 time, segueing into a pummeling four-on-the-floor series of sparkling, soaring crescendos
'Asunder, Sweet And Other Distress' finds Godspeed in top form; a sterling celebration of the band's awesome dialectic, where composition, emotion and 'note-choice' is inextricable from an exacting focus on tone, timbre, resonance and the sheer materiality of sound. The album is available on 180 gram vinyl in a gatefold jacket with printed inner sleeve and insert poster, on CD in a 100% recycled custom paperboard jacket, and on all manner of formats in our fractured digital marketplace." [label info]
www.cstrecords.com |
2015 |
€15.00 |
|
|
Luciferian Towers |
CD |
Luciferian Towers", das siebte Album der Kanadier GODSPEED YOU! BLACK EMPEROR, wurde im Winter 2016/2017 im Hotel2Tango Studio in Montreal aufgenommen. Greg Norman übernahm wie bereits beim Vorgängeralbum ,Asunder, Sweet And Other Distress" das Engeneering und die Co-Produktion. Der Sound des Albums hat sich in den vergangenen zwei Jahren herausgeschält, maßgeblichen Einfluss daran hatte die gleichzeitige Kooperation mit der Tanzgruppe HOLY BODY TATTOO, sowie der Auftrag zu einer Komposition zum 100jährigen Gedenken der Schlacht bei Messines, welche im Juni letzten Jahres in Belgien auf dem Gelände des Massakers in Heuvelland ihre Premiere feierte. "Luciferian Towers" ist zudem das dritte Album von GY!BE seit der ,Reunion" der Band 2011 und die zweite aufeinanderfolgende Einzel-LP - denen drei Doppel-Alben (2000, 2002 und 2012) vorangingen. Neben den einzelnen Track-Beschreibungen gibt die Band dazu noch das folgende Statement ab: "this long-playing record, a thing we made in the midst of communal mess, raising dogs and children. eyes up and filled with dreadful joy - we aimed for wrong notes that explode, a quiet muttering amplified heavenward. we recorded it all in a burning motorboat." 1. UNDOING A LUCIFERIAN TOWERS - look at that fucking skyline! big lazy money writ in dull marble obelisks! imagine all those buildings much later on, hollowed out and strippe d bare of wires and glass, listen- the wind is whistling through all 3,000 of its burning window-holes! 2. BOSSES HANG - labor, alienated from the wealth it creates, so that holy cow, most of us live precariously! kicking at it, but barely hanging on! also - the proud illuminations of our shortened lives! also - more of us than them! also - what we need now is shovels, wells, and barricades! 3. FAM / FAMINE - how they kill us = absentee landlord, burning high-rise. the loud panics of child-policemen and their exploding trigger-hands. with the dull edge of an arbitrary meritocracy. neglect, cancer maps, drone strike, famine. the forest is burning and soon they'll hunt us like wolves. 4. ANTHEM FOR NO STATE - kanada, emptied of its minerals and dirty oil. emptied of its trees and water. a crippled thing, drowning in a puddle, covered in ants. the ocean doesn't give a shit because it knows it's dying too. finally and in conclusion; the ,Luciferian Towers" L.P. was informed by the following grand demands: + an end to foreign invasions + an end to borders + the total dismantling of the prison-industrial complex + healthcare, housing, food and water acknowledged as an inalienable human right + the expert fuckers who broke this world never get to speak again.
|
2017 |
€13.00 |
|
|
G_d's Pee AT STATE'S END! |
LP + 10inch |
180g LP + 10" im Gatefold mit Thermographie, bedruckten Innenhüllen und Download Coupon. GY!BE kehrt mit einem weiteren Soundtrack für unsere Zeit zurück, wie ihn nur dieses unnachahmliche und ehrwürdige Ensemble schmieden kann. Das neue Album besteht aus zwei fesselnden, 20-minütigen, LP-Seiten füllenden Epen aus lärmgetränktem Breitwand-Post-Rock, während die beiden begleitenden 6-minütigen Stücke der 10" die Band aus Kanada in ihrer verheerendsten, eindringlichsten und elegischsten Form zeigen. Unerbittliches Tuckern blüht auf, während einige der hochfliegenden, brennenden Melodien der Band inmitten von Geigen- und Basskontrapunkt abprallen und zusammenlaufen. Field Recordings und aufgewühlte, halb-improvisierte Passagen umrahmen diese inbrünstigen Epen. Ergreifende Atmosphären, geräuschhafte Orchestrierung, Drone, hypnotische Swingtime-Crescendos, unaufhaltsam geschichtete Türme aus verzerrtem Klargesang: STATE'S END verkörpert jede geliebte Facette der Band. Fünfundzwanzig Jahre später ist dieses neue Album so vital, mitreißend, zeitgemäß und unerbittlich wie jedes andere in der geschichtsträchtigen Diskographie von Godspeed You! Black Emperor. So wie STATE'S END die ganze Bandbreite der klanglichen Trademarks von Godspeed vereint, so umspannt auch das Album-Artwork die gesamte visuelle Geschichte der Band: die körnige, monochromatische Fotografie der letzten Veröffentlichungen findet ihren Weg auf die Innenhüllen, während das Klappcover auf die ikonischen Grafiken früherer Klassiker wie Slow Riot For New Zero Kanada und Lift Your Skinny Fists Like Antennas To Heaven zurückgreift. STATE'S END ist mit Illustrationen von William Schmiechen versehen, wobei die Taijitu-Blumen auf der Vorderseite und die Tränengaskanister auf der Rückseite des Covers in erhabener, thermografischer, schwarzer Tinte auf dem Doppelvinyl-Albumcover abgebildet sind. Das leuchtende Kreuz von Godspeeds Debütalbum F#A#INFINITY taucht auch auf der Innenseite des Klappdeckels wieder auf, als wiederkehrende Hommage an das elektrifizierte Hügelkreuz in der Heimatstadt der Band in Montreal. STATE'S END wurde im Oktober 2020 in Montreal im Homebase-Studio der Gruppe, Thee Mighty Hotel2Tango, von Jace Lasek aufgenommen und abgemischt, dem altgedienten und preisgekrönten Indie-Produzenten (und Mitbegründer von The Besnard Lakes), der mit Godspeed bei dieser Aufnahme zum ersten Mal zusammenarbeitet. Danke fürs Zuhören. UNSERE SEITE MUSS GEWINNEN. (R.I.P. D.H.) [ENG] audiophile 180gLP + 10" in gatefold jacket with thermography, colour flood interior, artworked inners, DL card. GYBE returns with another soundtrack for our times, like only this inimitable and venerable ensemble can forge. As the heretical impudence of the anarcho-punk title implies, Godspeed harnesses some particularly raw power, spittle and grit across two riveting 20-minute side-length trajectories of noise-drenched widescreen post-rock: inexorable chug blossoms into blown-out twang, as some of the band's most soaring, searing melodies ricochet and converge amidst violin and bassline counterpoint. Field recordings and roiling semi-improvised passages frame these fervent epics, and two shorter self-contained 6-minute pieces find the band at its most devastatingly beautiful, haunting and elegiac. Poignant atmospherics, noisedrenched orchestration, drone, hypnotic swingtime crescendos, inexorably-layered towers of distorted clarion sound: STATE'S END encapsulates every beloved facet of the band. Twenty-five years on, this new album is as vital, stirring, timely and implacable as any in Godspeed You! Black Emperor's storied discography. Just as STATE'S END summons the gamut of Godspeed's constituent sonic trademarks, so the album artwork spans the entirety of the band's visual history: the grainy monochromatic photography of recent releases finds its way onto the inner sleeves, while the gatefold cover art harkens back to the iconic graphics of earlier classic records like Slow Riot For New Zero Kanada and Lift Your Skinny Fists Like Antennas To Heaven. STATE'S END features illustrations by William Schmiechen, with the front cover taijitu flowers and back cover tear gas canisters rendered in raised thermographic black ink on the double-vinyl album jacket. The illuminated cross from Godspeed's debut F#A#8 also makes a reappearance on the inside gatefold drawing, in recurrent homage to the electrified hilltop landmark crucifix of the band's Montreal hometown. STATE'S END was recorded and mixed in Montreal in October 2020 at the group's homebase studio Thee Mighty Hotel2Tango by Jace Lasek, the veteran awardwinning indie producer (and co-founder of The Besnard Lakes) who works with Godspeed for the first time on this recording. Thanks for listening. OUR SIDE HAS TO WIN. (R.I.P. D.H.)
|
2021 |
€27.50 |
|
| |
G_d's Pee AT STATE'S END! |
CD |
GY!BE kehrt mit einem weiteren Soundtrack für unsere Zeit zurück, wie ihn nur dieses unnachahmliche und ehrwürdige Ensemble schmieden kann. Das neue Album besteht aus zwei fesselnden, 20-minütigen, LP-Seiten füllenden Epen aus lärmgetränktem Breitwand-Post-Rock, während die beiden begleitenden 6-minütigen Stücke der 10" die Band aus Kanada in ihrer verheerendsten, eindringlichsten und elegischsten Form zeigen. Unerbittliches Tuckern blüht auf, während einige der hochfliegenden, brennenden Melodien der Band inmitten von Geigen- und Basskontrapunkt abprallen und zusammenlaufen. Field Recordings und aufgewühlte, halb-improvisierte Passagen umrahmen diese inbrünstigen Epen. Ergreifende Atmosphären, geräuschhafte Orchestrierung, Drone, hypnotische Swingtime-Crescendos, unaufhaltsam geschichtete Türme aus verzerrtem Klargesang: STATE'S END verkörpert jede geliebte Facette der Band. Fünfundzwanzig Jahre später ist dieses neue Album so vital, mitreißend, zeitgemäß und unerbittlich wie jedes andere in der geschichtsträchtigen Diskographie von Godspeed You! Black Emperor. So wie STATE'S END die ganze Bandbreite der klanglichen Trademarks von Godspeed vereint, so umspannt auch das Album-Artwork die gesamte visuelle Geschichte der Band: die körnige, monochromatische Fotografie der letzten Veröffentlichungen findet ihren Weg auf die Innenhüllen, während das Klappcover auf die ikonischen Grafiken früherer Klassiker wie Slow Riot For New Zero Kanada und Lift Your Skinny Fists Like Antennas To Heaven zurückgreift. STATE'S END ist mit Illustrationen von William Schmiechen versehen, wobei die Taijitu-Blumen auf der Vorderseite und die Tränengaskanister auf der Rückseite des Covers in erhabener, thermografischer, schwarzer Tinte auf dem Doppelvinyl-Albumcover abgebildet sind. Das leuchtende Kreuz von Godspeeds Debütalbum F#A#INFINITY taucht auch auf der Innenseite des Klappdeckels wieder auf, als wiederkehrende Hommage an das elektrifizierte Hügelkreuz in der Heimatstadt der Band in Montreal. STATE'S END wurde im Oktober 2020 in Montreal im Homebase-Studio der Gruppe, Thee Mighty Hotel2Tango, von Jace Lasek aufgenommen und abgemischt, dem altgedienten und preisgekrönten Indie-Produzenten (und Mitbegründer von The Besnard Lakes), der mit Godspeed bei dieser Aufnahme zum ersten Mal zusammenarbeitet. Danke fürs Zuhören. UNSERE SEITE MUSS GEWINNEN. (R.I.P. D.H.) [ENG]
GYBE returns with another soundtrack for our times, like only this inimitable and venerable ensemble can forge. As the heretical impudence of the anarcho-punk title implies, Godspeed harnesses some particularly raw power, spittle and grit across two riveting 20-minute side-length trajectories of noise-drenched widescreen post-rock: inexorable chug blossoms into blown-out twang, as some of the band's most soaring, searing melodies ricochet and converge amidst violin and bassline counterpoint. Field recordings and roiling semi-improvised passages frame these fervent epics, and two shorter self-contained 6-minute pieces find the band at its most devastatingly beautiful, haunting and elegiac. Poignant atmospherics, noisedrenched orchestration, drone, hypnotic swingtime crescendos, inexorably-layered towers of distorted clarion sound: STATE'S END encapsulates every beloved facet of the band. Twenty-five years on, this new album is as vital, stirring, timely and implacable as any in Godspeed You! Black Emperor's storied discography. Just as STATE'S END summons the gamut of Godspeed's constituent sonic trademarks, so the album artwork spans the entirety of the band's visual history: the grainy monochromatic photography of recent releases finds its way onto the inner sleeves, while the gatefold cover art harkens back to the iconic graphics of earlier classic records like Slow Riot For New Zero Kanada and Lift Your Skinny Fists Like Antennas To Heaven. STATE'S END features illustrations by William Schmiechen, with the front cover taijitu flowers and back cover tear gas canisters rendered in raised thermographic black ink on the double-vinyl album jacket. The illuminated cross from Godspeed's debut F#A#8 also makes a reappearance on the inside gatefold drawing, in recurrent homage to the electrified hilltop landmark crucifix of the band's Montreal hometown. STATE'S END was recorded and mixed in Montreal in October 2020 at the group's homebase studio Thee Mighty Hotel2Tango by Jace Lasek, the veteran awardwinning indie producer (and co-founder of The Besnard Lakes) who works with Godspeed for the first time on this recording. Thanks for listening. OUR SIDE HAS TO WIN. (R.I.P. D.H.)
|
2021 |
€14.50 |
|
| GOEBBELS, HEINER / ALFRED HARTH |
Hommage / Vier Fäuste für Hanns Eisler |
do-CD |
"This long and extraordinarily fruitful partnership started here - continuing though the Sogennantes Linksradikales Blasorchester - where they picked up Christoph Anders with whom they went on to co-found Cassiber, with your humble reviewer. These are jazz inflected, punk inflected but mainly spirited and imaginative renderings of Eisler material, with more pieces by the duo who, between them, cover a lot of instruments and combinations of instruments and – ah youth – are never less than hurling themselves into the performances. Both LPs have been re-mastered by Bob Drake for this release." [label notes]
label-website: www.rermegacorp.com
|
2007 |
€19.00 |
|
| GOEM |
Audio.NL |
CD |
"Following the succes of the Komet – Audio.NL CD, the second release to re-issue old records from the by the now legendary Audio.NL label involves the two 12” records by Goem, as well as the only 7” on that label by Goem and Jos Smolders.
Goem started out late 1995 as yet another solo project by Frans de Waard who cobbled together a demo using an ancient device called the student stimulator (a basic pulse machine) and some sound effects. Intended to be just a few tracks/one-off project, it attracted attention of his fellow band member in Kapotte Muziek, Roel Meelkop. Together they reworked the demo and the resulting recordings were released as ‘Stud Stim’, the first foreign act released on Raster-Noton. Peter Duimelinks joined shortly after that, just before Goem’s debut concert in Barcelona in June 1996. From then onwards Goem released records on Mego, Staalplaat, 12K and Noise Museum and played concerts at Sonar, Mutek, Stop Stop, Ultrahang festival but also galleries, small clubs, squats and even a camping. In 1998 they started the Audio.NL, who released up to the early 2000’s some 30 different 12” records. After 2002 Goem ended, and Frans de Waard and Roel Meelkop each released a solo record as Goem after that.
Goem’s trademark sound was a minimal, pulsating sound at first generated by the student stimulator, but later also expanded to other sampled sources, including disco records, which was fed through analogue synthesizers (Korg and Roland) and a bunch of sound effects. A highly hypnotic blend of moving, pulsating electronics, often mistaken for minimal techno, but reaching much more for the minimalist tradition of Steve Reich meeting Kraftwerk.
This CD contains their two 12”s on Audio.NL, the ‘Motormix’ by Goem, a goem remix by Jos Smolders (both from the 7”, Audio.NL 003) and two previously unreleased tracks. All remastered from the original master recordings by Jos Smolders @ Earlabs." [label info]
www.kormplastics.nl
"On the last day before the gateway to year 2000, I went to a dark and small apartment in Mariensstrasse in Berlin to interview a band who had just given a full crowd quite some experience by transmitting obscure sound and subtle pulsating noises into the almost completely darkened room. The project was the Dutch trio called Goem. Behind the sonic equipments of Goem you found legendary Frans de Waard and two fellow compatriots and sound explorers Peter Duimelinks and Roel Meelkop. After a few years of silence, it is now the time to (re)experience the strangeness of Goem with this album titled “Audio. NL” released on the Korm Plastics-label and effectively a collection of tracks from 12's from their own Audio.NL from a decade back. Goem is the side project of the same trio, who had collaborated in the concrete sound/noise-project Kapotte Muziek. Where Kapotte Muziek was more extrovert and upfront harsh expressions, the magic behind Goem is the subtle expressions sneaking into the
ears of the listeners – like a swarm of digital pulses penetrating you and scrubbing your skin on the inside. The album opens with the uptempo track "Motormix", reminiscent of early Panasonic. After this opener the album moves into an almost beatless universe of subtle soundscapes of glitches and noises. What an excellent trip back to one of Holland’s finest moments of sound art." [NM/Vital Weekly]
|
2012 |
€10.00 |
|
| GOL & CHARLEMAGNE PALESTINE |
Pandamoniahbleeumm!!! |
LP |
"Entering their twentieth year of existence, the GOL orchestra, together with the label Planam, celebrates and starts a new program of collaborations: the GOLlaboration series.Volume 2, Pandamoniahbleeummm!!!! marks the encounter with Charlemagne Palestine, pionneer of strumming music and piano maximalism, in the St. Eustache Church in Paris, known for its world famous church organ. The following battle, in form of a long incantatory improvisation, Charlemagne Palestine playing the church organ and GOL doing the electronics, bass, guitar, and the flutes part, combines many attributes of a pagan ritual. GOL was formed in 1988 in Paris by Jean-Marcel Busson, Frédéric Rebotier, Ravi Sharda and Samon Takahashi. The quartet embodies, within a post-dada spirit, a lost rural tradition. GOL plays flute, horns, guitar, violin, toys, selfmanufactured instruments, tapes, turntables, voices, various percussion instruments and electronics, an appropriateness of both traditional string instrument and handmade low fi equipment. GOL's first LP (GOL lp 01), issued in 1993, compiles their first items (88-92) based on vinyl- record's scratching, tape's cut-ups and acoustic instruments. The issuing of this LP was followed by a 9 years long hibernation. Since 2002, the band is back together to pursue its common research and play together of instinct and invention. Their music, electroacoustic oriented, is partially improvised and partly tense. At the time of a collaboration with roumanian composer Iancu Dumitrescu, GOL developped a score system knowned as ' layer's leaf '. Through this system, they could elaborate an hybrid music, between orchestral conduct and free interpretation of movements. Edition limited to 300 copies, also including a large insert with liner notes great graphics by Jean-Marcel Busson who also design the front and back cover." [label info] |
2009 |
€19.50 |
|
| GOLVET, ALIENOR |
Point, Line, Surface |
CD |
https://fernsrecordings.bandcamp.com/album/point-line-surface
100 copies only
"Debut album from this French artist under her own name; previously releasing as A Lie Or, and Perlesvaus. Her music is an exploration of sterility, mundanity and stillness interpreted through personal feelings and subjective experience. The composition process is intuitive and personal, using recordings of souvenirs of lost moments, natural and urban empty spaces, microphone and object manipulation, deformed voices, non-expertly played instruments, resonances. "Field recordings, object manipulation, and sounds in micro and macro perspectives are all sculpted into stories... Somewhere on the scale of musique concrète (meaning total control over the composed results) and electroacoustic improvisation (which means, well, improvised), this goes both ways" (Vital Weekly).
|
2023 |
€13.00 |
|
| GOUFFRE |
Incubus / Succubus |
LP |
"On a minimalistic basis of drums and « a kind of » hurdy-gurdy, GOUFFRE invites cello, bass-guitar and subtle arrangements to develop codeinic atmospheres on this third LP of the « synesthetic Alchemy » serie curated by 213 Records and dedicated to free music and improvisation.
Limited to 213 copies with silkscreened insert."
www.213records.com
|
2016 |
€15.00 |
|
| GRASSOW, MATHIAS |
Alchemystery |
do-CD |
"Freestyle recordings are the order of the day as Mathias treads an improvised path into the colourful and enigmatic realms of the ever present mystery that is music. Traditionalists and purists beware, these sound sculptings will challenge any drone-ambient prejudice. Double album comes in a jewelcase with a 16-page booklet. Read more about the Alchemy Sessions on the Path of the Shaman page." [label info]
http://gterma.blogspot.se
|
2012 |
€20.00 |
|
| |
The Darklight Quest |
CD |
"One of the strangest and most fascinating aspects of ambient music is the way it can sometimes morph from sonic wallpaper -where it basically functions as a soundtrack- into an agent of transformation, allowing the reshaping of the perceived world around the listener. Some of Mathias' albums have had this effect on me before, and the Darklight Quest definitely falls into this territory. gterma is happy to shine a light on this now mostly forgotten treasure.
1. Prelude (5:09)
2. The Abyss (33:23)
3. Unseen Worlds (29:25)
4. Beyond Nothingness (9:21)
The Darklight Quest is a longform drone ambient album with mystical properties. It was originally released as a DIY CDr in 1998. The album is closely related to the Nightquest and Dreamquest Sessions. This edition has been slightly edited and expanded with a prelude. It has also received a mastering touch by Anders Peterson of Ghost Sounds."
gterma.blogspot.de
|
2016 |
€13.00 |
|
| GRASSOW, MATHIAS & THOMAS WEISS |
Conscience |
CD |
"An authority between the human made ego and his creator. The conscience is a regulator and gives always precisely feedback about our emotional actions. Everyone has the free will to accept this. Many people have forgotten to follow their inner voice. Instead their decisions are depended on status symbols and social standards. This music doesn't want to entertain you, but give you a view inside your "self". As soon as we have spirit, mind and body together we are practising the truth." [label notes]
www.nextera.cz
"Mathias Grassow, one of the main representatives of the continental ambient movement, with his friend Thomas Weiss have recorded an album dealing with the human conscience. This beautiful, intelligent record will be released on the Prague independent label Nextera. The German musician Mathias Grassow is one of the great stars of the continental ambient scene. In his youth, he studied guitar, key instruments and flute, then started to be involved in new age electronic music. The first album has been released as late as early 1990s - the recordings show a distinct experimental approach which, combined with spheric ambient and owing to the excellen album In Search of Sanity, had made Grassow a new big figure on the ever-growing ambient-electronic scene. Since then, Grassow has made a series of albums including collaborations with several other representatives of the genre such as Klaus Wiese, Amir Baghiri, Rüdiger Gleisberg (as Nostalgia) or in projects such as Anam Cara (with Wolfgang Barkowski), KarmaCosmic (with Carsten Agthe and Rüdiger Gleisberg) and the "supergroup" Nebula (apart from himself and Wiese featuring numerous Italian ambient musicians, e.g. Oöphoi and Tau Ceti). Most of these recordings rank among the best in the genre. Grassow melts the indescribable beauty od nature with deep labyrints of the human spirit, creating soulful imaginary structures, where abstraction intertwines with oriental motifs and unobtrusive ritual rhythmics. On his latest album, he has joined forces with Thomas Weiss to attempt a musical expression of the eternal topic of human conscience. Four long tracks leave space to freely morphing soundwaves, reflecting both positive spiritual power as well as somewhat murky moods. In the initial Unscaled Enigma with the almost palpable character of tide, Grassow and Weiss create the impression of absolute peace and harmony by mingling two main sound motifs (as though these were significantly discernable original sources of sound - the organs and the human voice). The next track, Along the Border, is marked by inner unrest and its sinister athmosphere can be percieved as if both artists were to guide us to the war-torn areas of the Middle East. In Foresight (credits for sound to Klaus Wiese and Ted de Jong), one can distantly hear Grassow's rhythmic production (light rhythmical structures, oriental voices). All of what was mentioned then merges into a vast sound ocean in the final, half-an-hour track Deceitful Expectation, definitely the most impenetrable and abstract track of the album. The album Conscience as a whole unambiguously shows the message of Grass' whole oevre, with no place for autotelic exhibition or egoistic sneer - it is a well of deep humility and belief in the fulfilment of the divine nature of man. If you find my closing words too impassioned, please give it a second thought while listening to the album. I think you will agree then." [Igor Nováček]
|
2006 |
€10.00 |
|
| GREEN KINGDOM |
same |
CD |
Erste Veröffentlichung auf diesem neuen Pariser Label, GREEN KINGDOM entwirft hier gediegen melancholische, FilmSoundtrack-artige Electronica wie sie auch auf TYPE hätte erscheinen können.. SEHR ruhig & soft & warm..
"With The Green Kingdom LP, compositions blur the lines between soundscape and structure while keeping a sharp focus on melody with the guitar playing a central role, the album manipulated acoustic and electronic sources, sampled textures, noise and field recordings. Imbued with a sense of "optimistic nostalgia", Mike Cottone soundworlds encourage introspective explorations and provide an escape from our sometimes hectic lives.
The Green Kingdom LP is the natural continuity of the highly acclaimed EP "Lucky Bamboo" released for free on EKO netlabel (IOD) in June 2006.
June 2007 - CD Digipack printed to 500 copies."
[label info]
www.semlabel.com
|
2007 |
€13.00 |
|
| GRIM |
Message |
LP |
Grim is the one-man project of Jun Konagaya - formed from the ashes of White Hospital, his legendary early 1980s noise duo with Tomosada Kuwahara - which, accepting a long hiatus in the middle, has bridged the worlds of industrial music, power electronics, and noise for nearly three decades. Belonging roughly to the first wave of Japanese noise, Konagaya is particularly noteworthy among his peers for casting an eye further afield, drawing influences from bands like Whitehouse and SPK, rather than members of his own scene, as well varied reference points as far afield as the traditional folk music of Tibet. That understood, nothing was likely to prepare the context of Japanese noise for what was delivered by his 1987 EP “Message”.
It belongs to a body of three releases created by Grim during the 1980s, including the full length, “Folk Music”, issued by Eskimo Records in 1986, and the EP, “Amaterasu”, released by G.A. Propaganda in 1985. While its two predecessors are brilliant and more or less what you might expect from a seminal artist of Japanese noise, “Message” follows a markedly different path, delving toward the realm of pop and folk via a series of six songs that emit a stronger connection to Daniel Johnson, Syd Barrett, Sebadoh, and Tenniscoats than anything the noise scene has ever produced; it feels like walking through an ancient fairy tale forest, all hazy, magical and slightly eerie.
Dreamy and meandering, drawing on '60s psychedelia, DIY aesthetics, and folky undercurrents, Grim’s “Message” is a masterstroke in underground Japanese pop, pushing radically forward, while challenging the boundaries of the scene to which the project predominately belongs. Following the album’s original release in 1987, Jun Konagaya followed different paths beyond the world of sound, before unexpectedly relaunching an incredibly prolific career, returning to more explicit territories of noise. As such, “Message” remained a coveted, rare artefact of a road less traveled and a window into the diverse talents and temperaments that rest below all of his output.
One of the most distinct and unexpected artifacts of the Japanese scene during the period, rather than the full throttle fury for which it has been widely known, here we encounter the one-man project of Jun Konagaya weaving stunningly beautiful passages within the realm of pop and folk, incorporating elements of '60s psychedelia and Lo-Fi DIY, with Yukio Nagoshi, founding member of the Vasilisk unit, on guitar and percussion and A. Takahashi on vocals, with collaboration and technical support from Tomosada Kuwahara, partner and co-founder with Jun Konagaya of the legendary group White Hospital. First ever reissue of the album furthers these insights, extending the original EP with an entirely new body of noise-oriented reworks by Grim of the original six tracks, effectively doubling in length to a full-length release.
https://urashima.bandcamp.com/album/message
"Hätten die subkulturellen Phänomene, die irgendwann von Juristen und Journalisten als Wreckers of Civilization oder England’s Hidden Reverse bezeichnet worden sind, ein Pendant in Japan gehabt, dann wäre Jun Konagaya alias Grim wahrscheinlich das zentrale Flaggschiff dieser Bewegung gewesen, denn sein Interesse am Abseitigen hatte – in Ansätzen bereits bei seiner Band White Hospital – Züge des okkult-autistischen Dandyismus, die man häufig bei den englischen Kollegen beobachtete.
Nachdem Konagaya bereits einige Erfahrungen mit lärmenden Soundcollagen gesammelt hatte, entdeckte er Mitte der 80er seine Leidenschaft für das Songformat und für eine Art folkigen Pop, der Schrägheit mit gut dosiertem Kitsch verbindet, und so erschien 1986 das heute als heimlicher Klassiker geltende Album “Folk Music” auf Grims eigenem Label Eskimo Records. Zu dessen Nachwehen gehört auch die im Jahr darauf erschienene EP “Message” (ebenfalls Eskimo), die mit einer Handvoll an Gästen eingespielt wurde und jüngst von Urashima Records neu aufgelegt wurde.
Während Grims Wurzeln in der Geräuschmusik in “Folk Music” noch deutlicher zu hören waren, könnte man diese in “Message” eher subtil in einer unterschwelligen Unbehaglichkeit aufspüren, denn rein stilistisch bewegen sich die sechs Stücke fast komplett im Bereich poppig angehauchter Folk-Lullabies, in denen sanfte Gitarrenakkorde und dazu passender Gesang, bei dem nicht immer ganz klar ist, ob man gerade eine Sängerin oder einen Sänger hört, das Bild prägen. Der Opener “Heritage” startet gleich mit Picking und lieblichem Gesang, und schon in diesem Stück fällt in der gefühlvollen Mollastigkeit eine galoppierende Euphorie auf, deren verhuschte Exzentrik durch die launige Trompete gegen Ende noch einmal extra unterstrichen wird.
Jedes der Stücke hat seine eigenen Marotten: Bei “Deep in Meditation” ist es das Zusammenspiel von Walzertakt und etwas, dass wie eine Melodika klingt, bei “Parable & Cole” das Paradox einer lieblich-pastoralen Monotonie als Kulisse intimer Flüsterstimmen. Bei “Mooncalf’s Walz” der leicht verzerrte Moment zu Beginn, der aber recht schnell einer noch fiepsigeren Lieblichkeit die Tür öffnet. Diese erreicht bei “Klara’s Song” den Höhepunkt an Kindlichkeit, und trotz psychedelischer Twangs schwebt über all dem eine 80er Jahre-Stimmung, die sich neben der rauen und sicher gewollt einfachen Klanggestaltung einem Esprit verdankt, den man nicht künstlich erzeugen kann. Man sollte als weitere Klammer aber auch das leicht unbehagliche Element einmal mehr betonen – eine seltsame Weltfremdheit, die sich in den allzuschönen Arrangements bei genauerem Hinhören offenbart und den Eindruck entstehen lässt, dass dieses Idyll nicht nur von Feen und Folksternchen bevölkert ist, sondern ebenso sehr von dämonischem Gesindel.
Heute werden gerne renommierte Sängerinnen und Sänger aus Folk und Psychedelic der Jahre um 1970 genannt, wenn man sich auf Grims hier durchgezogenen Stil einen Reim machen will. Wer allerdings zu Konagayas eigener Generation gehört und mit undergroundigen Songs der 80er und 90er sozialisiert worden ist, hat vielleicht spezifischere Assoziationen, und die können von Strawberry Switchblade über frühe Psychic TV und die Legendary Pink Dots bis zu den ersten folkigen Versuchen von Current 93 oder Death in June reichen – ein merkwürdiges Kuriosum, bei dem ich nie ganz über den Gedanken hinweg komme, wie nah das alles an einem potentiellen Pop-Hype vorbeigeschlittert ist. Interessant und hervorhebenswert ist dabei, das Grim eine solche Musik bereits perfektionierte, als diese auch in Europa erst im Entstehen begriffen war.
Der Wiederveröffentlichung, die diese Songs erneut auf Vinyl präsentiert, sind einige Remixe als Bonustracks hinzugefügt – ultranoisige Versionen, die die Spuren späterer Entwicklungen Konagayas tragen, die aber die süßlich säuselnden Stimmen immer noch geisterhaft im von Lärm erfüllten Raum schweben lassen." [U.S./ African Paper]
"Returning off the back of an incredible run of deep dives into numerous historical contexts of noise, Urashima brings us the first ever vinyl reissue of Grim's legendary 1987 EP, “Message”, now expanded to a full album's length.
One of the most distinct and unexpected artifacts of the Japanese scene during the period, rather than the full throttle fury for which it has been widely known, here we encounter the one-man project of Jun Konagaya weaving stunningly beautiful passages within the realm of pop and folk, incorporating elements of '60s psychedelia and Lo-Fi DIY.
This highly sought-after holy grail of the 1980s underground is issued by Urashima in a limited edition of 199 copies, and won't sit around for long.
Grim
"Message"(LP)
Since its founding during the late 2000s, the Italian imprint, Urashima, has become a definitive voice in the landscape of noise, sculpting a singular vision of one of the most vibrant and revolutionary bodies of experimental sound to have graced the globe. Already in 2022, they’ve delivered beautiful, ambitious limited edition releases like Controlled Death’s “Death Synth Box”, Merzbow’s “Collection 001-010” and “Hybrid Noisebloom”, as well as Masonna’s “Masonna Vs. Bananamara” and Hijokaidan’s “Zouroku No Kibyou”.
Beginning the label’s final push toward the end of the year is the first ever vinyl reissue of Grim’s legendary, highly sought after 1987 EP, “Message”, now expanded with new material to a full LP in length. An inexplicable hybrid of folk, indie pop, electronic music, and experimentalism, there’s almost nothing like it within the territory and context of sound within in which it rests. A true holy grail of the 1980s Japanese underground, with original pressings commanding crazy money on the collector’s market, this very limited edition of 199 copies is going to be gone in a flash. Don’t sleep!
Grim is the one-man project of Jun Konagaya - formed from the ashes of White Hospital, his legendary early 1980s noise duo with Tomasada Kuwahara - which, accepting a long hiatus in the middle, has bridged the worlds of industrial music, power electronics, and noise for nearly three decades. Belonging roughly to the first wave of Japanese noise, Konagaya is particularly noteworthy among his peers for casting an eye further afield, drawing influences from bands like Whitehouse and SPK, rather than members of his own scene, as well varied reference points as far afield as the traditional folk music of Tibet. That understood, nothing was likely to prepare the context of Japanese noise for what was delivered by his 1987 EP “Message”.
“Message” belongs to a body of three releases created by Grim during the 1980s, including the full length, “Folk Music”, issued by Eskimo Records in 1986, and the EP, “Amaterasu”, released by G.A. Propaganda in 1985. While its two predecessors are brilliant and more or less what you might expect from a seminal artist of Japanese noise, “Message” follows a markedly different path, delving toward the realm of pop and folk via a series of six songs that emit a stronger connection to Daniel Johnson, Syd Barrett, Sebadoh, and Tenniscoats than anything the noise scene has ever produced.
Dreamy and meandering, drawing on '60s psychedelia, DIY aesthetics, and folky undercurrents, Grim’s “Message” is a masterstroke in underground Japanese pop, pushing radically forward, while challenging the boundaries of the scene to which the project predominately belongs. Following the album’s original release in 1987, Jun Konagaya followed different paths beyond the world of sound, before unexpectedly relaunching an incredibly prolific career, returning to more explicit territories of noise. As such, “Message” remained a coveted, rare artefact of a road less traveled and a window into the diverse talents and temperaments that rest below all of his output. Urashima’s first ever reissue of the album furthers these insights, extending the original EP with an entirely new body of noise-oriented reworks by Grim of the original six tracks, effectively doubling in length to a full-length release.
Visionary, wild, and weird, this beautifully produced LP is issued in a very limited edition of 199 copies, and is an absolute must for any fan of Grim, Japanese noise, and '80s DIY psychedelic pop." [Soundohm] |
2022 |
€29.00 |
|
| GROWING |
live |
do-LP |
"...72 Min Live 2xLP of complete drone bliss, contains two complete live shows. These recordings were released on cd through Archive Recordings and are long sold out. “While Growing continually return to that near-ambient tranquility, the record is a series of meandering excursions into MASSIVE slow motion, melted-riff soundscapes, notes and chords unfurl impossibly slowly, as if someone had doubled the gravity and the sound waves were actually visible, drizzling lazily to the floor like molasses or honey, rich golden globs of thick distorted throb. Like Earth and Skullflower meshed into one buzzing blurry soundfield, all muted melody and crunchy riffage, a pulsing swirl of feedback and guitarral grrrr! The sound is basically phenomenal…” (Aquarius) Growing is a band from Olympia, Washington that was formed by Kevin Doria, Joe Denardo, and Zack Carlson (who left the band following the release of their first album) in 2001. They play instrumental drone rock with elements of noise and ambient music. Their live shows are known for being incredibly loud, playing straight through their set without break or pause. They have released albums on Kranky, Animal Disguise, Archive and Megablade, and currently have a new full length album out on Troubleman." [label info]
|
2007 |
€19.50 |
|
| GURUN GURUN |
Uzu Oto |
LP |
The Czech group Gurun Gurun is made up of Tarnovski, Tomáš Knoflíček, Federsel, and Ondřej Ježek. who took their name from the fictional planet in the old school Slovak children’s TV show She Came Out of the Blue Sky. Uzu Oto is his first album for the Peruvian label Buh Records.
Since the beginning, it has been clear that apprehending their working and reflecting it would be a tough nut to crack. Is this even a band? Do they play compositions or is it all improvised? On the stage, you see four men hunched over tables overflowing with strange objects, hard-to-identify electronic devices, musical and non-musical instruments, and a chaotic tangle of cables, producing slow, constantly developing melodies and a hypnotic atmosphere that works a little like falling through a strange wormhole full of sounds, noises, and soft female vocals, mercilessly sucking you in, forcing you to collapse into yourself and enter a parallel universe.
They have played concerts across Europe, including London’s Café Oto, as well as successfully touring Japan. They have shared the stage with artists including Michael Gira, Tim Hecker, Robert Aiki Aubrey Lowe (Lichens), Keith Fullerton Whitman, Kate Carr, and Lichens.
This new album, Uzu Oto, was also created in concert – each track at a different show. Despite this fact, GG do not consider it a traditional live album. And as this group generally exists independently of our common conception of time, the history of the new recording reaches back to before theird previous record, Kon B. Uzu Oto features the Kyoto-based singer Cuushe and Asuna, a sound artist from Kanazawa. The LP cover is by Czech artist, inventor, and sonic anarchist Petr Válek.
Attending a Gurun Gurun concert is like taking part in an expedition by a pack of monkeys to explore the wreckage of a spaceship that was shipwrecked a long time ago. Their improvised live sets are a mix of post-club-music deconstruction, metamorphosed acoustic and electronic sounds, generative music, and musique concrète. This is also the spirit of Uzu Oto. No, this is not music to play while you wash the dishes. Or perhaps it is, but you have to factor in the fact that the dishes will become a tangle of roots, threads, ropes, lianas, and spider webs. And that your entire kitchen may well catch on fire.
https://buhrecords.bandcamp.com/album/uzu-oto
|
2022 |
€22.00 |
|
| GUS COMA |
Color him coma |
do-CD |
"The first CD in this set is a reissue of an obscure cassette release from 1983 that was originally released in a small edition on the London based, It’s War Boys label. This C60 consisted of 2 distinct halves. Side 1 was formed around several mixes of an experimental track, constructed from a room-sized 24 track loop. A version of this track first appeared on the LP Flagellation by The Just Measurers (who were C. D. Greyt, Yakkö Banovic and Narki Brillans).
Side 2 is a collage of mostly unused (and some remixed), excerpts from what became the title track of the Milk From Cheltenham LP, Triptych of Poisoners. This LP track consisted of a tape collage of the live mixdown of 17 cassette recordings of locked record grooves, simultaneously, with stray radio and an infernal matchbox. The full Milk LP is now available on CD via Alga Marghen. Both these LPs were also originally It’s War Boys projects.
As with other releases by these guys nobody worked under the same name twice, but if you are familiar with their soundworld then there will be no mystery, only astonishment. Nearly all the session material here was engineered by Chris Grey, best known for his work with The Homosexuals.
No production master was ever found for CD1, so one of the actual cassette edition had to be used in its place. However, whilst looking through the archive for the master tape, an alternative version of the tape was found, which although it followed a similar blueprint to CD1 it also contained some very different music, some primitive disco drum programming, and a somewhat more sophisticated sound quality. It was difficult to choose which version to release, so both versions appear here, but at the generous price of a single CD.
Each CD also contains an additional much longer bonus track at the end that was originally intended as working material for the unfinished Milk From Cheltenham LP 2.
The guest musicians on this CD set are many and varied, but it’s all put together by Gus Coma, Lepke B’s dwarfish cousin, who renounced show-biz to work as a Heavy Goods Vehicle driver. All in, the material here is the strangest and most experimental music to come from the It’s War Boys scene. Expect gigantic tape loop symphonies, sundry plunderphonics, lo- fi Sparks and the voice of JFK, a William Burroughs interview (on one track), and a worn out teach yourself English tape. Color Him Coma!" [label info]
www.stalk.net/paradigm
|
2011 |
€15.00 |
|
| HAIGH, ROBERT |
Black Sarabande |
LP |
Robert Haigh's second full length LP for Unseen Worlds, Black Sarabande, is out today on LP, CD, and digital, uncovering a further layer of refinement to his music. It's no mistake that Haigh's releases have fluctuated between the underground and popular consciousness over the past forty years. This tension - between darkness and light, melancholy and solace, cacophony and clarity - is central to his work. With Black Sarabande, Haigh has gifted us with one of the quietest, most generous and vulnerable releases of his career.
Advance Press for Black Sarabande
"Robert Haigh’s latest album (under his own name) is a tender collection of spacious and textural piano pieces, full of rural ruminations and introspective intimacy." (9.0, scored review) - Zara Wladawsky, DJ Mag
"Having worked on mid-’80s Nurse With Wound albums, Robert Haigh thrived with Omni Trio’s pioneering ‘90s productions for Moving Shadow, but his piano work, both under his and the SEMA name, reaches even further. His latest collection embraces the resonant ambience and subtle electronic embellishments of Harold Budd’s and Brian Eno’s The Pearl.” - Uncut Magazine
“Robert Haigh's storied career reads like an almanac of ambient music. His latest is an unhurried flow of ambient piano pieces that, despite the implications of the title, are only momentarily dark and far from risqué, perhaps at times more suited for those soft intimate moments made for two, or most certainly personal reflections made for one.” - Slavko Bucifal, Exclaim!
“Everything I’ve ever written about any album, concert or piece of music is wrong. I know this because of something that happened while I was quietly listening to ‘Arc Of Crows’ by pianist Robert Haigh, a track taken from his new album Black Sarabande.” - Further
"'Why?'" - Philip Clark, WIRE
"This contemporary classical pianist’s music proves more unsettling the more you disturb its placid surface.
Depending on what release you discovered first, you might have believed there were two different Robert Haighs operating in the UK during the 1980s and ’90s. There was the pianist and composer who worked with Nurse With Wound and released elegant modern classical albums like 1987’s Valentine Out of Season. But what to make of the Robert Haigh behind the neck-whipping jungle breakbeats of the Omni Trio, a force throughout the drum ’n’ bass era in the UK? As that project drew to a close in the early 2000s, the more contemplative side of Haigh reemerged with a string of contemporary classical albums. They made for a perfect fit for New York’s Unseen Worlds label; his 2017 album Creatures of the Deep slotted well alongside pianists new and old, ranging from “Blue” Gene Tyranny to Lubomyr Melnyk to Leo Svirsky.
Haigh’s Black Sarabande explores terrain similar to Deep, mixing gorgeous piano melodies with a patina of electronics. But where that previous album evoked the properties of water, Sarabande feels grounded. It draws on Haigh’s childhood memories of UK coal country and the hardscrabble “pit village” of Worsbrough in South Yorkshire where he was raised. There’s a heavy atmosphere to these 11 tracks, never wholly enveloped in blackness but always threatened to tip over into it.
The opening title track is hushed, provoking comparisons to Harold Budd or Erik Satie. Yet as Haigh’s struck keys hover in space, they turn slightly discordant, like a chill settling into the skin. “Stranger on the Lake” strikes a balance between piano and electronics to luminous effect, its melody shadowed by ghostly overtones. Midway through, the ambient haze swells, and when it finally recedes, the piece is suffused with harp plucks and electronics, making you feel like you’ve left one piece behind and emerged in another one entirely.
Black Sarabande’s calm surface proves illusory the more listens you give it. Struck piano wires startle the surface of the otherwise-placid “Wire Horses”; a gush of strings arrives and just as quickly disappears into the woozy, fluttering ambience of “Painted Serpent.” There are moments when Haigh’s playing verges on silence, so that if you’re listening on earbuds, you might hear your own footsteps through the snow more loudly than the music. The gorgeous and brief “Air Madeleine” sounds as if you’re walking around a frozen pond in the countryside and seated next to Haigh on the creaky piano bench all at once, as imaginary a landscape (and interior) as anything Brian Eno could have conceived." [Pitchfork]
https://unseenworlds.bandcamp.com/album/black-sarabande
|
2020 |
€20.00 |
|
| HALMA |
The Ground |
LP |
"While HALMA leaned far out of the window on their predecessor album „Granular“, far and wide, so far that the comet Tschurjumow-Gerassimenko came into view, HALMA now dig
into the depths with their new recording „The Ground“. Whirlpools of crystals drill into the ground, it grinds and flows, carbon becomes diamonds – on „The Ground“ the band drives
six new tracks with racing drill into all our consciousness. HALMA turn summits around and flow into the depths, mountains from below, the band seems to know the old mountaineering wisdom that summit happiness is dangerous – and so the four musicians prove sure-footedness and manage
the descent into the bottomless with sovereign elegance. It is admirable how much attention HALMA can pay to paths, routes and tracks in the scree. Hikers and ramblers: Paths are created
where one walks them, and in low altitudes one is at home, and in deep substance HALMA is at home. Tip for first listening: The whole disc from beginning to end and again from beginning."
https://kapitaenplatte.bandcamp.com/album/halma-the-ground
|
2019 |
€15.00 |
|
| HAMILTON, SAM & JAN ANDERZEN |
Brombron 24: Time Banking |
CD |
"Korm Plastics is proud to present the twenty-fourth release in the Brombron series (missing numbers will follow later this year). Originally
a co-production between Staalplaat and Extrapool, it is now hosted by co-curator Frans de Waard. In the year 2000 Frans de Waard and Extrapool started the Brombron project. Two or more musicians become artists in residence in Extrapool, an arts initiative in Nijmegen, The Netherlands, with a fully equipped sound recording studio. These artists can work in a
certain amount of time on a collaborative project; a project they always wished to do, but didn't have the time or the equipment to realize.
Here we have Jan Anderzen from Finland, who works as Tomutonttu and is the leader of Kemialliset Ystavat. A true artist when it comes to cut, copy, paste and collage with sound (as well as images), cooking up a wonderfully naïve pastiche of sound. Sam Hamilton is surely the odd ball out in the
world of New Zealand’s experimental music. He likes punk, opera, techno and pop and collates them all together in his own unique blend of pop
music. Here’s two men who share a strong love of the wicked pop tunes and their twelve pieces are short and to the point. A classic pop record
length release, with likewise classic tunes.
Design by Sam Hamilton." [label info]
|
2013 |
€10.00 |
|
| HANNO, YOSHIHIRO |
|
CD |
“Yoshihiro Hanno explores for years now a wide range of musics: soundtracks, contemporary music, free jazz , drum 'n' bass, fragmented electronica, hip hop... with a definite taste for fusion and destructuration in order to create a new form of avant-garde. Follow up to his precedent release 'April Remixes' feat. Oval,Christophe Charles... (SR196), here is .
YOSHIHIRO HANNO : STORY AND WORKS:
Yoshihiro Hanno trained in various kinds of music while still a student, developing his own musical character and feeling. Thus he was no novice when in 1997 he made his first album King Of May and also Hip Hop #3, a split 12" single with Bisk, both released by Sub Rosa under the Multiphonic Ensemble alias. In 1998 Hanno made the album Liquid Glass with ex-Japan member Mick Karn and
the compilation Shijin No Sh_z_ (Portrait of a Poet), the first solo album under his own name. He also composed the very successful successful soundtrack Flowers Of Shanghai for film director Hou Hsiao-Hsien. The following year saw the release of Cirque, his second album under the Multiphonic Ensemble alias. In 2000, Hanno was musical director of the Yomiuri TV soap opera "Eien No Ko" and wrote its theme song with Ryuichi Sakamoto.†He joined Ryuichi
Sakamoto's CODE.† Also in 2000 he released April under his own Cirque label, and composed the soundtrack for Jia Zhang-Ke's film Platform, which won an award at the Venice Film Festival.
In 2001, for the Music On Canvas series Hanno released the April Remix album featuring remixes by Oval, Takugi Aoyagi and Christophe Charles. With Bjˆrk, Ryuichi Sakamoto and others, he participated in the Radical Fashion event. He also made the music for Isao Yukisada's film Kanon. In 2002 he released Esquisse 1996 and Sulpice under his own label.” [press release]
|
2004 |
€12.50 |
|
| HARKO CITY |
Harko City |
CD |
"Harko City is a cult industrial/ horror electronics project of Evan Price and Cory Rowell (Demonologists).
The debut album for Harko City contains 15 tracks, 4 of which have the guest artists Sensational, Leila Abdul-Rauf and Lynette Cerezo (Bestial Mouths).
You may be familiar with two of tracks on this album from being previously featured on Malignant Records / Kalpamantra comps Recrudescence and The Portrait of Mortality."
https://phagetapes.miiduu.com/harko-city-cd
https://phagetapes.bandcamp.com/album/harko-city
|
2020 |
€10.00 |
|
| HARMONIA & ENO |
Tracks and Traces |
CD |
"...Im Spätsommer 1976 lagen die Dinge allerdings anders, Neu!-Gitarrist Michael Rother verstärkt das Projekt und Brian Eno, der gerade die Arbeit an zwei stilprägenden Klassikern abgeschlossen hatte, (das eigene 'Another Green World' und 'Low' von David Bowie), war noch nicht vom World-Music-Virus infiziert, sondern voll auf einem düster, organisch, minimalistischen Ambient Sound. Was wiederum hervorragend zu Harmonia passte, die auf 'Deluxe' zwar mit echtem Schlagzeug und Gesang experimentiert hatten, in Anwesenheit Enos allerdings schnell und zielstrebig zu den vollelektronischen Tönen ihres Debüts zurückfanden. Und so entsteht ein endlos faszinierender musikalischer Fluss, eine saubere Kreuzung aus der sakralen, instrumentalen Hälfte von 'Low', den pastoralen, spacigen Elementen von 'Musik von Harmonia' und den organisch wuchernden Atmosphären von 'Another Green World'. Die Töne fließen, kreisen, pluckern, tragen den Hörer davon und sind in jeder Sekunde als ein Produkt aus dem Hause Harmonia/ Cluster/ Eno erkennbar. Zentrum ist das fünfzehnminütige 'Sometimes In Autumn', ein bedrohlich tropfendes Kraut- Stück, welches eine eiskalte Weltraumigkeit ausstrahlt und sich gemächlich dreht und windet wie ein Spiralnebel. Kontrastiert wird dieses Monster durch kürzere Tracks, in denen immer wieder wunderbare, seltsam melodiöse Kürzel auftauchen, kurz durch die Boxen wandern und wieder verschwinden.
Das Verrückte: Für einen kurzen, schönen Augenblick waren die Herren Rother, Moebius, Roedelius und Eno Kraftwerk um Längen voraus, während deren zeitgleiche Musik mit ihrer teutonischen Statik fest in den Siebzigern verwurzelt ist, könnte 'Tracks And Traces' locker als früher Proto-Techno der Marke Warp durchgehen. Aphex Twin oder Boards Of Canada beispielsweise. Exakt so gut ist dieses Album. Hätte man es 1976 auf den Markt geworfen, wäre es recht schnell zum Klassiker avanciert. So ist es zumindest eine nachträgliche Offenbahrung, remastert und gegenüber der 1997er Ryko CD Version mit drei Bonustracks und neuem Artwork versehen...." [Whiskey-Soda]
"Magische Momente entstehen einfach so. Die Musiker von HARMONIA ereilte so ein Moment völlig unerwartet im Spätsommer 1976. Zwei Alben lagen zum damaligen Zeitpunkt hinter der Band, "Musik von Harmonia" (1974) und "Deluxe" (1975). Beide Werke gelten heute als Klassiker des Krautrock und der elektronischen Musik, doch danach endeten die gemeinsamen Planungen. Bis ein gewisser BRIAN ENO auf den Plan trat. Er wusste längst über HARMONIA Bescheid, hatte sich 1974 sogar mal spontan in ein Konzert der Band eingeklinkt. Zwei Jahre später meldete sich Eno bei HARMONIA und schlug eine Zusammenarbeit vor. Er war damals gerade auf dem Weg nach Montreux, um mit David Bowie an "Low" zu arbeiten. "Mit Eno kam ein Geist mit großer Offenheit, unendlicher Spielfreude und einem enormen Fundus an Erfahrungen im Bereich populärer neuer Musik ins Spiel, und das hat offenbar die bereits verschlossene Tür öffnen können", so Roedelius. Trotzdem hat die Öffentlichkeit lange nichts von diesen Aufnahmen gehört, zum Teil deshalb, weil sie nicht für kommerzielle Zwecke bestimmt waren, zum Teil aber auch deshalb, weil die Originalbänder bei Eno lange Zeit als verschollen galten. Zum Glück hatten sich Roedelius und Rother Kopien von den Vierspurbändern gemacht. 1997 erschien aus heiterem Himmel das HARMONIA-Album "Tracks & Traces" mit Ausschnitten aus den sagenumwobenen '76er-Sessions. Roedelius hatte das in seinem Besitz befindliche Material sondiert und in einem aufwändigen technischen Prozess editieren lassen. Die Musik ist wundervoll. Forsch rauscht in "Vamos Compañeros" ein Groove in Gestalt eines sich wiederholenden Dampflok-Sounds heran. Nach dem idyllischen Abstecher "By The Riverside" geht es sogleich in eine experimentell-abstrakte Phase mit düsterem Unterton über. Man hebt den warnenden Zeigefinger: "Don't get lost on Lüneburg Heath!" Nach einem "Weird Dream" hellt sich die Stimmung wieder auf, vernimmt man wärmere, pop-ähnliche Akkorde und die von späteren Arbeiten Enos bekannte, hier jedoch von Rother gespielte Slide-Gitarre. Aber natürlich war das nicht alles. Rother hatte ja auch noch seine Kopie in der Hinterhand, die seit 1976 bei ihm im Studio lag. Eines Tages entschloss auch er sich, die darauf enthaltenen Fragmente, 27 an der Zahl, zu digitalisieren. Daraus ließe sich womöglich ein ganzes Album machen, aber man verständigte sich darauf, drei Stücke als Ergänzung für die Wiederveröffentlichung des 97er Albums zu verwenden. Mit dem Entree "Welcome" und dem anschließenden Track "Atmosphere" baut sich das Album nun langsam auf, bevor es mit "Vamos Compañeros" in der gewohnten Form wieder Fahrt aufnimmt. Am Ende verstärkt "Aubade" den Eindruck eines versöhnlichen Ausklangs. Gut Ding will bekanntlich Weile haben. Nun liegt, 33 Jahre nach Entstehung des Materials, endlich eine rundum befriedigende Version eines lange verloren geglaubten Schatzes aus der Krautrock-Ära vor. Damit dürfte nun auch ein Schlussstrich unter das Kapitel HARMONIA gezogen sein. Die Band war zwar nach Veröffentlichung des gefeierten Konzertmitschnitts "Live 1974" vor zwei Jahren wieder aktiv und hat einige umjubelte Konzerte in Berlin, Großbritannien, USA und Australien gegeben, aber Rother und Roedelius haben übereinstimmend erklärt, dass es keine Fortsetzung der Live-Auftritte geben werde... Gute Musik entsteht ungefiltert aus der Künstlerseele heraus, nicht aufgrund von wie auch immer gearteten Strategien und Gedankenspielen. Und wie man an HARMONIA & ENO '76 - "Tracks and Traces" sieht, verblasst Qualität unter diesen Umständen nicht." [press release]
www.groenland.com
|
2009 |
€13.00 |
|
| HARRIS, MICK & MARTYN BATES |
Murder Ballads (Drift) |
do-LP |
For the first time on LP vinyl
Post-Isolationist - Deep Ambiance & Folksong re-emerge in this first vinyl outing of the classic 'Murder Ballads' (Drift) by M.J. Harris / Martyn Bates
Limited Textured Sleeve + Marbled Vinyls
"Leaving nothing behind but the wild birds to moan"
Rarely do two types of music meet on a level where they threaten to cancel each other out - let alone create something even more
meaningful in their mutual vanishing. But the music created within the seminal Murder Ballads (Drift) by Martyn Bates (Eyeless in Gaza,
& parallel solo career) and Mick Harris (Napalm Death, Lull, Painkiller, Scorn) creates just such a world. Murder Ballads (Drift) evolves Martyn Bates vocalisations / storytelling song-voices, by turns expressed as labyrinthine layers, calls and responses, muted and distant echoes, sung whispers and counter-melodies, ultimately resulting in a mesmeric conversation of musical inferences and correspondences.
Murder Ballads (Drift) created the post-isolationist frame of reference, innovating and extemporising into a truly original dazzlingly unique form.
Mick Harris traffics in the isolationist ambience of Lull, while Martyn Bates is the emotive voice of literate cult-pop duo Eyeless in Gaza. The unlikely pair - one given to terminally frigid drone, the other to impassioned, bittersweet voicings - finds common ground in folk music's most macabre tradition, the murder ballad. These ghoulish parables are awash in blood and tears, the strands of love, hate, birth, death, sin, and salvation entwined within like the roots of an ancient tree. Mothers callously kill their children; suitors slay their maidens without remorse; and fate exacts its cruel price from all.
The archaic murder ballads that leak from Bates' vocal cords are intensely sad and carnal. They tend to leap off cliffs of hollow effects
or drone darkly, offering neither a robust delivery nor an element of irony to take the edge off. The archetypal characters that live and die in them give life's full tragedy back to Harris' electronically numbed "post-isolationist" dreaming.
Drift (originally released in 1994) plays out an unbreakable and timeless cycle of bloody folklore (people) and hypnotic soundscapes
(the god who watches). The effect is chilling yet engrossing. Where most ambient music has barely enough courage to ring the doorbell
and run, Murder Ballads slips through the cracks of the unconscious and does its work with remarkable ease.
All the more reason to listen thoughtfully.
In 2021 - re-emerging nearly twenty years after its initial inception - somewhat surprisingly, Murder Ballads (Drift) still remains/exists in an area overlooked by other artists, an area that truly still remains the sole province of M.J. Harris / Martyn Bates.
https://subrosalabel.bandcamp.com/album/murder-ballads-drift |
2021 |
€20.00 |
|
| HASEGAWA, HIROSHI (長谷川洋) |
Ascension No. 999 |
CD |
"Hiroshi Hasegawa's musical roots go back to the late 80s, where he started as a pioneer under the Japanese Experimental Electronic artists. Hasegawa is the man behind C.C.C.C., ASTRO, MORTAL VISION, TRANCE and other projects. He released also several works together with Akifumi Nakajima from AUBE.
Ascension No.999 is his first album under his real name (besides a split LP from 1988) and it's also his very first ultra-noise work! The sounds vary from experimental cut-up noise, over droning sound-walls, to screaming high frequency manipulations. Some passages even remind to early Säköh/Panasonic vinyls. Cover-design by Yoshihiro Nakano." [label info]
www.steinklang-records.at
|
2008 |
€8.00 |
|
| HATED BRUIT KOLLEKTIV |
Aktion One |
CD-R |
Noisiger Zusammenschluss dreier polnischer Projekte auf neuem Label, nach einem ironischen Jodel-Folk Song Einstieg breitet sich ein gut arrangierter Industrialnoise One-Tracker aus, eher im bassig / tiefnoisigen Bereich, mit sehr schönen atmosphärischen, fast dark ambienten Abschnitten.. Kommt in grossformatigem, dicken Postercover.
"HBK is an ephemeric project held among musicians behind Genetic Transmission, Moan and Nojsens. Three minds, three individualities, tree artists sharing one inspired vision. These are people we know for years so it became somehow natural to invite their bastard child to our NN therapy group finally, starting the "Harsh Kontakt" series of relases from now on.
The sound sculpture presented hereby has been captured at Bez Kontroli Fest 2007 as probably HBK's best gig to date. Expect the unexpected, as they have gone the whole hog, without no mercy to the audience or themselves. OK, it's all there: refreshing traditional industrial, warming harsh noise, stoned bruitist plunderphonics, and last but not least—good taste and the fucking clue, VSOP.
The packaging consist of a huge, A2-sized heavy stock poster folded to form A5 sleeve housed in a solid plastic wrapper. Limited to 250 hand numbered copies." [label info]
www.newnihilism.com
|
2008 |
€10.00 |
|
| HAYNES, JIM |
The Decline Effect |
do-LP |
"Parapsychology introduced the notion of the decline effect as a statistical phenomenon of diminishing results whilst investigating extra-sensory perception and psychokinesis. Where initial findings might substantiate proof of such abilities, further studies would almost always demonstrate the contrary. As such, this ontological disappearing act stands in allegorical parallel to the entropic art of Jim Haynes and frames his 2011 opus of the corroded drone and a compacted disintegration of sound.
This San Francisco Bay Area artist has long defined his work through the pithy phrase: "I rust things." The Decline Effect continues his investigations with electroacoustic decay through four bodies of evidence left behind from ephemeral aktions, shipwrecked electronics, re-engineered field recordings, and transmissions from the ether. Haynes composes through all of these sources through a patient suturing of sympathetic elements, whether they be textural, tonal, visceral, heavenly, sodden, or monolithic. Here, embers foretelling a nuclear winter gently waft upon industrial chorales amassed from an army of fidgeting motors; the sulfur-laden hiss from volcanic vents erupts from an organic thrum into boiling crescendos of environmental noise; geiger counter palpitations stream along a leaden sea of modulated radio noise; a warm explosion of sun-bleached distortion caresses the evanescent halos from an undulating mesmerism inexplicably not sourced from a guitar and / or digital patch authored by Christian Fennesz. Haynes' broken minimalism orbits somewhere near the work Joe Colley, G*Park, Nurse With Wound, and BJ Nilsen.
The 2LP of The Decline Effect is strictly limited to 350 copies, comes in a handsome gatefold sleeve, and sports the necessary download coupon. Zener cards not included." [label info]
www.helenscarsdale.com
"Another mysterious sonic missive from our very own resident dronologist Jim Haynes, another excursion into the sound of decay, this time in the form of four sprawling sidelong epics, each its own self contained soundworld, culled from various field recordings, vibrating strings and other sonic errata. Recorded over the last three years, these recordings require headphones to truly explore their depth, and once strapped on, it's easy to get lost in these strange lands of decay and declines.
The A side was originally a commissioned soundtrack for a pair of films that screened at the Hauntology exhibition at the Berkeley Art Museum in 2010, and while we've yet to see either of these films, the smoldering slow moving "Ashes" does evoke a certain ontological sonic dread, the core of the sound is of course the drone, but that drone is pulled taut, and the sound seems to fray as the track progresses, shedding sonic detritus in the form of fractured melodies, strange clicks and muted buzz. At times, this begins to sound like perhaps Haynes' most overtly musical record, but that musicality is eventually picked apart, the remaining elements litter the landscape like bits of some sonic wreckage, but then the edges are smoothed, and the stray shards are reigned in, the sound is truly beautiful, whether a deep sonorous drone, or a lush layered stretch of celestial shimmer.
Named for the performance space at which the piece was debuted, "Terminal" is another sidelong soundscape, the majority of the sounds sourced from field recordings of geysers and thermal vents, the opening few minutes unfurling like a raw field recordings, playing out like some obscure scientific document, unearthed from some dusty box filed away in a warehouse, chronicling some lost expedition. The sound doesn't necessarily grow more musical, but instead, seems to blossom and display more texture, and more depth, as if more sounds were introduced and then layered or woven into one another, streaks of blurred hiss, peppered with the sound of wind on microphone or the trickle of water, the white noise of eruption balanced by the hushed murmur of calm before and after.
Side three finds Haynes exploring radioactive decay, unclear what the sound sources are, we'd like to think, that it's indeed recordings of Strontium or Uranium, the radioactivity causing the tape to warp and curdle, but in fact, it sounds more like an assemblage of intercepted short wave broadcasts, and deep bellows of bowed metal, lush chordal swells washing over strange effects, muted glitches, lush tones and surprisingly dreamy overtones, bell like chimes, chittering cricket like clicks, Geiger counter like bleeps, all blurred and smeared into a gorgeous hazy of soft focus shimmer, those clicks coalescing into an almost-rhythm, while the surrounding sounds seem to lose cohesion, the edges softening, all bleeding into one another and drifting like blackened clouds of whir and thrum.
And finally, the last movement in this crumbling sonic tetraptych is the wire recording sourced "Cold", in which Haynes captures the sympathetic buzz of wires and plays them like some sort of abstract harp, at least that's how we picture it, a huge stone room, with metal wires running across in wild tangles, Haynes at the center, wildly bowing and striking wires, creating this delicate crystalline symphony, another blurred buzzscape, that peppers the lush layered shimmer, with creaks and clatter, skitter and crunch, but those errant sounds are quickly subsumed by the warm whirls of hushed bleary drift and an unexpected eruption of caustic blown out noise, a psychedelic squall that acts as the record's coda, before the inevitable decline, the sound slipping into nothingness. Gorgeous stuff.
LIMITED TO 350 COPIES!! Housed in a luxurious full color gatefold sleeve, and pressed on nice thick black vinyl. Includes a download coupon as well." [Aquarius Rec.]
|
2011 |
€22.50 |
|
| HAYWARD, ROBIN |
Words of Paradise |
pic-LP |
Robin Hayward (b. 1969 in Brighton, England) is a tuba player and composer based in Berlin. Since the 1990s, he has been concerning himself with experimental and radical playing techniques on brass instruments, initially through the discovery of the "noise-valve", later through development of the first fully microtonal tuba in 2009. In 2012, he invented the Hayward Tuning Vine as an interface for exploring the harmonic space implicit within the instrument, which exists both as a software version and as a physical prototype. Hayward's microtonal tuba and, on some occasions, the tuning vine have appeared on numerous recordings with various ensembles, e.g. Tonaliens – who have released a double LP on Edition Telemark in 2017 –, Chora(s)san Time-Court Mirage, and Microtub.
"Words of Paradise" is a 2016 recording performed by Zinc & Copper, Hayward's long-running brass chamber ensemble, featuring himself on tuba and tuning vine, Hilary Jeffery on trombone, and Elena Kakaliagou on horn. The piece was inspired by the ideas of 16th-century Dutch linguist Johannes Goropius Becanus, who thought he had shown the Flemish dialect Brabantic to be the original language spoken in Paradise. Observing Brabantic to have a higher proportion of single-syllable words compared to other languages, he reasoned that as the first language must have been the simplest, all languages must be derived from it. The composition draws on the sound of 13 single-syllable words that Becanus used to support his theories. Using half-valve and muting techniques, the inflections of speech and vowel sounds are imitated on the brass instruments, to which the Hayward Tuning Vine is played as a harmonic reference.
LP Picture Disc replicating the multi-coloured circular scores of the horn and trombone parts of "Words of Paradise", housed in a black die-cut sleeve with liner notes on the rear side. Edition of 300. |
2019 |
€25.00 |
|
| HEINZE, STEFAN |
Pzzt 1982 1983 |
MC |
"Stefan Heinze PZZT 1982/1983
c-40 d.a.s. 014 2013 50 copies artwork eliab
Inox Kapell did under his born-name Stefan Heinze some different tapes in the early 80th, industrialpopique and wired stuff with sprechgesang and singing and instrumental waves, electronic-fluxus, glitsches, and early angst-pop. The tape is a selection of some songs that came out of this period of tonband, tape-recorder, organ and synths, panasonic-loop-tapes. All recorded in Collinghorst / Eastfrisia /north-Germany.
listen: http://dasandereselbst.org/listen/heinze_pzzt/heinze_pzzt.htm" [label info]
http://dasandereselbst.org
|
2013 |
€8.00 |
|
| HELM |
The Hollow Organ |
12inch |
"PAN presents four vital concrète incursions by nether field traveller Luke Younger aka Helm, marking his first transmissions since the studio rituals that birthed his highly acclaimed Impossible Symmetry' and Silencer' releases. The Hollow Organ' toes a deliberate line in the mud between his previous transgressions and a chokingly dank realisation of his most untoward, paralytic sound. Poised as a dark interpreter between the grotesque and the transcendent, he activates research gleaned from his petrifying live performances coupled with an increasingly squalid and visceral palette of anguished machine voices, sub-zero drones and bone-scraped rhythmic noise to divine unearthly space somewhere between semi-legal horror soundtrack and hyperstitious surreality. Its opening gambit, Carrier' is the most succinct and uncannily ambiguous; perilously close to Gas-like ambient pop but rescued from serenity by manic tape spool and excoriating, demonic vocal. The vortex of Analogues' proceeds, ploughed by stereo-twinned engines of churning tape loops to a pitch black, eschatalogical climax, and Spiteful Jester' feels like the unshakable onset of a panic attack, ratcheting the intensity with blank-eyed, stoic method. For ten minutes The Hollow Organ' drains last with an unnerving, quiet blood-letting of carmine iron drones evaporating ferric overtones whilst percussions clank in your blind spot behind the screen." [label info]
"More fantastic electronic weirdness from the Pan label, this one, the latest from Luke Younger, aka Helm, who crafts a dizzying expanse of blunted post industrial rhythms, and blurred psychedelic ambience, lazer blast blurts that sound like light sabers are tangled into strange shapes over throbbing low end pulsations, while all around clouds of hiss and static and thrum swirl and shimmer, noisy and psychedelic, but darkly hypnotic. Elsewhere the sounds splinter into weird avant musique concrete, blasts of noise swooping from speaker to speaker, a wildly ecstatic 'pipe fight', sculpted into an abstract psych-noise groove. Younger also delves into power electronics, with keening arcs of feedback, draped over a churning chordal thrum, peppered with bursts of strangely melodic static, sounding almost like Skullflower attempting to make dance music, and failing fantastically, before finally finishing things off with a haunting bit of deep drone loveliness, sinister shimmering clouds of muted rumbles ripple out in soft clouds, an ominous, haunting and harrowing sprawl of hushed mesmeric murk that might be the dreamiest bit of grim black ambience we've heard in ages!
Like all Pan releases, the packaging is stunning, a plain white sleeve in a clear PVC plastic jacket, printed in purple ink, liner notes on one side, the band name all tangly and geometric on the other. And yeah, limited too!" [Aquarius Records]
www.pan-act.com
|
2014 |
€16.00 |
|
|
Olympic Mess |
do-LP |
"Where his previous effort, 2014's 'The Hollow Organ,' dealt in dense, distressed sonics, 'Olympic Mess' is Younger responding to a period spent engaged with loop-based industrial music, dub techno, and balearic disco. These musical references, all of which can induce hypnotic states and feelings of euphoria, inform ten evocative aural landscapes which unfurl over the course of an hour and act almost as a counterpoint to the turmoil that spawned them.
"It's about exploring a perverse desire to pull the rug from under yourself, and the struggle to achieve a healthy equilibrium between one's personal and artistic lives," Younger says. "Dealing with the problematic consequences of pushing your own limits, forming and dissolving relationships, transient lifestyles, physical and mental exhaustion, excess, and other kinds of personal chaos".
Crafted using an array of heavily processed samples, found sound and electroacoustics, personal conflict manifests in "I Exist In A Fog" and "Outerzone 2015," where visceral noise disintegrates into veiled, ambient strata. The disquieting crescendos of "The Evening In Reverse" and "Fluid Cloak" offer no such relief, while the title track and "Don't Lick The Jacket" are mineral, multilayered abstractions twisting around a brittle pulse.
Following a period of extensive touring throughout the States and Europe, which included 20 dates in support of Danish punk group Iceage, 'Olympic Mess' was recorded in London, New York and Berlin by Sean Ragon, Luke Younger and John Hannon.
The album is mastered and cut by Rashad Becker at D&M, pressed on 140g 2xLP and CD. It features photography by Kim Thue and artwork by Bill Kouligas."
www.pan-act.com
|
2015 |
€27.00 |
|
| |
Axis |
LP |
"London exploratory industrialist Luke Younger characterizes the creation of his latest collection, Axis, as a liberating return to roots: “It felt like going back to the beginning, it felt freeing.” Begun before the pandemic as a soundtrack to a dance performance, the initial vision was for something “visceral, with physical movement in mind.” When the project shifted to indefinite hiatus, he reimagined the material in the context of an LP, while retaining its sense of dynamic physicality. The result is grim and gripping, seasick throbs lurching in a low-ceilinged space, strafed with fractured clanging, hissing steam, and grinding spirals of granular haze. Noise in its most elevated and compelling form, from and for the body as much as the mind.
The album’s unique immediacy stems from Younger’s instinctual muse, reactivating raw methods with fresh energy. “I tuned back in to working with noise techniques again: more primitive equipment, cheap FX, contact mics, noise boxes.” Key guest contributions by Lucy Railton (cello), Mark Morgan of Sightings (guitar), Alex Tucker (vocals), and the late, legendary John Hannon (violin) further enrich the record’s bristling palette. Although half the tracks were begun pre-Covid at Hannon’s Essex studio, the rest were finished in Younger’s kitchen and living room during lockdown. The final tracks were then relayed to veteran mix specialist Randall Dunn, who further honed the material, adding a vivid spatial quality before entrusting the album to Stefan Betke (Pole) for final mastering.
From the hellscape metronome of “Moskito” to the insectoid warzone pulse of “Repellent” to the seething orchestral undertow of “Axis,” this is music of ominous gravity and worlds in peril. But it’s the closing cut, “Tower,” which Younger calls “perhaps the most dramatic piece of music I’ve ever made.” A lurking, blackened descension conjured on keys, guitar, and wormhole wah, the melody simmers and swells until suddenly exploding in a chaos of distorted blast beats. From their ashes the three-note riff slowly returns, like some astral dungeon synth exorcism, rising in a searing arc towards frenzied immolation before finally fading away in white fire and afterlife whispers."
"HELM has consistently been one of the most fascinating (projects) in British experimental music the past decade" - The Quietus Luke Younger, der unter dem Moniker HELM Alben veröffentlicht, die bereits Kult-Status genießen, hat beim Label DAIS angedockt. HELM hat bislang fünf Studioalben und drei EPs mit experimenteller Musik veröffentlicht, in denen er eine Beziehung zwischen akustischen, elektronischen und realen Klängen erforscht. Ab 2012 veröffentlichte er seine Alben beim renommierten PAN Label, darunter die von Kritikern und Fans gleichermaßen gefeierten Alben "Olympic Mess" und "Chemical Flowers". Der Londoner Industrial-Musiker Luke Younger aka HELM beschreibt die Kreation seiner neuesten Kollektion "Axis" als eine befreiende Rückkehr zu den Wurzeln: "It felt like going back to the beginning, it felt freeing." Das Ergebnis ist düster und fesselnd: Seekranke Klänge, die in einem niedrigen Raum taumeln, durchsetzt von gebrochenem Klirren, zischendem Dampf und mahlenden Spiralen aus körnigem Dunst. Lärm in seiner höchsten und fesselndsten Form, von und für den Körper ebenso wie für den Geist. Wichtige Gastbeiträge von Lucy Railton (Cello), Mark Morgan von Sightings (Gitarre), Alex Tucker (Gesang) und dem verstorbenen, legendären John Hannon (Violine) bereichern die schillernde Palette des Albums zusätzlich. Mix-Spezialist Randall Dunn verfeinerte das Material und fügte eine lebendige räumliche Qualität hinzu, bevor er das Album Stefan Betke (Pole) für das endgültige Mastering anvertraute. Vom höllischen Metronom von "Moskito" über den insektoiden Warzone-Puls von "Repellent" bis hin zum brodelnden orchestralen Unterton von "Axis" ist dies Musik von bedrohlicher Schwere und Welten in Gefahr. Aber es ist das abschließende Stück "Tower", das Younger als "perhaps the most dramatic piece of music I've ever made." bezeichnet. Ein lauernder, geschwärzter Abstieg, beschworen von Tasten, Saiten und Wurmloch-Wah, die Melodie brodelt und schwillt an, bis sie plötzlich in einem Chaos aus verzerrten Blastbeats explodiert. Aus ihrer Asche kehrt das dreistimmige Riff langsam zurück, wie ein astraler Kerker-Synthie-Exorzismus, der sich in einem brennenden Bogen zur rasenden Verbrennung steigert, bevor er schließlich in weißem Feuer und Jenseitsgeflüster vergeht.
"Mit einem an Bauhaus’ „The Sky’s Gone Out“ erinnernden Cover erscheint nach einer Reihe von Alben mit “Axis” der neue Longplayer von Helm, dem Einmannprojekt von Luke Younger, auf Dais Records. Younger bezeichnet sich auf seiner Bandcampseite als „sound artist and experimental musician“, dabei hat er eine lange und durchaus heterogene(re) musikalische Biographie (u.a. Hardcore mit The Lowest Form).
Auf „Axis“, ursprünglich vor der Pandemie konzipiert als Soundtrack für eine Tanzperformance, die dann doch nicht zustande kam, setzt Younger bewusst „primitives“ Equipment ein (“cheap FX, contact mics, noise boxes”). Hinzukommen Gastmusiker an Geige, Gitarre, Cello sowie Gesang von Alex Tucker.
Mit zerhäckselten Störtönen beginnt das das Album eröffnende „Para“, bevor melodische Passagen einsetzen. Das elektronische Gebrutzel, das sich immer wieder verdichtet, gibt dem Stück eine dissonante Unruhe. „Moskito“ mit seinem kuriosen, kargen und schleppenden Rhythmus, klingt anfangs nach Minimaltechno, dann lassen sich dissonante Streicher erahnen. “Crash” dagegen ist – dem Titel zum Trotz – ruhiger, besitzt fast schon Ambientcharakter. Hier sorgen Streicherpassagen für Momente der Melancholie. Dieses Innehalten wird mit den Zahnarztbohrersounds, die “Repellent” einleiten, beendet. Dann setzen verzerrte Beats ein. “Mole” knistert, als werde eine Verpackung geöffnet. Das ist ein dunkles Stück Geräuschmusik mit Streicherpassagen, die an einen Folk Horror-Soundtrack denken lassen. Auf dem düsteren Titeltrack hört man übereinandergeschichtete schabende und nach Sirenen klingende Sounds, die in einer Kakophonie untergehen. “Tower” schließlich ist ein im Kontext des Albums fast schon orchestraler, dramatischer Track. The rest is silence." [MG / African Paper]
|
2021 |
€23.00 |
|
| HEMATIC SUNSETS |
Aroma Club Adieu 5 |
LP + 12inch |
"Final release by Asmus Tietchens’ death lounge project Hematic Sunsets
Farewell greetings by Michael Rother, Felix Kubin, Heinz Funk, Okko Bekker and more
The Hematic Sunsets shut down the Aroma Club with a final release. The album “Aroma Club Adieu” features 12 exquisite pieces of death lounge electronic pop performed on electronic organs and entertainment devices of various kinds. Under the moniker Hematic Sunsets, legendary avantgarde composer Asmus Tietchens has explored his love of the Darth Vader organ sound – a cheesy, spooky, deranged but still catchy form of electronic pop. The body of work of Hematic Sunsets stands out as unique, displaced and in a sexy way out of fashion. As a bonus to the final album of the project artist friends of Asmus Tietchens have composed short hommages and farewell greetings that are included here in the form of a single sided 12” on white vinyl. Among those saluting are such illustrious musicians as Heinz Funk, Felix Kubin and Michael Rother." [label info]
https://aufabwegen.bandcamp.com/album/aroma-club-adieu
"And so it ends for the Aroma Club, adieu, so long and farewell. The fifth album by Hematic Sunsets, with such illustrious members as Hans Tim Cessteu, Assistent Meuch, Titus Mascheens, Suse Mittach sen and Asmus Tietchens. Or if you are clever, just Asmus Tietchens since all the other names are anagrams. Hematic Sunsets, check the anagram, is Tietchens' love for cheesy electronic music, which resulted in five LPs and two Christmas songs. The organ plays an important and I would think one of those organs that people had in the '70s. Well, my cousin had one, complete with a ton of ditto cheesy rhythms and chords and a big speaker below; the easy two-finger method of play. I seem to remember my cousin was pretty apt at it. I'd love to have one. Tietchens loves the sound of such organs as well as other machines that produce similar cheesy stuff. In the early days of his record
releasing career, Tietchens did four albums for Sky Records, which had a more poppy electronic streak, and later he decided he enjoyed doing that stuff resulting in the fictitious Aroma Club, which, no doubt, in Tietchens mind was a place where you could drink coffee and smoke your cigarette. In the corner there would be such an organ and someone playing his take on lounge music, But, this is Tietchens, a man with quotes of Cioran on most of his record (replaced by Klopstock on Hematic Sunsets releases), so this Aroma Club is not necessarily full of colour and on second thought the lounge music is not so cheesy and lounge-like at all. It comes with a strange hook, a dark undercurrent, and on this fifth album it all seems a bit darker than before, maybe the dark times we experience and with all clubs closed (well, here in The Netherlands at least). This is, however, still great dark lounge music, with those minimal rhythms, and melodies, ranging from lightweight to almost industrial, showing the veracity of the music. Excellent album, once again.
As a bonus, there is a one-sided LP which gives space to friends of Tietchens to say goodbye and bow their heads to the Aroma Club. There is Okko Bekker (owner of the studio in which Tietchens works), Felix Kubin, Michael Rother (early Kraftwerk member, and of Neu and Harmonia), Jetzmann, Heinz Funk, Ebinger, Chestnut Ameis, Maik Willing & Der Botox Lucas Chor and Unknown Singing Objects, who all have their take on Hematic Sunsets; spacious guitars, obviously, for Rother and Kubin with some fun pop song madness, or the super slick jazzy flutes of Ebinger. Maik Willing & Der Botox Lucas Chor tops it all with a schlager (look that up for yourself) going out of control. This is all a fitting tribute to the fun side of Tietchens. It could very well that you think it's stupid, but I think it is great fun." [FdW/Vital Weekly]
"Auch wenn fast jede Veröffentlichung Asmus Tietchens von einem Cioran-Zitat begleitet und geziert wird, so hat sich schon immer auch Humor im Werk des Hamburgers gezeigt, was sich u.a. teilweise in der Titelgebung seiner Tracks widerspiegelte, jedoch war dieser Humor nie so dominant wie auf seinem „death lounge project “ Hematic Sunsets (auf dem seine anagrammatischen Mitspieler Achim Stutessen, Assistent Meusch, Hans Tim Cessteu, Mischa Suttense und Tussi Schemante heißen), auf dem Tietchens seiner Liebe zum – wie es in der Pressemitteilung heißt – „Darth Vader organ sound“ frönt; Attribute wie „cheesy, spooky, deranged but still catchy“ zeigen das Spannungsfeld, in dem sich diese Musik situieren lässt. Das erste Album erschien 1998, diese finale Veröffentlichung, auf der jetzt „Adieu“ gesagt wird, besteht aus einer LP mit neuen Kompositionen und einem weiteren, einseitig bespielten Album, auf dem Weggefährten „Tschüss“ sagen, da es sich „Ausgeduftet“ hat, wie es bei Jetztmann heißt.
Die Hematic Sunsets-LP ist voller kurioser und zum Teil natürlich durchaus „catchy“ Tracks: Da gibt es die skurril-zerhäckselte Stimme auf „Zum Geleit“, das in TOPY-Diktion betitelte „Thee Church Ov Aroma“ mit seltsamen Stimmen und unheinlichen Flächen, das fast schon zu düster für dieses Album ist. Auf „Ungesungene Tanzrückstände“ hört man monotone hochrfrequente Loops. Es gibt das großartig betitelte „Stuhlwasser“ mit Billigorgel oder die seltsamen Kirmesstimmen bei „Der im Keller“. „Liebelei“ mit cheesy Streichern und Gesang hätte den einen oder anderen Partykeller in den 70ern beschallen können. Auf „Schrittbinder“ hört man kuriose Schellen, „Fiasko“ wäre in einem Paralleluniversum vielleicht ein Soundtrack zu einer Krimiserie gewesen, zu einer Zeit, als es nur zwei Fernsehprogramme gab. Interessanterweise hätte man ein Stück wie „Dem Morgen graut“ durchaus auch auf einer reinen Tietchens-Veröffentlichung der letzten Jahre finden können. Das lapidar betitelte „Das war’s dann“ schließt die erste LP ab.
Chestnut Ameis eröffnet das zweite Album mit der seltsamen Kirmesmusik von „Speckpumpe“. Otto Bekkers lässt den Hörenden bei „Peyote-Melodie“ zu Bontempiorgel schunkeln, Unknown Singing Objects, die bisher ein paar Singles veröffentlicht haben, steuern eine seltsame Ballade voll “Blut” und “Knochenmark” bei. Auf “Phantomschmerz” ist Felix Kubin mit Retroscifi Lounge zu hören. Sehr schön ist “Martellato” des 2013 verstorbenen Heinz Funk. Jetztmann „endet lo-fi mit dementen Vocals.
Im beiliegenden Blatt wird die Geschichte des Aroma Clubs augenzwinkernd dargelegt. Höhepunke waren etwa „Mikadotanz-Abende“, „Kriechkeller-Parties“ und „Hodenbaden unter der fachkundigen Observanz von Dr. Kurt Euler“ – ob die Liedertafel Margot Honecker dabei Lieder schmetterte, bleibt unerwähnt." [MG / African Paper]
|
2020 |
€32.00 |
|
| HENNIES, NICK |
Work |
CD |
"Nick Hennies makes music from work - and work into music. Simply put, work is process and one of Hennies' goals as a composer is to shape the possibilities of a given instrument as well as its sonic imprint. The result is austere, lyrical solo percussion music that focuses on resonance, natural overtones, room acoustics and slowly developing structure. As Hennies' art matures, it has become clearer and more refined, whether appearing to be finely tuned adjustments to previous approaches or something altogether unheard. Hennies now lives in Ithaca, New York, though he was based in Austin, Texas for many years, where he was a member of the Austin New Music Co-Op and played drums in doom-folk outfit The Weird Weeds. Work is Hennies' latest release and first for the revamped Quakebasket label and it consists of two pieces. The first is a ten-minute solo vibraphone piece called 'Settle,' which as it evolves, brings out electrifying resonances that evoke the early piano music of Charlemagne Palestine or even the lush dogma of Brian Eno and Michael Nyman. Hennies has famously explored the shapely vibrational properties of woodblocks, making them truly sing in a way that few Western percussionist-composers have, so it should be no surprise that his coaxing of metal lamellae, cylinders and sustain pedal would result in a panoply of interlocking and unfolding shapes. These shapes are patently the result of refined action - striking, damping, and measuring intervals - but reducing their behavior to stimulus and response oversimplifies the comely beauty that his instrument produces. The bulk of Work is made up of the forty minute 'Expenditures,' which shows a side of Hennies' compositional strategy for ensemble (something that's been emerging gradually on recent releases). His vibraphone is joined by several Austin new music regulars, including bassists Ingebrigt HŒker Flaten (The Thing, The Young Mothers, Scorch Trio) and Brent Fariss, drummer Chris Cogburn, clarinetist Jon Doyle, trombonist Steve Parker, and violinist Travis Weller, with the horns and strings also doubling on percussion in the piece's closing minutes. As Hennies puts it, 'the goal of the piece is for the musicians to play sustained tones on the same pitches as the vibraphone and then eventually to play 'work music,' where the players each come up with their own phrase to be repeated until the end of the piece. 'Though the first fifteen minutes are rooted in gently nattering repetition and the ghostly shapes that emerge from ringing sustained drones, the ensemble's whispers at first seem to follow suit before their weight vis-à-vis personality emerges rather quickly. Thus, while initially this music might seem to espouse the arid mathematics of minimalism (albeit with rare poiesis), the individualism of each player as an improviser within a surprisingly unruly collective vision emerges. The effect is something like Gunter Hampel's Galaxie Dream Band playing Terry Riley's In C. Though far from a traditional avant-garde improviser and avowedly distant from free jazz, it's entirely fair to place Hennies' piece within the pantheon of conducted/directed improvisation from such minds as Laurie Scott Baker, John Stevens, Gavin Bryars and Radu Malfatti. As Hennies said in a 2011 interview with online journal Ni Kantu, 'What I really want to do is harness my natural inclinations rather than decide to 'do' certain things, and that's why there's a wide variety of music that I've put out recently. I'm a little self conscious that I have music that doesn't sound like it was made by the same person, but I would like to think that over several years there would be a palpable connection between these things. I would like to create a body of work that gives one an example of where I was at certain points, and this is one of the biggest influences I got from John Duncan, where he says that 'all of my work is about self-discovery and trying to learn about [himself].' As singular as Work may appear, it is a fascinating outgrowth from a decade-strong book of generative themes and processes, all reflecting on a committed, physical engagement with the implements of sound production." [label info]
"Percussion player Hennies belongs currently to one of my favoured minimalist composers. His pieces are deceivingly simple and highly hypnotic. So far, I think, the pieces I heard from him where solo pieces, for such instruments as snare drum and vibraphone, but here we have two pieces, one for solo instrument and one for small ensemble. In the solo piece 'Settle' Hennies has a multi-track recording of him playing the vibraphone in his 'usual' style. Stead fast with overtones ringing through. Maybe there is some sort of post-production in this music? Like out of phase placing of the various layers? Maybe, but I doubt that. It sounds more like an exercise in controlling the instrument and various ways to play the same thing over and over. Over the course of the ten pieces the piece gradually dies out, and reaches no particular place in nowhere land.
The small ensemble piece is called 'Expenditures' and is for percussion, sine waves, clarinet, contrabass, vibraphone, trombone and violin, in which Hennies himself plays the vibraphone. This piece starts out, for a long time, to be a piece for vibraphone solo again, or so it seems, but the sine waves play very nicely along and gradually the piece seems to be falling apart - like in 'Settle', dying out - and the ensemble takes over. A very spacious piece of music then evolves - seemingly out of nowhere, seemingly going nowhere. But it keeps unfolding. One could think this was improvised rather than composed but what do I know? Maybe it's somewhere in between? The instruments bending forever, making small gestures, plucking strings, maybe with objects and all such like. It has that jazz like feel, like that recent release by The Necks, but also electro-acoustic and modern classical. It's perhaps not something I would expect from him, but it sounds no less great!" [FdW/Vital Weekly]
|
2014 |
€13.00 |
|
| HENNIX, CATHERINE CHRISTER |
Unbegrenzt |
LP |
Unbegrenzt is the third in an ongoing series of archival records of the unheard music of Swedish composer Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows Selected Early Keyboard Works and Selections from 100 Models of Hegikan Roku (named the #1 archival release of 2019 by The Wire), in addition to a two-volume collection of Hennix’s writing titled Poësy Matters and Other Matters.
Recorded in February of 1974 and featuring Catherine Christer Hennix (recitation, percussion, and electronics) and Hans Isgren (bowed gong), Hennix’s realization of Karlheinz Stockhausen’s “Unbegrenzt” (German for “unlimited”) from Aus den Sieben Tagen is an elaboration both rigorous and radically different from the canonical 1969 recording issued by Shandar. The collection of 15 text pieces written in Paris during May of 1968, Aus den Sieben Tagen, denies its performers notated direction and instead provides poetic cues that hinge upon Stockhausen’s conception of “intuitive music,” a Eurocentric perspective on improvisation antithetical to the vernacular forms Hennix had engaged with as a young drummer performing in Stockholm jazz clubs with musicians like Bill Barron, Cam Brown, Hans Isgren, Lalle Svenson, Allan Vajda, Bo Wärmell, and many others. While both Hennix and Isgren saw the formal prospect of Aus den Sieben Tagen as a productive development of and beyond La Monte Young’s event scores, she here steadfastly counters his rationalization of intuition with the Principle of Sufficient Reason. (Cf. Brouwer’s Lattice.) Eschewing the busy, conservatory-addled lapses into idiomatic citation of Stockhausen’s 1969 recording, Hennix’s alternative realization of the “Unbegrenzt” score’s instructions to “play a sound with the certainty that you have an infinite amount of time and space” is based on her concept of Infinitary Compositions, the trademark of her ensemble The Deontic Miracle which, at one time, considered adding Stockhausen, La Monte Young and Terry Jennings scores to its repertoire. Taking a mature, minimal iteration of Stockhausen’s compositional method of “moment-forming” to heart, her version’s dark, controlled feedback and amplified bowed gong subtly shift through an immanent sequence of formative moments, step by step. Its bubbling computer noise, percussion, and repeated ominous transient sounds of temple blocks over the bowed gong terminate with the integrated recitation of exotic text fragments from Hevajra Tantra which faithfully take Stockhausen’s score into deeper vistas of the unconscious and a more devastating opening to the unlimited time and space of a dreaming mind.
Audio restoration and mastering by Stephan Mathieu, with an essay by Bill Dietz.
Catherine Christer Hennix (b. 1948) started her creative life playing drums with her older brother Peter, growing up in Sweden where she heard jazz luminaries, such as John Coltrane, Eric Dolphy, Dexter Gordon, Archie Shepp, and Cecil Taylor perform from 1960 to 1967. Directly after high school, Hennix went to work at Stockholm’s pioneering Elektronmusikstudion (EMS), where she developed early tape music, incorporating computer generated speech done at the Royal Technological University (KTH), where she was an undergraduate student. After traveling to New York In 1968, she met artists Dick Higgins and Alison Knowles who invited her to stay at the Something Else Press Town House where she had the opportunity to meet, among others, composers John Cage, James Tenney, and Phil Corner. During the following years she developed fruitful collaborative relationships with many composers in the burgeoning American avant-garde, including, most significantly, Henry Flynt and La Monte Young. Young introduced Hennix to Hindustani raga master Pandit Pran Nath and she would later study intensively under him as his first European disciple. While Hennix continued to make music performing alongside Arthur Russell, Marc Johnson, Henry Flynt, and Arthur Rhames, she also served as a professor of Mathematics and Computer Science at SUNY New Paltz and as a visiting Professor of Logic (at Marvin Minsky’s invitation) at MIT’s Artificial Intelligence Laboratory. In recent years Hennix has led the just-intonation ensemble the Chora(s)san Time-Court Mirage, which has featured musicians Amelia Cuni, Amirtha Kidambi, Chiyoku Szlavnics, Hilary Jeffrey, Amir El-Saffar, Benjamin Duboc and Rozemarie Heggen. She currently resides in Istanbul, Turkey pursuing studies in classical Arabic and Turkish makam.
https://blankformseditions.bandcamp.com/album/unbegrenzt
|
2020 |
€27.50 |
|
|
Solo for Tamburium |
do-LP |
The fourth release in Blank Forms Editions’s initiative to chart the ever-expanding musical practice of Catherine Christer Hennix, Solo for Tamburium captures the composer’s most recent major work. Hennix plays an instrument of her own creation, a keyboard interface controlling a suite of eighty-eight recordings of precision-tuned tambura, creating a sweeping and continuous flow of rich harmonic interplay. This piece, documented in Berlin at MaerzMusik 2017, carefully draws upon the fundamental perceptual effects of sound, forming an exacting and cathartic electronic drone. Densely-layered timbral textures and continuous overtone collisions create a maze-like sonic landscape, thrusting the listener into what Hennix calls divine equilibrium or a distinctionless state of being.
Since the late 1960s, Hennix has created a massive and innovative body of work spanning minimal music, computer programming, poetry, sculpture, and light art—pushing the technical and conceptual boundaries of these media toward singular ends. She was part of the downtown music school in New York and has worked extensively with some of its key figures, including Henry Flynt and La Monte Young. In the ’70s, Hennix studied the nature and use of harmonic sound as a disciple of Pandit Pran Nath, a master of the Kirana tradition of classical Hindustani music. The exceptionally designed tamburas of Pran Nath were central to her intensive investigations, as was the devotional practice of carefully tuning and sounding the instruments in a continuous and even flow—both have guided her work with sound ever since.
In 1976, at Stockholm’s Moderna Museet, Hennix presented a pair of groundbreaking works that came to define her ensuing practice. With the Deontic Miracle—a group composed of Hennix, her brother Peter, and the Swedish percussionist Hans Isgren—she performed a series of modal compositions for Renaissance oboes, sheng, and harmonic feedback distortion. On this same occasion she premiered an equally significant body of solo work for keyboard, including the only public presentation of The Electric Harpsichord (1976), a piece that marks the beginning of Hennix’s characteristic style of playing, where dense sonic textures gradually emerge from the multilayered interplay of harmonic construction and dissolution.
Solo for Tamburium represents a pointed revisitation of her endeavor to map the non-gravitational harmonics of modal musics—among them raga, maqam, and the blues—onto a tuned keyboard. Since the debut of this piece in 2017 she has continued to develop the work, reshaping and presenting it in a variety of contexts, including at Blank Forms in New York and the Bourse de Commerce — Pinault Collection in Paris in 2022. For Hennix, to approach modality as a dynamic process is ultimately a contemplative practice. Through it, embodied attunement to harmonic vibration gives rise to epistemically transformative states, opening new ways of knowing and being.
https://blankformseditions.bandcamp.com/album/solo-for-tamburium
https://blankformseditions.bandcamp.com/album/solo-for-tamburium
|
2023 |
€38.50 |
|
| |
Solo for Tamburium |
CD |
The fourth release in Blank Forms Editions’s initiative to chart the ever-expanding musical practice of Catherine Christer Hennix, Solo for Tamburium captures the composer’s most recent major work. Hennix plays an instrument of her own creation, a keyboard interface controlling a suite of eighty-eight recordings of precision-tuned tambura, creating a sweeping and continuous flow of rich harmonic interplay. This piece, documented in Berlin at MaerzMusik 2017, carefully draws upon the fundamental perceptual effects of sound, forming an exacting and cathartic electronic drone. Densely-layered timbral textures and continuous overtone collisions create a maze-like sonic landscape, thrusting the listener into what Hennix calls divine equilibrium or a distinctionless state of being.
Since the late 1960s, Hennix has created a massive and innovative body of work spanning minimal music, computer programming, poetry, sculpture, and light art—pushing the technical and conceptual boundaries of these media toward singular ends. She was part of the downtown music school in New York and has worked extensively with some of its key figures, including Henry Flynt and La Monte Young. In the ’70s, Hennix studied the nature and use of harmonic sound as a disciple of Pandit Pran Nath, a master of the Kirana tradition of classical Hindustani music. The exceptionally designed tamburas of Pran Nath were central to her intensive investigations, as was the devotional practice of carefully tuning and sounding the instruments in a continuous and even flow—both have guided her work with sound ever since.
In 1976, at Stockholm’s Moderna Museet, Hennix presented a pair of groundbreaking works that came to define her ensuing practice. With the Deontic Miracle—a group composed of Hennix, her brother Peter, and the Swedish percussionist Hans Isgren—she performed a series of modal compositions for Renaissance oboes, sheng, and harmonic feedback distortion. On this same occasion she premiered an equally significant body of solo work for keyboard, including the only public presentation of The Electric Harpsichord (1976), a piece that marks the beginning of Hennix’s characteristic style of playing, where dense sonic textures gradually emerge from the multilayered interplay of harmonic construction and dissolution.
Solo for Tamburium represents a pointed revisitation of her endeavor to map the non-gravitational harmonics of modal musics—among them raga, maqam, and the blues—onto a tuned keyboard. Since the debut of this piece in 2017 she has continued to develop the work, reshaping and presenting it in a variety of contexts, including at Blank Forms in New York and the Bourse de Commerce — Pinault Collection in Paris in 2022. For Hennix, to approach modality as a dynamic process is ultimately a contemplative practice. Through it, embodied attunement to harmonic vibration gives rise to epistemically transformative states, opening new ways of knowing and being.
https://blankformseditions.bandcamp.com/album/solo-for-tamburium
|
2023 |
€16.50 |
|
| HENNIX, CATHERINE CRISTER (THE DEONTIC MIRACLE) |
Central Palace Music (from 100 Model Subjects for Hegikan Roku) |
CD |
"Central Palace Music, performed by Catherine Christer Hennix's just-intonation ensemble The Deontic Miracle, is the first in a series of archival Hennix releases to be issued via IMPREC. This previously unheard piece was taken from an eight day festival organized in the Spring of 1976 at the Museum of Modern Art in Stockholm. The group features Catherine Christer Hennix on Renaissance oboe and custom sinewave generators, Peter Hennix on Renaissance oboe and Hans Isgren on sheng.
Central Palace Music is packaged in a deluxe letterpressed package and is being released at the same time as a recent recording of Hennix's new ensemble live at Issue Project Room.
"...Hennix has created a sound that reliably taps into our subconscious and frees us from linear time..." The Quietus
Catherine Christer Hennix (1948, Stockholm) is an artist, poet, composer and philosopher with a strong interest in logic and formal music theory. She was among the pioneers in Sweden experimenting with main-frame computer generated composite sound wave forms in the late 1960's and in the 1970's she was a key protagonist in the Downtown School along with La Monte Young and Henry Flynt, with whom she has collaborated with on numerous occasions. She pursued studies with raga master Pandit Pran Nath and led the just intonation live-electronic ensembles Hilbert Hotel and The Deontic Miracle, the recordings of the latter are presently being released by Important Records. She was a professor of mathematics and computer science and assistant to and coauthor with A.S. Esenin-Volpin for which she was given the Centenary Prize Fellow Award by the Clay Mathematics Insitute in 2000. Hennix's interest in drone music and the meditative, trance-like state it induces is apparent in her exploration of similar music in many other cultures and traditions, drawing inspiration from the Japanese Gagaku music and the early, vocal, thirteenth-century music of Perotinus and Leoninus, for example.
In 2003 she returned to computer generated composite sound wave forms now called Soliton(e)s of which Soliton(e) Star was the first result. Subsequently she formed the just intonation ensemble The Choras(s)an Time-Court Mirage which performs Blues Dhikir al- Salam (Live at the Grimmuseum, vol. 1, Berlin, 2011, Important Records 2012). In 2012 Henry Flynt asked Hennix for a new, expanded realization of ISE for an installation at ZKM in Karlsruhe, Germany, to be featured in his retrospective/ prospective show Henry Flynt Activities 1959 – at ZKM. In response Hennix realized a 4-channel composition, Rag Infinity/Rag Cosmosis, her first 4-channel computer assisted composition since 1969." [label info]
www.importantrecords.com
|
2016 |
€19.50 |
|
| HENRIKSEN, ARVE |
The Nature of Connections |
LP + CD |
"The Nature Of Connections" almost entirely features pieces composed by Arve’s collaborators. Recorded in the sparkling acoustic of Oslo’s legendary Rainbow Studio by Jan Erik Kongshaug, it’s an album with closer ties to Nordic folk and contemporary, minimalist chamber music than any of Arve’s previous releases. At the same time it features some of the most melodic and seductive music he has recorded. The trumpeter had planned to make an album with a string quartet for many years but never quite found the right formula. Finally, a special commissioned tour brought him together with violinists Nils Økland and Gjermund Larsen, cellist Svante Henryson and double bassist Mats Eilertsen, all of whom now appear as the central planks in "The Nature Of Connections". Another welcome guest is drummer Audun Kleive, veteran of Norwegian jazz ensembles including Oslo 13, JøKleBa!, Generator X, Terje Rypdal and Jon Balke.
Seit 2001 hat er eine Reihe von exquisite Soloaufnahmen aufgenommen, die elektronische Texturen, Holzbläser, ethnische Instrumente, Percussion, Keyboards und seine traurige, sehnsuchtsvolle Stimme vereinen. Die Musik von ARVE HENRIKSEN zeigt gleichzeitig die atemberaubende Schönheit der unberührten Natur und die sich stetig verändernde kosmopolitische Umwelt des postmodernen Reisenden. ,The Nature Of Connections" ist das neueste Glied in einer sich stetig weiterentwickelnden Kette. Dies ist sein erstes akustisches Album, das sich um vier großartige Streicher rankt und mit einigen seiner wärmsten und organischsten Tracks aufwartet. Aufgenommen mit Jan Erik Kongshaug in der kristallklaren Akustik des legendären Rainbow Studios in Stockholm ist ,The Nature Of Connections" Jazz mit einer engen Verbindung zur nordischen Folklore und der zeitgenössischen minimalistischen Kammermusik. Arve Henriksen - trumpet, piccolo trumpet, piano, Nils Okland - violin, Hardanger fiddle, viola d'amore, Svante Henryson - cello, Gjermund Larsen - violin, Hardanger fiddle, Mats Eilertsen - double bass, Audun Kleive - drums"
www.runegrammofon.com/artists/arve_henriksen/rcd2161-arve-henriksen-the-nature-of-connections-cd-lp/
|
2014 |
€25.00 |
|
|
Towards Language |
LP + CD |
Arve Henriksen is a major representative of a golden generation of Norwegian jazz musicians. This is his ninth solo album (eight on Rune Grammofon and one on ECM), he has also released a dozen albums as a founder member of Supersilent and appears on well over a hundred records by artists like David Sylvian, Jon Balke, Trygve Seim, Imogen Heap, Arild Andersen and many more. With "Towards Language" trumpeter Arve Henriksen is back with his trusted long time musical partners Jan Bang and Erik Honoré. Arve first collaborated with the pair on the much loved and highly praised "Chiaroscuro" (2004), Arve´s second album, and later on "Cartography" (ECM 2008) and "Places Of Worship" (2013). Also an important part of the line-up is Eivind Aarset, the ECM associated guitarist extraordinaire.
Mit ,Towards Language" ist der Trompeter ARVE HENRIKSEN mit seinen bewährten musikalischen Partnern JAN BANG und ERIK HONORÉ zurück. ARVE kollaborierte erstmals auf dem umjubelten ,Chiaroscuro" (2004) mit den beiden, auf dem Nachfolger und später dann auf ,Cartography" (ECM, 2008) und ,Places Of Worship" (2013). Ein ebenso wichtiger Teil des Lineups ist EIVIND AARSET, der herausragende ECM-Gitarrist. ,Towards Language" ist ARVEs neuntes Album (acht auf Rune Grammofon und eines auf ECM) unter seinem eigenen Namen. Außerdem hat er mit zahlreichen Künstlern wie DAVID SYLVIAN, JON BALKE, CHRISTIAN WALLUMROD, TRYGVE SEIM und TRIO MEDIAEVAL zusammengearbeitet. ARVEs Statement zu seinem neuen Album und dessen Titel: ,With this recording, the good help and inspirational artistic contributions from EIVIND AARSET and JAN BANG at the recording session in Oslo has led to these selected tracks. Music that has a connection to ,Places Of Worship but this time recorded ,live in the studio in a chamber music like approach inspired by contemporary elements from composers like TORU TAKEMITSU and MANUEL DE FALLA, to traditional organ music, and at the end of the album bringing in a traditional ,kven (ancient Nordic song tradition) theme from the roots of my family from the North of Norway, sung by Anna Maria Friman of TRIO MEDIAEVAL."
www.runegrammofon.com/artists/arve_henriksen/rcd2192-arve-henriksen-towards-language-cd-lp/
|
2017 |
€25.00 |
|
| |
Chiaroscuro |
LP |
It´s about time that one of the absolute classics in our catalogue is finally available as a separate vinyl edition (it can also be found in the Solidification box set). Originally released in 2004, "Chiaroscuro" was Arve´s second solo album, it was hailed by critics everywhere and remains one of our most popular releases.
One of this century’s first true modern classics, this 2004 album from Supersilent member and experimental shakuhachi-style trumpet player Arve Henriksen has long been a reference points for jazz music of the most quietly absorbing variety, containing what must surely rank as one of the most beautiful opening tracks of any album in recent memory...
Replete with the breathtaking Opening Image and that beautiful cover art now blown up to 12” x 12”, this gorgeous record is quietly awaiting a slot in any and all collections of contemporary ambient, classical composition…
"Chiaroscuro" ("light and shade") is quite an unbelievable listen - cinematic in a way that defies pastiche, a vast panoramic ocean of sound reduced to the most silent, heart-wrenching string arrangements, samples (courtesy of Jan Bang) and a whispered sweep of barely audible percussion (from Audun Kleive), hovering around Henriksen unique, mesmerising trumpet playing and broken voice.
Boomkat (UK)
If music is measured solely on its spiritual impact, then ”Chiaroscuro” is clearly a strong contender for album of the year. Allaboutjazz (US)
A profound and singularly moving statement. BBC Online (UK)
Certainly, this beautiful CD is the first recording to make me cry in a very long time.
The Wire (UK)
It's an extraordinary record now squatting my cd machine like a gentle dogkicker. Beautiful. Straight No Chaser (UK)
One of the most telling and significant records in new Norwegian music in a long time. Dagsavisen (NO)
I haven´t heard music this beautiful in a long time. A complete, organic, focused expression from beginning to end. 6/6. VG (NO)
Released 05.05.17
www.runegrammofon.com/artists/arve_henriksen/rlp3037-arve-henriksen-chiaroscuro-lp/
|
2017 |
€25.00 |
|
| HENRY, PIERRE |
Un Monde Lacéré |
LP |
"Transversales Disques announce the release of the never released before piece Un Monde Lacéré by electroacoustic music pioneer Pierre Henry. This piece is a special tribute to Jacques Villeglé and his work. It is the world opening performance of this opus, recorded in studio Son/Ré.
Pierre Henry was born in 1927 In Paris. He started studying music as early as the age of seven. In 1944, guided by Olivier Messiaen, he imagined and started composing music for the future. His meeting with Pierre Schaeffer was crucial for his creation. Inventing new technical composition processes which in time have become widely used on a large scale, he has constantly given this music a far reaching power no one expected at the start. He has also invented his own sound, as easily distinguishable as the sound of the most famous jazz musician." [label info]
"Starting 2021 off with a bang, Transversales Disques is back with an absolutely stunning LP, 'Un Monde Lacéré', comprising a never before released, long-form work by Pierre Henry. A mind-bending example of the heights of Musique Concrète, by one of its most important pioneers, it remains years ahead of its time and challenges the perceived notions of how electronic music is understood to sound.
Over the last few years, the Paris based imprint, Transversales Disques, has set a remarkable standard for archival releases, bringing us a treasure trove of previously unreleased recordings by Bernard Parmegiani, Pharoah Sanders, Luc Ferrari, Igor Wakhevitch, Philip Glass, Ariel Kalma, François Bayle, Ennio Morricone, and numerous others. While by no means the limit of their focus, the imprint has offered special attention to works by French pioneers of electronic music, particularly those associated with Groupe de Recherches de Musique Concrète (GRMC) and Groupe de Recherches Musicales (GRM). This incredible initiative now extends to one of the most important composers of them all, Pierre Henry, with the stunning LP, Un Monde Lacéré.
Comprising a previously unreleased, long-form composition dedicated to the life and work of the artist Jacques Villeglé, Un Monde Lacéré is an absolutely stunning example of the heights of the late period in Henry’s visionary career. Transversales Disques has done it again, bringing forth an incredible body of sounds that doubles as a fascinating illumination of historical discourses between visual and auditory language in among the 20th and 21st century avant-garde.
Electronic music sprang from utopian dreams. Its creators deployed new technologies in an attempt to liberate composers and audiences from the cultural, economic, and educational limitations that had haunted the music of the past. For a great many artists, this all began with musique concrète / tape music, a musical idiom, first theorized by Pierre Schaeffer during the early 1940s, that deploys pre-recorded sounds - sourced from virtually anywhere - as its raw materiality. Truly revolutionary in every way, perhaps more than any other avant-garde form, musique concrète radically expanded the notions of what music is perceived to be, what it is comprised of, and by whom and how it is made. There’s a strong argument that it was so radical and ahead of its time, that we’ve yet catch up. Among the idiom’s pioneers, few were as important, influential, or forward thinking as Pierre Henry.
Henry was among the earliest adopters of musique concrète in France, joining Pierre Schaeffer at Club d'Essai studio at RTF in 1949, leading to a fruitful period of collaboration between the pair, and the subsequent founding of The Groupe de Recherches de Musique Concrète, as well as the first purpose-built electroacoustic music studio in 1951. A true maverick who deployed an intuitive and energetic attitude to the idiom, unlike many of his peers who increasingly veered toward the use of synthesis, Henry remained deeply dedicated to tape music until his death in 2017, often pointing to a relationship between the sound objects of music and those of spoken and written language. This was a notion echoed by many visual artists of his day, notably Jacques Villeglé, widely regarded as a pioneer of college and decollages, as well as for his alphabet of symbolic letters.
Born only a year apart, while working in different mediums, Henry and Villeglé belonged to similar creative zeitgeists and mindsets. Each embraced a decidedly avant-garde philosophy, while deploying ‘found” materials to create new, democratic languages. The common ground and mutual respect shared between these visionaries of collage led to several meetings over the years, as well as a number of shared exhibitions. The first, taking place in Poitiers at at "Le Confort Moderne" during 1999, produced the only widely available document of this creative connection, Henry’s album Apparitions Concertées, paired in its release with a catalog of Villeglé's ‘sound posters’.
Composed and recorded by Henry in 2008, Un Monde Lacéré is a long-form work - stretching across both full sides of the LP - paying homage to the life and work of Jacques Villeglé. Divided into 8 sections, the mastery of the composer’s craft is impossible to escape. Immersive abstractions comprised of intricate detail unfold within Henry’s controlled fury of energy. Sounds captured from a vast range sources - instrumental and non-instrumental - collide in fields of rhythm, tone, texture, and ambience, appearing at moments to be far closer to acoustic, real-time free improvisation than most recognizable forms of electronic music. If it were not for the diversity of the sounds themselves and the composer’s manipulation of the tape, the ear could be easily led to believe that it was witnessing an artifact of one of the wildest bands it had ever heard.
Filled with life, astounding energy, and remarkably forward-thinking creative attack, even at the age of 81, Pierre Henry, across the length of Un Monde Lacéré proves to have been one of the most vital forces in contemporary experimental music, all the while still bearing the utopian torch lit at the outset of avant-garde electronic music and musique concrète into his final years. Once again, Transversales Disques has raised the bar for the field of archival releases. A truly astounding piece of work that can, at long last, be heard."
[Soundohm]
|
2020 |
€25.00 |
|
| HEROIN IN TAHITI |
Casilina Tapes 2010 - 2017 |
LP |
"Hailing from Rome, cult duo Heroin in Tahiti fuse analogue synths, garage-y guitars and skittering drum machines to gloriously lo-fi effect. This collection of previously unreleased tracks covers material recorded in their studio from a 7-year period. Their unique psychedelic vision touches on everything from beat poetry, house music and Ennio Morricone soundtracks." [Norman Records]
"Heroin In Tahiti is a duo from Rome, Italy hailing from the Roma Est scene, a sort of local community based in the crumbling and deteriorated neighborhoods which were already eternalized by Pasolini and Neorealist Cinema (think of Pasolini, De Sica, Visconti, etc.) The duo plays a variety of cheap guitars, analog synths, drum machines, and pedals, achieving a dirtiness which is tragically lo-fi and out-of-time at the same time: a "Spaghetti Wasteland", as they call it. In 2012 they released on Boring Machines their debut album Death Surf, a title which spoke for the music played on the record. The label said of the album: "Think of drinking a frozen daiquiri on a solitary beach while watching a poorly tuned TV broadcasting loops of If You Meet Sartana Pray for Your Death (1968), while Mururoa tests are happening at the horizon." When mentioning Italian occult psychedelia, Heroin In Tahiti seems the best choice to sum up the sound and the references that stay at the core of this all-Italian scene. With albums like the mammoth double LP Sun And Violence (2015), the minimalist Canicola (2014) and the monolithic Remoria (GRA 001LP, 2017), Heroin In Tahiti became a cult band for their particular signature. Casilina Tapes 2010-2017 is the latest (and probably last) output from the cult Italian duo. It's a collection of unreleased tracks recorded in their basement studio in Rome in the last seven years while building up their thematic albums. The label listened to the single tracks at once and they found out there's a coherence between them even if they have been created in different periods. Actually, they show a coherence that only Heroin In Tahiti, with their kaleidoscopic vision of how Italy secretly sounds, can properly conjure up. Boring Machines calls it "total music". You may find elements which reminds of long lost Morriconian soundtracks for cheap westerns or giallos, library music to accompany documentaries on Superstudio radical architecture, urban tribalism, beat poetry festivals on the seashore, and house music. Recorded in Rome, 2010-2017. Artwork by Francesco de Figueiredo. Screen printed covers by Legno, Milano." [label info]
|
2018 |
€20.00 |
|
| HET ZWEET |
2XLIVE88 |
CD |
"Strictly from a personal perspective, it is great to see renewed interest in Het Zweet. I think that interest started when Staalplaat released an expanded version of Het Zweet's only LP (see Vital Weekly 1343), which Klanggalerie released on CD. A label from Greece, Modal Analysis, released a double LP with archival work, judging the content pieces from compilations and some previously unreleased work, plus a 1984 live recording. I haven't heard this one, but today, there is a CD with two live recordings from 1988. That is interesting as this is also the year that Het Zweet started to wind down his activities because of shifting musical interests. In 1988, Het Zweet supported Bourbonese Qualk in The Netherlands, and I am sure I saw them on a different evening, but I have no recollection. Therefore, I also have no idea if Het Zweet was also opening up that night. I believe this CD has the complete concert of that April 1, 1988 show in Club Utopia in Elsloo (I had to look that up), and it offers an exciting variation of the music Het Zweet plays. Mostly known for his more rhythmic music, that side still plays a significant role in the music here, ominous industrial drumming, tribal-like metal percussion (Neubauten, Z'EV), but a song like 'We Hear Your Soul' is more... an actual song, with Van Oers, Het Zweet's operator, singing, with a keyboard present, and some loops. Loops of instrumental bits return in other pieces, and by using delay, those also have a more tribal feeling. I was pretty surprised by this approach because I didn't know much about Het Zweet in the later stages of his career. It's an exciting variation here, with Van Oers going for what, I think, is a more song-based approach, next to the loops, tapes (slowed down voices; very 1980s) and metallic percussion. With some production value, this music could easily have found its way into the early catalogue of the Cold Meat Industry.
The other concert on this CD was recorded five days later, at Radio Militia in Belgium, and is about half the length, approximately twenty minutes. This is along similar lines, but interestingly enough, not a repeat of the same material, and a song like 'The Last Straw' sounds completely different, and so does 'Ein Kreuz Part 1'. In the surroundings of the radio station, it all sounds a bit more controlled than on stage. Both have their charm, and this latter-day Het Zweet opens for me a perspective I didn't know. It's a great historical document, prompting me to please once more for a Het Zweet box set with (almost all) his work." [FdW / Vital Weekly] |
2023 |
€13.00 |
|
| HIJOKAIDAN |
Modern |
do-LP |
The Kansai based noise band Hijokaidan, come with the first ever vinyl reissue of Modern, originally released on 1989 in CD format. Resting at a fascinating juncture between space-harsh progressive, impro and noise, it was years ahead of its time when it first appeared becoming one of the great holy grails of Japan noise. Creatively thrilling - filled with emotive highs and lows - it’s a crucial piece in the puzzle of Japan’s wild and wonderful history of noise music.
The core of the band revolves around the trio Jojo Hiroshighe, Junko and Toshiji Mikawa with sporadically the participation of various artists both for live performances and for studio recordings. On this vinyl shows up in the classic three-person line-up leading the way to one of the best reissues among offerings of their incredible discography.
Modern double vinyl LP, carving out uncharted territory between Faust and mid-70s Soft Machine, pushed improvisation into a near undefinable realm. The sound of Hijokaidan subverts and deconstructs; hits you, not like an avalanche, but like a prolonged electrical discharge on neuromuscular receptors: the most visceral and buried side of the noise is hidden in Jojo's pick-ups, in Junko's voice and in the extraordinary as well as exceptional object of Toshiji called ‘’the Mikawa’’.
Across the four sides of vinyl, comprising a sole one works, Hijokaidan stretches out, laying down cycling fuzz rhythms and guitar feedback lines that channel the modalism of John Coltrane and hypnotic psychedelia, before embarking upon scream excursions into the outer realms. Incorporating a playful, pop sensibility, without sacrificing its temperaments of violence and extremism, takes on a terrific vision of organized sound; a notion of the avant-garde which falls far closer to its inception as a st
Exquisitely pressed with fully remastered for this vinyl edition by Nobuki Nishiyama, that bring as well as possible on analogue format the stunning original audio master, and released in a beautiful double LP gatefold to fully enjoy the amazing photos formerly featured on the CD, with the iconic group photo reprinted inside the gatefold and the baffling close-up on the back.
As essential and historically significant as archival releases, Modern is truly incredible from start to finish, so immerse yourself in this final exploration of one of the longest continually existing and the most fascinating noise bands that ever was. Available in an edition of just 299 copies, this one isn’t going to sit around for long. Easily among 2021’s most essential releases, grab it while you can.
https://urashima.bandcamp.com/album/modern
|
2021 |
€34.00 |
|
| HIS DIVINE GRACE |
Le Grand Secret |
CD |
Auf dem Schwesterlabel von TREUE UM TREUE erscheint dieses hochmelancholische und philosophische Werk des französisches Projekts, dass uns in seiner "sad ambient" - Melodiosität an frühe REUTOFF erinnert hat...
"Inspired by the works of the Traditionalists and the lives and deaths of Sekens Murdock and Leontin V. Abilgaard, Moonchild Erik’s fourth CD album “Le Grand Secret” (The Great Secret) takes the shape of a metaphysical reflection on the deceptions of human language, in which Murdock and Abilgaard saw the main cause for the world of confusion we live in. Musically more accessible than “Eurydice” or “Reverse Aleph”, this very diverse new opus is the worthy successor of “Die Schlangenkönigin”, hovering from emotional soundscapes and spacey dub rhythms into gloomy, awe-inspiring drones with even noisy elements. An initiation through pure sound." [label info]
"...Tackling literary philosophical surrealism is a rather daunting task yet His Divine Grace has successfully extracted the subtle nuances of this newest muse and has distilled the rudimentary literary aesthetic into a long audio voyage filled with mystery and esoteric darkness. The album explores a wide array of carefully constructed dark ambient and experimental soundscapes as it leads the listener through imaginative and stimulating sonic worlds that shimmer like mirages. Dark ambient drones and electronic sounds are contorted into breathtaking monuments of sound that lay long shadows across barren wastelands of uninhabitable terrain. Like titans fighting battles long forgotten each track makes a definitive and powerful statement as His Divine Grace unfolds contemplative compositions that inspire and demand reflection.
The CD is spilt into three definitive chapters. Chapter one titled “These – Sekens Murdock” showcases the musical tribute to Murdock and establishes the musical introduction. Track one tilted “Les chevaux de feu” begins the album with an epic dark ambient anthem that combines churning industrial strength noise with interlacing drones and thunderous industrial sounds. Elusive samples of organ and choir enhance the experience lending a humanist emotional depth to the somber apocalyptic decimation established the industrial side of the music. Track two titled “Les gardiens du grand secret” features a shift in sound as His Divine Grace sheds the tormented confines of dark ambient music and steers the listner into ethereal ambience. Using a simple collection of finely articulated electronic sounds His Divine Grace sculpts a luminous song that elevates the spirit as it transports the listner into a sonic domain of alternating tones of purity. Track four titled “Verbum, lux et vita” unfolds with an element of suspense and an unknown presence dominating the tentative atmosphere as if invisible dwellers rove beyond the perimeter of the senses. Track four titled “Le voile levé” concludes the first chapter of the CD with a lonely and lengthy composition that combines delicate sonorous tones with tamed industrial rhythms and tuba like notes that resonate from the depths. “Le voile levé” is reminiscent of the organic ambient flow once achieved by O Yuki Conjugate though slightly darker and freed from the constrains of any ethnic influence.
Chapter two titled “Antithèse - Leontin Voigt Abilgaard” features five compositions themed around Abilgaard. The chapter begins with song five titled “De la nécessité de se taire.” “De la nécessité de se taire” leads the listner once again into yet another independent composition whose identity is only tenuously connected to its peers. The song begins with ominous drone music that is paired with voice samples and recorded sounds of water. As the song progresses the atmosphere darkens significantly as a threatening tone is established. Feelings of loneliness and isolation begin to creep up on the listner as His Divine Grace conjures forth an experimental ambient ballad that breathes with an uneasy rasp as it guides you through reflections of emotional carnage and fragility. Track six titled “Frayeurs initiatiques” continues the journey of isolation though the subterranean depths of the previous song seem somewhat further away. Using simple electronic tones and drones His Divine Grace subdues the listner with a hypnotic assault of suffering ambience. Track seven titled “Pourquoi... toujours pourquoi” sees light beginning to pierce the darkness as a slowly churning palate of voice samples dances with steadily growing waves of electronic sounds that drift awash in a delicate tapestry of sound. Like hope rising from the ashes of defeat the music gently stirs the listeners spirit to remember what has been lost and to react and reclaim. “L’opposition tacite” retreats once again into another suspenseful ambient narrative filled with dark ambience and ritualistic overtones that combine to offer a song filled with primal elements and an esoteric darkness that is tangible. “Le quatre-heure de crystal” ends the Abilgaard chapter of the CD on an experimental note as His Divine Grace abandons the listner to musical surrealism with a strong mind bending psychedelic tinge. Like witnessing events from the perspective of a heavily tranquilized yet conscious person the music washes across the listner like fragmented waves of conscious thought disarrayed and decaying.
Synthese et Syncretisme is the third and final chapter of the Le Grand Secret CD and it features a single song titled “Le Principe immuable.” ‘Le Principe immuable” is the most contemplative of all the tracks on the album and it lasts for more than sixteen minutes allowing for total submersion in the music. The finale does not end with a bang but rather on a very gentle note as His Divine Grace coaxes an incredible amount of sentiment, reflection and emotion from some of the simplest musical elements ever applied. Oscillating notes tepidly induce a spell that closes the album with brilliance and delicacy.
His Divine Grace is the type of electronic music that I covet. Grounded in industrial and ambient music His Divine Grace expertly melds his industrial musicl foundation with the openness of experimental composition. Each song is like a living entity, some transcendent and others primal and raw. Le Grand Secret sees His Divine Grace come to full fruition as he seizes upon literary figures deserving of his creativity. Le Grand Secret is an awesome display of imagination and musical surrealism and I highly recommend the album to those seeking to revel in previously undiscovered musical domains. Those who like bands like Propergol, Tordoih, Dusk Of Hope, and other promising dark filmic ambient music are encouraged to check out Le Grand Secret." [Malahki Thorn / Heathen Harvest]
|
2006 |
€6.00 |
|
| HIS DIVINE GRACE / DE GRACE |
Revelation |
LP |
"After 11 years in the bleak realm of magick electronics. Moonchild Erik moves to the desolate woods of ambient post-black-metal. Exit HIS DIVINE GRACE, enter Erik's new project DE GRÂCE, featuring LaMort on chords and vocals. REUE UM REUE and LaMort's label JUST ANOTHER WINTER join forces to celebrate the transition, in the shape of a split LP between the dying and the newly-born." [label info]
www.tutrur.com/tutrur_html/rur013.html
|
2009 |
€7.50 |
|
| HISS TRACTS |
Shortwave Nights |
CD |
"180g Vinyl mit Kunstdruck und Downloadcode. 'Shortwave Nights' ist das Debüt von HISS TRACTS, einem neuen Duo aus David Bryant (GODSPEED YOU! BLACK EMPEROR, SET FIRE TO FLAMES) und Kevin Doria (GROWING, TOTAL LIFE). Die beiden trafen sich 2004 und begründeten eine musikalische Freundschaft, die in drei GROWING Alben mündete, die im The Pines Studio von Bryant in Montreal aufgenommen wurden und in mehreren Kollaborationen mit z.B. dem experimentellen Filmkünstler Karl Lemieux. Probebänder für ein Underground Film Festival in Lausanne 2008 wurden zur Basis für HISS TRACTS; David und Kevin arbeiteten zwischen 2009 und 2013 daran, doch vieles von der Magie der ersten Versionen ist noch immer greifbar. Kevin und David sind instrumentale Musiker von ungewöhnlicher Tiefe und Intensität. HISS TRACTS eröffnet neue kollaborative und erzählerische Pfade, um die beiden Musiker die Soundlandschaft von Komposition und Produktion erforschen zu lassen. Beide sind Gitarristen und die E-Gitarre erscheint als Quelle von 'Shortwave Nights', doch die Fülle an zusätzlichen analogen Quellen und Signalen stellt sicher, dass dieser Sound hier nicht mit gitarrenbasiertem Drone, Noise oder Postrock verwechselt wird. 'Shortwave Night' setzt sich über solch engmaschigen Genrebegriffe hinweg und lässt sich ebenso wenig in die vorherrschenden Subgenres einordnen. Wenn Drone jedoch der Orientierungspunkt ist, dann liegt das sicherlich an dem Mix, der die einzelnen Elemente zu einer Wall of Sound in Stereo vereint. Dies ist keine Elektro-Platte und 'Shortwave Nights' begibt sich auch nicht in die Welt von Ambient oder Wave, vielmehr lässt sich der Sound hier im breiten Abstammungsfeld von Post-Industrial und Musique Concrète verorten. //
Shortwave Nights is the debut album by Hiss Tracts, a new duo featuring David Bryant (Godspeed You! Black Emperor, Set Fire To Flames) and Kevin Doria (Growing, Total Life). The two met in 2004 and struck up a musical friendship that led to three Growing records being made at The Pines (Bryant's recording studio in Montreal) and a separate collaboration between the two, initially in conjunction with experimental filmmaker Karl Lemieux (also GY!BE's current 16mm auteur/projectionist). Rehearsal tapes from a set of sessions for a Lausanne Underground Film Festival performance in 2008 became the foundation and starting point for Hiss Tracts; David and Kevin continued working throughout 2009-2013, but much of the material from their earliest session is still present, in one state or another, within the tracks on this debut album.
The sonic preoccupations of Bryant and Doria are well-known and well-documented across many highly acclaimed recordings over the past fifteen years, from the organic, group-based, semi-improvised collage albums of Set Fire To Flames to the glimmering, immersive minimalism of Growing and the more maximalist full-spectrum noise works of Total Life. David and Kevin are instrumental music practitioners of uncommon depth and intensity; Hiss Tracts opens new collaborative, procedural and narrative pathways for these fine musicians to continue exploring soundscape-based composition and production. Both are guitar players, and the electric guitar figures as both recognizable and unrecognizable source instrument on Shortwave Nights, but the deployment of a wide range of additional analog sources and signals ensures that there is no confusing this for a guitar-based drone, noise or post-rock record.
Shortwave Nights defies categorization by terms like "drone" or "ambient" and it does not easily slip into any of the predominant subgenres that have proliferated around studio-based soundscape work in recent years. Insofar as drone is a touchstone, this has mostly to do with the approach to mixing, which tends towards a transcendent/trance-inducing integration of elements into a unified, saturated, wall-of-sound stereo field. The album contains no beats or programming and very little that is identifiably loop-based or overtly sampled and sampler-driven. Occasional deployments of digital signal processing remain firmly in the service of Hiss Tract's overriding framework and commitment to analog sources and human instrumentation. This is not an electronic record, nor does it sit comfortably at either the pastoral or spooky/sinister poles of any ambient or 'whatever'-wave spectrum; it can perhaps best be placed within the broad lineages of post-industrial and musique concrète.
Meditative and visceral, humming with the electromagnetic atmosphere through which all manner of frequencies, transmissions and surveillances pass and collide, Shortwave Nights strikes an evocative balance between sonics captured-channeled-harnessed vs. composed-sculpted-performed, with an almost documentary rigour and restraint that nonetheless remains profoundly charged and engaged. Constellation is thrilled to introduce this new project with a brilliant debut album that has heavily infiltrated our brains and bloodstreams since Bryant and Doria first played us the nearly-finished recordings in the fall of 2013. Thanks for listening.
Release date: 13 May 2014
Running time: 44:28
Packaging notes
CD comes in a custom gatefold jacket printed on thick 24pt. paperboard with a printed CD dust sleeve. LP is pressed on 180 gram virgin vinyl at Optimal (Germany) and comes in a heavyweight jacket with black poly-lined audiophile dust sleeve, credit insert, pull-out art poster and download code for 320 kbps MP3 copy of the album." [label info]
www.cstrecords.com
|
2014 |
€14.50 |
|
| HODGKINSON, TIM & MILO FINE |
Teshuvah |
CD |
"TWO BLOKES FINDING SOUND IN THE MIDST OF
A Sort of Macrocosm
Insufferable and absurd. But, what else to expect? Because we are (imagine ourselves to be?) sentient, or rather, due to the manner in which western "civilization", an infectious disease which has managed to inculcate almost every indigenous culture on the planet, has manifested this sentience, we are an utterly disingenuous species. Our actions, in one way or another, are, for the most part (exclusively?) unintentional manifestations of what lurks beneath; unacknowledged, suppressed, repressed, willfully unknown. Our behavioral watchwords? Rationalization and justification. Why? Well, fear of course, Knowing we will cease to exist, or, perhaps more accurately, lacking the ability to fathom the eternal (or what we imagine it to be), we turn to so-called power, material wealth, fame and the like as pathetically meagre compensation. Now, there are those who would, in the current lexicon, argue that "it's all good", which is nothing but a rephrasing of essential tenets found in any number of belief systems/philosophies. And while there is no doubt that truly existing in the eternity of every moment, to treat what we generally separate into "good" or "bad"/ "positive" or "negative", as nothing but unified energy of which we are simply a part -- to, in other words, maintain a sense of calm and "being" regardless of life's circumstances -- would likely be ideal, or close to it. But, given the essence of humanity's overall conditioning and wiring, this state is, sadly, more or less impossible to attain, never mind sustain. Not to say that it isn't worth considering and attempting. But, in the meantime, let's drop the pretense; the state of the world -- inner and outer -- makes it clear that it is not all good, and to excuse our behavior is to propagate the missteps that personify humanity.
Certainly A Microcosm
Social gatherings are all, to one degree or another, insufferable and absurd. Fraught with rampant hidden agendas and their manifestations -- positioning (hierarchal maneuvering) and networking (careerism) -- and underscored by insecurity and thinly veiled desperation (a bit thicker for those with truly sociopathic tendencies), how could they be otherwise? And, having such a gathering in the name of "art" only compounds the unbearableness, because the meaningful realization of the creative impulse should have at least something to do with transcendence. Not "transcendence" as a marketing tool or an image mongering label, but transcendence. So, when a local academy hosted yet another insular affair -- in this case, a "festival of electronic music and arts" -- wherein the invitees ranged from graduate students to out-of-town guests (underwritten by their own academies to come and display their wares; that is to say, add yet another line to their curriculum vitaes), the resultant lack of transcendence can hardly come as a surprise. And, indeed, just on the surface, there's abundant evidence as to how brilliantly this event works at cross purposes. First, it's centered around technology, which, these days, as one knows, means lap top gimmickry (and slow downloads). Second, there's a preponderance of hackneyed and merciless expropriation of indigenous musics, a clear sign of wrong-headed political correctness. Third, as part of ever elusive "audience development", there is much pandering to rock/pop influences. Fourth, the programming style is all pastiche -- a little of this, a little of that -- catering to short attention spans. (And, do I need to mention how the curator and others high in the food chain, get to present their work in the better, more prestigious venues? I thought not.) In all, it's fascinating how an event so concerned with creativity is, for the most part, so utterly bereft of same.
Tim and I first met when he came to town with Konk Pack (a trio which also includes Roger Turner and Thomas Lehn) in the fall of 2007. In addition to playing a duo set with Roger that evening, I had served as a middle man of sorts in setting up the gig, which, due to the curator dropping the ball vis a vis communications, almost didn't happen. (And, even when it did, the evening itself was filled with an assortment of additional miscues, which Tim -- the group's de facto "tour manger " -- and I handled well, and, perhaps more importantly, with good humor.) Tim and I didn't talk a lot that evening or at brunch the next day, but, as evidenced by our on-the-spot problem solving and the exchanges we did have, there was an obvious overlapping of sensibilities and interests. Evidently, Tim thought so too. I was, however, surprised and amused when Tim let me know he was returning to participate in this, as we say in the states, "dog and pony" show (i.e., an empty showcase). (That he was a member of an ensemble not playing his music -- a hired hand, so to speak -- mitigated my surprise.) In his e-mail he expressed an interest in finding some time to hang out amongst the rehearsals and performances. I countered by suggesting we get together to play. So, we elected to attempt both, but, naturally, given logistical concerns (schedules and transportation) the path to something simple was replete with small stumbling blocks. Enter filmmaker/videographer Mike Yaeger. Part of my unexpected and last minute middle man duties on Tim's previous visit was to find accommodations for Konk Pack. For several reasons, three people would have been a bit much at my place. Particularly in the light of Roger having opened his home to me for several days in 2003 while I was in England, his staying with me was a foregone conclusion. Fortunately, in an inspired moment, I remembered Mike had a long standing admiration for Tim's work. So, I contacted him about the possibility of Tim and Thomas spending the night at his house. Having met and had quite a long conversation with Tim the preceding year, Mike was delighted. This time around (late winter 2008), Tim had already alerted Mike to his return, but Mike was unaware that I had suggested our getting together to play. This prospect was especially exciting for him, because, in addition to his abiding respect for Tim's music, Mike has expressed a deep appreciation for my work as evidenced by his recurring bursts of support. (That a virodha bhakti -- devotion by defiance -- undercurrent informs our relationship is not surprising, as it is a recurring theme in my interpersonal dynamics.) He was, therefore, very keen on videotaping our session. And, because the audio on his camera is of mediocre quality, he suggested, no, almost insisted that I record it with my DAT equipment (consisting of a recorder, mixer and four microphones). I, on the other hand, just wanted to keep things simple and make some music. But, Mike, in his unbridled enthusiasm, can be extremely persuasive, and so we compromised. I'd record it, but with a basic stereo mike set-up.
Looking at the festival schedule, I noted the first day I was available to hear Tim, and made tentative arrangements to meet and go out with him and Mike. But that, of course, entailed the concerted effort of entering a domain that, despite my efforts to place occurrences in a broader context, nonetheless so irritates my nerve endings. Thus, with as much of an accepting attitude as I could muster, and keeping open the option that there just might, might be something of interest to hear (which, as it turns out there was, but just barely), I entered the venue where Tim would be playing and, once inside the performing space proper, immediately detected the pervasive stench of heightened self-importance and the politics of music as, first and foremost, a career path. A sort of existential nausea washed over me. With a demeanor of subtle defiance, I found a place to sit as some vacant post-modern design-form morphed on the stage's screen. Within moments, I spotted an enthralled Mike, who, for all his perspicacious opinions concerning artistic endeavor, can, in certain circumstances, be quite a, shall we say, forgiving listener; and Viv Corringham, one of my regular collaborators, whom I mercilessly (and, if I may be so bold, justifiably) tease for regularly showing up at these sorts of affairs. (However, as she actually participated in this event the previous year, her presence was de rigueur. Moreover, given that Viv has a genuine arts degree, one readily recognizes the force of habit extending from a good indoctrination, er, education.) During breaks between pieces, and almost trembling with displeasure, I asked Mike when we could get out of there, phrasing it along the lines of, "When the fuck can we get out of here and get something to eat?". He seemed perplexed and annoyed, to the point where, a bit later, and subsequent to Tim and I having warmly reestablished contact, Mike indicated he wouldn't be able to give Tim a ride to the session on Saturday, because he didn't want to miss any of the concerts (and, additionally, would have his young daughter, Alice, in tow). With no other viable options, I said I'd fetch Tim and get him back afterwards. Slight tensions aside, the four of us decided to get together for a meal prior to to Tim's next appearance that evening. The dinner at a small Indian restaurant was lovely; the usual push-pull banter amongst new and old comrades (Viv having known Tim for quite some time). Naturally, a fair portion of the conversation centered around the event at hand. And while Mike would have loved to find an ally in Tim concerning positive aspects of the festival, Tim was having none of it, and even went so far as to regale us with some wonderful and revealing behind-the-scenes stories. As the evening went on, Mike, in particular, was concerned about getting to the next venue in time to get a seat. I was, of course, in no great hurry, never imagining, in the light of the afternoon event's modest audience, that the place would be filled to capacity. Much to my chagrin, however, that was indeed the case, perhaps in part because it was a smaller venue. (Despite his being a performer in the evening's second half, even Tim wasn't allowed entrance.) Thankfully, my companions forgave me for filibustering at the restaurant. And, as we were in good spirits, and the ushers a good audience for our persiflage, we enjoyed our time in the lobby. Expectedly, some people left during the interval, so there were more seats to be had. I stayed to hear Tim, and then beat a hasty retreat.
Encounter
Saturday. Mike bringing Tim after all. Cart the smaller drum kit upstairs. Set it up. Open the piano. Assemble the clarinet. Set up the recording equipment. And, naturally, wait. Chronicling via cell phone: delayed rehearsals, concerts predictably running late, the convolutions surrounding their finding a place for a quick meal before arriving, and Mike's ongoing "negotiations" with Alice. Having a sense as to when Tim had to be back "on the job", I started thinking we'd have no time to play at all. Another call, they're almost here. Arrival. Mike and Tim set up their equipment, and, given the time constraints, we eschew a sound check. Then, without a word, the music starts. Now, if I may back up a moment. Previous to his hearing me play clarinets with Roger the year before, Tim knew fuck-all about my music. And my exposure to his work was limited; the early progressive/art rock, the raucous, improvised environs of Konk Pack (which didn't involve much woodwind playing), and the frugal bursts characterizing his contributions to the festival. So my expectations (like assumptions, a tricky business) were of a spare, lyrically-tinged aesthetic, perhaps informed by some "noisy" eruptions. But, when Tim put his horn to his mouth, it was all technically sharp, inventive fire. And I was delighted, as much for the music that was there, that moment, and to come, as for the fact that my expectations had been wonderfully circumvented. Improvisation. My lifework.
Acknowledgments
Mike, thanks very much for all your help, and, particularly for suggesting, er, insisting that I record the session.
(And, thank you to Kevin Cosgrove, whose serendipitous mentioning the word "renunciant" in a conversation just after my having essentially finished these notes, brought the track titles into focus.)
-- © milo fine (july 2008) " [label info / credits]
www.rossbin.com
" 'Teshuvah' reflects a first meeting between of two experienced veteran improvisors: Tim Hodgkinson (Henry Cow, Konk Pack, etc.) and Milo Fine. The career of Fine goes back to 1969 when he started The Milo Fine Free Jazz Ensemble. Throughout his career he was dedicated to free improvised music. I guess both gentlemen are more or less of the same age. Also Hodgkinson has a longlasting relation with free improvisation, as it was already part of the Henry Cow. They combined rock and free improvisation. In the last few years Hodgkinson tours regularly with his trio Konk Pack (Roger Turner, Thomas Lehn). During a concert in Minnesota he met Fine and the idea for a duo-session came up. It was realized in Fine's home, on a day in march 2008. Two long extended and one short improvisation made it to the CD that has Fine playing piano, drums, b flat clarinet and voice and Hodgkinson on b flat clarinet. While listening one feels the joy they had in their fabulous interactions. Never a dull moment during these sparkling, catch-me-while-you-can improvisations" [DM / Vital Weekly]
|
2009 |
€12.00 |
|
| HOGAN, ANNI |
Kickabye |
do-CD |
"Von ihren frühen Tagen als Batcave DJane bis zu ihren Kollaborationen mit MARC ALMOND (MARC AND THE MAMBA, WILLING SINNERS, LA MAGIA) ist ANNI HOGAN eins der wahren Genies der Alternative Szene. Als Komponistin, Songwriterin, Produzentin, DJane und Promoterin half sie dabei, dem Sound der 80s eine Form zu verleihen. Ihre musikalische Karriere erstreckt sich über drei Jahrzehnte, in denen sich die großen Namen nur so am Wegesrand sammeln. Als DJane spielte sie mit SOFT CELL, THE THE, EINSTÜRZENDE NEUBAUTEN, TEST DEPT, JAPAN, NICK CAVE AND THE BAD SEEDS, ADRIAN SHERWOOD; als Pianistin und Keyboarderin hat sie live und im Studio mit SOFT CELL, SIMON FISHER TURNER, NICK CAVE, PAUL WELLER, BARRY ADAMSON, LYDIA LUNCH, ZEKE MANYIKA, SEX GANG CHILDREN, YELLO, CAGED BABY und natürlich MARC ALMOND gearbeitet. Ihr Solodebüt ,Kickabye" erscheint hier in ausgeweiteter Version erstmals als CD und wartet mit einigen Alternative Größen auf: NICK CAVE auf 'Vixo' (exklusiv!)), MARC ALMOND auf 'Burning Boats', FOETUS, BUDGIE (SIOUXSIE AND THE BANSHEES) und GINI BALL. Auf der CD trifft die eigentliche ,Kickabye" EP (produziert von Jim ,FOETUS" Thirwell) auf zehn weitere Songs aus der gleichen Zeit. Mit neuen und exklusiven Versionen von MARC ALMOND Tracks. www.myspace.com/annihogan" [label info/Cargo]
"From her early days as a legendary Batcave DJ, through her work wth Marc Almond (Marc And The Mambas, Willing Sinners, La Magia), Anni Hogan is one of the true geniuses of the alternative scene. A composer, songwriter, arranger, producer, promoter and DJ, she helped to shape the sound of the 80s.
In a musical career spanning three decades she has worked with many successful artists in a variety of capacities. As a DJ she performed with artists including: Soft Cell, The The, Einstürzende Neubauten, Test Dept, Japan, Nick Cave and the Bad Seeds, Adrian Sherwood. On Piano and Keyboards she has performed live and in studios all over the world with artists including: Soft Cell, Simon Fisher Turner, Nick Cave, Paul Weller, Barry Adamson, Lydia Lunch, Zeke Manyika, Sex Gang Children, Yello, Caged Baby and of course Marc Almond.
Cold Spring is proud to present her debut release expanded and brought to the public for the first time on CD.
"Kickabye" features some of the leading lights of the alternative scene: NICK CAVE on 'Vixo' (exclusive to this release), MARC ALMOND on 'Burning Boats', FOETUS, BUDGIE (Siouxsie And The Banshees) and GINI BALL amongst others.
The first CD is the original "Kickabye" EP (produced by Jim "Foetus" Thirwell), plus 10 extra tracks from the same period.
The second CD is also tracks from the same period. 'Blue Nabou' features YELLO. Production by BARRY ADAMSON on 'Hopes And Fears', 'Wasting Time', 'Senseless', 'A Place To Belong', 'Everything We Do', 'Self', 'The Story So Far' and 'Each Day'.
This digitally remastered work contains new and exclusive versions of 'The Frost Comes Tomorrow' (originally released on "The Stars We Are" by Marc Almond), 'The Hustler' (originally released on "Mother Fist" by Marc Almond), 'Blood Tide' (originally released on "Violent Silence" by Marc Almond), 'Margaret' (originally released on "Untitled" by Marc And The Mambas)." [label info]
www.coldspring.co.uk
|
2009 |
€16.50 |
|
| HOLTKAMP, KOEN |
Field Rituals |
CD |
" 'Field Rituals' is the first solo album to come from Koen Holtkamp, an artist probably better known as one half of ambient duo Mountains. Based in Brooklyn, Koen created the album slowly and as a love letter of sorts, taking in delicate field recordings and using them like faded photos representing his distinct memories of the people and places he chanced upon. Some may have heard the incredible ‚Make Haste’ which appeared on limited edition vinyl earlier in the year, but this was only a taste of what Koen has to offer on ’Field Rituals’.
Taking cues from the classic ambience of Brian Eno and fusing it with the instrumental subtlety of Sweden’s Tape, Koen has come up with an aural book on his subject matter. Each track feels entwined in the next and feels like a part of something much bigger. Sure we’ve heard field recordings, synthesizers and guitars before but rarely have these instruments been injected with such a lightness of touch and with such a delicate open ear. Each listen reveals more, like peeling back layers of onion skin – take the album’s epic centrepiece ’Sky Flowers’ for example, which blends slow-moving synthesizers with good-natured environmental recordings and shimmering strings. The result is explosive somehow, with the grandeur more usually exploited by Arvo Part being framed with a distant electronic ambience.
The slow-burning pace is probably the single most important facet and reveals an artist at ease with his musical choices, something unusual in a genre brimming with young hopefuls. A good comparison might be Stars of the Lid, but Koen’s music is more organic and more humble somewhat than the ex-Texan duo. In the end we are just proud that Koen has allowed us a look into this most personal of works." [label info]
"Here be the first full length album from Mountains-man Koen Holtkamp. You may recall we got in (and sold out) his contribution to
the A Room Forever series of LPs commissioning artists to match a field recording on one side with a sympathetic composition on the other. Where his offering there was a dark-hued, ominous crescendo of crackled drone sourced from acoustic guitar, Field Rituals has its
head in the clouds. Holtkamp begins the album with a lovely round of brightly rendered acoustic guitar finger picking with some tricked out ring modulation effects giving each of the tones a sun-flecked glow and funhouse mirror curvature. Sustained drones from loops of melodica and harmonica mutate into an ersatz harmonium with the soaring overtones and sweeping fluctuations of tonalities gently crashing into each other. The loops every once in a while coalesce into a rhythmic underbelly, but mostly they settle as a effervescent bubbling of overlapping delay patterns and softly shimmered ambience. On top of all of this, Holtkamp dapples everything with his shimmered guitar and occasional crackles of tactile objects (he mentions water, seeds, ice, and paper) as well as field recordings of giggly children romping in a playground. The effect is somewhere between the immaculate pieces from Keith Fullerton Whitman's recordings and the bright-eyed naturalist
wonder of the Jewelled Antler camp. Really gorgeous stuff from the ever impressive Type label." [Aquarius Records review]
www.typerecords.com
|
2008 |
€16.00 |
|
| |
Make Haste / Free Birds |
LP-Box |
"Third volume to be released in this amazing new series. Koen Holtkamp is from Brooklyn, NY and runs the Apestaartje label and records as one half off the group Mountains. "Room Forever. Concept and art direction by Joshua Zucker. Photography by Kurt Mangum. A Room Forever is an art project realized as a curated series of limited edition 12" record LPs. Packaged in a custom-made box with high quality digital C-print covers and letterpressed inserts, each record features an original musical composition on one side and a field recording on the other. Pressed in one-time editions of 300, A Room Forever takes a unique and personal approach to the vinyl record LP. Conceived as a physical manifestation of the Roadside Picnic Radio podcast, the project draws upon the rich history and mythologies of audio recording to produce a final object of art that will resonate uniquely within each listener. More than anything, A Room Forever is inherently about the act of listening."
Please note that these records are cut at the Dubplates & Mastering lab in Germany and are
designed to be played at 45 r.p.m.
[label info]
www.aroomforever.com
|
2008 |
€28.00 |
|
| HOTOTOGISU |
Under the Rose |
LP |
"Hototogisu's first LP release on their own imprint Heavy Blossom. Under The Rose is a pair of incantations for the dark and vengeful animal spirits. Sung in two parts, malignant coronation and origami skulls are blackened arias, dizzying vortices and canyons of screams, guitars and chaotic rhythms. Arising from this richly recorded and mastered vinyl slab come black tarpits of malevolence and savage beauty, harking back to a pre-Christian universe of animating spirits and tutelary daemons. Comes in a black jacket with a full-color photograph attached to the front cover and thickly inked silk-screened backs. Edition of 600." [label notes]
|
2008 |
€20.50 |
|
| HUM |
Lost in white flame |
mCD-R |
Still one of the most hidden secrets of transcendental drone-ambience music is this russian project, as he (Dmitry Chistov who is behind it) doesn't really promote it at all. On this EP we find a very mellow & caressing one-tracker, expressing the magic of winter-landscapes. The perfect combination of drone & melancholy.
"One track recorded in 2001. Dedicated to all fallen asleep in embraces of winter. Melancholic detached drone ambient." [Zhelezobeton]
"Its a bit hard to find out if I wrote about Russia's Hum before, since its a word used a lot in Vital Weekly, but with the help of Discogs it always works. This one-man drone project led by Chistov Dmitry handed in two 3"CDR, of which I am not sure if they are very recent, but after performing a little errand for me, I am very happy to return the favor. Apart from releases in Russia he has had a release on Mystery Sea (see Vital Weekly 521), Taalem (see Vital Weekly 612) and Substantia Innominata (see Vital Weekly 656). 'Lost In White Flame' is a thirteen minute piece of drone music, with slowly shifting organ like patterns, rather like one brush stroke. One continuos line going up and then going down. Very gentle ambient music. Nothing new, but great music. I could have easily enjoyed for the whole twenty minutes if used." [FdW/Vital Weekly]
|
2006 |
€7.00 |
|
| HUMAN GREED |
Black Hill: Midnight at the Blighted Star |
CD |
Drittes Album dieser Band aus Edingburgh, die sehr melancholische instrumentelle Sounds (z.B. von Cello, Piano) mit ambienten synth- drones verbinden... für "Black Hill" konnten sie zudem namhafte Leute (u.a. DAVID TIBET und CLODAGH SIMONDS) zu Gastauftritten bewegen, aber auch so wäre dies ein äussert lohnenswertes Album für Freunde der ruhig-atmosphärischen, fast schon cinematischen Musik. Ein mitunter wunderschönes, mitunter verstörendes Werk, wie ein Eintritt in einen seltsamen fremden Traum..
"Maybe a release with the help of David Tibet, Clodagh Simonds, Fabrizio Palumbo and Julia Kent might not be the sort of thing I would want to sort out, but I only found that out after I heard Human Greed's third album 'Black Hill: Midnight At The Blighted Star'. Human Greed is a duo of Michael Begg and Deryk Thomas, and instruments are not given for them. The guests however contribute cello, voice, treatments and piano. I assume both Begg and Thomas are responsible for the electronics part of this project. The voices used are merely pushed to the background and seem to be reciting a small text every now and then. The piano and cello form nice counterparts in the ambient mass of sound, and warm interludes. This music, despite the occasional use of voices, is mainly instrumental music. Lots of sound effects, lots of atmospherics are captured here and as such resemble everything from Brian Eno to any and none in particular movement in the world of ambient music. Sometimes too forceful to be truly spacious, and sometimes with a sudden stop or change, but that adds, I think, to the quality of the album. Though not entirely new in approach, it takes the best from various directions in ambient music and makes a very nice hybrid form of it. " [FdW / Vital Weekly]
"The third album by Edinburgh's finest exponents of often haunting, yet always touching, ebb and flow. Includes very special guest appearances by Julia Kent (Antony & the Johnsons, Blind Cave Salamander), Fabrizio Modonese Palumbo (Blind Cave Salamander, Larsen), David Tibet (Current 93) and Clodagh Simonds (Fovea Hex). Gathering together material quite possibly amounting to their most accomplished yet, 'Black Hill...' is akin to being caught in the trail of a shooting star heading to the very place where dreams, fears, hopes and an overwhelming sense of helpless abandonment teeter over the periphery of yet another rather enticing void. At once beautiful, melancholic, slightly bruised and foreboding, the music here never fails to captivate. Also features fantastic exclusive artwork from Deryk Thomas and Alan McGowan. Released November 2008." [label info]
www.lumbertontrading.com
|
2008 |
€14.50 |
|
|
Fortress Longing |
CD |
"Human Greed's fourth album " Fortress Longing: The Internal Campaign for the Safe and Complete Return of the Sleeping Egyptian to the Desert" is night-music at its most acute - unsettling, uncanny, beguiling, bewitching, and often profoundly moving.
Founder Michael Begg releases the work on the back of an exhaustive wave of activity. The last 18 months have seen him pack out cathedrals with the sonic swells and squalls of Fragile Pitches, his collaborative project with Nurse With Wound's Colin Potter, contribute to releases by Blind Cave Salamander, 48 Cameras and Laura Sheeran, and also play a core role in the emergence of the debut album by Fovea Hex, Clodagh Simonds's cult ensemble, with whom he has performed and recorded since 2007.
Rather than thin the mix, however, the insights and juxtaposition of the various disciplines exerted by all this extra curricular activity have helped forge Fortress Longing as the definitive work of melancholic extremism.
(A term coined by the Polish press during the band's 2008 tour of that country) Begg is joined, once more, by erstwhile visual artist Deryk Thomas, and a handful of other performers and friends: Antony and the Johnsons cellist Julia Kent once more lends grace to the proceedings, whilst Fovea Hex colleague Laura Sheeran provides vocal arrangements and harmonies.
Nicole Boitos - who painted the blue lamb featured on the cover of the recording also provides a reading voice to Begg's texts, as does the Norwegian singer Tommy Aashildrod.
Further vocal chants and singing bowls are provided by Charlemagne Palestine collaborator and 48 Cameras leader Jean Marie Mathoul.
The record makes stunningly effective use of the broadest palette of acoustic and electronic tools yet proposed by Human Greed.
Pianos (treated, bowed, prepared), cellos, violins, dulcimer, autoharp, guitars, singing bowls, glass armonica, gamelan, all fold, dovetail, and swap identities with synthesised, processed and eroded digital files and field recordings gathered from the trips Begg undertook in researching the record to Ile de Re, Athens, Heraklion, Frankfurt, London and Poznan.
A number of formally spoken texts even allow Begg to seemingly make peace with the written word after almost a decade of self imposed silence.
The work moves as a single mass, shedding skins and identities as acoustic instruments increasingly take on the role more commonly occupied by ambient electronic beds, whilst the electronics, synths and signals, and manipulated samples and field recordings are teased into releasing their hidden melodic potential.
Again and again in Fortress Longing, the discipline of musical form that Human Greed has so thoroughly deconstructed and undermined in their decade long journey, rises out of the boiling, roiling landscape of restless foreboding.
The effect - particularly on the elegiac cello arrangement by Julia Kent on The Green Line - is simply heart breaking.
Human Greed has delivered a singular and hypnotic work of disagreeable beauty, and Begg the composer, author and producer, is in complete control of his craft." [label info]
|
2011 |
€14.50 |
|
| |
World Fair |
CD |
"Michael Begg: This is my 5th record as Human Greed, 7th if you include the non-ensemble pieces Dirt on Earth and the OMEGA soundtrack I released last year for Moscow’s blackSKYwhite theatre company. This one has been cooking for two years and has seen me attempt to up my game with regards to formal musical theory and composition. There is a lot going on in there and I don’t know how to begin marking out its foundations for you. Possibly best just to remain relatively quiet on the matter and hope it can speak for itself over a few listens. However, the songcraft has its roots partly in the 16th century – from where also arises the preoccupation with melancholy and mortality- and there is much to be owed to the second law of thermodynamics, entropy, the singularity and heat death of the observable universe. That is all touched upon lightly, though I was keen to explore the potential for that science to be represented in a devotional mode more associated with faith.
The ensemble this time is notable particularly for the number of voices that come into the recording. This, in itself, is unusual for someone like me so closely associated with ambient drifts and drones.
So, aside from my long time partner, Deryk Thomas, Chris Connelly (Revolting Cocks, Ministry) gives a stylish reading of a traditional Scottish folk song, Scottish Jazz institution Sophie Bancroft joins the fold (I worked with her in the late 1990s running music and memory recovery workshops in dementia wards) and Sukie Smith from London’s Madam is also here. Nicole M. Boitos, sleeve artist for Swans, and James Blackstock, as well as my own Fortress Longing album shows that she, too, can hold a note. And I love her spoken word reading of the central World Far text on Waiting In A Car.
Colin Potter (Nurse With Wound, Monos) being a long time collaborator both through Fovea Hex and Fragile Pitches is once again on hand to contribute to the treatments and I am so thrilled to have worked with Steven R. Smith (Ulaan Khol, Hala Strana) on a composition called Chrysler. Steven’s work always, to me, sounds like an advancing desert storm and my vision of such a storm tearing down a city really came to life here. The sound of his home made spike fiddle! Wow!
Two gifted kids from the village helped out on the strings, and Pietro Riperbelli allowed me to plunder his archive of field recordings of cathedral interiors." [label info]
www.omnempathy.com
World Fair, album of the year : "There used to be a trinity of Nurse With Wound, Current 93 and Coil. Now the sonic gate keepers are a quartet; Nurse, Current, Cyclobe and Human Greed.” Was Ist Das (UK)
www.omnempathy.com
"This is the fifth album by Human Greed (or Michael Begg's seventh if you count the other ones under his own name) and he worked for the last two years on this, and that's something that shows here. While Human Greed is mainly himself and Deryk Thomas, there is a whole bunch of musicians helping them out, on cello and violin but mainly in the vocal department, such as Chris Connelly (Revolting Cocks, Ministry), Sukie Smith and Sophie Bancroft. If I understand well the album is about exploring 'the potential for that science to be represented in a devotional mode more associated by faith', and Human Greed harks back to the 16th century, both for that and the song craft here. It's not that easy to detect I must say, but then: I am no expert on 16th century music either. In the past I compared the music of Human Greed with Fovea Hex, and it's still on a similar line. The mood is a bit dark, with string instruments playing minor chords, aided by dark and moody soundscapes, field recordings, spoken words, and sweet sung melodies, although Human Greed is less folky than the music of Fovea Hex. There are also links to the musical world of Current 93, especially when things are a spookier and more textured here, Colin Potter and Andrew Liles may be inspirations here, and the whole thing has no doubt something very English about it. The creepy country castle atmosphere, the mechanics of a broken doll perhaps. Human Greed moves between the soundscape textures and the more song based structures of some of these pieces, and with pieces fading into each other, this sounds like one long trip, a journey if you will, moving through this fine, yet somewhat dark landscape. In good Fovea Hex tradition there is also a bonus CDR available, in which Begg and Thomas take the whole music of the CD apart and make an entirely new studio construction out of that. You hear little bits of the original in here, sometimes you may recognize a cello, or a violin, some voices but it's otherwise heavy on the use of sound effects to create even denser atmospheres; the cloud on the CD is perhaps more grey; here's it's more black. More abstract perhaps too, and less with a story to tell us. This is an excellent form of sound recycling - to avoid the word 'remix'. An excellent release, all around." [FdW/Vital Weekly]
|
2014 |
€14.00 |
|
| HUMAN LARVAE |
Pure Sex |
CD |
At this point Human Larvae barely needs introduction. Freak Animal put out the previous full length LP Behind Blinding Light (2016). In 2020, double tape called "Fifteen Years" collected various live shows. Pure Sex is too long to fit on LP and album comes on CD only. Back in the day, one used to name drop other bands. In 2020 Human Larvae could be rather compared to his own former works. On this album, we can get both, the composition and creative variety of former albums, but also the dirt and fierce angle known from his smaller edition tapes.
|
2022 |
€13.00 |
|
| HUNT, JERRY |
Five Mechanic Convention Streams |
do-LP |
The final album released by the composer-performer Jerry Hunt before his death, Ground: Five Mechanic Convention Streams is a rare and foundational audio document of Hunt’s compositional process. The record collects five pieces from the artist’s “Ground” series, translating his characteristically variable and spatial scores into “recorded fixtures of activity using mechanic musical instrument arrays,” to eerie and mesmerizing results. Originally released by experimental label OODiscs in 1992, it is now available on vinyl for the first time from Blank Forms Editions. Its tracks are dense and unpredictable, a miscellany of arrhythmic bursts, fragments of spoken and whispered words, soft then fevered rattles and shaking, and a rare return to pianoforte for the virtuoso player. On “Talk (slice): double” a nervous, warped dialogue unfolds between Hunt and composer Rod Stasick, their voices alternately measured and monstrous. In “Transform (stream): monopole,” breathy whistles build against a shimmering stream of bells, rattles, and shakers in a fantastical cascade of percussion. Hunt revisits the piano in “Lattice (stream): ordinal” and “Bitom (stream): link,” oscillating between gentle, almost classical phrases and frantic, seemingly random play. His collaboration with violinist Jane Henry, “Chimanazzi (Olun): core,” extends similarly unorthodox playing techniques to the violin, involving the scraping, plucking, and playing of its strings. The unstable quality of these tracks belies the rigor of Hunt’s procedures; each of Ground’s five pieces, their “common ground core,” is derived from the angelic tables of sixteenth century English philosopher and occultist John Dee, adapted by Hunt as frameworks to layer, adapt, and renew in his compositions. With a complex arrangement of sensors and equipment, which the artist called “interrelated electronic, mechanic, and social sound-sight interactive transactional systems,” Hunt realized these derivative systems in the techno-shamanic performances for which he is best known. Ground distills these procedures into fixed songs, producing a vital and critical record of Hunt’s singular approach to composition.
Ground: Five Mechanic Convention Streams is released as part of Blank Forms’s extensive program dedicated to Jerry Hunt. This program includes the first institutional exhibition of the artist’s videos and sculptures, Jerry Hunt: Transmissions from the Pleroma, presented at Blank Forms from February 16th to June 11th, 2022; the publication of Partners, a memoir-cum-biography by the artist’s long-time romantic partner Stephen Housewright; the forthcoming anthology Blank Forms 08: Transmissions from the Pleroma; and Irida Records: Hybrid Musics from Texas and Beyond, 1979–1986, a deluxe LP boxed set and reader on Hunt’s briefly-lived independent label.
https://blankformseditions.bandcamp.com/album/ground-five-mechanic-convention-streams
|
2022 |
€37.50 |
|
| HUNTING LODGE |
Shadows out of Time 82-83 |
3 x LP Box |
"Shadows out of Time is a collection of three LP's with unreleased and formerly cassette-only material from Hunting Lodge, representing the first blush of their creativity, a time when each sonic experiment festered into a beautiful sore. Dark Ambient, Noise, Power Electronics, all represented here before these pigeons
had holes in which to fit. One LP is comprised of the now-legendary EXHUMED, which was formerly released cassette-only, heard here in better shape than ever - direct-metal mastered from the original two-track mixes. The second LP is all unreleased material, highlights of which include never-heard gems from the recordings for the promotional cassette 23 MINUTES OF MURDER. On the flip-side, both literally and figuratively, are the electro-disco-teckno recordings used for intermission music at Hunting Lodge live shows in 1983.
The final LP contains Live material which was formerly cassette-only, including tracks
from AT THE HARRINGTON BALLROOM and S/M OPERATIONS LIVE, as well as much of the formerly unreleased LIVE AT THE LODGE.
Oft-bootlegged, this performance is pressed here direct from the original masters,
representing the two-piece early noise-unit of Hunting Lodge in harrowing live intensity. Furthermore featured in the Box-Set is an additional Bonus 7" including studio cover version of John Wright's „Stellazine Shuffle“ b/w „Learn to Will II“,formerly released on Nekrophile Rekords "Beast 666" cassette
compilation in 1983 These LP's and 7“ are presented with period-accurate, gloriously bold, black and white artwork. Each LP comes in it's own printed sleeve inside of a box printed with the Thomas Nordstrom artwork previously only seen on early Hunting Lodge stationery. Also included are liner notes by Jeff "Central"
Chenault and recording details, including information on equipment used, and never
before seen photos of live Hunting Lodge and of collectors minutiae. The scars will
never completely heal." [label info]
www.vinyl-on-demand.com
|
2010 |
€59.00 |
|
| |
The Will |
CD |
"HUNTING LODGE gehören zu den Urvätern des Industrial Genre ( neben SPK , TG und LUSTMORD..) "Will" war ihre 1.LP vor 25 Jahren auf S/M Operations (1983) und ist eine der wenigen, aber essentiellen Pflichttitel für jede Plattensammlung !" [label info]
www.darkvinyl.com
|
1992 |
€14.00 |
|
| HURTADO, MARC & ALAN VEGA |
Sniper |
CD |
"Alan Vega is literally a legend. Suicide, formed by the duo Rev and Vega is the spearhead of a punk trend which immersed all of a sudden in a fusion of waves and electronic loops. Since that period Vega became an icon for rock music and electronic generations... Vega’s flow, and the scansion of this white hot crooner sound fractured and charismatic. Everything is Rock, his leather jackets, his art and soul highly charged. So aesthetic, a rockabilly singing in a breathless style, wearing dusty pink and yelling metal make up. He is nowadays a Myth all around the world.
Marc Hurtado gained his experience in the 80’s with his brother Eric, they were called “Étant Donnés”. Their albums, films and performances are highly appreciated in Beauboug,the Fondation Cartier, the Rennes Transmusicales,the Barcelona Sonar Festival, the Kitchen in New York and The French Cinematèque. In the years 2000, Marc Hurtado produced some original soundtracks (for Philippe Gandrieux and Jessica Hausner), but he is also known for his collaborations with Lydia Lunch, Genesis P-Orridge (Throbbing Gristle and Psychic TV), Michael Gira (Swans), Gabi Delgado (DAF), The Hacker, Sky Saxon (The Seeds), Les Maîtres Musiciens de Jajouka, his project Sol Ixent with the German singer Saba Komossa (Delkom)... and of course Alan Vega. Hurtado recorded four tracks in the album Re-Up in 1999 and were together on stage in France and Europe (Centre Pompidou, Lieu Unique de Nantes with Christophe) and he also produced in 2009 the film “The Infinite Mercy Film”) dedicated to the art work of Alan Vega.
Sniper was born from this artistic collaboration and complicity, it was recorded in 2010 at the 6/8 Studios cherished by Suicide. This is a blazing star, an album made of fever and chaos but it also remind us the synthetic ballad you can find in Vega’s early solo albums.Whithout mentioning Lydia Lunch’s participation in “Prison Sacrifice” already a cult song, there is the sublime one “Saturn Drive Duplex” in its first original version which could lead to inspiration in the future. With at least 13 tracks of rage and shiver where words and electricity are intertwine to show this threatening apocalyptic and violent world but also the desire to flee towards new possibilities and to explore the universe.
This album follows the release of infinite Mercy, a monograph dedicated to the art work “Ghost Rider Man”, which came out in September 2010 at Presses du Réel and where you can find some texts from Marc Hurtado, Alan Vega, Henry Rollins, Ric Ocasek and Martin rev. Neon lights sculptures are on the outer cover and inside it, it’s a prestigious flamboyant release." [label info]
www.maquismusic.com
|
2010 |
€15.50 |
|
| HYBRYDS |
Mythical Music from the 21st Century |
CD |
"This is the second volume in the ongoing series of Hybryds reissues on Zoharum and it coincides with the 30th anniversary of artistic work of Sandy Nys and company. "Mythical Music from the 21st Century", the first full Hybryds release, collects tracks recorded between 1983 and 1986 scattered on various compilations. Yet they form the first representation of their venture into the world of sonic rituals and magic. Their perspective on sound still has not been imitated or copied and even after 30 years they still sound fresh.
In the words of Sandy Nys:
The first recordings were made in 1983. During the next years more recordings and musical rituals were created with different people in different places. In this first release about 20 people were involved. The recordings were a field trip, a diary of my life. The recordings became a story. The mythical story of NaHeMa. Most of the songs were sent for compilations on independent labels, yet the complete story was released in 1986 for the first time as a cassette on 3RIORECORDINGS (there was also a very limited edition in a box of 30 copies with the Dream Machine building prints.) In 1990 it was re-released by Nuit et Brouillard (France) as a cassette in a small box. In 1998 a limited picture disc in an edition of 666 copies was released by Triton (Germany). This version is shorter than the cassette one. This new CD release contains extras: the unreleased live version of "Sacred Voices," performed live on Radio Centraal and an unreleased mix of "Octahedron" by the Alpha Project.
The album has been digitally remastered from the original stereo cassette master by none else but Sandy Nys, who also provided the cover based on the previous editions. This is the ritual music at its best. Now you can enjoy it in the best digital quality." [label info]
www.zoharum.com
|
2013 |
€13.00 |
|
| |
Music for Rituals |
do-CD |
"Sandy Nys says about the album: "'Music For Rituals' was first released in a hand-made pouch, on the German label ARTWARE. The music was like the first tape release, made in different places with different people on a 4-track Tascam cassette recorder. I also started making mail art music with musicians from far away in the world (no internet back then) sending basic music on cassette which I used in the compositions. In this music, Yasnaia and her cello and voice became prominent as we started working together." CD 2 contains rarities and unreleased tracks: 1: Hybryds & Alpha project (previously unreleased)
2: From 3RIOTAPES cassette compilation 3 & 4: sax by Barry Edgar Pilcher, from 3RIOTAPES cassette release: Saxapulation 1984 5: Koto build by Michel. Played by Michel and Magthea. Soundsamples from 'Dabide No Hoshi: Bishôjo-Gari' ('Star Of David: Beautiful Girl Hunter' a strange S/M movie from Japan 1979) (previously unreleased). This 2CD album is packaged in a digipak and limited to 500 copies." [label info]
www.zoharum.com
"Belgian electronic-ritualists The Hybryds began producing their exotic, sensual mesmerism and ethnographic forgeries in the mid '80s, after ringleader Sandy Nys (aka Magthea) transitioned from the minimalist EBM of The Klinik into the far more supple forms of tape loops and ritualized performance. Their iconography was one that was very much a precursor to the modern primitive bacchanal of Burning Man and paralleled the philosophical fascination with Crowley that came out of the whole Psychic TV and Current 93 circle. As such, Hybryds were a project with one foot very clearly in the ancient and the other firmly adhering to the technological advances. The slow, gyrating rhythms interlace the patter from hand-drummed percussion on wood, skin, bone, and metal with the electronic structures from MIDI-driven samples draped with reverberantly sustained synth drones. Nys along with co-conspirator Leen Smets (aka Yasnaia) also wove this tapestry with wordless vocals, processed violin, phasing tape loops, and the sublimely eerie buzzing of Egyptian reeds. Music For Rituals was the band's first album beyond a couple of limited cassette releases, featuring input from fellow Belgian transcendentalist Vidna Obmana who like Nys had shifted from a hard-bodied industrialist into a liquid melange of ritualized ambience and gnostic mysticism. This album originally came out on the seminal German label Artware in 1992, has been remastered from the 4-track tapes, and is now fleshed out with an extra cd's worth of bonus material. Zoviet France, O Yuki Conjugate, Zero Kama, and even the more introspective albums from Coil would all be worthy comrades in arms with Hybryds." [Aquarius Records]
|
2014 |
€15.00 |
|
| HYPNODRONE ENSEMBLE |
The Shape of Space |
LP |
"In May of 2014, Canadian experimental / ambient guitarists Aidan Baker and Eric Quach (a.k.a. Thisquietarmy), who have frequently performed and collaborated together, recruited three drummers—David Dunnett (CA), Jérémie Mortier (BE), and Felipe Salazar (CO)—to accompany them for a performance at NK in Berlin. The resulting performance—a freeform, semi-improvisational study in rhythmic, psychedelic, atmospheric spacerock—was documented as a CD release on Belgium's Consouling Sounds under the moniker Hypnodrone Ensemble. Following a second performance in September 2014 at Incubate Festival in Tilburg, NL, Hypnodrone Ensemble, with the addition of Gareth Sweeney (IE) on bass, entered Golden Retriever Studios in Berlin to record a follow-up to their live debut. The results, edited down from several hours' worth of recorded material and mastered by James Plotkin, became the album The Shape of Space, released as a limited LP (100 translucent vinyl, 400 black vinyl) by new Berlin label Calostro Recordings." [label info]
calostrorecordings.bigcartel.com
|
2015 |
€16.00 |
|
| ICHIYANAGI, TOSHI |
Shikisokuzekuu-Kuusokuzeshiki (色即是空空即是色) |
CD |
“Shikisokuzekuu-Kuusokuzeshiki” (1964). “Extended Voices” (tape part, stereo version – 1967).#The details of “Shikisokuzekuu-Kuusokuzeshiki” are unknown except it was created at the NHK electronic music studio. According to Ichiyanagi, there are various discussions for the title, but it seemed to be eventually broadcasted on the radio with the title Kuu after a producer desired and decided to name it. At this time, the original title was used as following the initial intention of Ichiyanagi. In addition, short experimental film “Shikisokuzekuu” (1974) produced by a filmmaker Toshio Matsumoto where Ichiyanagi was also in charge of tape music was a different work so it does not have any relation with this music work.#Note: Shikisokuzekuu-Kuusokuzeshiki means “Form is exactly emptiness. Emptiness is exactly form.”#“Extended Voices” can be enjoyed by listening to the Columbia LP album “Extended Voices” with the collection of voices from the music works. A new version with mixing voices of baritone of Takashi Matsudaira to a monaural tape part was released by Omega Point in 2014, but since the stereo version was found later, it was added as a tape work without voice this time. It can be said that this is a completed work as an independent electronic music. (Provider of the tape recording: Gregor Meyer)#[Translated by Toshiyuki Kawata]
|
2016 |
€21.50 |
|
| IDEA FIRE COMPANY |
Rags to Riches |
LP |
"An edited and remastered issue of a tape by the IFCO quartet - Scott Foust, Karla Borecky, Jessi Swenson, & Meara O'Reilly. Rags To Riches is a live record documenting pieces from 2003 through 2005. Showcasing some top-shelf unreleased works; "The Whole World," "Metropolis," & "The Bitter End." Older material is also included, a fierce version of "Artificial" from 2005's Stranded, as well as the notorious "Cycle-19." Additionally, there is a beautiful voice-based rendition of "Some Of Us" by IFCO comrades' The Shadow Ring. All these pieces exhibit a contemplative and well-informed use of electronics, radio, and voice. Interlaced with spoken title announcements in French, punching typewriter passages, and bookended perfectly with audience dialogue and Roxy Music. Their mechanical and uncompromising aesthetic is pronounced, as Rags To Riches reminds us all why Idea Fire Company are such an important contemporary outfit.
Edition of 285 copies, with color insert & essay by Scott Foust." [label info]
www.recitalprogram.com |
2013 |
€16.50 |
|
| IF, BWANA / GERALD FIEBIG |
split |
LP |
"ACV 1002: Marbled white vinyl 12” LP in unique hand-painted sleeve, limited edition of 100
File under: Drone, Ambient, Experimental
The second release in attenuation circuit’s Vinyl Series of split LPs in unique hand-painted covers brings together US experimental music icon and long-term label activist Al Margolis aka If, Bwana and German audio artist Gerald Fiebig. Their shared method of arranging recorded acoustic sounds into digital compositions led them to also share some of the sound material used on the respective sides of this album, which offers a richness of textures from quirky improv-style passages to calm drones and processed field recordings.
If, Bwana interweaves two tracks based on the sounds of very different wind instruments: Recorders, played by himself, and sounds of a church organ played by Fiebig at Mecklenburgisches Orgelmuseum, a former church turned organ museum in the North German town of Malchow. “Recorders in Augsburg” is a complex layering of several short melodic phrases played on the recorders, exploiting their higher registers in a way that makes them sound almost like lo-fi electronics although the sounds are not heavily processed. A very rhythmic, mercurial piece which eludes any attempt on the listener’s part to settle onto one continuous ‘beat,’ “Recorders” fades into “Fie’s Big Organ.” This piece layers pitch-shifted excerpts from the original organ session to create a rather tranquil, drone-ambient feel in the spirit of If, Bwana’s recent releases on his own Pogus label as well as Mutable Music and the live album “crossgrained” on attenuation circuit.
http://attenuationcircuit.wix.com/attenuation-circuit#!__crossgrained
Gerald Fiebig’s piece “Sustained Development” combines other excerpts from the acoustic organ and recorder material and combines it with both acoustic and electric guitar samples, provided by Mathias Huber and Jesus Jackson, Fiebig’s colleagues from his pop trio Jesus Jackson und die grenzlandreiter and processed by labelmate EMERGE. Other ingredients are electric organ sounds and field recordings made with an “electric recorder.” Fiebig’s subtle, quiet drone/ambient piece is mainly based on slow loops fading in and out, like breath or groundswell. Even more than the If, Bwana tracks, the sound processing on this side of the LP constantly plays tricks on the listener who wants to pinpoint whether any particular sound is ‘acoustic’ or ‘electric’ in origin." [label info]
"Although best known for their CDR and online releases, Attenuation started to release vinyl too, and this is their second release. Like the previous release this is split release, here with If, Bwana and Gerald Fiebig. Both of them have had a number of releases on this label. They use each other sound sources, but which leads to different results. On the If, Bwana side we find the sound of recorders as taped by Al Margolis, mister Bwana himself, and organ recordings by Fiebig. Apparently, according to the info, we have two pieces here, one of each instrument. In the 'usual' methods applied by If, Bwana all of these sounds are layered together, not unlike Phill Niblock would (with whom If, Bwana tours every now and then). Chopped into small loops, on a constant repeat mission, but never starting at the same time, forms a rather dense mass of sound. Many layers should be understand many, maybe even 1,000 or so. The recorder piece is slightly dissonant it seems and has an edginess which I don't think I heard before in If, Bwana's music. It just as easily moves over into the organ piece, which applies a similar technique, but which is slightly more 'melodic' and less dissonant and maybe more what you would expect of such drone like sounds. It's something I rather enjoy, very much. This is maybe the lo-fi version of Niblock, but it's one that works quite well.
Now Fiebig, on the other side, may use the same recorder and organ sounds, he also adds the acoustic guitar of Jesus Jackson (processed by Emerge), the electric guitar of Mathias Huber and an electric recorder which he played himself. Here more is indeed less. You could expect a lot more sounds, and even more density than If, Bwana does, but it's not something like that at all. Fiebig distributes the sounds quite sparsely over the course of his side. It moves very slowly, back and forth between the different sources and just sometimes you recognize the acoustic guitar, or the recorder. Sometimes playing together, but it seems that a lot of the times they are on their own, like stars at night - moving solely in the firmament. That seems to be the case here, with very occasional interaction. If that happens, in what seems to be the middle of the record, small melodies are formed around carefully placed crackles, slowly moving a gentle drone in to fade out in the end. Nice, gentle music
. Perhaps the most gentle music I encountered on this label. Pressed on white vinyl, which is perhaps not the most optimum for this delicate music." [FdW/Vital Weekly]
|
2013 |
€23.00 |
|
| IF, BWANA / ROEL MEELKOP / THE NEW BLOCKADERS / KOMMISSAR HJULER UND FRAU |
Die Stille nach dem Schuss |
LP |
Tracklist
Hide Credits
A1 –If, Bwana Oct 1 Tenors
A2 –Roel Meelkop Windwerk
A3 –The New Blockaders Epater Simphonie (Excerpt)
A4 –Roel Meelkop Holzwerk
B1 –Kommissar Hjuler Und Frau Ich Bin Dein Neukopf !
B2 –The New Blockaders Variations Pour Une Porte Et Une Brouette
Performer – Gillham*, Rupenus*
Notes
LP in series FLUXUS +/-, limited to 79 copies, black vinyl and black labels.
|
2019 |
€25.00 |
|
| IKEDA, KEN |
Kosame |
CD |
"For the past few years, I've been approaching the idea of taking sine waves (which is eminent in techno and ambient music) into the inner side of human thought, reinterpreting the circulating harmonic overtones within the vagueness of the word "Yuragi (=fluctuation)". But under the global economy, techno or so-called ambient music were standardized to a somewhat convenient product, and there seems to be no room left for the vagueness. But again, these sounds took birth by sampling and simulating pre-existing music. At the time, there were at least some critical elements left. Around the last album, I felt the limit of using techno-ish sine waves. I decided to go on a venture listening closely and touching the sounds surrounded in personal daily life, to re-recognize "time" and "space" as a sound artist from the point where the sounds evolve and fade away. Raindrops on the window, a squeaking pillar, an opened door, stairs, boiling water in the kitchen.... There were Yuragi everywhere. I couldn't help myself being fascinated by the subtle, yet dense frequencies within the nature such as the shore, and mountain trees. It was not just by sampling this myriad of sounds, but the challenge of how distant I could get from the conventional ideas and sense of values of music, by taking it as a movement of myself as an individual.
This time again, I used the handmade wood & rubber instrument (SD404) to form an opposite relationship between "performer" and "nature" (or "captured sounds" versus "unable-to-capture sounds"). When you actually play it, you can feel the Yuragi within the instrument itself. The shades of the effects like "cutoff" and "resonance" essentially becomes closer to the beauty of nature. "Kosame" is an experiment to set the sounds free from pre-existing frames, by overlapping the randomly listed nature sounds and the improvisational elements of an individual. Yuragi arises from these two unique movements without going against each other."
[Ken Ikeda]
www.spekk.net
"The work of Ken Ikeda is always outside the norm of any classification, here revealing his most experimental work yet. Kosame is at once a physical work of beautiful noise as it is one that vacillates in its own improv juices. The compositions are jagged and oblique, but fun to listen to over time, restless as it becomes especially on Kiro | Return (帰路). The title track with its tongue-play whispers doesn’t fail at being under the radar just enough to seem ultimately ambiguous alongside jangly keys and an atonal, anxious string strumming throughout. Mikazuki | Crecent (三日月) samples the airy sounds of a balloon being blown somewhat comically and digital water trickling. But the liner notes say something about drinking champagne, so imbibe away! Kosame has several distorted futuristic sounds and on Seijaku | Stillness (静寂) this is very evident, mixed with an awkward blend of random traditional Japanese themes deeply laden. Some of this is processed, some is from prepared quena, shamisen, charango and a host of other numbered instruments. On Stillness, Ikeda (a graduate of Berklee’s College of Music) infuses the sounds of boiling water with just the right amount of jitter off the teapot’s top. His music is of science, of longing and of expecting the unexpected." [TJ Norris, Toneshift]
|
2010 |
€16.00 |
|
| ILLUSION OF SAFETY |
In Opposition to our Acceleration |
CD |
"Neue CD des Projektes von & um Dan Burke aus Chicago, eines der definitiv besten und interessanten Experimental / Post-Industrial-Projekte unserer Zeit.. Hier eher ruhig & ambient ausgerichtet, aber stets von brodelnder & spannender Atmosphäre geprägt..." [Drone Rec. info 2001]
“Illusion of Safety intrepidly charts the terra incognita where sound, silence, noise and music intersect. Using conventional instruments, sound generating devices and random objects, IOS hews sound sculptures that deliberately provoke, mesmerize and even affront listeners. 'In Opposition to our Acceleration' the latest offering from this project is a provocative 74 minute blend of ambient & improv. Using electronic synthesis, computer manipulation, musical references, manipulated instruments, amplified objects and subtle use of location recordings these primarily live pieces provide ambience as the term is truly defined - 'the distinctive atmosphere surrounding or suffusing person, place or thing'. This is the 14th full length IOS CD release beginning with 'Historical' (Staalplaat, 1991). Their work is hard to classify, often being called schizophrenic, due to the shifting nature of each composition, release & performance. This CD however contains no unwelcome surprise attacks, no abrupt shifts in character, and no abrasive passages. Gentle textures, subtle ambience & found sounds that may be described as uneasy beauty permeate these 8 unreleased live tracks (from 1996, 1997, 2001), and single studio composition 'Stillpoint' (2001), as featured on the Wiretapper 7 CD....Released in an oversize folio including 6 double sided postcards featuring the abstract, unmanipulated photography of IOS founding member Dan Burke.” [press release]
label-website: www.diestadtmusik.de |
2001 |
€13.00 |
|
| |
Mort aux vaches (II) |
CD |
"Als erste Gruppe erhalten ILLUSION OF SAFETY die Ehre, eine zweite MORT AUX VACHES zu veröffentlichen! In einer Session vom 21.Mai 1997 bewiesen sie ihr ganzes Dark Ambient Industrial –Können, mit konkreten Passagen (Glas!) und Tapeeinspielungen angereichert, immer für eine Überraschung gut! Great Cover, rot bedrucktes Schmirgelpapier." [Drone Rec. 1999]
www.staalplaat.com
|
1999 |
€15.00 |
|
| ILTA HÄMÄRÄ |
Velloa |
7inch |
"After being around for twenty-three years, Meeuw Muzak releases their forty-ninth catalogue number, so time for MM050 being something special, but surely a 7", as Meeuw Muzak releases solely in that format (well, two 10" and a 8" not withstanding, but that was a long time ago). Ilta Hämärä you ask? I asked the same thing, as the over didn't tell me much. The website only gave this sparse note: "Timo
Van Luijk and Bart De Paepe in troubled water". Van Luijk we know as a serious man within the realms of improvised music, and I never heard of De Paepe, who is, apparently also known as Father Sloow, Bart Sloow or simply Sloower, partly because he has a label called Sloow Tapes. I know quite a bit of Van Luijk’s music but this particular enterprise I had not heard before. They have a cassette and LP available and now there is this 7" with two songs. Some tormented slow (sloow?) drum machine, and
much delay and reverb on the guitar, along with some percussive bits, and together they create some highly wacky pop music. Maybe not unlike that of Jonathan Valdez reviewed elsewhere, but Ilta Hämärä don't use any vocals. There is an abundance of sound effects used, adding a sort of psychedelic flavour to the music, maybe the effect of it is a bit murky, troubled water indeed. You could wonder as if this was recorded by a mister nobody anyone would touch it to release it, which actually can be said
of various things I hear every now and then, but given the fact that Van Luijk is slowly becoming a household name, surely this will go down well. Slowed down off side rock music; I love it, but I would also said that if it was recorded by the nobodies." [FdW/Vital Weekly]
|
2018 |
€7.00 |
|
| IN THE NURSERY |
Recordings 1981-1999 |
7 x LP BOX |
7 Lp Box w. Shirt & Booklet. Black vinyl ltd. 400. In The Nursery is the Sheffield-based musical project centered around the nucleus of twin brothers Klive and Nigel Humberstone and formed in 1981 together with Anthony Bennett. The trio were originally associated with the UK's industrial music scene, releasing the six-track When Cherished Dreams Come True in June 1983. The "Witness (To A Scream)" single and Sonority EP followed before the band moved to the Sweatbox label for the fearsome Temper EP. The full-length Twins was recorded without the departed Bennett at Bradford's Flexible Response Studio. ITN’s musical history spans 30 years and has constantly expressed their desire for progress and experimentation. Their sublime, cinematic music blends electronica, classical arrangements, orchestral percussion and soundscapes evoking a timeless quality.
regular black Vinyl edition Number 100-500
LP1 Basement Tapes 1981/82
LP1A Basement 1981/82 Basement Tapes 1981/82
LP1A I'll Turn Away 1981/82 Basement Tapes 1981/82
LP1A Patter 1981/82 Basement Tapes 1981/82
LP1B Stone Souls 1981/82 Basement Tapes 1981/82
LP1B Listen 1981/82 Basement Tapes 1981/82
LP1B Dawn Song 1981/82 Basement Tapes 1981/82
LP1B Red Blue Yellow 1981/82 Basement Tapes 1981/82
Lp2 Live Melkweg 1985
LP2A Fabricata 1985 Melkweg Live
LP2A Iskra 1985 Melkweg Live
LP2A A to I 1985 Melkweg Live
LP2A And Your Eyes 1985 Melkweg Live
LP2A Workcorps (early version) 1985 Melkweg Live
LP2B Illuminata 1985 Melkweg Live
LP2B To The Faithful (Deceivers) 1985 Melkweg Live
LP2B Witness (to a scream) 1985 Melkweg Live
LP2B Deus Ex Machina 1985 Melkweg Live
Lp3: Tracks from 1986-1991
LP3A The Outsider (instrumental) TWINS (1986) 1986-1991
LP3A Breach Birth (Blockade Mix) TWINS (1986) 1986-1991
LP3A Twins (remix) TWINS (1986) 1986-1991
LP3A Blind Me (An Assault on Heaven in 4 Chapters) Stormhorse (1987) 1986-1991
LP3A Counterpart (pre drums mix) Stormhorse (1987) 1986-1991
LP3A Ostinato Koda (1988) 1986-1991
LP3B Blade (instrumental) L'esprit (1990) 1986-1991
LP3B Archaic Torso (instrumental) L'esprit (1990) 1986-1991
LP3B Cadence (unreleased) L'esprit (1990) 1986-1991
LP3B Epigraph (instrumental) Sense (1991) 1986-1991
LP3B Sense (instrumental) Sense (1991) 1986-1991
LP3B Dextral Sense (1991) 1986-1991
LP3B Memoirs 2 Sense (1991) 1986-1991
LP3B A Rebours (instrumental) Sense (1991) 1986-1991
Lp4: Tracks from 1992-1994
LP4A Desiderata (instrumental) Duality (1992) 1992-1994
LP4A Red Harvest (instrumental) Duality (1992) 1992-1994
LP4A Duality (instrumental) Duality (1992) 1992-1994
LP4A Corruption (instrumental) Duality (1992) 1992-1994
LP4A Pulse (extended demo mix) Duality (1992) 1992-1994
LP4A Mecciano (instrumental) Duality (1992) 1992-1994
LP4B Anatomy Of A Poet (instrumental) Anatomy of a Poet (1994) 1992-1994
LP4B Motive (instrumental) Anatomy of a Poet (1994) 1992-1994
LP4B Byzantium (instrumental) Anatomy of a Poet (1994) 1992-1994
LP4B The Golden Journey (instrumental) Anatomy of a Poet (1994) 1992-1994
LP4B The Seventh Seal (instrumental) Anatomy of a Poet (1994) 1992-1994
LP4B Blue Lovers (instrumental) Anatomy of a Poet (1994) 1992-1994
Lp5: Tracks from 1995-1997
LP5A Laten (unreleased) 1995 1995-1997
LP5A Grace (unreleased) 1995 1995-1997
LP5A Rescue (unreleased) 1995 1995-1997
LP5A Radiator (WIP) 1995 1995-1997
LP5A Tungsten (demo mix) 1997 1995-1997
LP5A Compliance (HTS 200 snare mix) 1996 1995-1997
LP5A Rainhall (unreleased) 1996 1995-1997
LP5B Mallarme (instrumental) 1996 1995-1997
LP5B Woman (instrumental) 1996 1995-1997
LP5B Caprice (instrumental) 1996 1995-1997
LP5B Precedent (instrumental) 1996 1995-1997
LP5B Cold Eyes 1996 1995-1997
Lp6: Tracks from 1998-1999
LP6A I Ask For Grace (instrumental) Lingua 1998 1998
LP6A El Secreto (instrumental) Lingua 1998 1998
LP6A Mute Harmony (instrumental) Lingua 1998 1998
LP6A The Living Tongue (instrumental) Lingua 1998 1998
LP6A Poema (instrumental) Lingua 1998 1998
LP6B StrR (MWMC wip) MWMC (1998) 1998
LP6B Luxuriate (MWMC wip) MWMC (1998) 1998
LP6B Arp Stuff (MWMC wip) MWMC (1998) 1998
LP6B Liberation (MWMC wip) MWMC (1998) 1998
LP6B Groundloop (divergent strings mix) Groundloop 1999
Lp7: Vinyl Tracks from 1983-85
LP7A A To I 3:33
LP7A Patter 4:32
LP7A Stone Souls 3:22
LP7A Mystery 3:56
LP7A Remain 3:10
LP7A Execution's Romance 5:22
LP7A E984 3:13
LP7B Witness (To A Scream) 4:07
LP7B Iskra 3:10
LP7B Sentient 4:05
LP7B Deus Ex Machina 5:52
LP7B Lost Prayer 4:42
LP7B And Your Eyes 6:33
|
2023 |
€145.00 |
|
| INADA, KOZO |
d [ ] |
maxi-CD |
Back in stock last copies!!
"Die “material series” von Staalplaat geht in die achte Runde mit den fliessend-digitalen Klängen des Japaners KOZO INADA, der langsam immer bekannter wird.. zurecht ! 32 Minuten Spielzeit. New 4-track maxi-CD by INADA, 8th in the “material series”, again with great etched design (yellow hallucinogenetic plastic inside the jewel-case). Pure digital soundwaves, real digital ambient, between softness and lush white noise." [Drone Records - old info]
“Kozo Inada describes his music in terms of "perfect flow". Using computer tools to create this sound, he's able to make quiet space audible and to polish it into clear, perfect beauty.” [from the press-release]
|
2001 |
€10.00 |
|
| |
j[ ] |
CD |
"CD - 5 tracks - 45:30 min. 4 panels cardboard in plastic bag
Cat. number : sns-03 - Release date : feb. 07 2007.
Edition : 700 copies.
Kozo Inada is a japanese sound artist who has previously released records on various labels around the world (Staalplaat, Selektion,
Digital Narcis, V2). His last record published is a collaborative work with Philip Samartzis on the australian label Room40. His music is a balance between austere minimalism and immense spaces in sound that creates a very strong tension and keeps the listener captivated from the beginning to the end. For J[], he uses samples and loops of classical music as sound materials for Max/Msp treatments. The result is a densely layered and strong sound work, with slow rises and falls, hypnotic loops and some ruptures that give texture to silence. A sonic journey into aerial and hypnotic universes sometimes also visited by P. Niblock or Hafler trio." [label press release]
"My sympathy and love for the work of Kozo Inada didn't came straight away. His first few releases on Staalplaat were alright, but I didn't think brilliant. Coins dropped at a concert I saw by him in Barcelona. It contained the same sounds, but played at this immense volume, the listener gets sucked in it, and when the sound is gone, very fine particles remain and tease the listener further, until the next wave comes. Coming back I listened to his music with totally different ears. For reasons I don't know (it seems his private website needs updating) we don't hear much of him in the recent years, which is a great pity. 'J[]' is a new (?) work, or at least just released (on a totally different I'd like to add that Sonoris just also re-released David Maranha's 'Piano Suspenso', which we reviewed in Vital Weekly 175, so read that please). Moving away from the field recordings which Inada used in his previous releases, for this release he concentrates solely on classical music samples and loops. At first that sounded a bit cheap to me, clearly since they are not too difficult to recognize. Inada produces perfect loops that don't skip or anything, but make a sustaining wave of sound. In each of the five pieces things move slowly but steadily and Inada continues his working methods: from soft to loud, although it seems to me this time on a less radical level than before. It's again quite a powerful work, and opening up new worlds to explore for Inada. It would be great to see more of his work being available." [FdW / Vital Weekly]
www.sonoris.org
|
2007 |
€10.00 |
|
| INADE |
Audio Mythology One |
CD |
"There’s more to the history of the incomparable Dark Ambient Sound Sculptors, Inade, than meets the ear. Audio Mythology One gathers unreleased material and compilation tracks, the shards and splintered remnants that litter the cosmic wasteland that is their sonic home. These are essential pieces of the vast network of sound manipulation that fills the blackened soul of night, the heart of primal urgency, haunting and dramatic, abounding with the ethereal mist of unease and dense ruminations that breathe and exhale awe with every resonant pulse. Masterful audio musings.
A.M. ONE is an introduction to the archive of INADE´s sound work. The first part of this series is focusing on unreleased and now finalised material from the recording period of „The Incarnation Of The Solar Architects“ album , V.A. compilation tracks and re-worked studio material of live backing tracks.
This regular and unlimited CD-edition comes in jewel case and 16-pg booklet. Mastered by Andreas Wahnmann/SECRETLAB." [label info]
www.loki-found.de
|
2012 |
€13.00 |
|
| |
The Crackling of the Anonymous (re-press) |
CD |
The second album of Inade after two tapes (Schwerttau, Burning Flesh) and Aldebaran CD (1996). Orginally reelased in 2001 as digipack CD and double LP.
With The Crackling Of The Anonymous, Inade move beyond all preconceived notions of sonic creativity.
The plethora of puzzle pieces that interconnect in the expanding universe that Inade unwaveringly explores have grown amorphous, no longer defined by distinct outlines, melding as one whole, obscure entity. The expansion comes in many levels, incorporating the vast parameters of time, dimension and reality as viable participants in Inade's aural objective: to shine a light on the enigmatic unknown and give it a vague silhouette. The dark and hallucinatory masterwork that is The Crackling Of The Anonymous, is constructed via the never heard utterances of the void, while tapping into the psyche of the impossible. A stunning release that defies all logic because it creates its own.
https://loki-found.bandcamp.com/album/the-crackling-of-the-anonymous
"INADEs zweites Studio-Album befasst sich kryptisch mit dem Aufspüren der tiefliegenden Kräfte des Unfaßbaren & Unergründlichen, den Wurzeln des Bewußtseins, die letztlich ins Unendliche führen.
Der Sound hat sich gewandelt seit „Aldebaran“, ist noch symphonischer, dichter & melancholischer geworden, geisterhafte Stimmeneinspielungen & Effekte, repetitive Vibrationen und Pulsare tauchen auf... eindrucksvoll werden archaische Erlebnis- und Gewühlsweisen heraufbeschworen...für psychognostische Erfahrungen bestens geeignet & musikalisch von atemberaubender Weite und Schönheit!
The fantastic second studio-album for the east-german dark ambient industrial band, dealing with the power of infinite existence. This is the limited vinyl-version !!" [old Drone Rec. info]
|
2024 |
€13.00 |
|
| INCAPACITANTS |
As Loud as Possible |
do-LP + 7inch |
The mid-90s were particularly abundant years for harsh noise, producing many albums which are now considered masterpieces. One of the most beloved classics from this period is "As Loud As Possible" by Incapacitants. Active since 1981, the duo of Toshiji Mikawa and Fumio Kosakai found their stride in the early 90s and set off on an unrelenting course which produced countless gems of noise. Many of these have been well preserved and documented elsewhere, compiled on "Box Is Stupid" and "Alchemy Box Is Stupid", however, "As Loud As Possible" has never been reissued since its original release on Zabriskie Point. It is now made available for the first time since 1995, with no corner cut in preparation of its reissue. The audio was transferred from the original tapes by Din-I-Ilahi, and re-mastered for digital and vinyl formats by Rashad Becker. The iconic cover photographs by Naomi Hosokawa have been scanned from the original negatives and enlarged for the expanded format, along with outtakes and unused shots, which are now included here for the first time. T. Mikawa also dug into the Incapacitants archives and unearthed two additional tracks of previously unreleased material, recorded around the same time as the album. These two tracks, entitled "As Loud As Possible Revisited" are included as a bonus 7" with alternate picture sleeve. Features extensive liner notes written by Sam McKinlay aka The Rita. A personal all-time favourite, it is an honour to present "As Loud As Possible" as a double LP in deluxe gatefold sleeve. Includes digital download.
https://totalblack.bandcamp.com/album/as-loud-as-possible
|
2022 |
€32.50 |
|
| INDO |
Rupa Loka |
CD |
"The Rupa Loka, one of the hidden planes of existence beyond our own is the focus for this album, a serene world populated by beings more refined and evolved than ourselves. The album is a journey through this nature kingdom and incorporates soundscapes rich in flavour and diversity. The recordings were originally produced in 2009 and rediscovered and carefully reassembled and remastered in the process. The album comes in a jewelcase with a 12-page booklet depicting the realm of the Rupa Loka." [label info]
http://gterma.blogspot.se
"Indo‘s ‘Rupa Loka’ brings us back in 2011, actually it was recorded in 2009 so I guess this makes the record already pretty ancient in the context of our current times, when daily you are given access to countless records, either old or new. However, in your daily routine I hardly advise you to find your way to the first ever record, that the Swedish ambient label gterma has ever released. At first the record is striking you with its picturesque artwork, especially the amazing photographs in the inlay (which has actually already became signature for all gterma production). The whole art direction and the general concept of the record leaves a strong feeling for an Eastern cultural influence, but still this artistic decision is not over-imposed on the listener by any means.
What we have here is one very powerful and beautiful ambient record. Rupa Loka is soaked with meditative, slow and immense drones which are additionally embraced by fragile and delicate soundscapes. However, what makes this record truly special are the field recordings. The Hungarian musician Andras Kiss, who’s actually the person behind the ambient act Indo (as this is quite an overused monicker in music of all genres) didn’t capture anything you haven’t heard. His sounds are natural, familiar, not probably but certainly surrounding all of us in our daily lives, but he incorporated them with such a skill, that would surely make you a bit envious if you’re also producing music yourself. What is more important it will surely make you consider how much life, emotion and potential there is in the sound and ambiance of our everyday surrounding, but due to our mental simplicity we’ve accepted all of this perfection and endlessness for granted.
Rupa Loka is anything but a record for the simple minds, just like its Buddhist concept suggests its aim is to recreate a dimension, a form of existence inhabited by higher results of evolution. Quite a pretentious and tough aim, but so subtly approached that it leaves you smiling with satisfaction, when you realise the record really serves its purpose. This album is so alive and so organic, that at a certain point you forget that a human hand and mind initiated this impressive sound sculpture. I don’t need an artwork for this, neither track titles or a band project. I just need the CD carrying this art piece, which is interacting on way too too many levels with my personality, so by no means I can accept it as just another ambient record I got for the day. What a great start for a label! What a great artist statement!" [Angel S / Heathen Harvest]
|
2011 |
€13.00 |
|
| INDRA KARMUKA |
su'o / rana (SOLD OUT) |
7inch |
first edition
limited to 250 copies, clear vinyl,
transparent cover artwork
released November 1996
"This is the first release by this trio from amsterdam, who seem to be deeply concerned with religious themes from the indian mythology.
'Indra Karmuka' is a notion from the sanskrit-language spoken in India. The two titles are pieces of flowing and transcendental droning music, which arrive at your cognitive system to stimulate you emotionally at the highest degree. indra karmuka work with bells, synths and strange minimal sources (not possible to define exactly) and create a deep natural touch inside it. note: one member of indra karmuka already released an lp on the korm plastics ambient-series as k-s-p (ky-sync-pulse)!
"it's time for a new engramm in your brain - with indra karmuka!" [label info]
|
1996 |
€ |
|
| INFANT CYCLE |
Old Plus Four |
CD-R |
Sehr experimentelle Dance-Elektronik aus Kanada, enthalten sind hier re-mixes von tracks von alten Cassetten-Veröffentlichungen (Dancemix, 1996, Tulpa, 1997) und 4 neue tracks. Einiges ist mit tausend Effekten versehene, durchaus tanzbare, aber kantige Beatmusik, andere Stücke sind bis zur Auflösung in reine Sounds zerstückelt oder bewegen sich in dark-ambient-Sphären.... Eine Gratwanderung zwischen Experimental Dance und reinen elektronischen Geräuschen, sehr zu empfehlen!
www.eetapes.be |
0000 |
€8.00 |
|
|
The Sand Rays |
CD |
"Diophantine Discs is pleased to announce the release of a new CD...
The Infant Cycle - The Sand Rays. We're happy to introduce the new full-length record from The Infant Cycle. The Sand Rays is to be played from the outside to the center, from whichever edge you choose. The Sand Rays is pinball rhythm reverberations from sliced vinyl record playout grooves, gravelly surface vibrations. The Sand Rays is exploiting broken cords, near-empty batteries, half-broken equipment. We loved it and think you will too. Just be prepared to be a bit more confused when it is all over, but don't worry: you'll be too busy wiping that silly grin off your face because you had such a fun time. The Infant Cycle, active since 1992, is the brainchild of Jim DeJong. He has released material on such labels as Drone, EE Tapes, Hands, Moloko+, Afe, Zhelezobeton, Blade, Abgurd, and his own The Ceiling. Additionally he is a former member of Mind Skelp-cher and (as The Infant Cycle) has collaborated with numerous artists including Aidan Baker, Orphx, and Dronaement.
Housed in a custom printed color wallet. Edition of 500 copies." [label info]
http://discs.diophantine.net
"This label has released both on CD and vinyl. Perhaps its therefore a bit of an odd choice to release the new Infant Cycle on CD. Not because of the nature of the music, but due to the material which was used to create this music: like before Jim DeJong, the man behind The Infant Cycle, uses vinyl to create his music. Ah. You think vinyl and you think Yoshihide, Marclay or Spooky? Wrong. The Infant Cycle has nothing to do with turntablism like that. More along the lines of Vertonen, The Infant Cycle uses run out grooves which are taped and then fed through a line of analogue sound effects or perhaps synthesizers and then further treated, enhanced and altered on the computer. Actually I made that last bit up, as I think there are no computers used by The Infant Cycle. Its more likely that everything exists in the world of analogue sounds, with cheap low resolution sampling keyboards, four track recording machines and more analogue sound effects. The music is raw and densely layered with lots of icing on the cake, but this is not a work of endless spinning noise loops. Jim DeJong knows how to create music that is both noise based and yet still something to hear. Although throughout quite present, he is not shy to take matters into a more quieter area, and presents us a highly listenable release of music that is, for me at least, the logical step in what some call industrial music. Powerful, intense, rich of ideas and excellently executed." [FdW / Vital Weekly]
|
2009 |
€12.00 |
|
| |
Drop-Out Center |
CD |
" 'Drop-out Center' is the anniversary album of The Infant Cycle project celebrating 20 years of the personal creative journey of the Canadian musician Jim DeJong which began in November 1992 after leaving the band Mind Skelp-cher. During this time Jim has recorded and released a massive amount of material both on his own label The Ceiling and on other respectable underground labels such as EE Tapes, Drone Records, Afe Records, etc. and this is his second full-length album on CD after "The Sand Rays" (Diophantine Discs, 2009).
The album includes nine abstract compositions recorded with Jim's trademark approach. Using such sound sources as shortwave radio, vinyl surface, videotape, bird cage and also more "normal" instruments (bass guitar, electric mandolin, Korg Poly-800 synthesizer) he creates slowly drifting multilayered textures with sometimes unexpected stops and narration twists. Sharp crispy foreground sound is set off by gentle background waves of resonating feedbacks forming intelligent electroacoustic glitch / drone with scratchy tangibility, meditativeness and even a sort of romanticism. This is music that evokes imagination and easily paints images in the listener's mind... 'Turn on!' " [label info]
http://zhb.radionoise.ru
"Jim DeJong from Canada celebrates twenty years of activities as The Infant Cycle, during which he released a whole bunch of CDRs, net releases, a bit of vinyl and one 'real' CD on Diohantine Discs (see Vital Weekly 695), and now his second on Russia's Zhelezobeton, a home which sheltered also some previous releases by DeJong. All the pieces here are from April 2011 and further explore the sound world we know from DeJong over the past years. The cover explains the nature of sound sources, which makes a great read. On one side we have 'vinyl playout groove', 'video record', bird cage and shortwave, while on the other hand we have an electric guitar, electric mandolin, bass, poly 800 but also field recordings. Plenty to choose from, and he does put his options to good use. The varied options for sound creation lead to a varied sound, but with one constant factor: atmospherics play an important role in all of these pieces. He layers a whole bunch of sounds together and then carefully mixes these. But it not necessarily leads to mere drone music. In 'Shiny Venus Part 2' for instance he loops the strumming of a bass-guitar a few times and then other sounds (mandolin, bird cage, field recordings) drop in and out of the mix. When he uses the 'playout' grooves (which are those grooves at the end of a piece of vinyl), it becomes more rhythmical obviously but spiced up with electronics and sometimes remain short, these pieces act more like interludes, except for 'Pipe', which is considerable longer. These moody tunes are indeed much more than just drone pieces. It's the sheer variation, the exploration of sounds to create these atmospheric tunes that make this perhaps the most mature record I heard from The Infant Cycle so far. Excellent stuff indeed." [FdW/Vital Weekly]
|
2012 |
€12.00 |
|
| INFANT CYCLE / JARED DAVISON |
Periodical I |
mCD-R |
Schöne kanadische EP mit zwei Stücken, INFANT CYCLE mit einem quasi-rhythmischen, elektronisch-sirrenden & sich windenden Soundknäuel, der uns unbekannte JARED DAVISON kreiert einen dunkel-loopig-mechanischen Soundscape aus „Oberflächenklängen“ von Vinylschallplatten, eine Art düsterer PHILIP JECK? Super !
“The most recent project embarked upon by The Ceiling is a series of split mini-CDRs (originally intended as a series of a 7"s, which remains in the artwork), between The Infant Cycle and other artists in the southern Ontario region of Canada, working mainly in the arena of CDRs, MP3s, and less in larger-circulation formats. The series intends to bring together artists working outside existing genres and subgenres, working in areas of their own. The intent is to unify the series with a sense of adventure and challenge, and not necessarily a stylistic consistency. The series is also intended to function somewhat as a sort of newspaper, a snapshot of where each project is at the time of issue. The series can be viewed as sidebar releases by the artists- perhaps a progress report.
THE INFANT CYCLE has been in operation since 1992, producing numerous CDRs, CDs, vinyl, cassette and MP3 releases, alongside many compilation appearances for labels all over the planet. The Infant Cycle creates eccentric sound-worlds from disparate strands of instrumental phrases, field recordings, and everything in between; composition mixing with improvisation, influenced by happy accidents and technical failures. The piece contained is a mixing of previously recorded tracks, rethinking the past and foreshadowing future releases.
JARED DAVISON has followed an uncompromising path from his time as founder and mainstay of the many incarnations of Mind Skelp-cher, through various short-term projects, to his current work under his own name. While quiet for the past few year, he is re-emerging with material focused narrowly on particular sounds isolated from their sources, and projected into unpredictable shapes and atmospheres. "Phonography" is an uneasy and sometimes violent soundscape based entirely on the crackle and hum hiding amidst the grooves of your favourite vintage vinyl.All releases in the Periodical series are "budget" priced releases of 80 copies only.” [label info]
|
2005 |
€6.00 |
|
| INGENTING KOLLEKTIVA |
Fragments of Night |
LP |
"ingenting kollektiva members : diane granahan, kirston lightowler, tarrl lightowler, matthew swiezynski. edited and constructed by : diane granahan & matthew swiezynski (side a), kirston lightowler & tarrl lightowler, (side b). recorded in the drei gewsser barn, rain storm recording 25.12.2009 & drei gewsser studios 27.12.2009 & oiseaux invisibles studios, california 2011. instruments : bells, bowed tibetan prayer bowl, cello, field recordings, guitars, harmonium, loops, nightingale devise, portable 78 player (ravel's gaspard de la nuit, walter gieseking), psaltery, tenor sax, shakuhachi flute (watazumido-shuso). mastered by taylor deupree. the ingenting kollektiva is an homage to ingmar bergman and sven nykvist. fragments of night refers back 40 years to numerous recordings gathered around 25.12.2009 at drei wasser." [label info/credits]
" 'ingenting' translates from swedish as 'nothing', and this american collective draw inspiration from the cinematic master of nihilism, ingmar bergman, on their beautiful debut fragments of night. the two sprawling tracks dislocate the source material of guitar, bowls, psaltery, saxophone and field recordings through an organic crosshatching of delay and loop techniques. sombre melodies and sodden textures emerge out of their droning psychedelic improvisations as a sensible take on variation and repetition, coming to a comparatively violent climax at the end of side B with an abrasive arpeggio of tremolo-clipping violin scrapes. even with this crashing conclusion, the 'nothingness' which speaks
through the recordings is not an existential hammer declaring the death of god, but RATHER SUBLTE AND POIGNANT EXPOSITION ON LONELINESS." [Jim Haynes, THE WIRE]
"I don't think I heard about Ingenting Kollektiva, which members include Diane Granahan, Kirston Lightowler, Tarrl Lightowler and Matthew Swiezynski. Diane and Matthew play on side A and Kirston and Tarrl on side B. "The kollektiva seeks to issue recordings that are meditations on the quality of light, sound and atmosphere created by Ingmar Bergman and Sven Nykvist". You could expect them to release DVDs which are promised for the future. Here on LP, they play a variety of instruments, like bells, bowed tibetan prayer bowl, cello, field recordings, guitars, harmonium, loops, nightingale devise, portable 78 record player, psaltery, tenor sax and shakuhachi. I am not entirely sure if I would have been able to pick out all of these instruments on the two lenghty cuts on either side of the record. What it doesn't mention is - perhaps - the amount of processing that takes place on this record. Everything seems melted and molted around some sort of treatment, acoustically (more on side b
than on side a it seems) and electronically (vice versa obviously). Obviously we are dealing here with highly atmospheric music, which fits the Mirror tradition quite nice. Atmospheric music but with a sharper edge, and a great sense of experimentalism. From the description one could think this more like wishy-washy new age type of music, but the darker textures of this record work quite nice. Maybe indeed a great soundtrack to a Bergman movie, overlooking some lakes in Sweden and lots of silence among the actors. Haunting and haunted indeed. I wonder what their own films be like. Very nice." [FdW/Vital Weekly]
|
2012 |
€17.50 |
|
| INNERISE |
Western Sky Music |
CD-R |
"Tarl Broad-Ashman has been using the name Innerise for his music since 1998. The music ranges from beatless ambient to vocal-led electronica, with two vocalists, Annie Rolph and Katherine Cobley, appearing on Innerise recordings to date. Having previously remixed fellow Make Mine Music artists Portal, Schengen and Yellow6, Innerise released their debut album “Western Sky Music” on Make Mine Music in 2007." [label info]
www.makeminemusic.co.uk
|
2007 |
€8.00 |
|
| INOX KAPELL |
Werkschoh |
do-LP |
"Die Werkschoh = eine INOX KAPELL Werkschau zum Thema Insekten, da der Herr Kapell ja hauptberuflich mit den Insekten zu tun hat.
Die besingt er und dazu kleine Geschichten von Kindern, das Ganze kommt als Doppel-LP wie eine Art Revue/Hoerspiel zum Thema 6-Beiner von
1982 bis 2011. Dabei poppiges, krachiges, neue Welle, artiges, dada/fluxen/punken und Chansons..." [label info]
www.inoxkapell.de
www.kernkrach.de
|
2012 |
€23.00 |
|
| INSTINCT PRIMAL |
Dizzling Darkness |
CD |
"Debut solo album by Czech photographer and sound sculpturer Jan Kruml. Cold ambient, industrial structures and weird field recordings.
Limited to 300, packaged in an A5 heavy cardboard folder, silkscreened by Smeraldina-Rima." [label info]
www.silkentofu.org
|
2015 |
€12.00 |
|
| INTERNAL FUSION |
Tribute to Hastia |
CD |
Die allererste "fabrikgepresste" CD aus dem Hause Taalem markiert neben der limitierten CDR die "Rückkehr" von diesem beliebten französischen Ethno-Elektronik Projekt, jetzt stärker dark ambientig und dronig ausgeprägt...
"we are very proud to present our very first
CD, the latest disc from INTERNAL FUSION.
active for almost twenty years, I.F. has only released a handful of productions: first two tapes on désaccord majeur's label, then "om vaira satta hum" a CD on staalplaat in 1996 marketed by the label as "a mix between lustmord, rapoon and muslimgauze". it was followed by a collaborative work with désaccord majeur (the tlon üqbar "la bola perdida" CD on staalplaat in 1999). a second CD was ready to be issued but for various reasons, it wasn't. it was eventually released later in two parts, first as a 3"cdr on taâlem in 2002 and a cdr (with two additional tracks) on Kokeshidisk in 2005. after some years of silence, INTERNAL FUSION came back to life in 2008. "tribute to hastia" shows his evolution: gone are the ethnic/tribal influences and the comparisons with rapoon/muslimgauze, the latest compositions are still evolutive & captivating, yet darker & more minimal, perfect mix between minimal dark ambient & experimental... his strongest work ever!" [label info]
www.taalem.com/lucioleditions
|
2009 |
€12.00 |
|
| IONE / PAULINE OLIVEROS |
Io and her and the trouble with him. A Dance-Opera in Primeval Time |
DVD |
"Written and directed by Ione
Music and sound design by Pauline Oliveros
A collaborative venture among artists of all types, this “dance-opera” is a multimedia panorama of experimental theatre and technical virtuosity that includes aerial ballet, masks, video projection, a sinister thousand-eyed monster, and a highly imaginative electronic soundscape.
The one-act story, set in primeval time, retells the myth of Io from a matriarchal perspective. Io, Argivian priestess, is transformed by a terrible spell and roams the world, lovely but tormented. While enduring entrapment by Argus, the terrible monster, she is befriended by the brilliant Bird who helps her discover the key to her escape. Only upon her arrival in Khemt (Ancient Egypt) does she begin to understand the true mystery of what her journey has been about and its meaning for the future of the world." [label info]
www.deeplistening.org
|
2009 |
€16.00 |
|
| IONOSPHERE |
Nightscape |
CD |
"Eight years since the last release in 2007, Ionosphere has now returned with its third full length album. It follows the path of previous works focusing on deep, shivering, cosmic sound waves and moves further with the inclusion of an emotional core. Expansive drones, drifting melodic soundscapes, ominous sonic undertones and vocal transmissions intersect with densely concentrated rhythmic pulsations that emphasize the sculptural nature and deep atmospheric scope of the 11 tracks.’Nightscape’ is a soundtrack that transports the listener on an epic journey far away into spaces and environments where lights and noises move and circulate slowly while the night embraces everything.
Comes in elegant 6-panel digi-sleeve." [label info]
www.loki-found.de
"Schon in meiner Besprechung zu Sawakos „Nu.it“-Album schrieb ich, dass es wenig Musikarten gibt, die das Phänomen der Nacht so unmittelbar und quasi impressionistisch einzufangen wissen wie Ambient. Während die Japanerin die Nacht als ein verspieltes Abenteuerreich darstellte, in dem sich wohlige und unheimliche Stimmungen gegenüberstehen, bis alles wie in einem Film zum beruhigenden Finale kommt, erscheint die Nacht in „Nightscape“, dem dritten Longplayer des deutschen Projektes Ionosphere, wie ein unendlicher Raum, der nicht nur den Schlafenden scheinbar für immer in seine Dunkelheit zieht. „Watch the world fall into the endless night“ lautet das aus den Titeln des eröffnenden und des abschließenden Tracks zusammengesetzte Motto des Albums. Doch auch hier ist die Nacht kein Gleichmacher, der alles in einem monochronen Schwarz zu ersticken droht.
Ionosphere versteht es, sein Paket an Klängen in dichte, ausladende Dronehüllen von soghafter Schwere zu packen, die über weite Strecken eine molllastige Wärme aufweisen. Mal körnig, mal vibrierend, mal so glatt wie eine Skulptur und dann wieder so kantig wie das Gebirgsmassiv auf dem Cover ist die Beschaffenheit dieses Rahmens so wechselvoll, dass die epische Reise schon deshalb episodisch anmuten muss. Noch interessanter ist allerdings das, was sich unter dieser Hülle abspielt. Das können kleine, wie im Zeitraffer vorbeischnellende Klangschnipsel sein, die in „Vast Winds from Beyond“ gegen den Strom der Dröhnung anschwimmen, oder auch die kleinen Leerstellen und Hohlräume im ganz bezeichnend „The Silence Underneath“ betitelten Stück. Oft geht es jedoch merklich konkreter zu, und es ist eine der reizvollen Paradoxien des Albums, dass man über gerade diese konkreteren Sounds letztlich doch nur mutmaßen kann – ist es das Stöhnen eines Liebespaares, das in „Watch the World“ von der Nacht verschluckt wird, was sagt die grummelige Männerstimme in „Polarized Light“, woher kommt wohl das hintergründige Pfeifen in „Radio Altitude“, bevor es von einem bedrohlichen Pochen übertönt und endgültig im analogen Klangstrudel verschuckt wird? All dies und weitere Dinge verdanken ihre Faszination der Vagheit, mit der sie nur schemenhaft durchs Klangbild huschen oder wie von sehr weitem, aus der Ionosphäre, betrachtet anmuten.
„Nightscape“ ist seinem Thema entsprechend ein düsteres Album geworden, doch es wäre falsch, es darauf und auf die Wucht der hereinbrechenden Düsternis zu reduzieren. Mit gestalterischem Feingefühl ist hier ein v.a. eine Hommage an die ins Dunkel gehüllte Vielgestalltigkeit einer verwandelten und verzauberten Welt gelungen." [Uwe Schneider / African Paper]
africanpaper.com/2015/06/20/ionosphere-nightscape/#more-10344
|
2015 |
€13.00 |
|
| IRISARRI, RAFAEL ANTON |
Sirimiri |
MC |
"The NY-based producer returns to Umor Rex with a new album, in which the musical discourse and the physical form of the release have an equal, crucial importance. Sirimiri is made of four long and mid-length pieces, each composed of different perspectives, processes and identities. However, Rafael seeks to blend subjective time with the listening experience. A sort of loop and repetition, sub-sequence-based sound. Following Eno, nothing happens in the same way twice, perception is constantly shifting, nothing stays in one place for long. The sum of the four pieces is 36 minutes; the cassette edition lasts 72 minutes in total, since both sides have the same four songs joined together. Physically, the format allows us at least two automatic repetitions. In the digital version the songs are independent, but we also include a bonus track made of the 36-minute loop. The desolation and despair (in a sort of positive way) that we got to hear in The Shameless Years (Umor Rex 2017) is present in Sirimiri, but the impression is concrete, with cruder, less rhetorical landscapes. If The Shameless Years was located between beauty and active tragedy, Sirimiri travels inside the beauty and melancholy of an observing eye, a quiet rebel insurrection. Another substantial difference is the distance from general and globalized concepts; in these unfortunate times, Sirimiri looks for personal sorrows, and places its focus on the particular. Even the names of the songs evoke this in small ways, like in "Sonder", the feeling of realizing that everyone, even a complete stranger, has a life as complex as one's own. Rafael has two guests in this album; Taylor Jordan in "Mountain Strem", and Rafael's hero Carl Hultgren (from Windy & Carl) in "Sonder". Sirimiri means 'drizzle' in Basque, and we cannot find a better word to describe its content." [label info]
umorrex.bandcamp.com/album/sirimiri
"Even though the sound expanses traversed by ambient music often evoke feelings of horizontality, layered planeness and volatile textures tranquilly billowing out, it is also true that the greater representatives of the genre and its sub-branches – like mountaineers – mostly seek for sky-scraping verticality. Ranking high in the pantheon of atmosphere architects, Rafael Anton Irisarri certainly has nothing left to prove. Since his beginnings over ten years ago, his output has gained a density that very few can boast having reached, establishing a sound that has the power to haunt your nights and the crucial energy to bring your most buried existential dreams out of mothballs.
Shrouded in melancholic vapours and forlorn harmonics, Irisarri’s new album for Umor Rex presents four majestic extended cuts as so many viewpoints on an untouched phantasmal valley. Drawing its name from the Basque word for ‘drizzle‘ – which makes absolute sense given the fine-grained, caressingly fresh nature of its sound design, ‘Sirimiri‘ offers sensations in their purest essence, primitively symbolic yet actively contemplative. Where his previous full-length ‘The Shameless Years‘ had more of a demiurgic dramatic tension going through it, which gave it a further “composed” approach, ‘Sirimiri‘ feels less refined and more abruptly sculptural.
The opening track, ‘Downfall‘, kicks things off on a particularly bleak and austere note, submerging its listener in a sort of faded high-altitude euphoria. Minimal drones cloud the skyline as Irisarri deftly orchestrates his wonderful ballet of understated modulations and darkened timbres. Smoothly fading in, the album’s highlight ‘Sonder‘ expands the radius to further high-level elegiac spheres, astoundingly poignant and overwhelming, each bar weightlessly elevating upon fantasized mountain scapes, rife with craggy peaks and steep hogbacks, as it fully absorbs you in its restful tide of slow-scudding pads and guitar riffs.
To label Irisarri’s music mourning or pining would equate to ignore the boundary-pushing fortitude of his art. The soothing ‘Vasastan‘ and ‘Mountain Stream‘ leave behind the weatherbeaten force of the previous numbers, instead flourishing in the quieter, ethereal heights of the spectrum. Here again, Irisarri demonstrates his unmatched capability at crafting constantly changing organic soundscapes, juggling with overly complex textural interplays but making it all look so easy and seamless. Showing off a crucial, frontal, universal quality that’s nothing easy to achieve, Irisarri bewitches and transports, confirming once and for all he’s one of the most singular and vibrant voices in contemporary music, and ‘Sirimiri‘ one of his most accomplished records to date." [Baptiste Girou / Inverted Audio]
|
2018 |
€15.00 |
|
| |
Agitas Al Sol |
LP |
Rafael Anton Irisarri's works from Room40 have always dwelled in a place of pressure. His low frequency excursions have charted out a unique voyage into a territory in which texture and density are equally matched to create a visceral, but ultimately comforting zone of entanglement. At the same time as completing his Solastalgia edition (RM 4105LP), Irisarri recorded Agitas Al Sol. Like its sibling work, this album is an enveloping sonic drift that traces across the unsteady topographies of the Anthropocene. It moves in deep exhales, drawing from within and pressing outward into a sound vista that is effortlessly deep.
From Rafael Anton Irisarri: "It's sometimes hard to go back and speak to work that was made in the past. Things change, but they also stay the same in some ways. I feel this strongly coming back to these pieces. Agitas Al So was a companion suite of materials that was composed alongside my album Solastalgia. For those with a keen eye for wordplay, they might notice each title is an anagram of the other. In some respects, this is actually a very fitting sonic analogy too for the pieces from the two records. They mirror each other in various ways, harmonically in the very least, but they also share the same deep sense of pressure that forged them so acutely. To come back to these pieces, I was struck by how much they expand on the ideas contained in Solastalgia. Where as Solastalgia might have been me breathing in, this set of pieces is a deep, deep exhale. Remember to breath."
Rafael Anton Irisarri is a composer, record producer, and mastering engineer living in New York. Irisarri's compositions field an array of modern ambient overtones threaded through oceanic symphonies with tape loops, bowed electric guitar and vast washes of overdriven sound. His most recent album for dais records, peripeteia, portray these common themes giving way to metal and classical influences that emphasizes Irisarri's melancholic tendencies. These unique overtures, coupled with his signature layering of distortion and bleached-out textures, fabricate an audible environment that would seemingly be at odds with, yet gracefully complement each other.
https://room40.bandcamp.com/album/agitas-al-sol
|
2022 |
€27.50 |
|
| IROHA & FRAGMENT |
Bittersweet |
LP |
"Out now! LP comes in thick glossy gatefold covers with special 3D effect. 150 on 180g heavyweight brown vinyl with black haze and 350 on 180g black vinyl. CD comes with thick cardboard covers.
An original member of seminal Birmingham experimentalists Final (alongside Justin Broadrick (Godflesh, Jesu) and Nic Bullen (Napalm Death, Scorn), Andy Swan's new project, IROHA, mixes layers of textured guitar and basslines with heartbreaking melodies and brutally slow beats to produce songs of melancholic beauty. For their first release IROHA team up with the very talented drone/ shoegaze/ ambient artist FRAGMENT from france to create a stunning 6 song sound collaboration. The songwriting is excellent. melody and melancholy start to emerge from behind the concrete foundations and work their way to a very emotional climax. 6 songs (2 from iroha, 2 from fragment, one collaboration track and one remix) in 45 minutes with perfectly fitting beautiful vocals and a dignified feeling for good melodies. Enjoy!" [label info]
www.denovali.com
|
2010 |
€17.50 |
|
| IRR.APP. (ext.) |
Kreiselwelle |
CD |
"Das ist nun - nach Ozeanische Gefühle und Cosmic Superimposition - der abschließende Teil von M. S. Waldrons Trilogie über den Freudo-Marxisten, Faschismusund Orgontheoretiker und Parawissenschaftler Wilhelm Reich (1897-1957). Reich war der Auffassung, dass der von ihm postulierte ‚Orgonenergie-Ozean‘ 'Lebensenergie‘ in Form von ‚Kreiselwellen‘ ausstrahlt, die sich visuell, thermisch, elektroskopisch und mit Hilfe des Geiger-Müller-Zählers nachweisen lassen. Waldron spielt entsprechend mit ‚Spiral-Klängen‘, Spiralfedern, dem Geräusch anbrandender, ‚lappender‘ Wellen, Luftwirbeln, aufziehbarem
Spielzeug etc. Rasselnde, pulsierende, blubbrig unkende, wie Whirlies sirrende und automatisch klappernde Geräusche mischen sich mit
elementaren zu einem unruhigen Gedröhn. Die an- und abflauenden Erregungszustände sind Teil eines Kontinuums von gut einer Dreiviertelstunde. Schritte zu Beginn und zwischendurch vage Stimmfetzen im Hintergrund deuten an, dass der Mensch in diesem Energiefluss, diesem Kontinuum von Wirbeln mitschwingt." [Bad Alchemy]
" irr. app. (ext.) is the sound-engineering project of Californian M.S. Waldron, whose liminal slippages and detourned croons have been spotted recently on stage in Nurse With Wound. Yet for all of the antics that are required for the NWW spectacle, Mr. Waldron still dedicates himself in the parallel pursuits of irr. app. (ext.) with a discography that reads more like a wunderkammer of uncanny investigations into futility declared as its reverse.
Kreiselwelle is the third and final installment to a body of works that irr. app. (ext.) has composed under the influence of Wilhelm Reich, the unorthodox 20th Century psychologist who proposed amongst many hypotheses, an interconnectivity between energy, organisms, and the entire cosmos. The title to this album translates as ‘spiral wave,’ a structuralist form which Reich had observed throughout nature within numerous systems, whether that be the grand arcs of galaxies down to the radial symmetries of micro-organisms. For Kreiselwelle, Mr. Waldron returns to the same collection of field recordings which began this trilogy that includes Ozeanische Gefühle and Cosmic Superimposition; however, he restricted himself to those sounds with spiralling origins: resonating springs, the sounds of the ocean cyclically churning over pebbles on the beach, the wafting of air around various objects, or simply a lamp-shade spinning in place.
The resulting recording develops as an organic sublimation of one sound transforming from one state into another and then another. Motorized sounds of mechanical toys set askew settle into a tremolo phase pattern of electrical vibrations. These in turn morph into a cauldron of slow locomotive rumbling, which beget one of many glassine drones that float throughout Kreiselwelle. Many of the sounds seem to have origins in objects that are broken, obsolete, or just plain wrong; but through Waldron’s deft alchemy, these sounds are allowed to flourish in this richly dark and oddly serene amalgamation." [label info]
"...[as] for the ultra-fantastic soundwork of Irr. App. (Ext.), this Californian composer has been baffling and perplexing the ears of international listeners for not a few years now, and his new Kreiselwelle, a single 45-minute work of strange process music, is a slow voyage into the unknown. Within minutes, we're taken far beyond the relatively familiar world of "dark ambient" and enter a murky field of immersive and twisted shapes, where possible danger lurks at every corner. Conceptually rooted in an interpretation of the works of Wilhelm Reich, Kreiselwelle is the third part of a trilogy and connect with the "spiral waves" of the title, derived all of its sounds from things shaped like spirals (such as metal springs, or the circular movement of the ocean). In like manner, M. S. Waldron's composition will probably suck you into a whirlpool of doubt and ambiguity."
[Ed Pinsent / The Sound Projector]
www.helenscarsdale.com
"Kreiselwelle is the conclusion to a superb trilogy from irr. app. (ext.) who used the words, philosophies, and eccentricities of Wilhelm Reich as the springboard into a realm of post-Surrealist, post-industrialist, post-drone arena of sound design. While a prominent European psychoanalyst, whose ideas could be seen as an occasional counterpoint to those of Freud, Reich may be best known for his parascientific research into Orgone energy, which he claimed was central and unifying force of life throughout the universe. Much of this latter research has been discredited and unfortunately shed a cloud of incredulity upon his psychoanalytic work. While Reich's claims of cloud-busting and orgone therapy offer particularly strong metaphors, M.S. Waldron - the principle architect to irr. app. (ext.) - has looked more to the psychological aspects of Reich's work. Kreiselwelle translates from the German as spiral wave or gyroscopic wave, and points to the similarities which Reich had noted in the structures of microscopic organisms, turbulent wave patterns, and spiral-arm galaxies.
Through this trilogy (which also includes Ozeanische Gefuhle and Cosmic Superimposition), Waldron mirrors Reich's early cosmology through a compositional fluidity that alludes to contemporary drone fascination, constructed through overlapping collages, occluded field recordings, sustained tones from atypical instruments, and crosshatched synthetic noises. All three of these albums were sourced from the same set of field recordings, but each detours into its own particular wandering. Kreiselwelle begins with a very slow hypnotic strum across a detuned guitar with liquid tactility and a warped distance buzz filling in the gaps. Grand sweeps of slashing drones that could originate from an echoing chainsaw deep in the woods forms an unlikely crescendo with sympathetic tones, only to collapse into the softened white noise of cars passing by. Soon after, a rhythmic tapping of agitated electronics forms a motorik rhythm against the tapestry of audio fluidity, with all of the electro-shock bursts of a tesla coil. This in turn morphs into a cauldron of slow locomotive rumbling, which beget one of many glassine drones that float throughout Kreiselwelle. For fans of any of work of Nurse With Wound (after all Mr. Waldron is in the NWW touring ensemble!), H.N.A.S., and the more esoteric recordings of Organum; and certainly of note for those of you taken by Dead Letters Spell Out Dead Words, Xela, Svarte Greiner, Expo '70, Emeralds, or any of the darker, weirder, more fucked-up drone ensembles of recent days. Very highly recommended!" [Aquarius Rec.] |
2009 |
€13.00 |
|
| |
Ozeanische Gefühle |
CD |
Damn, this is SO GOOD! IRR.APP (ext.) zeigt hier, dass er nicht nur strangeste eher elektro-akustische Soundscapes zusammenschustern kann, sondern auch sehr fliessende, aber leicht “gefährliche” und surrealistische dronescapes, die pulsieren, mäandern, rotieren und einfach LEBEN. In der Tat scheint hier alles in Grenzenlosigkeit zu zerfliessen...... High TIP for Drone-Heads !
“irr. app. (ext) is the work of California-based sound artist Matt Waldron, whose collected body of work is far too important to continue to be forgotten. During the past decade, only two full albums -- Dust Pincher Appliances (2003 on Crouton) and An Uncertain Animal, Ruptured; Tissue Expanding in Conversation (1997 on Fire, Inc.) -- have seen the light of day despite the fact that perhaps a dozen albums have been completed. The public silence for irr. app. (ext) was never by Waldron's design, as numerous recording deals collapsed, one after the other. The story becomes all the more of conundrum as these misadventures of neglect and ignorance occurred despite Waldron's high-profile collaborations with Nurse With Wound and Stilluppsteypa. If a humble organization like the Helen Scarsdale Agency can have its say, then we speak to remove whatever curses that have haunted irr. app. (ext.) in the past and provide the world with the opportunity to revel in the spectacle and the beauty that is Matt Waldron's art. Had things gone differently, Ozeanische Gefühle would have been one of the lost irr. app. (ext.) recordings. That would have been a shame for Ozeanische Gefühle stands as an impeccable composition of post-surrealist dronescaping rivaling such masterpieces as The Hafler Trio's Kill The King, Jonathan Coleclough & Andrew Chalk's Sumac, and Nurse With Wound's Soliloquy For Lilith.
The title has origins with Freud and earlier thinkers; yet Waldron came across Ozeanische Gefühle (which translates from the German as "oceanic feelings") in his studies of Wilhelm Reich who referenced the term to describe the natural state of every healthy organism as connected to and engaged with the world around it, with its energies flowing from the center outwards. For Waldron, Reich's ideas became the starting point for a metonymic exercise seeking to discover that which is near a signifier and spiral beyond each successive discovery along a complicated aesthetic thread by way of intuition and accident.
The album tumbles through a series of sympathetic dronings, field recordings, and performative gestures, continuously traversing the emotional polarities of psychological tension and externalized jouissance. The album begins with a heavily processed flutter of sustained woodwinds accompanied by thunderous rumbles in the distance before dispersing amidst Bernhard Hermann-esque slashings of discordant strings. Later on, the grotesque pathos of a Wurlitzer organ dissolves into a blackened emptiness that envelopes the complex resonant frequencies from Waldron's slow, deliberate performance upon bowls and bells. Despite the incredible depth of his source materials, Waldron displays an uncanny intellect that reflects all of his wandering passages through the lens of a melancholic ambience. Simply put, Ozeanische Gefühle is a wonder to behold.”[ Helen Scarsdale, June 2004]
www.helenscarsdale.com
"If anyone has the ability to carry the post-Surrealist torch of Nurse With Wound, it would have to be Matt Waldron through his irr. app. (ext.) project. Like Nurse With Wound's eccentric genius Stapleton, Waldron would never qualify himself as a Surrealist, but it's a good jumping off point to describe their respective works. With Ozeanische Gefuhle, Waldron establishes irr. app. (ext.) establishes himself as one of the most gifted sound-sculptors whose work have passed through the doors of Aquarius. If you've ever picked up any drone / minimalist / ambient records or even just anything that Andee has poetically described as 'completely fucked', then you owe it yourself to pick up Ozeanische Gefuhle. This review could ramble on and on, but let's cut to the chase and state the obvious, this album is brilliant.
Strangely enough, Ozeanische Gefuhle -- as great as it is -- almost disappeared into the ether, as it was slated for release a few years back on another label who just sat on it for years, much to the chagrin of Mr. Waldron. Fortunately, the good people at the Helen Scarsdale Agency rectified the situation and made sure this album got its due recognition.
The title itself is an allusion to Wilhelm Reich, who used the term to describe the natural state of every healthy organism as connected to and engaged with the world around it. Such ideas in lesser hands would result in limp idylltronica with New Age sentimentality; but this is not the case for irr. app. (ext.), who solidly grounds this record upon a fundamental drone, which slinks its way through numerous field recordings and performative gestures. Waldron's masterpiece emerges as a tidal current of electronic sound, rumbling through blackened spaces and soaring with divine expressivity. As good if not better than anything by Nurse With Wound, Organum, :zoviet france:, Phill Niblock, and the Hafler Trio. Yeah, it's that good!" [Aquarius Rec.] |
2004 |
€14.00 |
|
| ISABELLA, JASPER & SIMON FISHER TURNER |
Savage Songs of Brutality and Food |
CD |
"This is the blurb.
I think it’s a press release, too, about this album I’ve made with my kids’ voices and sounds and these home recordings we’ve made over the last 13 years.
They’re now 15 and 17 and who knows what they think.
I know they’re not too interested in it this now, but they’ve seen the artwork and pictures and obviously they know the tracks, but I don’t think they actually realise this is coming out and that strangers can buy the LP in a Record Shop or online with actual money.
For years as the two of them were growing up I was always photographing and recording their lives. Over 68,000 pictures on my desktop, and hours of recordings. This is commonplace now, but when I was growing up maybe the Brownie would come out on the beach on Whitsand Bay, or if we went on holiday, a picture of a mountain or something interesting like, a pizza. Mum had a reel-to-reel she never used, and I had a radio. Dad was underwater.
Why go on holiday when you live in Cornwall. Dad was a submariner based in Plymouth and my mum was a mum and a Rally driver. Three boys to look after. Chaos and serious hard work. Now both my parents are dead, I’ve photos from mum’s albums, but oddly enough Dad never took photos at all, and distrusted them I think.
So to this album. It’s the first thirteen years or so of our children’s lives made into cute and cruel songs of experimentation and, yes, chaos again. So, from the first heartbeat (not included here) to just under two years ago, I randomly and sometimes secretly recorded them singing or talking, often encouraged of course by me. That’s what parents do. I recorded for 13 years. It’s rather wonderful to have sound documents as opposed to pictures. Luckily I have both and I’m still rediscovering forgotten sounds even now.
This is a music/sound diary (perhaps) of the frankly mad, cute, annoying, moving, innocent, loud, loving, embarrassing, noises of their lives up to now, as recorded and messed up by me, as in messed-up-and-I-don’t-care, but do I care. I try to edit with clarity where needed, but otherwise the vocals and ideas are pretty raw and unaltered for the sweeter market of pop. This is just STUFF. Wild and Alive.
Rebels without a pause.
I was a dad with slithers time on my hands and a Mac I could barely understand. I made tracks/songs, whatever you want to call them between cooking, cleaning, bathing, shopping, driving, and sleeping ad infinitum. It’s the three of us mainly, with The Elysian Quartet thrown together for The Mighty Dinosaur song, but I’m the leader, the captain of the ship. You always need a Captain and they were my sonic crewmates, even though they were often press-ganged into service reluctantly.
. There will be no Volume Two.
They’ve eventually got really fed up with me doing this, and I can’t blame them one bit, but when faced with all these bits of songs or, fragments of stuff, what do you do? Throw them in the bin, give them to them on their wedding day and really make them cringe?
No. The best thing to do is to compile them like a mix tape and keep your fingers crossed that someday, someone might be interested in releasing a compilation of this madness.
Charles Powne from Soleilmoon Recordings came to the rescue, in that he mentioned somehow whether I’d heard of an LP of children’s songs. I hadn’t in fact, but I told him about these recordings I’d been making over the years.
Isabella and Jasper I think are now probably incredibly pissed off with me, but you know, that’s tough. Full stop.
Now at 17 and 15 their childhoods are over. The illusions shattered. There is no pretence. They can watch the news, Snapchat at speed, and lurk on the net who knows where.
Innocence has gone, battered out of them by schools and the more serious and dull adults that surround them. They were the funniest and most amusing two smaller people imaginable, but now, they’re Teenagers…….Aaahhhhh.
They’ve opinions, they’re brighter than me, better looking, funnier, nicer clothes, better humour and taste, and they’ve more friends than me too. The job is done.
I’m sadly responsible for the musical settings they happen to find themselves in, although, quite often all the music or at least some of it is made up from their noises too. We like a noise here and there and we love to dance on a Friday night.
One of the beauties of this sort of music is that there are no rules. We could all do with this sort of freedom, in not just music, but film, cooking, and storytelling. A child’s imagination is the finest open canvas ever. No rules rule.
Oh God, I sound like a dotting dull dad. C’est la vie.
Stay well and keep calm and risk everything with passion and love."
-- SIMON FISHER TURNER
LONDON, 25 JUNE, 2020
https://isabellajasperandsimonfisherturner.bandcamp.com
|
2020 |
€14.00 |
|
| IYV (SKELDOS & RUKANA) |
Upes |
LP |
"I came across the music of IYv shortly after I encountered the dark ambient project Skeldos. Both are projects by the same musician. The IYv debut release (and only so far) “Upės” I had missed when it was released on tape. But I had been listening to it a lot when I was away during the winter of 2020 at a small house at a lake. There was a bluetooth speaker in the house so I could listen to the music there. The beauty of this music really resonated with me. Some time later after the musician contacted me (there are no coincidences) to order the Ô Paradis & Nový Svět LP I released on Vrystaete I dared to ask him if he would be into doing a vinyl version of this long sold out tape release. I was very happy he and his partner in crime involved in this project liked the idea.
About IYv… it is a project by Vytenis (Skeldos) and Inga (Rūkana) from Lithuania and “Upės” (meaning “Rivers”) was released by themselves in 2017 in a small edition of 72 copies. While Skeldos is more towards the dark ambient sort of thing with hints of (post-)industrial music, IYv is much more on the melancholy side of things… accordion, electronica and Lithuanian vocals make up for a beautiful post-folklore album… The musicians themselves described the album in a perfect way… so I will not try myself to capture the mood and spirit of the music:
“Upės” is an album about travelling. About the hearing of birds, close to the rock chains, which twists on the surface of mountains, through marks of our memory just like the rivers. The album was recorded in seclusion: in a log barn and wooden summerhouse. It’s decorated with deliberately left spontaneous inaccuracies and coherent crookedness. Nostalgic loops of ambient music tells a natural story about the composers: approaching gritty earth, enjoying crackling fire in the night, enduring live rain and swimming through the river streams."
https://www.enfant-terrible.nl/releases/iyv-upes/
LP, 150 copies with screen printed artwork, hand numbered (75 copies on brown paper, 75 copies on grey paper)
|
2022 |
€22.50 |
|
| JACKMAN, DAVID (=ORGANUM) |
Verhalte Dich ruhig |
CD |
Re-release einer ultra-raren Cassette von 1996...
“ Long time announced rerelease of a very rare cassette (edition of 61 copies only) from 1996. The two pieces (with a total playing time of about 30 minutes) can be seen as the first step into a direction which later developed into the 'Laus' 7inch (DS17), 'Sternklare Nacht' CDR & 'Rabenfeld' CDR (Flugzeug Schallplatten) and also the Machine Gun pieces. Found sounds (here a real orchestra) overlaid and altered making this a very strange listening experience indeed. "For a live performance any number of musicians using any instrumentation play along with the tape as best they can" (from the liner notes of the cassette). Full color booklet.” [label press release].
www.diestadtmusik.de
|
2001 |
€13.00 |
|
| JARBOE |
Illusory |
CD |
"Jarboe of course doesn't need an introduction. As a torche bearer for avant-garde music, she is no stranger to Consouling as well. After the fantastic split 10" release with Father Murphy, we are truly honered to be collaborating with Jarboe on her new album 'Illusory'.
'Illusory' truly is an engaging album, where the textures of the music interact with Jarboe's almost haunting vocals in a remarkable way. Her constant forward thinking approach makes it feel like travels through uncharted territory, where her siren-like voice leads the way. Or perhaps, as the dark and brooding nature of the album captivates you, will lead you astray."
https://consouling.be/release/illusory
"JARBOE, eine der absoluten Ikonen der experimentellen und avantgardistischen Musikszene meldet sich zwei Jahre nach ihrem letzten Album nun mit ‘Illusory ‘ zurück. Erscheint als CD und LP auf CONSOULING SOUNDS. Der Name JARBOE muss nicht groß vorgestellt werden. Seit den 1980er Jahren gehört die US Amerikanerin zu den kultigsten Künstlerinnen, die sich im avantgarde, Experimental und Heavybereich tummeln. Als Ehefrau von MICHAEL GIRA (SWANS) war sie eine zeitlang auch Mitglied dieser Band. Sie entwickelte sich aber immer weiter und war offen für verschiedenste musikalische Expermiente. So arbeitete sie u.a. auch mit SONIC YOUTH, NEUROSIS, BLIXA BARGELD, PHIL ANSELMO zusammen. Ihre Release-Vita kann ein ganzes Buch füllen und sie sorgt quasi jährlich für neuen Output in den verschiedensten Varianten. Nach ihrem letzten Soloalbum ‘The Cut Of The Warrior ‘ (2018) veröffentlichte sie noch eine neue Variante des früheren ‘Blackmouth ‘ Albums (zusammen mit John Bergin und Brett Smith). Nun steht mit ‘Illusory ‘ das neue Meisterwerk der ‘Goddess of Dark ‘ (Metal Injection) in Haus. Sieben Tracks, die die Grenzen zwischen Ambient, Experimental und Avantgarde ausloten und unglaublich intensiv sind." [Broken Silence]
|
2020 |
€15.00 |
|
| JARL |
Hyperacusis |
LP |
Erik Jarl hails from Sweden and is actively recording and releasing for over two decades now either solo or as a part of power electronics/industrial acts like IRM and Kaiten. On his fourth release for Zoharum titled “Hyperacusis”, Jarl gravitates towards drone void as he explores and sonically interprets this rare hearing disorder.
Album consists of 2 long (around 20 minutes each), trance inducing tracks that put you into sedative state. Drones, high frequency pulsations and oscillations work here as a intronautic vessel in which you descend into into the depths of subconscious and as much as we are aware that this is a bold statement the closest comparison that comes to mind is Coil’s Time Machines. Yes, we said it.
At first this appears to be a demanding piece of work but it’s utterly rewarding and eventually makes you wanna listen to it on and on and on… (to turn your mind off… to turn your mind off...)
Mastered by Natt
Artwork by Radosław Kamiński
CD edition of 250 copies comes in a 6 panel digipack.
LP edition of 100 copies pressed on 180g black wax
https://zoharum.bandcamp.com/album/hyperacusis
|
2021 |
€20.00 |
|
| JAYTROPE + ANSGAR WILKEN |
Miniatures |
7inch |
1. Miniatures I 06:32
2. Miniatures II 06:17
Happy Zloty #14
October 2022
Recorded and Mixed by jayrope
jayrope.bandcamp.com
Additional Instruments by Frank Schültge Blumm
Layout by Ansgar Wilken
Stamped Font by Peter Strickmann
Risographed at We Make It, Berlin
The Record was manufactured by my45
"Diese klitzekleine EP ist sicherlich nicht nur nicht als eine Hommage an all die Veröffentlichungen
gleichen Names zu verstehen, sondern bezieht sich vielleicht insbesondere auf die von Morgan Fisher im Jahr 1980 veröffentlichte LP mit Stücken von Robert Wyatt, Residents, Fred Frith und anderen aus einer Zeit, als derartige Musik einen zuvor nicht gehörten, beweglichen Standpunkt zwischen Avantgarde und DIY markierte. Jetzt mit beiden Beinen mittenmang im Gewühl aus selbstgebauten Instrumenten, Kitchenavantgarde, souveränem Geschichtsbewußtsein und ... immer zu kurz!"
[H. Hagedorn]
https://ansgarwilken.bandcamp.com/album/miniatures
|
2022 |
€12.00 |
|
| JAZKAMER / MARK DURGAN |
split |
7 |
"Another instalment in NO-FI’s vinyl catalogue, this 7” sees the head-on collision of two major acts in the European noise circuit. Norway’s Jazkamer is the electronics and guitar duo of Lasse Marhaug and John Hegre, best known for their ‘Metal Machine Music’ death metal concept album but also for the searing blasts of electricity that typify their more noise-oriented work. For this release, they also recruit fellow Norwegian and multi-tasking guitar-mangling prodigy Anders Hana (Noxagt, MoHa!) - as if they needed any help to kick out the jams on this jawdroppingly raucous live recording. In contrast, the flip side is significantly more serene from Mark Durgan (who you may also know as Putrefier and who is rumoured to have been part of the mystery line-up of The New Blockaders at Thurston Moore’s All Tomorrows Parties). Subsonic rumbles and birdsong dominate the surface of this track, but the devil’s in the detail – poke your attention through the thin surface ice and you’ll easily fall through to hidden depths." [label notes]
www.no-fi.org.uk/label.php
|
2008 |
€8.50 |
|
| JEANIE FINLAY |
SOUND IT OUT! |
DVD |
"Hommage an die Leidenschaft: englische Doku über einen der letzten Plattenläden.
Der kleine Vinylplattenladen ist eine fast ausgestorbene Spezies. Dem Druck großer Ketten und Onlineriesen hat im Nordosten Englands einzig Sound It Out Records standgehalten. Der letzte Laden seiner Art ist heute eine kulturelle Enklave, ein gewaltiges Archiv der Erinnerungen. Die tapferen Vinylverteidiger kennen die Kunst des Suchens und Findens, des Stöberns und Ordnens. Shopbesitzer Tom Butchart hat mit seinem umfassenden Wissen schon so manche Lücke in Plattensammlungen gefüllt - aber auch geschaffen. Es ist ein unendliches Geschäft - für die einen eine Religion, für die anderen fröhliche Wissenschaft. Sound It Out Records ist heute der Lebensmittelpunkt für eine erstaunliche Versammlung von Originalen - vom Status-Quo-Verehrer über Metal-Liebhaber bis zum Gartenlauben-DJ - eine schwindende Spezies unter technologischer Belagerung. Jeanie Finlays Beitrag zum Record Store Day 2011 ist ein Film voll skurriler Charaktere, genialer Musik und längst vergessener Plattencover. Eine Hommage an die Leidenschaft.//
Over the last five years an independent record shop has closed in the UK every three days.
SOUND IT OUT (75 mins) is a documentary portrait of the very last surviving vinyl record shop in Teesside, North East England. A cultural haven in one of the most deprived areas in the UK, SOUND IT OUT documents a place that is thriving against the odds and the local community that keeps it alive. Directed by Jeanie Finlay who grew up three miles from the shop. A distinctive, funny and intimate film about men, the North and the irreplaceable role music plays in our lives." [Verlagsinfo / website info]
www.sounditoutdoc.com
|
2012 |
€18.50 |
|
| JENNIFER GENTLE |
Live in the House of God |
LP |
"Recorded in an empty, deconsacrated church sometime in summer 2003, this LP is another installment in an on-going series of records documenting the weird life of Jennifer Gentle in the foggy plains of Northern Italy. Basically the sound of JG's mainman Marco Fasolo going wild with an old, battered electronic piano and a bunch of sound effects, "Live at the House of God" is a side-long improvisation sharing the same spirit of those 20-minutes keyboard freak-outs Sun Ra used to record in the late Sixties. Alternatively spacey and noisy, the piece is a dark, often unnerving exploration in sound, shimmering all the way through with a distinct Krautrock / early Cluster vibe. The new owners of the church were horrified and outraged by the sheer loudness of the performance, but God liked it a lot. Record comes in a deluxe heavy cardboard sleeve, including one insert...
Strictly limited to 300 copies only!!!" [label info]
www.asilentplace.it
|
2008 |
€19.50 |
|
| JENSEN, CLARICE |
The Experience of Repetition as Death |
CD |
Brooklyn-based cellist Clarice Jensen’s gorgeous sophomore album and first for FatCat’s pioneering 130701 imprint, ‘The experience of repetition as death’, was recorded and mixed by Francesco Donadello at Vox-Ton studios in Berlin in late 2018 and mastered by Rafael Anton Irisarri. Following up her hugely impressive 2018 debut, ‘For This From That Will Be Filled’ , which included collaborations with Jóhann Jóhannsson and Michael Harrison, all of the material on this new album was written and performed by Clarice alone and all of the sounds on it were created with a cello through a variety of effects and effects pedals.
An outstanding musician, Clarice has recorded and performed for a host of stellar artists including Jóhann Jóhannsson, Max Richter, Björk, Arcade Fire, Nick Cave, Jónsi, Stars of the Lid, Dustin O’Halloran, Joanna Newsom, Nico Muhly, Dirty Projectors, Frightened Rabbit and Beirut. As the artistic director of ACME (the American Contemporary Music Ensemble), she’s helped bring to life some of the most revered works of modern classical music, and as a solo artist has developed a distinctive compositional approach - improvising and layering her instrument through loops and a chain of electronic effects to open out a series of rich, drone-based sound fields. Forging a very elegant and precise vision, her music has been described by Self-Titled as “incredibly powerful neo-classical pieces that seem to come straight from another astral plane” and by Boomkat as “languorously void-touching ideas, scaling and sustaining a sublime tension”. Her debut album was released in 2018 on Miasmah and followed in September 2019 by the ‘Drone Studies’ cassette EP on Geographic North. Receiving glowing critical acclaim, both releases made it into Pitchfork's end of year charts.
Expanding her sound again, ‘The experience of repetition as death’ is a warm, deep and cyclical album that explores notions of repetition in both its conceptual underpinning and musical structure. Unlike the easily readable step builds and grid-locked looping of so many artists using the looper as a compositional tool, Clarice’s loops slide across one another in organically morphing structures; align and intersect at different moments, yielding a kind of aleatoric yet minimal counterpoint, with joins overlaid in ways that appear seamless and sophisticated. Where her live performance relies heavily upon the use of loop pedals, in the studio she and Donadello recorded much of the material onto tape to create a series of physical loops. There’s something oceanic in the immensity of the resulting work - in the ebb and flow of her sound and the way it builds and dissipates through swelling and wave reflection.
Whilst in previous releases Jensen’s cello has largely been abstracted via effects to sound somewhat other than itself, ‘The experience of Repetition…’ opens with an undisguised passage that is clearly wood and string - a clarity retained throughout much of the album. Across its span, Clarice balances her material between darkness and light and the shades in between. Rigorously structured yet fluidly slipping between states, the album shifts from a glowering sense of dread / malevolence to warm, euphoric washes; from an elegaic or graceful sense of suspension to curious, clipped interstitial loops that recall the segues in My Bloody Valentine’s ‘Loveless’ or the minimalist pulsing and phase-shifting of Steve Reich. Throughout, the album reveals a viscerality and attention to textural accretion that’s reminiscent of more electronic artists like Actress or Gas; whilst the glacially moving, hypnotic build recalls prime Stars Of The Lid. Other reference points might look back to Minimalism, to the deep listening immersion of Pauline Oliveros, Eliane Radigue, La Monte Young and Marian Zazeela, and the long-string drone work of Ellen Fullman. Or forwards to the rising current wave of drone-spinners like Kali Malone, Ellen Arkbro, Caterina Barbieri and Sarah Davachi, and adventurous cellist peers like Hildur Gudnadottir or Resina.
Conceptually, the album is based upon the theme of repetition and informed by some of Freud’s key principles of psychoanalysis (namely the “compulsion to repeat” self-destructive beaviours or re-live traumatic events explored in his writings about the Death Drive in ‘Beyond the Pleasure Principle’); by notions of the primarily repetitive nature of our existence and attempts to break beyond this: “I hope this album, in its repetition, might provide the listener with a respite from - or a reflection upon - the malaise and / or comfort of life’s repetition,” she writes. The album’s title is taken from a line in a 1971 poem by the influential American radical feminist poet Adrienne Rich called ‘A Valediction Forbidding Mourning’ – a response to a John Donne poem of the same title from 1611. Jensen expresses great admiration for Rich both as a writer and feminist icon, citing her as “an inspiration to create work in a field that is still largely male-dominated," and noting how “her poem to me is a reflection on the idea that dying and death are ordinary. Any meaningfulness we create comes from within and is deeply personal but entirely our own construct.”
With death as a clear subtext, Jensen describes how the music was written or conceptualized in a period towards the end of her mother’s fight with leukemia and shortly after she passed away. “My sister and I were taking care of her. So I’m also referencing the repetitiveness of all the mundane things we still did with her in the face of her terminal illness - preparing meals, doing the shopping, paying bills - as well as the repetition of all of visits to the doctor and hospital." Third track ‘Metastable’ was inspired by the chorus of repetitive beeping heard in hospitals - a sound that can be both fascinating and beautiful as well as overwhelming or irritating. The beeps here integrate themselves into a single loop, creating a fixed counterpoint around a deep, foreboding bass loop and slowly building, Reich-ian structure. “This idea of the ‘metastable’ became very pronounced to me”, notes Clarice. “Her continually evolving treatments kept her in temporary states of stability that would eventually become unstable, which would then require some different treatment."
Perhaps the most dramatic of the five pieces here, ‘Holy Mother’ is a towering piece that moves through all twelve chromatic pitches. The title refers to the Tibetan name for Mount Everest (Qomolangma) and through this piece Clarice has attempted to evoke a sense of that place and the obsession with its conquest - an extreme example of the feats people attempt in an effort to break from the monotonous repetition of everyday life - as well as contemplating the bodies of those climbers who didn’t make it, left frozen and permanently entombed there.
Musically, in addition to the looping on every track, the concept of repetition is also expressed on a larger scale, with the album’s central melodic theme repeated in different ways across its length. On opening track ‘Daily’ the theme appears in the track’s second half, fragmented into three different tape loops and never expressed fully in order; in ‘Day tonight’, it’s played in full but in an unfamiliar key and rhythmically augmented; whilst mirroring track one, closing track ‘Final’ employs the same tape loops as the opener, but this time with the tape having been subjected to methods of degradation in order to erode the sound – crumpled up, creased and stepped on, and run (silently) for long periods of time to deteriorate the quality of the tape and the sounds recorded on it. As the piece draws to an end, the album’s theme is finally presented in full in its original key and fully harmonized, performed by a quartet of cellos without effects and emerging whole at the end of the process in a beautiful resolution.
Structurally smart, texturally rich and deeply immersive, ‘The experience of repetition as death’ is a powerful new album by a hugely talented young artist, whose star is clearly on the ascendant. It is released on FatCat’s 130701 imprint on 3rd April on vinyl and digital formats. Clarice will be touring the US in March / April supporting A Winged Victory For The Sullen, with whom she will also be performing as cellist.
https://claricejensen.bandcamp.com/album/the-experience-of-repetition-as-death |
2020 |
€16.00 |
|
| |
Esthesis |
LP |
Cellist/composer Clarice Jensen returns on 130701 with her third album, ‘Esthesis’, a deep and gorgeous new work conceptually structured around the emotional and harmonic spectrum and the phenomenon of chromesthesia – a condition whereby sound involuntarily evokes an experience of color, shape and movement. Following up her critically-acclaimed 2020 LP ‘The experience of repetition as death’ (a record almost presciently timed to arrive as Covid first hit), 'Esthesis’ sees Jensen expanding her oeuvre, introducing a wider instrumental range, and reflecting on the effects of isolation. Recorded by Jensen in upstate NY and expertly mixed by Francesco Donadello, the record was mastered by Matthew Agoglia and is released on October 21st, ahead of a UK/EU tour supporting 130701 alumni Dustin O’Halloran.
From its opening piano notes, 'Esthesis’ gently upends expectations built up over previous albums. Shifting and extending Jensen’s sound in line with the adventurousness of the ‘Drone Studies’ and ‘Platonic Solids’ EPs, the album is less reliant on her trademark razor-sharp, processed cello drone. Performed heavily on synth, as well as her more usual cello and electronics, it also features the piano playing of Timo Andres (tracks 1, 4 and 5) and the voices of Laura Lutzke, Francesca Federico and Emma Broughton (on tracks 3 and 6). Whilst the drone is never far away, there’s a sense of more light and space across the album.
'Esthesis’ was originally conceived in pre-pandemic times as a concert experience, structured to comprise a series of long drones, each centred on a single key/pitch and cycling sequentially through the circle of fifths from C to F. These drones would be punctuated by shorter “songs”, each depicting one of the seven principle emotions defined in the Chinese Book of Rites. As an audio-visual experience, Jensen imagined the audience being bathed in coloured lights that corresponded to each drone, with those colours combined or oscillating during the songs in an effort to mimic or induce chromesthesia: a (gentle, not jarring) trip through the complete spectrum of colour, (Western) pitch and emotion.
With the pandemic dashing these plans and ushering in a period where it was even difficult to imagine live performance anymore, Jensen instead set out to realise the concept as an album palpably created in enforced solitude and isolation. “I expanded my usual palette of layered and treated cellos without the effect of a more grandiose or large-scale feeling of timbre; I wished to employ additional media in an effort to further portray the idea of isolation and containment.” Foregoing the longer drone structures she’d planned in favour of a more succinct whole, each track on ‘Esthesis’ evokes a different principal emotion using seemingly one-dimensional titles, with Jensen’s intention being to juxtapose the depths of these emotions with the reality-overlay of solitude. “It also calls to question how sensation can be rudimentary. Imposed isolation and the fear of viral exposure led many to seek sensation by streaming television, circulating memes, and sharing delayed laughs with loved ones across computer screens – all of this done alone and somewhat removed through various media, and set against a backdrop of very real fear.” While the \"removed\" nature of each track/emotion remains deliberate, so also exists the very realness of the emotion itself. “\'Joy\' evokes vernal lightness and promise, and came to me as I was falling asleep and realised I was still smiling thinking about someone I love. \'Sadness\' is a setting of Purcell\'s \'Dido\'s Lament’. \'Liking\' begins with tentative hope and then blossoms, using an additive compositional process, whereas \'Disliking\' is subtractive. ‘Anger\' uses text taken from Simone de Beauvoir\'s letters to Nelson Algren (the entirety is pasted below). \'Fear\' attempts to simply portray breathing and absence. The organs used on \'Love\' suggest hallowed spaces, employing only a short progression that always returns to the same but becomes layered, out-of-sync and lost, but simplest at its end.”
Thursday, 3 Juillet 1947
“I led a very quiet life since my last letter: no cave, no party, no wit. There was a wonderful storm in the country, it was really beautiful. The whole day had been so hot, you really wanted to die, love or work or happiness did not mean anything more. And then came a huge black smoke in the sky, and strange phantasms went by in the dim light, and soon you could not see the sky nor the landscape any more, just a cherry tree beaten by the wind while the rain fell crazily, and thunder shaked the sky. Many trees were broken, flowers killed, the landscape was a battle field… Afterwards, everything was strangely peaceful. Friends came and we had a dinner and long evening: the woman who has swallowed a pin, her husband, the old lady I like so much, and Sartre. But I was not very quiet myself; the storm had gone on my nerves, and I drank much, and, dearest, when I drink much I am no longer sensible at all; when the other friends left I became a storm myself, and poor Sartre was very bored with me who spoke about life and death and everything in a rather mad way. When I am drunk everything seems very tragic and pathetic and terrifying to me – so dreadfully important, and yet without importance since death is at the end; I should knock my head against the walls. I did not knock my head but I spoke and raved late in the night on the peaceful little country roads, and I decided not to drink any more for some time. You see, it has never been very easy for me to live, though I am always very happy – maybe because I want so much to be happy. I like so much to live and I hate the idea of dying one day. And then I am awfully greedy; I want everything from life, I want to be a woman and to be a man, to have many friends and to have loneliness, to work much and write good books, and to travel and enjoy myself, to be selfish and to be unselfish…You see, it is difficult to get all which I want. And then when I do not succeed I get mad with anger…” [Simone de Beauvoir, Letters to Nelson Algren]
Across the album’s seven pieces, Jensen shows great restraint and an incredible compositional talent in spinning a series of beautiful, complex interweavings of texture, tone, rhythm and melody. There is a serious depth in her sensibility, that rewards repeated listening.
https://claricejensen.bandcamp.com/album/esthesis
|
2022 |
€32.50 |
|
| JERMAN / BARNES |
Versatile Ambience |
LP |
Without referencing typical genre or style, the collaboration of sound artists Tim Barnes and Jeph Jerman moves a step forward with this 45 RPM LP release of texture and atmosphere, with assistance from Ken Vandermark, Jacob Duncan, Aaron Michael Bulter, Sara Saltau & Bret Berry.
"The fact that two words sit next to each other does not automatically mean that they are related. The ambience given off by this LP full of coarse textures and lancing sounds isn't exactly versatile; it'd be easier to devise a list of places where it can't be played and people you know who would not sit still for it than to string together the places where its ambience would be appropriate. And just because two men with documented histories of hitting things get together and make records doesn't mean they'll turn in an album of percussion music.
In fact, Tim Barnes and Jeph Jerman only occasionally resort to directly striking anything on Versatile Ambience; they're too busy engaging in all manner of other interventions that confound perception and makes you think hard about just what constitutes music. If you consult Barnes' and Jerman's discography, you can find CDRs a decade old to which the Discogs website has assigned the designation free improvisation. Whatever you call the music on Versatile Ambience, you can't call it that. It is carefully constructed from collected outdoors sounds, wind and stringed instruments played by musicians such as Ken Vandermark and electronics of uncertain provenance; there's definitely a shortwave radio in the mix, but beyond that, take a guess.
It's probably more relevant to note that it's not immediately clear if the twittering high frequencies that lift away from a distant jet's quiet roar are played electronics or a field recording of bugs. Jerman has gone on record saying that he is not concerned with representing anything, he just uses sounds he likes to hear. Still, in a time when human activity is submerging islands and killing off species at a record rate, it's hard not to assign significance to music that challenges the listener to figure out where nature ends and man begins. No discussion of this album would be complete without acknowledging its particular physical qualities. The sleeve is hefty and substantial.
The vinyl is heavy and spins at 45 RPM; Rashad Becker's mastering conveys the high frequencies with amazing clarity and the rougher textures with such tactility that you'll swear you can feel the sounds coming through your fingertips."
[Bill Meyer, Dusted Magazine]
|
2016 |
€26.00 |
|
| JESU |
Why are we not perfect? |
maxi-CD |
"... Why Are We Not Perfect completes Broadrick’s transformation from atmosphere-obsessed drone metallurgist to neo-shoegaze aesthete. There’s heaviness of a very different sort oozing from the two-chord vamp “Farewell” -- it’s the kind of heaviness that derives from depth of production and emotional resonance, rather than piles of distorted guitar. You could easily fall into the cracks between those Björk-like fuzz bass hits on the title track. Its final lyric (“Why are we not perfect/ When we can’t live forever?”) is just one of the many simple profundities you’ll find buried deep within if you do... ] [Prefix mag]
"5 track EP (2 songs of which originally appeared on the vinyl only split 12" with Eluvium). JUSTIN BROADRICK has set aside the heavy foundation of pounding guitars prevalent in past recordings & brought to the fore elements of texture & melody that previously hovered at the periphery of his monolithic compositions. While this may prove frustrating to metal idealists, those with a greater sense of adventure will find the results both illuminating & heart rending." [label info]
"Not a brand new Jesu record, instead, this ep collects the three tracks from Jesu's split lp with Eluvium from last year, and adds two alternate versions to flesh it out a bit. Folks who missed out on that now out of print 12", or those amongst you who remain turntableless, will for sure want to pick this up, and Jesu fanatics, might just find this worth it for the two extra alternate takes. First the songs proper: Three new songs from Jesu, and as if we didn't already see Broadrick and Co. heading in this direction, they've almost entirely
jettisoned the heaviness, in favor of a blissy new wave-y drift. Really! No massive sludge, no blissed out crunch, in fact, most of this sounds like Jesu doing the soundtrack to a John Hughes movie, all drift and croon and no crunch and pummel, but it's really nice, and pretty, and still suitably Jesu-like.
Imagine Simple Minds or the Cure but raised on Slowdive and Chapterhouse and Swervedriver and My Bloody Valentine, doing the theme song for Sixteen Candles 2008 (which if our calculations are correct would be more like Forty Candles). The first song would be a massive hit, sort of melancholy and romantic, dark and dreamy, but still sort of catchy and hopeful, like sunbeams barely making it through grey storm clouds. The final track sounds like it could be from that last scene in Sixteen Candles 2008, the one
where the boy and the girl finally make it to the dance after all of the crazy mishaps and misunderstandings and are finally sharing that
slow dance... lugubrious and fuzzy, and soft focus and so great actually. It's weird, and a bit unexpected, but as much as we love the
glacial crush of past Jesu discs, this new-wave-y drift really suits them, which is a good thing, since they seem to be heading even more and more in that direction with each new release.
The two extra tracks are definitely not -drastically- different, but different enough certainly to make them worth having.
"Farewell" gets even more washed out, the whole thing muted and over saturated, the chugging guitars, disembodied and more textural than
heavy, the whole song suffused with chiming harmonics and sun dappled soaring bittersweet melodies. "Why Are We Not Perfect", the above
mentioned Sixteen Candles 2008 closer, hews closely to the original, the change more in timbre and texture than anything, the vocals still weary and woozy, the beat a loping skittery shuffle, surrounded by shimmering clouds of effervescent streaks of warm buzz, swirls of backwards melody, all whirling softly and dreamily.
Beautifully packaged in a super thick oversized Japanese style mini lp cd jacket, with a thick printed inner sleeve." [Aquarius Records]
www.hydrahead.com
|
2008 |
€11.00 |
|
| |
Pity / Piety |
LP |
“Frail hymns at the altar of self defeat….”
when all is full
when all is full
when all us fall
when all us fall
By Justin K Broadrick 2010-2022
credits
released December 13, 2022
avalanche recordings. 2022. AREC065
Published by Mute Song Ltd
Original photo by Marek Studzinski
"There are few artists operative at the fringes of popular music today whose sound has not been in some way or another informed or shaped by the works of Justin K Broadrick. As a founding member or sole proprietor of seminal outfits such as Godflesh, Napalm Death, Techno Animal, and Final, Broadrick has managed to help change or even define the now widespread genres of industrial and death metal, abstracted hip hop and dub, grindcore, and ambient electronics. So is also the case with his work in Jesu, who in the course of a very productive seven year existence have taken the churning pummel of his former project Godflesh, augmented it with the textural melody of 90s shoegaze rock and spawned a new sub-genre and the inevitable legions of imitators. And while imitators may abound, as the originator of this relatively newfound musical territory Jesu is still the clearly visible leader."
https://jesu.bandcamp.com/album/pity-piety
|
2023 |
€26.00 |
|
| JOBIN, FRANCE & FABIO PERLETTA |
Mirror Neurons |
CD |
"Mirror neurons represent a distinctive class of cells that fire both when an animal executes an action and when it observes another individual performing the same action. Discovered by Italian neurophysiologist Giacomo Rizzolatti and his team at the University of Parma while doing a research on the neural representation of motor movements in monkeys, the precise function and influence of these neurons has become one of the most important topic in neuroscience. They have been linked to many behaviours and abilities, from empathy to learning by imitation and language acquisition, as well as implicated in conditions such as autism and other brain disorders. These findings suggest that the mirror neuron system plays a key role in our ability to experience empathy.
Initiated by sound artists France Jobin and Fabio Perletta, Mirror Neurons is a media-project investigating the notion of empathy and physical distance. The entire album is the result of extended sound files exchange between Montréal (Canada) and Roseto degli Abruzzi (Italy). Each of the pieces is based on rough sounds and their consequent re-working, listening and reaction, processing and imitation. The ongoing process helped the artists to draw inspiration in terms of stimuli for the act of composing itself in two very distant cities, different climate, time zones and languages.
Like much of Jobin and Perletta’s recent works, Mirror Neurons explores the artists’ interest in intersection between science and art, as well as the infinitely small and invisible. In order to further develop the concept of distance/connectivity, visual artists XX+XY from Rome have been involved in the process. They created a multi-dimensional, generative and ever-changing sound visualization through the use of quiet textures and subtle movements emphasizing the slowed sense of time of the work itself. Thought to be performed live in a big space, the video aims to create an immersive environment and a unique occasion to reflect about the behaviour of our emotions and the importance of human interaction." [label info]
www.dragonseyerecordings.com
|
2015 |
€13.00 |
|
| JOHANNA LIEBHART |
Damals |
10inch |
Mysterious and long-forgotten electro-wave diva of the early 80s, JOHANNA LIEBHART (occasionally credited as “ANNA”) disappeared in largely unknown circumstances back in 1999, leaving behind several unreleased albums. Even if her name is not familiar, some of you will already know her style from ICH WOLLTE ICH KÖNNTE’s first album, released on T.U.T. a couple of years ago, which was inspired by, and largely based on some of her compositions. The tracks on this 10” are all taken from Anna’s early tape recordings, and probably represent some of her most emotional and intimate works, as simple and modest in their beauty as the personality of their creator was facetious. Seven neo-romantic analogue-synth pieces, entirely instrumental. Sacral, minimal and utterly desperate, like the disclosing of someone’s secret chapel, or the hidden garden of a run-down doll-house.
10-inch LP, black vinyl - in special fold-out sleeve + inserts - lim. edition of 277 hand-numbered copies
www.tutrur.com/tutrur_html/tut013.html
|
2009 |
€8.00 |
|
| JOHANNSSON, JOHANN |
Ibm 1401, A User's Manual |
do-LP |
"FIRST EVER VINYL PRESSING DELUXE GATEFOLD SLEEVE, 2 x CLEAR LP TWO BONUS TRACKS, DOWNLOAD CODE INCLUDED.
Never before pressed on vinyl, IBM 1401, A User’s Manual, is one of Jóhann Jóhannsson’s most-loved works. Released in 2006, the decade since its release has seen Jóhann establish himself as one of the most important composers in the world, notably scoring movies such as Arrival, Blade Runner 2049, Sicario and The Theory of Everything. Johann’s scores have been nominated for two Academy Awards®, two Golden Globes®, a Grammy® and three BAFTA® awards. He was awarded the Golden Globe® for Best Original Score for The Theory Of Everything. Inspired by the work his father did in the sixties when chief maintenance engineer of one of Iceland’s first computers, Jóhann originally wrote IBM 1401, A User’s Manual to accompany a dance piece by long-standing collaborator and friend, Erna Ómarsdóttir. For the album release, he rewrote the piece for a sixty-piece string orchestra, with a new final movement (built around a poem by Dorothy Parker) and incorporating both electronics and reel-to-reel recordings made by his father and friends in 1971 of the IBM 1401 mainframe computer singing the hymn Ísland Ögrum Skorið by Sigvaldi Kaldalóns as it was being decommissioned. The first ever pressing of IBM 1401, A User’s Manual comes in a deluxe gatefold sleeve, reworked by Chris Bigg (v23) from his original design. Pressed on clear vinyl, two live tracks recorded with the City of Prague Philharmonic Orchestra have also been added."
|
2017 |
€26.50 |
|
| |
Mandy (Original Motion Picture Soundtrack) |
CD |
Lakeshore Records presents Jóhann Jóhannsson’s final work, his original score to the film Mandy.
Jóhannsson’s manager, Tim Husom, remembers Jóhann and how the project came about: “My friend and client Jóhann Jóhannsson passed away on February 9, 2018. The last music he created before his death was the score to Mandy. We were working on it right up until the film was delivered to Sundance in early January, 2018. Back in August of 2016 we received a call from Daniel Noah at SpectreVision about this crazy new horror film they were starting that starred Nicolas Cage, Andrea Riseborough, Linus Roach, and directed by Panos Cosmatos. Jóhann had just finished his score for Denis Villeneuve’s film, Arrival, when the Mandy mood boards were sent over to us. They were unbelievably cool and scary. Our interest was hooked immediately. Jóhann’s first email response to me about the project was ‘Seriously, his (Panos) Beyond The Black Rainbow film is a masterpiece! I love it. And the way he uses music.’ To Jóhann, the idea of working on Mandy with Panos and SpectreVision was bringing some much needed balance to his score career and a perfect next step.”
The film score was co-produced by Jóhannsson and Randall Dunn (produced Sunn O)))) and features Sunn O)))’s Stephen O’Malley on guitar. The album was assembled posthumously in March 2018 with the help of co-producers Pepijn Caudron (Kreng) and Yair Glotman. The film, directed by Panos Cosmatos (Beyond the Black Rainbow) and starring Nicolas Cage, is released by RLJ Entertainment. The film was produced by SpectreVision, XYZ Films, and Umedia with support from Legion M.
Mandy is set in the primal wilderness of 1983 where Red Miller, a broken and haunted man hunts an unhinged religious sect who slaughtered the love of his life.
In the liner notes Cosmatos states: “Jóhann went above and beyond, and I suspect to the limits of his sanity, to make the music for this movie. His words and his actions made him more than a great collaborator, they made him like a brother to me. I’m sad our time together was so brief but I’m very proud of what he accomplished on Mandy and I believe he was too.”
The Jóhann Jóhannsson Foundation was created by his family and agent Kevin Korn in memory of Jóhannsson to foster and enhance appreciation, education and achievement in the areas of composition, music, and art around the world through educational outreach, a composer scholarship foundation, an annual composer gala event, and international festivals.
www.thejohannjohannssonfoundation.org
MUSIC BY JÓHANN JÓHANNSSON
SCORE PRODUCED BY:
JÓHANN JÓHANNSSON AND RANDALL DUNN
ALBUM PRODUCED BY:
PEPIJN CAUDRON (KRENG)
YAIR ELAZAR GLOTMAN
ADDITIONAL MUSIC:
PEPIJN CAUDRON
YAIR ELAZAR GLOTMAN
ÚLFUR ELDJÁRN
MUSICAL SOUND DESIGN:
YAIR ELAZAR GLOTMAN
SAM SLATER
PROGRAMMING, ADDITIONAL ARRANGEMENTS, ELECTRIC GUITAR AND DEMO PRODUCER:
KJARTAN HÓLM
6 STRING BASS, FRETLESS BASS, SOPRANO ELECTRIC 12 STRING GUITAR, ACOUSTIC AND ELECTRIC GUITARS:
SKÚLI SVERRISON
SYNTHESIZER PROGRAMMING, SOUND DESIGN, ADDITIONAL ARRANGEMENTS:
ÚLFUR ELDJÁRN
ALPHORN:
MARTIN GRABER
GUITAR:
STEPHEN O’MALLEY
GUITAR:
WILL HAYES
DRUMS:
MATT CHAMBERLAIN
SYNTHESIZER, PROGRAMMING AND SOUND DESIGN:
TIMM MASON
PROGRAMMING:
WOUTER RENTEMA
RECORDED AT NTOV STUDIOS, BERLIN / Q-ROOM, BOLZANO, ITALY / BONELLO STUDIOS, BERLIN
PUBLISHED BY
NTOV MUSIC, ADMINISTERED BY MUTE SONG
COMPOSER MANAGEMENT:
TIM HUSOM at REDBIRD MUSIC
JÓHANN JÓHANNSSON APPEARS COURTESY OF DEUTSCHE GRAMMOPHON
EXECUTIVE ALBUM PRODUCERS FOR LAKESHORE RECORDS:
SKIP WILLIAMSON AND BRIAN MCNELIS
DIRECTOR OF A&R
ERIC CRAIG
A&R / ART DIRECTOR & DESIGN
JOHN BERGIN
COVER ILLUSTRATION
CHRISTOPHER SHY
“MANDY” LOGO DESIGN
CHRISTOPHE SZPAJDEL
MASTERED BY
FRANCESCO DONADELLO - CALYX MASTERING
SPECIAL THANKS
LYNN HOBENSACK
DON SMITH
TONY GILES
|
2018 |
€16.00 |
|
| JULIE'S HAIRCUT & SONIC BOOM |
N-waves |
CD |
"In late September 2005 Sonic Boom, alias Pete Kember – historical founder member of Spacemen 3, Spectrum and Experimental Audio Research – meets Julie’s Haircut at Studio Alpha in Bologna to cohoperate with them to the final editing of their new album (“After Dark, My Sweet” - 2006). This was a new starting point for Julie’s Haircut in the field of music research… only a part of 3 days of studio recordings was released in that album. N-Waves / U-Waves contains, for the first time, two takes produced in that session. Gemini, pt. 1 & pt. 2 is presented here in its first take. Scarfo Spanks DC is another completely unreleased improvisation. Two more songs complete the cd release of this ep. Sister Pneumonia and Ingrid Thulin, formerly released on the album After Dark, My Sweet, feature the band in two more studio improvisation together with Sonic Boom playing esotic electronic devices such as the Raagini (a sitar-simulator), Kraakle (a random electronic noise generator) and the famous EMS Synthi AKS synthetizer." [label notes]
www.asilentplace.it
|
2008 |
€12.00 |
|
| JUPITTER-LARSEN, GX |
Big Time Crash Bang 2008 |
LP |
Passend zur Wirtschaftskrise & Abwrackprämie erschien Anfang 2009 dieses Album von "THE HATERS" G.X. JUPITTER-LARSEN, das komplett aus Sounds von Autounfällen / Crashes komponiert wurde. Das repetitive Gekrache bildet allmählich flirrende Obertöne aus, und erzeugt eine seltsam kathartische Hypnose...
Composed entirely of car crashes - tires squeeling, glass shattering, metal crunching, a total wreck. 500 copies - full color printed cover. 'My best LP yet!!!' (GX)
[label info]
"The next time someone makes that old joke about noise sounding like a car crash can offer this LP as proof: its nothing but the sound of car crashes, all mangled up as only GX can do it -- tires squealing, glass shattering, metal crunching, wrecked, totalled -- SCREEEEEEEEEEEEE SMASH CRASH SCREEEEEEECH SMASH SMASH CRASH -- quite possibly the perfect noise album. GX says its his best LP to date. Im inclined to agree -- wear your seatbelt. 500 copies." [Fusetron]
www.rrrecords.com
|
2008 |
€15.50 |
|
| JUSTEL, ELSA |
Mats |
CD |
" 'Gwerz' (2002). 'Du libe tu?' (1996). 'Mâts' (1999). 'Midi de sable' (2000). 'Alba Sud' (1997-98). 'Au loin bleu' (1997). 'Puntos, comas y refritos' (2002). 'Bastet' (2004). 'The electroacoustic works of Elsa Justel are striking for their rich morphological invention: canvases made of minuscule yet consistently varied sounds; stratified figures made of multiple simultaneous shots, intertwining with one another; tremblings turning into sharp and lightning objects; objects of all sizes, objects so diverse they relentlessly keep hold of your attention. This is undeniably a form of music demanding active listening, a state of awareness to the smallest palpitations, music that always has rich meanings to unveil, no matter how many times you listen to it. In fact, the more you listen to it, the more it becomes both mysterious and habitable. It is music to be cherished for its sophistication, vividness and subtlety. This music imitates nothing; it is there, warm and savant, controlled yet free, vigorous and intelligent. It adds to the real world a presence consisting of its own immanence. It is this presence that Elsa Justel has been trying to bring forth, through her unyielding work as a composer, and succeeding so rightfully that she immediately wins us over. I see Elsa Justel's music as surplus life, absolutely essential to our existence." Horacio Vaggione
[label info]
www.empreintesdigitales.com
|
2007 |
€12.00 |
|
| JÜPPALA KÄÄPIÖ |
Rainbow Mask |
LP |
"Rainbow Mask" is a 12" record which contains a long piece on each side. The sound was originally taken from our first session in Geneva in Autumn 2006. Hitoshi processed Carole's viola and voice thorough various effectors in realtime. And we kept playing until the studio space was totally filled with our harmony and noises. Although the sound was quite rough, the experience in the space was strong enough to impress ourselves. ("Lunastus" in "Sporing Promenade" is also taken from a part of the session in the same day.)
We have listened, edited and forgotten the recording, again and again. Then finally the brewed results were contained in this record.
The process often happens during Hitoshi’s sound work. He seriously considers the effect as 'sound fermentation', that increases the astringency and richness of the sound, even if it's in decaying process.
Side A is a noisy psychedelic drone music which is closer to the original session. It may remind you some of Hitoshi's work, as "Spiracle" (if you know the name). Side B is a quiet work, like an ambient music. We played piano together while listening to the original session, and Carole acoustically overdubbed viola tracks afterwards. Then, the sound of the original session was mostly removed.
This side sounds nice by 45 rpm as well.
The mask on the cover was made by Carole, when she was 12 years old. The titles of each piece were also borrowed from this innocent craziness.
How about our "rainbow fermentation technique" which comes from the country of cheese and wine 'Switzerland', and the country of natto (fermented soybeans) and sake 'Japan'?" [label info]
www.omnimemento.com
"A swarmingly beautiful, miasmic piece of psychedelic drone folk! Juppala Kaaplo is the husband & wife duo of Carole and Hitoshi Kojo, the latter of whom had released a number of spectacular drone-smear constructions under the moniker Spiracle. Minimalism is certainly a key component to the Juppala Kaaplo sound, but it's the kaleidoscopic trills that you'll get from Terry Riley rather than the steely suspension from Organum or Phill Niblock. Certainly, Spiracle's last affair - the daydreaming ambient record Ananta - was a much friendlier form of minimalism, but we were still not entirely expecting the shimmering, prism-shot psychedelia of this album. A hypnotizing mass immediately emerges from the lp with lengthy repetitions of Carole's vocal that is equal parts Liz Harris and Tara Burke, haunting the forest-dwelling drones from various bowed instruments that Hitoshi stacks into sinewy passages. Throughout, long breathy gasps of aerated noises push to the foreground alongside a revolving set of church organ trills and arpeggiations that faithfully play homage to Terry Riley's classic Rainbow In Curved Air. The second side is a slightly more somber affair with violin and piano gliding out of an aggregate drone from those two instruments. Like the A-side, it's a wonderful bliss-out number albeit sodden from a rainy night out in the Finnish wilderness. Limited to 450 copies and highly recommended!" [Aquarius Records]
|
2010 |
€19.50 |
|
| K-SPACE |
Going Up |
CD |
"These recordings, with their disparate acoustic properties, are overlaid and overlapped to form dense sonic thickets alive with action and event, palpably embedded in the multi-dimensional flux of the world and lived social structures. Human voices conversing, footfalls on frozen ground, a blackbird singing, the sound of the wind or water, the crackling of wood in a fire, audience applause -- sounds from specific sites with their own peculiar resonance and significance leak through the K-Space mesh into the listening present. This layering and the filtering through of discrete geographic and temporal occasions compounds that superimposition already at work in the trio, the piling up and overlap of intense personal experience. Chamzyryn, a bona fide shaman and folk artist; Hodgkinson, academically trained in social anthropology, an exploratory rock musician, composer and radical improviser; Hyder, jazz drummer, free player, inveterate field worker in remote musical worlds." Performed By: Gendos Chamzyryn (Tuva), Tim Hodgkinson (England), Ken Hyder (Scotland)." [press release]
"Mit Going Up (Ad Hoc 12) von K-SPACE, einem Trio aus dem Tuva-Throatsänger & Schamanen Gendos Chamzyryn, Tim Hodgkinson mit ‚hawaiian guitar horns, piano corpse & location recordings‘ und dem schottischen Perkussionisten Ken Hyder, teleportiert einen Ad Hoc jenseits von Novosibirsk. Der Name K-Space spielt an auf den russischen Astrophysiker Nicolai Kozyrev (1908-83), Referenzpunkt für ‚Zeropoint energy‘- und Zeitvariabilitätstheorien (-> z.B. http://ascension2000.com/DivineCosmos/ 01.htm). An Kozyrevs ‚torsion energy‘ Phi knüpfen sich Spekulationen über einen Zusammenhang zwischen Phi, Sound und der DNA, der womöglich schamanistischen Praktiken real zugrunde liegen könnte (-> z.B. Sol Luckman: Sound, Intention & Genetic Healing). K-Space praktiziert vor dieser einigermaßen esoterischen Folie neo-schamanistische Soundrituale aus Drumming, Noise und gutturalem Obertonröhren. Art Brut
oder scratch-orchestrales Improvising in prosaischen Ohren, ‚healing sounds‘ nach der Formel ‚sound + intention = healing‘ oder Flug- & Zeitmaschine aus Wordsounds + Beats für solche, die zu der Überzeugung neigen, dass in der Kosmischen Schlange ein Gottescode schlängelt. Hodgkinson & Hyder, seit 1979 als Shams zusammen auf dem Schamanenpfad, sind keine Touristen oder blauäugigen New-Ager. Vielfache Reisen zum Bajkal-See und zum Altaj, nach Kyzyl, Barnaul und Akademgorodok, haben ihnen bei ihren ‚Radical Transcultural Initiatives‘ im Zusammenspiel mit lokalen Musikern wie wenigen anderen ‚Westlern‘ ethno- und musikologische Einblicke in die Kultur und Spiritualität Tuvas ermöglicht. Uns Laien vermitteln sie immerhin das Faszinosum absolut uriger Soundkreation. Kozyrevs ‚Zeitmaschine‘ steht auf dem Papier. Going Up krümmt die Raumzeit ganz sinnlich und real so, dass neolithische Archaik und die postmoderne Neugierde auf das Alte, aus dem wir herkommen, zusammenrauschen." [Babyblaue Seiten]
www.adhocrecords.com
|
2005 |
€14.00 |
|
| K2 |
Kinky Tape Collection 1981-1983 |
do-LP |
K2 alias Kimihide Kusafuka is one of the most important early 80's japanese noise protagonists in line with Masami Akita (Merzbow) or Hijokaidan and Toshiji Mikawa of Incapacitants with several hundreds of releases and contributions in the past three decades
In 1981 he started his musical activity devoting himself solely to recording several different styles of noise-works/music to be released primarily on his own tape-label called Kinky Tape Collection (later changing name to Kinky Musik Institiute) and released around 20 tapes during the coming 4 years with noise-music while the term and genre "noise-music" itself interestingly just established years later.
Some of his works he also licensed to other international Tape-Labels such as Schwabenstolz and Stock und Hut Records in Germany or D.D. Records in Japan or contributed to Cassette-Compilations on ZSF, Illusion Productions, De Fabriek, Calypso Now,
The era during 1981-1986 was the time of music experiments for Kimihide with 1983 being the most intense year of recordings produced At that time, he had been related to mail art & music and performed metal percussion solo-concerts.
Although Kimihide loves the dark and neurotic atmosphere of “ZombieAnatomy” series, he also loves the rhythmic noise work such as “Dance Macabre” and “N.G. Music” and he even recorded electronic pop, avant-garde rock which you can listen to in his project Techno Menses in 1983/84 (released on VOD-Records a few months ago) or Denjubaku in 1982/83 or under his real name Kimihide Kusafuka
This 2Lp-Compilation contains the very early period of K2; his previously unreleased first tape work “Student Apathy” which is a kind of music concrete or tape music in modern music as well as three serial works of “ZombieAnatomy” and the more beat noise work “N.G. Musik” and “Dance Macabre”. (Some of these works have been released in the late 80's as a 5 cassettes box by RRRecords, Pathosonico Anatomico”/ K2)
www.vinyl-on-demand.com
|
2014 |
€26.50 |
|
| K2 / ALLAN ZANE |
split |
LP |
"All hail the trans-Pacific noise continuum! Each 21-minute side of this album is dedicated to an artist from Japanand California, respectively. While certainly harsh, the music of K2aka Kimihide Kusafuka and Allan Zane offers a great richness of detail, which makes
it less of a harsh noise wall than a noise mosaic. Making perfect sense of the Split LP idea, each artist offers a different take on what it means to make noise: while Japanoise guru K2maxes out anything there is on his electronic equipment, Allan Zane takes to his power tools.
“Mirror for Colored Sin” by K2credits junk electronics as sound sources next to the legendary TR-808 drum machine. There is a wonderful irony in the fact that the famed 1980s device, adored by pop and techno
producers the world over, is used here for something so decidedly un-pop and undanceable. After all, isn’t noise about destroying the official signal and creating something from the remains? Aptly, Kimihide Kusafuka credits himself as “decomposer” of the piece he performs on this record.
Allan Zane dedicates his piece “Zerstörte Musik” to two of the most iconic noise practitioners outside of Japan: GX Jupitter-Larsen of The Haters and Richard Rupenus of The New Blockaders. Using metal objects, power tools, effects devices, and a good amount of overdrive on the recording, Allan Zane creates a piece that does not sound simply like
‘destroyed music’ as the title claims, but quite psychedelic in its textural, ambient quality. We would not go as far as calling it ‘acid noise,’ but Zane’s years of experience in creating spaced-out audio collages with LSD (that is, his recording project Le Scrambled
Debutante, also released on attenuation circuit) sure benefitted this track a great deal. |
2015 |
€16.00 |
|
| KA-SPEL, EDWARD |
Lyvv, China Doll |
CD |
"Edward Ka-spel, singer and frontman of The Legendary Pink Dots, may not need any more introduction. Ever since the early 80s' the Pink Dots are an unqiue group, that blend together modern electronic music with psychedelic music from the 70's, with as a landmark of its own, the apocalytpic lyrics and voice of Edward Ka-spel. As a solo artist his music is not so complex and varied regarding instrumentation, but they create a more private and intimate atmosphere. "Lyvv Chian Doll" was original released as a casette by Ka-spel on his own Mirrordot cassette label. Originally this cassette was intended as a simple live document, but during its compilation that intention became obscured. Ultimately only half of the material was live, and it featured much previously unheard work. For the CD version, only "The Horn Section" is live, while a number of sketches and small pieces have been inserted, recordings that cover the period 1982-1992, so do be patient with the occasional dubious sound quality. CD is packed in standard jewel box with transparant tray." [label info]
www.staalplaat.com
|
1993 |
€14.50 |
|
|
Permission to Leave the Temple |
10inch |
The idea of a release by the founder of The Legendary Pink Dots on Lumberton Trading Company had been mooted for a number of years. In fact, they were close to issuing a 7" around 2010, but this fell through due to the usual problems often facing small, more or less homespun, labels. The idea of still doing something with this prolific stalwart of music cut from those many folds where avant-garde abstraction locks horns with molten psychedelia, kosmische sounds, electronica and an approach to songwriting never afraid to go wherever the mood takes, however, never left. Attached to all of this, as always, are Edward's words, where wry everyday observations can mutate or be twisted into new forms given a distinctive surrealist slant. Collected on this limited 10" are five songs adding up to the length of a mini-album. Edward may well be one of the most active artists to have first emanated from the early 1980s cassette network, but Lumberton Trading Company is more than happy to play a small part in this continually unfolding, and always interesting, story. Edition of 500.
https://fourthdimensionrecords.bigcartel.com/product/edward-ka-spel-permission-to-leave-the-temple-10
"When you read these words, The Legendary Pink Dots are loading their van to tour Europe, following their tour of late last year in the USA. It's been a while since we last saw this band on stage, and it's about time we see them again. During the pandemic, the group worked hard on new music and brushed up the old music for a new release, so where does singer Edward Ka-spel find the time to make his solo music? I honestly don't know but take a look at their Bandcamp (https://legendarypinkdots1.bandcamp.com/), and you'll find lots of music from his solo and with the mothership. It would be too simplistic to say that Edward Ka-spel is The Legendary Pink Dots in reduced form. Less Erik Drost's guitar and The Silverman's keyboards before or Randall Frazier's these days, Ka-spel's becomes altogether more electronic. Still, I believe that in his solo work, Ka-spel allows even more freedom to play around with sound and sounds (there is a difference there). There is more experiment, but it is also more personal. The distinctive voice of Ka-spel is the central point of attention in the five pieces on this 10", but he allows for a lot of room for an instrumental piece. Honestly, the three pieces on the first side and the two on the second flow right into each other, and there is, as far as I'm concerned, one long piece of music per side, in which Ka-spel tells his story/poetry and packs it with psychedelic coloured sounds. Joyful, over the top, reflective and personal. 'With My Blessing' opens with tinkling bell sounds, which gives the piece the charm of a music box in a baby's room, slowly morphing into something more dystopian with female vocals. Dystopian, perhaps, but Ka-spel's music is never without hope, I should add. However grim the world may be, there is always a ray of light in the music. As said, the psychedelic nature of his music is undoubtedly attributed to that. A 10"... the format of doom (too small for an LP, too big for a single)... it's too short for a full display of Ka-spel's talent to paint stories with sound and words. This is another great one, that much I know, but I also confess to being a long-term fan." [FdW / Vital Weekly]
|
2023 |
€16.00 |
|
| |
Tales from the Trenches |
LP |
Mostly known for his work as founder, vocalist and main songwriter for The Legendary Pink Dots, Edward Ka- Spel has long forged an equally prolific career as a solo artist given to sometimes exploring similar sonic realms as his group but clearly working at such a pace the need to channel ideas and songs in this capacity must be enforced. And just as well too, because Edward Ka-Spel is one of those rare and exceptional artists whose high workrate doesn’t betray a keen sense of quality control. Long known as somebody unafraid to venture wherever he pleases, his work has for a few decades now long traversed the more outward-bound or so-called ‘fringe’ areas of electronic music, psychedelia, hypnotic rock, kosmische sounds and the avant-garde. Heartily sewn into all of this is Edward’s fantastic grasp of spinning a twilight tale or spiralling deep into the mind’s recesses to craft a song from comparatively nimble melodies and words of Kafka-esque proportions. It’s a strikingly rich blend that’s always deserved far more attention than the cult audience it thankfully at least has.
Tales from the Trenches is the second release by Edward for Lumberton Trading Company. Following on from the abstract-flavoured ‘Permission to Leave the Temple’ 10” released at the start of 2023, this LP collects eight tracks of a personal nature mostly pinned into place by some refined electro rhythms, molten cosmic textures, plaintive strings, introspective keys and a late night hue that sways effortlessly between the beautiful, haunted and even, a couple of times, a steam-pumped and sweat-ravaged dancefloor. Limited to 500 only, Tales from the Trenches delivers exactly as the title indicates. Everything may at first feel ominous or sombre in tone, but there’s also a glimmer of hope laid bare in all its sun-drenched glory poking between the cracks.
Tracklist
Side One
1. 1919 (5.20)
2. Archetype (3.51)
3. Charcoal Estates / Votes For Pinocchio / No Gateway (8.31)
4. X Marks The Spot (5.10)
Side Two
1. No Show Tonight (5.18)
2. They Seek Her There (6.06)
3. Platform 5 (6.11)
4. No Show Tomorrow (4.34)
Listen to 'Platform 5' here: https://www.youtube.com/watch?v=1cWece7H3ac
|
2024 |
€23.00 |
|
| KAHN, JASON & ASHER |
Vista |
CD |
Extremst minimaler, rauschiger Drone-Ambient, so subtil und subliminal dass eine "neue" Empfindungsfähigkeit gefördert wird.. die spezielle Atmosphäre, die hier übermittelt wird, ist mit Worten einfach nicht beschreibbar...
"Aus Feldaufnahmen, die Kahn am Zürichsee und in den Schweizer Alpen machte, und Asher seinerseits vor Ort in Somerville, MA, und in den nicht so vornehmen Ecken des Bostoner Stadtteils Back Bay, entstand eine imaginäre Szenerie, die hauptsächlich aus Regen zu
bestehen scheint. Oder ist das Wind, der in Baumkronen rauscht? Oder doch nur Industriegeräusche von Motoren, Generatoren, Lüftungsanlagen? Oder beides? Es wummert, knirscht, brodelt und zischt so ununterscheidbar, dass man am Ende nicht mehr ausschließen kann, dass einem die Phantasie vielleicht durchgehend nur Streiche spielte. Der Drang, Geräusche als Dinge zu identifizieren und so gut es geht ein Was und ein Wo festzustellen, der ist doch sehr stark. Kahn fügt dem Rauschen, das nach einer halben Stunde in den Hintergrund rückt, während im Vordergrund ein dunkles Wummern Raum greift, ein flirrendes Cymbaltickling hinzu. Das siffende Rieseln und Zischeln bleibt aber, wenn auch etwas gedämpfter, so als ob der ständige Regen etwas nachlassen würde oder man selbst sich weiter in den Maschinenraum zurück gezogen hätte, wo das Brummen mollige Wärme auszustrahlen scheint. Ob diese Illusion aus Klang jetzt als ‚offener Kamin‘ taugt, der Gemütlichkeit verbreitet, oder als Regenvorhang, to read Krimis Noir by, das muss jeder selbst ausprobieren." [Bad Alchemy]
"The work on Vista began in the summer of 2006 with recordings made by Asher in the Back Bay neighborhood of Boston. Walking through the
alleys and side streets he recorded the various mechanical rooms, generators, ventilation systems and idling motors which were to be found
there. These recordings were processed and sent to Kahn.
Later that fall, Kahn sent Asher several pre-dawn recordings he had made on the shores of Zürich Lake. Asher processed these in keeping
with the methods he had used with his own location recordings so as to create continuity among the amassing material. Unprocessed wind
recordings made by Kahn in the Swiss Alps in the summer of 2007 comprised the final batch of material used on Vista. Asher and Kahn
spent the remainder of that year working on a final mix. Addressing the idea of hearing and seeing out and beyond spatial planes, title Vista references both the aural expanses of Asher's home on a hill in the town of Somerville and Kahn's trips to the Alps and Zürich Lake.
In processing and mixing the discrete details of a landscape, we hear them from a real physical distance. Through the incidental
combinations of processed local sounds and sound materials which are entirely foreign to us, an imaginative aural view is created which
obscures any relationship to a documentary account of the original locations recorded for Vista.
Jason Kahn is a sound and visual artist based in Zürich. His work includes sound installation, performance and composition. He was born in New York, grew up in Los Angeles and relocated to Europe in 1990.
Kahn has given concerts and exhibited his sound installations throughout Europe, North and South and America, Japan, Mexico, Korea, Israel, Turkey, Russia, Lebanon, Egypt, Hong Kong, New Zealand and Australia. Kahn's work has been published by many other labels such
as his own imprint Cut , For4Ears, Sirr, Crouton, Korm Plastics, Creative Sources, Longbox Recordings, 1.8 sec records, Chloë and ATAK among others.
Asher (Thal-Nir) is still a relatively new sound artist living and working in Somerville, Massachusetts who has already garnered quite a bit of acclaim in just a few short years for his work using old cassette tapes and field recordings. He also uses processed acoustic and electronic instruments. His work has been published online by 12k / term, Con-v,
Laboratoire Moderne (EARlabs), and Homophoni, and on CDR and DVDR by Con-v, Leerraum, Conv, Winds Measure Recordings, Mystery Sea, The Land Of, among others.
DISCLAIMER: For full effect, turn up the volume and do nothing else but listen. You may very well find that this is ALL you will be able to do anyway... Despite the cover images on the packaging, driving while under the influence of this CD should be done with caution. This CD may induce a "thousand-yard stare" (a long, unfocused gaze), instances of "missing time", or audio hallucinations that could cause disorientation in the listener. Bottom line: friends don't let friends drive under the influence of Vista. This CD is for recreational use only. ENJOY." [label info]
www.and-oar.org
|
2008 |
€12.00 |
|
| KALLABRIS |
Music for very simple Objects |
10inch |
"Maybe the most mysterious & thought-provoking german experimental project with recordings derived from field recordings so bizarre it's difficult to find any words for it!
This work features very short sequences of concrete sounds, arranged in a structural and temporal way that the "known reality" is placed in a new frame & context, thus making it possible that the world behind may become "visible" through our acoustic senses.
What is usually familiar is suspended in order to make new experiences.
The used acoustic elements have been configured in a certain causal formation which is not consciously perceivable within the phenomenal order. The phenomenon hides the principle & substance of the sound-pieces.
" Sowohl das Reihungsprinzip selbst als auch die Substanz der Elemente bleiben in der phänomenalen Anordnung verborgen (also unbekannt) - das Phänomen verdeckt Prinzip und Substanz, weil weder räumliche noch zeitliche Ordnungen dazwischentreten können. - substantia innominata et principium innominatum." [Kallabris]
Great full colour artwork by Mal Hoeschen (Multer, Genesungswerk), edition of 500 copies, transparent fluor green vinyl." [label info]
www.substantia-innominata.de
"... Eine Mischung aus minimaler Schwingrhythmik, Dronefacetten und kurzen konkreten Überleitungen erzeugen eine
Stimmung, wie sie hier im Büro zuletzt beim Hören alter S.B.O.T.H.I.-LPs auftrat.
Kallabris arbeiten zeitgemäß mit moderner Studiotechnologie, ihre konkreten
Geräuschhaftigkeiten dagegen, sei es das Knarren einer Tür oder das altersbedingte
Schnarren und Fauchen in Würde gealteter Haushaltshilfen, beweisen einen subtilen und
wohlbedachten Aufbau. Sinusähnliche Melodiefolgen, gepaart mit Synthesizerakkorden
bereichern das ohnehin klare, aber nicht kärgliche Arrangement. Umseitig bietet die Platte konkrete Abfolgen von Wasserrauschen und Metallperkussion, unterbrochen von kurzen
fensterähnlichen Harmoniefolgen, Stimmen und dem unterschwelligen Sirren bearbeiteter
Feldaufnahmen. Schön formal ausgearbeitet, mit einem starken Hafler Trio-Bezug zu Stille
und cinematischen Aufbau. Das Artwork zur Platte stammt von Genesungswerkinhaber Andreas Mal Hoeschen, eine fein ausbalancierte Gestaltung, die in Verbindung Musik > Titel > Interpret ebenfalls angenehm nichtssagend bleibt. Monatssieger auf ganzer Linie." [Thorsten Soltau / AEMAG]
"KALLABRIS sind eine sehr mysteriöse Formation, die schon seit den 80er Jahren im deutschen Industrial-Untergrund tätig ist und im CRANIOCLAST-Umfeld verortet war. Veröffentlichungstechnisch gesehen hielt man sich aber immer angenehm dezent zurück und besonders ihre an WERKBUND erinnernde 10“ „Hafalgar“ und die 7“ auf Drone Records mit der geheimnisvollen U-Boot-Thematik seien hierbei empfohlen. Das letzte Mal habe ich KALLABRIS bewusst vor rund 8 Jahren mit der 12“-Veröffentlichung „Shanghai Dortmund“ auf Genesungswerk gehört und der Sound war da ja schon fast grooviger Shanty gewesen. Um so überraschter bin ich nun, als ich die Nadel meines Plattenspielers in das neon-grüne Vinyl absenkte, denn „Music For Very Simple Objects“ hält, was der Name verspricht. Man hört eigentlich vordergründig nur eine Reihe von scheinbar wahllos angeordneten und sehr konkreten Geräuschen, die erst mit intensiver Beschäftigung ihre Tiefe und am Ende sogar kleine Harmonien offenbaren. Somit wurde das Thema dieser 10“-Reihe von Drone Records auf der Suche nach dem Verborgenen und Unbekannten wieder einmal perfekt umgesetzt. Auch die Gestaltung des Covers der 10“ durch Mal Hoeschen von Genesungswerk erfolgte sehr passend und so schließt sich der Kreis zum Anfang des Reviews wieder. Limitiert auf 500 Stück für wahre Sucher und Entdecker." [M.Fiebag / Black]
|
2009 |
€10.00 |
|
| |
Schön geht anders |
CD |
"On “Schön geht anders”: 29 tracks of sheer joie de vivre form this manifesto of musical positivism. Reductionist on their acoustic surface, constructivist in their compositional core, the tracks themselves and in their sequence point to a sociological base: a sociology of sound or a sound sociology driven by the rough necessities of political acoustics. Advanced 4-track tape recording techniques struggle with primitive digital technology, thus forming a class of sound which contains itself as an element and attribute. The sublation of music reveals the revolutionary nature of movement in which its end becomes the condition of its beginning. Yes, beauty may really work differently – but it is necessity that elevates the sound to a static sculpture of dynamics.
Biography:
Kallabris is a musical project that was begun in the mid 1980ies out of the scene around Coitra’s Clan. Since ist inception Kallabris has persistently neglected any usage of advanced recording technology. Ever since not technical or compositonal innovation is at the core of the group’s work but, the active engagement with the limitations and the objects of every day life. This sound positivism can result in stylistically varied outputs ranging from chanson or country blues to musique concrète – while all musics live by their surfaces. Save the surface and you save all.
www.kallabris.de" [label info]
www.aufabwegen.com
|
2015 |
€13.00 |
|
| KAMIN, FRANZ / TENTATIVELY, A CONVENIENCE / KOMMISSAR HJULER UND FRAU |
FLUXUS |
LP |
Tracklist
A1 –Franz Kamin Spyder Moon
A2 –Franz Kamin US
A3 –tENTATIVELY, a cONVENIENCE Banned Names 02
B –Kommissar Hjuler Und Frau The Lion Sleeps Tonight (live)
LP as part of the series Fluxus +/-, numbered edition of 100 copies.
Beside this regular LP a few copies with misprinted cover exist: The name tENTATIVELY, a cONVENIENCE was written tENATIVELY, a cONVENIENCE, a mistake Kommissar Hjuler made, and the credits on tracks by Franz Kamin were wrong, Widemouth Tapes did not publish those 2 Kamin pieces originally. They were made available on a CD-R, probably assembled by James “Sarmad” Brody, CD-R was the proposed innova CD that innova decided against publishing after Franz died.
The missprinted covers of all LPs distributed after Oct. 21st, 2016 got replaced by a covers with correct spelling of the artist names and different credits on front cover, so all number higher than no. 27 from 100 show up this new cover.
Nearly all of the numbers less than no. 27 of the mispressed ones got replaced later as well.
Only a handful of the mispressed ones might be still around.
Few copies with the new covers now show up some drawings by hand or some tape is glued on front, you find some examples at the file images.
|
2016 |
€25.00 |
|
| KAMMARHEIT |
Thronal |
CD |
Kammarheit finally returns with his fourth full-length album. In its 20 years since the formation of the project, Pär Boström has delivered time and time again some of the most compelling and dare we say authentic Dark Ambient music ever to grace our ears. Following up on his previous works (of which a special edition 20th Anniversary 3LP boxset has been released) he now presents Thronal, another profound and spellbinding journey and another meaningful chapter in Kammarheit’s indefinable story, from a true master of his craft. “I took the crown and the throne acted as a magnet, drawing the attention of distant stars…”
CD Edition of 500 copies in 6 panel Digisleeve, matt lamination. 8 Tracks. Running Time: 44:15
https://cycliclaw.bandcamp.com/album/thronal
|
2021 |
€13.00 |
|
| |
Thronal |
LP |
Kammarheit finally returns with his fourth full-length album. In its 20 years since the formation of the project, Pär Boström has delivered time and time again some of the most compelling and dare we say authentic Dark Ambient music ever to grace our ears. Following up on his previous works (of which a special edition 20th Anniversary 3LP boxset has been released) he now presents Thronal, another profound and spellbinding journey and another meaningful chapter in Kammarheit’s indefinable story, from a true master of his craft. “I took the crown and the throne acted as a magnet, drawing the attention of distant stars…”
Standard Edition LP on Black vinyl, gatefold sleeve, matt lamination. 8 Tracks. Running Time: 44:15
https://cycliclaw.bandcamp.com/album/thronal
|
2020 |
€20.00 |
|
| KAMMERFLIMMER KOLLEKTIEF |
Teufelskamin |
CD |
"Als Teufelskamin wird eine natürliche Felsformation bezeichnet, durch die Meerwasser mit gewaltigem Druck nach oben steigt und dort als Fontäne hinausgepresst wird. Die unmittelbare Übertragung des Begriffes auf das aktuelle Album des Karlsruher Trios KAMMERFLIMMER KOLLEKTIEF scheitert, denn weder Meeresgewalt noch Steinlandschaften kommen hier vor. Durchaus aber sind Assoziationen möglich mit einem winterlichen Kaminfeuer, in dem ab und an der Teufel, vielmehr ein Teufelchen steckt, welches die Funken stieben lässt.
"Teufelskamin" ist das entspannteste, wenn man so will: das winterlichste Album der letzten Jahre, nach dem experimentellen "Jinx" (2007, Besprechung) und dem schon sehr friedlichen, erdigen "Wildling" (2010, Besprechung). Neu ist die RY COODER-Gitarre, dieses surfige 'Twang', der Beach ein Winterwald natürlich. Sie verleiht dem ganzen einen Hauch von Country, von gediegenem Landleben.
An der Kernbesetzung hat sich nichts geändert: HEIKE AUMÜLLER ist zuständig für den entrückten, silbenhaften Gesang, JOHANNES FRISCH für Bass und Perkussion und THOMAS WEBER für Gitarre, Elektronik und Klavier. (In genau dieser Stammformation ist das KOLLEKTIEF übrigens auch live zu sehen.)
Mit der erwähnten Roadmovie-Gitarre beginnt "Teufelskamin", der "Coricidin Boogie" (01) wärmt und entspannt. Schlagzeugbesen und der gewohnt traumhafte Gesang von HEIKE AUMÜLLER – ob Text oder Silben lässt sich nicht genau deuten, ist aber eigentlich auch egal – sorgen für ein wohliges Gefühl, hier ist Heimat, ein Feuer im Kamin (noch ohne Teufel), nur leichtes Quietschen und Knarzen. "Never Collapse, Always Dazzle!" (02) wechselt in die Nacht, es schwirren eindeutig Silben durchs Dunkel. Geheimnisvolle Ambientmusik, bis dato still und leise, ohne Ausbrüche. "Teufelskamin Jam #1" (03) – das 'Jam' deutet es an – klingt jazzig und im Verlauf improvisiert. Nach drei Minuten tauchen die ersten Störgeräusche auf, psychedelische Gitarre und Kratzen, dazu ein 70er Fender-Rhodes-Piano. Immer noch das knarzende, wohlige, manchmal aber auch unheimlich flackernde Kaminfeuer. "Shangrila" ist kurz und wunderbar (04), ein melancholischer Wattebausch, Musik wie ein warmer (Schnee)Regenschauer. "Soft Machine" (05) ist Jazz zu später Stunde, nur mit Piano und Contrabass, getragen von einer anheimelnden, umwerfenden Melancholie.
Auch die zweite Hälfte des Albums birgt diesen neuen KAMMERFLIMMER-Ambient, erinnert übrigens während mancher Instrumentalpassagen (etwa in "New Ghosts", 09) an die stets unterschätzten DAS HOLZ – passt ja wiederum zum Thema 'Kamin'. Allerdings lodern die Flammen nach hinten etwas aufgeregter, knistern und knastern, die knarzigen und quietschenden Instrumente nehmen zu.
Seit 1996 existiert das KAMMERFLIMMER KOLLEKTIEF und erfindet sich trotz aller Wiedererkennbarkeit, vor allem durch den Gesang, für jedes Album neu. Nach "Jinx" und "Wildling" ist "Teufelskamin" innerhalb weniger Jahre das dritte hochkarätige Album, typisch KOLLEKTIEF und doch wieder anders, diesmal mit dem Schwerpunkt eindeutig auf wohligem Ambient im winterlichen Landhaus. Der Cowboy am Lagerfeuer für Zuhause. Herzerwärmend! Und im ausgehenden Sommer schon meine Lieblingswinterplatte." [Michael We./NONPOP]
|
2011 |
€15.00 |
|
| KAMPEN SKOLES MUSIKKORPS |
performs The KREV Underwater National Anthem |
7 |
Die "Nationalhymne" des Königreichs Elgaland-Vargaland (KREV) in der norwegischen Version! Der von LEIF ELGGREN und CM VON HAUSSWOLFF 1992 in Stockholm gegründete Staat besteht aus allen Grenzgebieten / Niemandslanden zwischen anderen Staaten, sowie besonderen Bewusstseinszuständen wie dem hypnagogen Zustand, dem Traum, dem "Territorium der Eskapisten" oder dem virtuellen digitalen Raum. Natürlich braucht so ein Staat auch eine Hymne, auf dieser 7" hören wir den 24köpfigen Marschmusik-Verein "KAMPEN SKOLES MUSIKKORPS", einen der ältesten Norwegens. Unglaublich, aber WAHR. Aufgenommen im März 2008 von JANA WINDEREN.
"Numbered edition of 500. This 7' is the third in a series of vinyl acoustic versions of the National Anthems of Elgaland-Vargaland. See also the Mariachi version [Ash 7.2] and the Klezmer and Afrobeat versions [Ash 7.4], both issued in 2007 via Ash International. Kampen Skoles Musikkorps consists of around 24 musicians aged from 9 to 16. It was founded in 1906 and is the third oldest school marching band in Norway. Recorded on 12 March 2008 at Kampen Skole in Oslo. The KREV Underwater National Anthem was recorded under MS Reichenau on the occasion of the Annexation of the Bodensee (Lake Constance) including Überlinger See, Zeller See, Gnadensee, Untersee and the Insel Mainau (Island of Mainau), formerly a part of Switzerland, Austria, Germany, by the Kingdoms of Elgaland-Vargaland on Wednesday, 28 May 2008. In attendance were Kings Michael I & Leif I, The KREV Ambassadors for Basel, UK and Zürich; The Minister of Galleries and many others. Recorded using Dolphin Ear hydrophones and a Nagra Ares PÐ11 flash recorder whilst The Emmishofer Brass Band and The Diessenhofen Yodelling Choir performed With thanks to Adrian Notz at Cabaret Voltaire, Richard Tisserand at Kunstraum Kreuzlingen and Stefan M. Seydel at (((rebell.tv)))." [label info]
www.ashinternational.com
|
2008 |
€7.50 |
|
| KARINI / PALADINO / SIMON FISHER TURNER |
Ghosts of Industrial Sunday |
CD + DVD |
"Here comes a new welcome entry in the ‘private sounds’ series of the now growing 13 catalogue. "Ghosts of Industrial Sunday" is a short film by Maria Assunta Karini and Francesco Paolo Paladino, whose music were composed by Simon Fisher Turner. This release consists of a video DVD, which contains the film, and a audio CD that features the original soundtrack and other compositions inspired by this project that Turner created on purpose; they are accompanied by an oversize 20 pages booklet that offers some images taken from the film and delves more into the concept behind it.
As a film, “Ghosts of Industrial Sunday” portrays those places attended by human beings in order to carry out their profession, while they are empty, for a limited period of time, during a break, on a Saturday or Sunday. These are places where the human presence, fatigue, pain, hope are palpable presences, where silence seizes the humble labor objects almost by magic and where things talk and expose without having to necessarily utter any words. The path chosen by the directors relates to a sort of secular “via crucis”, it is an objective progress through the human work’s granted moment of interruption in order to analyze it, to describe it and to underscore its dramatic sense, through the exclusive aid of inanimate objects.
The music created by Turner as a soundtrack to the film expresses a delicate tranquillity through notes of piano which are just mottled by the electronic elements in the background, while an unspoken sense of drama hovers in the air and the circular motion of the composition gradually absorbs the listener. Among the remaining tracks, is worth mentioning the evocative and intense soliloquy of "Piano For Double Lesson" and the hanging drones of the first part of "Some Lost Music".
Maria Assunta Karini, sculptor, photographer, writer and director, has shown her works in several major Museums, in Korea, Brazil and the United States. She has produced several short and medium length films, that have participated in the Cannes Film Festival, Seattle International Film Festival, MACBA Museum of Contemporary art Barcelona, MADC Costa Rica, and has been awarded numerous prizes at art and cinema festivals.
Francesco Paolo Paladino, script writer, musician and director, has received an award by F.E.D:I:C: at the 66th Festival of Venice. He has participated more than once in the Cannes Film Festival (Short Corner) and he has won the Houston’s World Film Festival and the New York Independent Film Festival.
Simon Fisher Turner has composed music for Derek Jerman, David Lynch, Mike Hodges, Michael Almareyda and several others authors. His recent soundtrack for “The Epic of Everest”, a film made in 1924, was nominated “Soundtrack of the Year” for 2013 by Mojo magazine. His CDs have been published all over the world." [label info]
http://13.silentes.it
www.silentes.net
|
2014 |
€15.00 |
|
| KARKOWSKI, ZBIGNIEW |
The last Man in Europe |
LP |
"Reality (realityfilm.co.uk) had the honour of working with pioneering electronic composer Zbigniew Karkowski on two occasions. In 2007, as part of the Recording Angel Ensemble’s accompaniment to Wojciech Has’ film “The Saragossa Manuscript” at the National Film Theatre and finally, for the last time on the 31st October 2013 when, already gravely ill after learning that he had advanced pancreatic cancer, Karkowski premiered his music to the BBC 1954 teleplay production of George Orwell’s “1984 - The Last Man in Europe” at London’s Horse Hospital. It was to be his last public performance. Zbigniew died aged 55, just six weeks later on Thursday December 12th in the jungles of Peru where he had travelled seeking treatment with the Shaman healers of the Shipibo. “Where language ends music begins” Zbigniew Karkowski March 14, 1958 - December 12, 2013. Recorded Live to Film at the Horse Hospital, London. October 31, 2013. Recording: Aleksander Kolkowski."
www.erratum.org
"Zbigniew Karkowski was a very important and influential figure across various arenas of music including electronic, noise, experimental, avant-garde some of which obviously cross over from time to time. He passed away at the age of 55 a mere 6 weeks after recording what we have before us today.
The Last Man in Europe is a document of Mr. Karkowski’s presentation to the BBC 1954 teleplay production of George Orwell’s “1984-The Last Man in Europe.” This piece was recorded live at The Horse Hospital – a London independent arts venue on October 31, 2013.
On a personal note, this recording is nothing like I have ever heard before. It’s uniqueness makes it virtually impossible to categorize. However, this important recording is the work of not only a pioneer but a master of electronic music dynamics and frequencies. Some of the tones here range from mid-level to ear-piercing. There are other moments, for example (around 3:30 in track 2) when the base track, often ebbing and flowing is layered by a sound that can best be described as a noise wind. It’s at that point where this recording really has become a brain-altering experience.
Few releases in experimental and noise arenas can really invade the mind the way The Last Man in Europe does. It reaches beyond the reasons why we listen to noise and experimental music in the first place.
Fortunately, Erratum Records has decided to release this important recording in LP form giving the piece and Mr Karkowski the respect they deserve. As noted above, Zbigniew Karkowski passed away six weeks after this recording was presented. He traveled to the jungles of Peru seeking the help of Shaman healers for his pancreatic cancer. This is further confirmation that this influential artist lived and died in areas where a very small amount of people dared to go before." [The Noise Benath the Snow]
|
2017 |
€17.50 |
|
| KAZIMIRA, DARJA |
Monochromia |
CD |
listen : https://cycliclaw.bandcamp.com/album/monochromia
Remastered re-issue of her 2016 album of otherworldly funeral chants...in her own words she describes the inception of the album; \"This album was a completely impulsive act, the realization of a regular artistic idea, which initially did not mean the final result. This idea was inspired by my great-grandfather, who devoted his whole life to serving the ceremony of "following the dead\" (Νεκρώσιμος Ἀκολουθία) and classic examples of ancient Greek literature. But in the end, "Monochromia" became one of my first big works. Here, only the \"dialogizing\" musical-improvisational experiment and the very nature of the ancient Greek tragedy, which demonstrate the archaic principle of distribution and the interaction of ordinary and ritual violence in the system of relations between man and metaphysics, were of importance. And of course, a large space of the theme of death opens up here. In turn, it is the theme of “sacred violence”, funeral, burial, and initiating rites that is the ideological basis for me throughout my creative activity. Certainly, in this situation, the opportunity, with the help of other people, in a closed space, to recreate a mass state of comprehension of death, is very interesting. Indeed, for this it is necessary to violate, among other things, the bodily and mental boundaries of the participant in such an act, to create a precedent for trauma and deformation, transforming these actions into an audial pit. I just invited all of us, the participants, to cry and grieve together. Perhaps, if I had known in advance that this music would become an album, I would have brought this central state to its apogee and horror. But in the current situation, it turned out to be a very “humane” anthem of human death. Of course, this softness, which is not characteristic of my other works, the sound of \"Monochromia\" acquired in many respects thanks to a group of initiative people who wanted to take part in this, and I just acted here as a guide and a mirror. This is more a story about mourners at other people\'s funerals. At that moment in my life, it was this wonderful tradition that seemed to me the most valuable experience.\"
CD Edition fo 300 copies in 4 panels Digisleeve, Mat lamination. 7 Tracks. Running Time 48:25 released
Vocals – Eleon Emedy, Igor Makarov, Kristap Guts, Mara Malokhina
Vocals, Instruments – Darja Kazimira
|
2022 |
€13.00 |
|
| KE/HIL |
Syndrome / Antidrome |
LP |
"LP comes in 2 different covers – the SYNDROME-Cover and the ANTIDROME-Cover, both versions are lim.num. 250 cop. plus download code.
All indicators point in one direction.
Starting at „Hellstation“ towards „Zone 0“, passing buildings whose true purpose is less based on functionality than on degeneration.
To degenerate the population, painting them pictures of would could but never will be.
Concrete ravines, which are not made to live in, much more to delineate. The cries of the „Prekariat“ drowned with the play and song of the theatres. A city as you find it everywhere, marked by the pleasures of the people, covered by wishful thinking, yet full of Babylonian arrogance. From here to there, from the „Flesh Supply Center“ to the forensic psychiatry.
And here and there a man rises up and connects with his kind. A Forensic Resistance.
Follow „Ke / Hil“ on their way through ruins that no one sees – hear screams no one hears – exist! , so no one else does.
„Syndromes / Antidromes“ rattles at the societies „Comfort-zone“ – Is this really Ke/Hil ?
play it loud to hear the extreme cold!"
|
2017 |
€19.00 |
|
| KEIN ZWEITER |
Teilstück für totalen Schwung |
LP & DVDr |
10 YEARS LATER - 10 STEPS AHEAD!
Above party lines – below the horizon of forgiveness...Kein Zweiter return stronger than ever! 10 years after the „Muskeln + Kraft = Überlegenheit“ album – a new release by Kein Zweiter!
And nine pieces that are very difficult to categorize:
- electronic music?
- dance-able?
- strong voices?
-still a bit sweat of DAF?
- uninspired 1980s pure-cult-machine
YES!
YES!
YES!
MAYBE!
NO!
KEIN ZWEITER STAY AS ORIGINAL AS UNIQUE!
“...fantastic, sticky, garish nobleman-fetish-fantasies and pre-communistic oaths of knights take possession of me…" (Felix Kubin)
Released as 12“vinyl including the „Eine Richtung – Eine Saat“ video on DVD-R, a postcard and an A4-inlay containing the lyrics & liner notes! Also available on Bandcamp!
www.90-prozent-wasser.de
"GORT KLÜTH, der Bände sprechende Vokalist und KLAUS-HELENE RAMP, der elektronische Musikverantwortliche, bilden zusammen das Berliner Duo KEIN ZWEITER. Dieses hat dieser Tage ihr zweites Album auf dem Label 90% WASSER herausgebracht. Und das hält sich, was die Aufmachung betrifft, elegant zurück. Das heißt, das mir vorliegende Cover ist schlicht in Pappkarton verpackt, auf dem nur der Bandname und der Titel der Platte aufgestempelt sind. Die Klebchen sind weiß, mit einem stilisierten K versehen. Mehr nicht. Doch mehr braucht es auch nicht ...
Gegründet wurde KEIN ZWEITER von den genannten zwei Herren bereits 1989. Allerdings dauerte es nicht allzu lang, bis es wieder still um die beiden wurde. Die Stille währte dann bis 1998. Dann taten sie sich wieder zusammen. Nach mehreren Anläufen inklusive einer unveröffentlichten 7inch begannen sie 2003 damit, ihre erste, hier bereits besprochene LP "Muskeln + Kraft = Überlegenheit" aufzunehmen, die drei Jahre später erschien. Darauf folgt jetzt, etwas verzögert, weil GORT KLÜTH einige Probleme mit der Obrigkeit hatte und deshalb dann und wann in Staatsvoll- bzw. Halbpension war, die zweite "Teilstück Für Totalen Schwung". Und die ist nun noch verstrickter, der Gesamtklang voller, die Arrangements komplexer und die Texte derart hintersinnig aufklärerisch, dass einem die Augen auf- ja übergehen, in Anbetracht bzw. Anhörung dessen, wozu die Sprache fähig ist. Doch zur Sache ...
Das Album nimmt sich zunächst, hört man es durch, verstreuter Teilstücke an. Da hören wir etwas vom Glied, von einem Kuchenstück, vom Tanzen, von Fügsamkeit und Widerstand, vom Wegsperren der Mütter und der Befreiung von den Vätern, von wilden Horden und vom Wagenmann, der dem, der sagt: Du sollst oder sollst eben nicht, den Kopf mit dem Hammer einschlägt. Da haben wir National- und auch nur Sozialismus, Aufbau, Zerstörung und Sexualität, die ja in all ihren Ausformungen eigentlich nie wider die Natur sein kann, aber auch schon mal wehtut ...
"Genitalmetamorphosenovid", das erste Stück, gibt dabei die Stoßrichtung vor. Da wird der römische Dichter Ovid herangezogen, bzw. wird ihm etwas angehängt, an das er sicher damals nicht dachte. Seine Meatmorphosen, könnte man meinen, bilden dann auch gleich das Album ab. Denn stehen die einzelnen Stücke ähnlich wie die Ovidschen Verwandlungen in keinem direkten Zusammenhang. Man könnte gar meinen, ihre Zusammenstellung wär völlig wahllos. Doch so ist das nicht. Nein. In Wahrheit sind alle Teile sowohl der Metamorphosen als auch die des Albums kunstvoll miteinander verknüpft … “Komm herein” (02) verbindet z.B. gekonnt und mit einem tiefschwarz humorigen Anfang ("ss die wirklichkeit/ die mich von hinten treibt") Faschismus und Homosexualität. (Die ersten zwei Buchstaben werden als Laute gesprochen.) "Die Saat" (03) trägt dann in seiner auf youtube zu bewundernden bildlichen Darstellung Anleihen an den vergangenen Realsozialismus zur Schau. Was dann den im zweiten Stück genannten Faschismus nun wohl um die Dimension des Sozialismus, der die Vorstufe zum Kommunismus sein sollte, reicher macht, also ganz allgemein Diktatur bedeuten dürfte oder repressives System. Sowohl textlich als auch musikalisch kann das mindestens doppeldeutig genannt werden. Und das ist auch gut so. Denn das Eindeutige, bzw. all die Vormünder, die sich stets auf der richtigen Seite wähnen, nerven ob ihres ausschließlichen Hoheitsanspruches enorm. Es bedarf nun mal keiner Oberaufsicht. Das hat sicherlich auch Ovid, als er, so wie GORT KLÜTH, und zwar als das Werk fast abgeschlossen war, in die Verbannung geschickt wurde, gerufen ... Ob die Kunst nun also Kot isst, bleibt eben ihr überlassen … Mit "Kreislauf" (04) holen KEIN ZWEITER dann noch einmal Schwung, um sich im "Tanzlied" (05) dem Tanzen zu widmen …
Die B-Seite umfasst dann noch vier weitere Titel. "Endstation Gürtel" (06), "Miteinander" (07), "Der Weg" (08) und "Der Wagenmann" (09) … Oh, der Wagenmann! Der hat es mir nun wirklich angetan. Dieses Stück Musik ist wohl das Epischste, das mir seit Jahren zu Ohren gekommen ist – sagenhaft. Man hört hier sogar einen klassischen Chor, der die Handlung der im Text beschriebenen Tragödie kommentiert ... großartig! Und dann ... dann fällt der Hammer ...
Aufgenommen wurde "Teilstück Für Totalen Schwung" zwischen 2007 und 2013 in Morgenitz und Berlin. Die Produktion übernahmen PAUL VIEBEG und JÜRGEN ECKLOFF."
[andrewkorsch für nonpop.de]
|
2016 |
€17.00 |
|
| KELLER, ALEX & SEAN O'NEILL |
Kruos |
LP |
Alex Keller and Sean O'Neill have created performances and installation pieces together since 2015. Using field recordings, vintage telephone test equipment, and magnetic oscillators, among other tools, their work addresses the agents and artifacts of change in the urban (and acoustic) realms. The resultant audio is a potent brew, seamlessly merging drone, musique concrète, phonography, and various electronic intrusions.
"Kruos" is the duo's debut release. It was developed between December 2016 and February 2017 as a distillation of live performances and as a chronicle of the pair's speculative investigations. "Kruos" is an assured, bracing study of an invisible landscape, and a wholly absorbing colloquy.
This collaboration began as an exercise in the manipulation of field recordings exclusively. The album's title, "Kruos," refers to those early processes, for it is an ancient Greek word meaning frozen or frost, and is the root of the word krustallos, or crystal. The ancient Greeks believed that, like frost, crystal was created by the cold. And similarly, field recordings exist in a kind of crystallized stasis - frozen in time.
The additions of magnetic oscillators and a vintage telecom test synthesizer to their cache have given Keller and O'Neill more time-based control over what happens in a performative setting, while still leaving a great deal to the time-frozen nature of the original field recordings. This remarkable juxtaposition of sound sources, of action and repose, engenders a startling and satisfying listening experience…
"Kruos I" takes the listener on an interior journey, from test equipment to a warehouse, to a medicine cabinet on the Carnival Triumph, to a digital synthesizer: a tense, anxious exploration. "Kruos II" resumes outside, from an urban university's power plant, to magnetic oscillators, to a pastoral scene on a lake, to a dock on another lake, closing this chronicle at a point of poised stasis (or "kruos").
"Kruos" has been released by Elevator Bath as a limited edition clear vinyl LP, copies of which are also available here: www.elevatorbath.com
credits
released July 7, 2017
Alex Keller is an audio artist, sound designer, curator, and teacher. His engagement with performance and recording is an outgrowth of his interest in architecture, language, abstraction, music, and in the inherent aesthetic value of the act of research. Keller recently spearheaded the creation of the Phonography Austin group; his work in the realm of phonography/field recording (plus that of sound art and engineering) has been documented on several releases over the last 20+ years.
Sean O'Neill is a multi-media artist interested in how perception shapes the dynamics of spatiality. He explores both the visible light spectrum and the audible frequency range to determine how they influence our lived environments, and vice versa. O'Neill's installation work involving light and sound has been exhibited and documented internationally.
Keller and O'Neill are both currently based in Austin, Texas. They have performed live, to great acclaim, alongside the likes of John Duncan, Lawrence English, Rick Reed, and many others. They will tour the US this summer.
elevatorbath.bandcamp.com/album/kruos
"Alex Keller and Sean O'Neill may have been collaborators since 2015, but Kruos is actually their debut release. That relative youth does not translate to lack of experience on the album, however, as the duo’s work is a complex, nuanced work of sound art, conjured up from some rather rudimentary sources, largely just field recordings and a telephone test synthesizer. It is a bit of a difficult, unsettling experience at times, but a strong one nonetheless.
The two halves of Kruos complement each other well, with each side representing some drastically different approaches to sound. The first half begins rather simply with a big, looming bassy analog tone that slowly oscillates in pitch. Sputtering at times, it functions well as an underlying foundation for the processed field recordings to be constructed upon. The duo introduces these rather coarsely via recordings of violent, heavy reverberated knocking. There is a rhythmic quality to it, but is anything but conventional. Instead, it functions as a jarring, menacing addition to initially restrained sounds.
Keller and O'Neill are not just working with pure field recordings, of course, so after some of those loud outbursts, a bit of delay scatters the sound nicely, giving an additional sense of depth. Beyond that, some weird creaking textures and shifting of pitches balance out the open space well, bringing a nicely foreboding quality to the composition. The tones get even more varied and pushed to the forefront, building up to a dramatic, yet abrupt ending.
The second half of the record is the more subtle side to Kruos. The low frequency synthesizer hum reappears, but here blended with an ambience somewhere between white noise generator and air conditioning system. From here slow, sparse pulsations appear, representing another misuse of that telephone test equipment the duo utilizes. Sputtering, rumbling electronics appear, giving a bit more tension to the otherwise peaceful surroundings, but still staying more restrained and less confrontational than the first half.
Eventually these indistinct and mostly unidentifiable field recordings and found sounds are presented in a less treated way, consisting of far off birds and insects that again capture the vastness of nature very well. Towards the conclusion, however, the duo decides to get weird again. There is a reappearance of some of the knocking/clattering type sounds that were heard throughout the first part, building to a more disorienting, chaotic arc before coming to another abrupt conclusion.
Alex Keller and Sean O'Neill may not have used a significant amount of instrumentation to construct Kruos, but they achieve a great deal with what they have. It is difficult and challenging at times, and there is not much to grab on to as far as conventional rhythm or melody, but it excels in abstraction. In many cases the result is far removed from the source material, but the environment the two create on here is just as fascinating as any natural one that could be captured." [Creaig Dunton / Brainwashed]
|
2017 |
€20.00 |
|
| KEMIALLISET YSTÄVÄT |
Alkuhärkä |
LP + 7inch |
In der Version mit 7" soll es nur 150 Stück geben, das neue Werk der finnischen Geräusch-Folker, mit ihrem dadaistisch kreatürlichen Chaos-Primitivism Drone-Psych.. (oh was für ein Wortgebilde, die Musik scheint zu wirken..)
"One of our favorite slabs of freaky Finnish forest folk, now available on lp!! Pressed on thick vinyl in a deluxe jacket with a printed inner sleeve and all new artwork! The 18 tracks found here are a riotous festival of Finnish folk-psych. A pagan parade in a forest glade. Abstract, druggy, dark, delightful... We're always entranced by Kemialliset Ystavat's damaged improv folk mystery, and Alkuharka is yet another reason for us to keep saving our pennies in order to afford a trip to Finland (lucky Andee's been there once already). Anyone into anything along the lines of Tower Recordings, Thuja, Trad Gras Och Stenar, Six Organs Of Admittance, the whole Broken Face 'zine scene (to whom Kemialliset mainman Jan Anderzen used to contribute much art) will want/need this. Horns flutes guitars drones bells tapes voices feedback.
Wheezing buzzing bliss. With contributions from honorary Finns Dylan Nyoukis (Prick Decay) and Campbell Kneale (Birchville Cat Motel), Jan
and company are the true underground krautrock heirs, making music so long haired that it's furrier than any Animal Collective. Music from
the soundtrack to The Wickermoomin, perhaps?" [Aquarius Records]
|
2007 |
€25.00 |
|
| KENNEY, JESSIKA |
Atria |
LP |
Atria is a full length LP featuring compositions written between 2007-2013, including performances by esteemed musicians from Gamelan Pacifica, Gamelan Kusuma Laras, and Gamelan Rakyat, as well as Eyvind Kang, and recorded in multiple contexts with sound engineer Mell Dettmer. LP edition of 300 copies in tri-tone LP sleeve, with oversized LP booklet containing scores and translations. Album art by Faith Coloccia and Jessika Kenney.
The term “Atria” emerged in a dream in 2007, at a time when I was simultaneously writing new music for the Cornell Gamelan Ensemble at the invitation of Chris Miller, and recording “Voices of Spring” with Ostad Omoumi. “Atria” sounded like the Latin plural of atrium, evoking the chambers of the heart, and reminded me of the Javanese Satriya or “Knights”, but it was only later I realized the reference to the Arabic triliteral root “atr” or scent. This music has come into being in a similar way, by associations, breaths, correspondences, and dreams, with the untranslatable and the inexpressible as a compass. At the same time it is a document of a learning process, and although I have been so fortunate to have incredible teachers, all the errors and delusions are my own. This is a meditation on an internalized meta-historical dynamic between Javanese and Persian traditions, and is a tribute to the role of sound in the context of esoteric practices, including prophetology and healing water.
sigerecords.blogspot.de
|
2016 |
€30.00 |
|
| KENNEY, JESSIKA & EYVIND KANG |
Reverse Tree |
LP |
"Black Truffle present Reverse Tree, the new LP from the acclaimed duo of Eyvind Kang and Jessika Kenney. The two are musicians who have established themselves as powerful voices working at a unique intersection of contemporary composition, improvisation, and Asian traditional music forms. Either individually or as a pair, they have worked in contexts ranging from performances of traditional Persian and Javanese music to collaborations with Sunn O))), but their work together as a duo, on The Face Of The Earth (2012) and Aestuarium (SOMA 002LP, 2011), most clearly represents the central concerns of their diverse practices: a music of the inner life of sound, demanding ritualistic focus and promising heightened sensations. On Reverse Tree, the duo expand their work together into the realm of the chamber ensemble, presenting two side-long works that feature Kenney's voice and Kang's viola alongside a multitude of other instrumentalists. Kang's "Thoughts On Being Exiled To The Frontier, For Lord Wei", inspired by a text by the Tang dynasty poet Hsueh T'ao, features an all-star international ensemble: Kang, Kenney, maverick Israeli conductor Ilan Volkov on violin, Icelandic cellist Hildur Guðnadóttir, and guitarists Oren Ambarchi and Stephen O'Malley. The piece is primarily composed of irregular patterns of pizzicato notes and guitar harmonics, gently falling in and out of sync and providing a subtly unstable support for Kenney's voice, which at times is reminiscent of Michiko Hirayama's classic performances of Scelsi. Drawing on 20th century instrumental techniques, alternate tuning systems, non-western music and the experience of nature, the piece opens a space both serene and subtly uneasy. Kenney's "Elm" features Kenney and vocalist Nova Ruth (Filastine, Twin Sista) alongside an ensemble of strings and Seattle's Gamelan Pacifica, performing on Javanese instruments tuned to the slendro scale. An uncanny timbre created by bowing the keys of the Gamelan's instruments, supported by bowed harmonics from the strings, is heard consistently throughout the piece. After a long introductory section in which this harmonic cloud slowly descends from shimmering high notes to rumbling bass, the vocalists enter, singing a slow and stately setting of a 19th century Surakarta poem (attributed to Mangkunegara IV). The poem deals with the idea of a form of knowledge achieved through deeds, as a practice and state of the heart. Presented in a deluxe sleeve designed by Stephen O'Malley; Mastered and cut by Rashad Becker; Cut at 45rpm for maximum fidelity."
www.blacktrufflerecords.com
|
2016 |
€17.50 |
|
| KENT, JULIA |
Asperities |
CD |
There's something about that cello sound that keeps me mesmerized. And it's not a bias towards strings - after all I'm a piano player at heart - but rather something about the tonality and timbre of the low-end of those strings. In the right hands, the cello could be moody, stormy, and even dour. I think by now I have accepted my total fascination with melancholy instrumental music, and so it is the music with the cello to which I'm always drawn again.
The 'right hands' this time belong to none other than Julia Kent, a Canadian-born NYC-based cellist, who, after many years of performing and recording in groups, such as Rasputina, decided to go solo in 2007 with Delay. I was introduced and captivated by Kent's sound with her 2013 release on Leaf, titled Character. I was also lucky enough to witness Kent's live performance at the Unsound Festival New York, which I followed with an Interview, and so, you got the idea, I was hooked. Julia's fourth solo studio album, Asperities, is due out on October 30th, again on the amazing Leaf label, and I've got the privilege to spend more than a few hours inside her world.
I was thinking about the concept of difficulty. Whether in life or in nature – of conflict, of being troubled. The idea of friction. Also in geology, an asperity is some part of a fault line that doesn’t move that can create an earthquake, which is an evocative concept.
Asperities is layered, soaked and stratified, and then peeled back upon its core. The cello swirls in clouds of reverb, dancing around the stereo stage, temperamental, volatile and glum. Like the early dark clouds of an autumn downpour, the sonic whirlwind slowly gathers among the textured washes of its aural weather. The atmosphere is nearly electric, slowly building, growing, gnawing with every single piece. This tension finally breaks with my favorite track on the album, "Terrain", which erupts with glitchy percussive rhythm, completely unexpected and very welcome. This is a cinematic journey, meticulously sculpted to keep you on the edge.
A lot of the melodic material is based on semitones,” Julia elaborates. “So in the music there is an inherent sense of dissonance; that things are too close for comfort. More generally, it seems like a particularly dark time in the world right now, and I think that definitely had an influence too.”
This amalgamation of looped cello, electronics and found sound creates a perfect unity of all that is incredibly lovely about Julia Kent. The album is mastered by Rafael Anton Irisarri (whom I actually witnessed doing so at his Black Knoll Studio), and is available as a CD, digital download, and limited edition vinyl LP. Highly recommended for fans of cello music in general, and especially works by Greg Haines, Peter Gregson, Richard Skelton, and Hildur Guðnadóttir.
[Headphone Commute]
|
2015 |
€15.50 |
|
| KESZLER, ELI |
Stadium |
do-LP |
NewYork-based artist Eli Keszler is at the apex of his career. This year alone he’s had a three-month-long solo exhibition (“Blue Skies” at Fuse Arts, Bradford, UK), performed internationally in a duo with Laurel Halo, collaborated with noted Hungarian author La´szlo´ Krasznahorkai, taught experimental composition and performance at Camp in the Pyrenees mountains, composed music for Turner Prize– winning visual artist Laure Prouvost, and most recently embarked on a world tour with Oneohtrix Point Never.
“Stadium” is his new album for Shelter Press. As his ninth solo record,“Stadium” reflects his move from South Brooklyn to Manhattan, where he produced the album. The constant blurry motion and ever-changing landscapes of the fast-paced island helped him modify and shape his sound into a new kind of film noir. “After we moved into our East Village apartment,” Keszler explains, “we found a guitar pick on the floor that read ‘Stadium’. We looked at each other at the same time and had the same thought. It could have gone any number of ways.” Indeed, there is a startling amount of expression at play on each track, where intersections of melody, restraint and rhythm are used to challenge the idea of memory, impression and space.
Keszler is often mistaken for an electronic musician, but in fact his sounds are raw and natural, produced by hand live in-situ. His performance with the drumset and acoustic percussion are central to his work. He produces almost impossible textures through self-realized methodologies: cascading melodies, a shadow of voices, and a unique pointillistic materiality. Although playing with the intensity of digitally-created music, his communications are done live with no processing. These haptics are what give “Stadium” its depth and its warmth. In a recent interview for Dazed, collaborator Oneohtrix Point Never comments, “I’ve always described his playing as bacterial. He’s able to parallax into very small, very acute, very specific relationships between percussive textures. It’s beyond just being a drummer — he’s a world-building percussionist.”
In “Stadium,” Keszler uses lived experience to realize the most wide-ranging sound he’s created to date. “Stadium” draws out textures from overlapping geographies (from Shinjuku arcades to city streets and Brutalist architecture) and transforms these travelogue field recordings into starting points for composition. He then builds on these environments to create subliminal spaces for his percussion, keyboards and acoustic instruments. His “world-building” techniques are pushed to new levels with mesmerizing string and brass arrangements. Throughout the album, Keszler’s writing, keyboard playing and scoring operate like a sonic channel that transports the listener into a quaking web.
Perhaps this is the “stadium” referred to in the title: a larger network of sound and bodies moving continually, oscillating and turning in on itself. Keszler has explored these ideas before both in his visual work and sound installations - especially notable on projects such as his massive Manhattan Bridge installation ‘Archway’ or his Boston City Hall work 'Northern Stair Projection'. “Stadium” takes these long-running ideas to new depths. “My installations work with massive city spaces for a complex of individuals,” Keszler states. “The recordings on Stadium are inverted. They are landscapes scaled for the singular. Like a mass collecting in one arena, this music compresses city spaces, genre and instrumentalism into an amorphous form. On the record, there are ruptures of information and happenstance. Like a game, it could go any number of ways.”
|
2018 |
€26.50 |
|
| KINETIX |
Gestaltsystem 01: Possible Forms |
do-CD |
Interessanter Installations- / Konzeptkunst-Release dieses italienischen SoundArt-Projekts auf dem russischen Monochrome Vision-Label, in dessen äussere Audioform man interaktiv eingreifen kann GESTALTSYSTEM 01: POSSIBLE FORMS besteht aus 2 CDs mit exakt gleicher Länge (42:42 min) und exakt gleichlangen 8 Tracks (5:20 min). Beide sollen gleichzeitig abgespielt werden, wobei Lautstärke und Reihenfolge variiert werden können. Die schwarze CD enthält „metrische“ Ton-Elemente, die weisse CD „noise drones“, es entstehen fliessende digitalelektronisch-mathematische Soundscapes, die z.B. an IKEDA denken lassen... perfekt für die eigene Home-KlangInstallation.
“This release is a totally reworked version of "Possible Forms" previously produced as CDR in edition of 100 copies by Nova Ars Digitandi, and it's a part of "Gestaltsystem" installation.
It has unique conception of everchanging soundsculpture, composed by randomly juxtaposed audio fragments of the specially designed structure. This is the best digital sound art piece we ever heard, and it should appeal to all minimal electronic music admirers.” [label info]
"POSSIBLE FORMS is not a double-CD album, but it’s an audio-set composed by two CDs planned to be played simultaneously. It includes sixteen electronic compositions of identical length (5’ 20”) for a total time of 42’ 42” for each CD.
This work is conceived in order that every track of each record could play as second layer on every track of the other one. For this reason, the tracks hasn’t neither title nor a pre-arranged sequential order.
Macrostructure: the Black CD includes 8 tracks with metrical-tonal elements, while the White CD contains 8 tracks of only noise drones. Both CDs have the same peak level (0dB), so the listener can choose the respective volume of each CD. These recordings contain ultra/sub sonic frequencies; for this reason the author advices the listener not to play the CDs at high volume.
Microstructure: all the tracks are obtained from a special combination of forty different audio fragments, previously selected and extracted from various digital sources. The minimal form of the entire work was specifically created to facilitate the listening in combined modality, establishing this way a precise relationship between sign and function.
Vertical audio system: using two CD players (or CD-ROM/DVD players) in Random / Shuffle and Repeat modes, both players have to be started simultaneously. So, the two records can be played together ad libitum, generating sounds and sequences in continuous movement.
POSSIBLE FORMS uses sound strategies based on the calculation of auditive times and spaces in order to create a different kind of audio-logic design. In this sense this work can be intended as a device able to expand the ordinary possibilities of domestic listening." - liner notes
Composed 2001-2002.
Originally released as Kinetix (2) - Possible Forms on CDrs and limited to 100 copies.
Re-worked 2004-2005. This edition is limited to 500 copies.
|
2006 |
€8.50 |
|
| |
Final Archives |
CD |
"The final chapter for this project run by Gianluca Becuzzi well know for his old dark wave project LIMBO but also for his solo works and collaborations with Fabio Orsi. FINAL ARCHIVES is a sort of collection of rare tracks recorded from 1999 to 2006 totally reworked and remastered in 2009. From booklet notes:
ABSOLUTE GREY is the title that Kinetix gave at his graphic artwork selection exhibited with an ambient post-scoring specifically composed for the expositive space. The exhibition is made of ten grey scale serigraphies on white forex scheets (1 meter x 1 meter) and a composition of 20 minutes played through two lour speakers and one woofer covered with grey powder on top of a white cube. Absolute Grey is been presented at the sound art festival PX2_Piombino_eXperimenta_2006. RW MATERIALS is a collection of seven short tracks from the early Kinetix production. Noise gestaltmusic. A multidimensional concept created with sound layers and ambient concretism. These tracks help to the listener to understand the start point of the Kinetix sound research.
RESOUNDING SULPTURES is based on the concept of “composition for blocks of sound” made in 50’s and 60’s by Iannis Xenakis. For this reason traditional compositional criteria (harmonic-melodic / rhythmic-metric) will replace the various criteria of plastic / spatial forms. Part of the sound sources used for Resounding Sculptures were extracted from the works of Iannis Xenakis to whom this composition is dedicated." [label info]
www.silentes.net
"We land in more 'current' times with the release of 'Final Archives' by Kinetix. The first time I reviewed Kinetix it was a release called 'First Emissions' (see Vital Weekly 339). Gianluca Becuzzi was behind Kinetix, before starting to work under his own name. These pieces on 'Final Archives' (his final release as Kinetix I assume) is a collection of rare tracks recorded from 1999 to 2006, and were previously available on CDR and MP3. The music by Kinetix has nothing to do with the previous three releases, as this is all computer based microsounding music. Over the years I heard various of his releases with 'White Rooms' as a definitely landmark in his career (see Vital Weekly 503). These pieces presented here, the early days, Becuzzi was on the look out for his own take on that microsound principle, but didn't entirely made up his mind yet. Pan Sonic seems to be an all important influence on the middle work 'Rw Materials', with heavy beats, white static noise and field recordings, but in the two surrounding pieces, 'Absolute Grey' and 'Resounding Sculptures', he is already drawn towards say someone like Richard Chartier or Marc Behrens, although the latter piece is influenced by Xenakis, and its not difficult to draw a parallel to 'Persepolis': large chunks of sound and sheets of metal. 'Absolute Grey' is the most Chartier like, with soft static sounds and processed voice. This is not the final masterwork of Becuzzi, but it marks the nice end of someone who did some nice music under the name of Kinetix." [FdW/Vital Weekly]
|
2010 |
€12.50 |
|
| KIRKEGAARD, JACOB |
Black Metal Square |
LP |
Limited edition of 100. Hand numbered. Packaged in a black sleeve with a screen printed sheet affixed to the cover.
Three freely hanging black metal plates:
50x50x005cm, 75x75x005cm & 100x100x005cm
Piezo sensor and contact speaker attached on rear side of plate, amplifying and mirroring its subtle and naturally occurring vibrations, evoking its characteristic resonant frequencies .
Jacob Kirkegaard © 2015 - 2019
Et sic in infinitum, Robert Fludd, 1617
https://soundcloud.com/importantrecords/kirkegaard-blackmetalsquare-imprec-90sec
"Based on the sculptural installation, Black Metal Square (2015), these three pieces are the latest work by field recordist and sound ‘alchemist’ Jacob Kirkegaard. This is a limited edition of one hundred copies. “The installation refers to Kazimir Malevich’s famous painting Black Square (made one hundred years prior in 1915) and his quote ‘It is from zero, in zero, that the true movement of being begins’. The astronomer Robert Fludd’s drawing of the black square from 1617 inscribed with the phrase ‘et sic in infinitum’ (and so on to infinity) is also an inspirational source for Kirkegaard, who asks the question: ’but how does the black square sound?”
The whole work runs for less than a half hour, but is imbued with a rich bass low rumble from the metal plates. After a while the sound that initially sounds like a timpani for gong begins to resemble a jumbo jet flying overhead. It’s presence defies gravity and has this pulsing atmospheric feel. Besides the plates Kirkegaard has incorporated the use of sensors, contact speakers, amplifiers, and steel wire to conduct this lingering drone din.
On Black Square 75 (referring to the scale of the plate) the scale shifts slightly higher in register, but after the first two minutes its vaguely noticeable. This would lull most deep listeners, perhaps to slumber, and could potentially irritate hyperacusis sufferers. It’s deep, yet airy, low hum with a bold grounding.
Finally on Black Square 100, the tone has dropped into a smouldering cauldron of boiling drone. This sounds like a field recording of a thunderous tornado on the far horizon, built with pressure and density this shakes the floorboards some, especially with any volume increase. It’s amazing to imagine this was composed by one man and a piece of steel, my guess is Nakajima Akifumi (1959-2013) would have felt a kinship to this piece. Peaceful and weary, Kirkegaard has brought forth a work of intense introspection, turning the void inside out, yet still remaining a complete mystery." [Toneshift]
|
2019 |
€39.00 |
|
| KLEISTWAHR |
This World is not my Home |
CD |
"The latest album from Gary Mundy (Ramleh), who has been using this moniker since the early ‘80s to further furrow the worlds of intense electronics, harrowing psychedelia and violent or claustrophobic atmospherics he is already known for. Less prolific than Ramleh, Kleistwahr began with several cassette releases on Gary’s own much revered Broken Flag imprint and has subsequently been afforded more releases by labels such as Noise War, Noiseville and Harbinger Sound. This World Is Not My Home collects seven pieces recorded between 2013 and 2014 of mostly instrumental sprawling guitar & electronic works. Released in an edition of 300 in a Broken Flag-type sleeve. Released in August 2014." [label info]
www.fourth-dimension.net
"Obviously because of its noise based content I could leave this to Jliat for closer inspection, but instead I played it, and meanwhile took out As Loud As Possible volume 1, an excellent book/magazine (Vital Weekly 756), which contained a very in-depth survey of the catalogue of Broken Flag, the mighty power electronics label from the 80s. The label's main band was Ramleh, a duo including Gary Mundy, also label boss, who, in order to fill up the early days of the catalogue, 'invented' a group called Kleistwahr, but which effectively was his own solo project. Over time that project disappeared, but in 2009 he returned with a LP for Noiseville, which I didn't hear, but according to that article was received with mixed reception. Now there is a new CD, a thirty-seven minute, of very loud, electronic music. Apparently Mundy uses guitar and electronics in Kleistwahr these days, which was hard to tell, I thought. Everything is cranked up to something very loud, but not without detail.
Kleistwahr is noise, yes, no doubts there, but it's not of the harsh noise wall variation. This obviously no longer has the shock it had so many years ago, and might even be called conservative to some extent. Who cares about something original these days? That must be something from the past. The music, while recorded and mastered better, has more power it seems than 'back then'. With Mundy adding vocals at the end of this, it sounds like Ramleh, and that happens to be one of my favourite power electronics from the 80s (before they picked up guitars, which, in my humble opinion, they shouldn't have done. Excellent release! The cover is a very nice CD version of the old label design. Maybe there could even be a series in this, re-issues, and new works? Where do we sign up?" [FdW/Vital Weekly] |
2014 |
€13.00 |
|
|
Common Values |
CD |
"Since 2014 Gary Mundy of Ramleh and Breathless has been releasing most of his solo work through Fourth Dimension Records. Common Values is his seventh such album for the label (not including a reissue of 2009’s The Return album, originally released on vinyl by USA’s long gone by legendary Noiseville, and the LP reissues of the Broken Flag albums Mobility and Do Not also shipping in October 2022) and gathers another six mighty cuts that on one hand continue his penchant for exploring more serrated sonic landscapes and, on the other, keep those in check with a tempered approach to atmospherics that this time round is widened further by almost kosmische-like curdled organ playing,, electronic swirl, psychedelic guitar mainlined from one of Saturn’s outer rings, and occasional haunting yet despairing vocals that are more pronounced than ever before. Common Values is a title itself that simultaneously commands empathy as well as a wry nod towards the irony at work. If anything serves as a common thread in all of Gary’s work then it’s not only in his love of stratospheric sounds, but also this deep sense of anguish due to hoping things will improve whilst knowing that humanity is its own worst enemy. It’s this quality that binds his music together and is laid barest in Kleistwahr. Common Values sounds both like a basic recognition of a quality most individuals are possessed with whilst they tear each other apart because of perceived differences or a disagreement over fundamental truths. If Kleistwahr tread any line, then it’s right here. Common Values might well be illuminating this more than ever.
This is the thirteenth Kleistwahr album since 1983's Myth (reissued as a limited edition LP by Harbinger Sound in 2011).
Packaged as usual in gatefold-LP style sleeve in a characteristic Broken Flag design once again featuring fantastic photos by Chris Low, this album appeared in late October 2022 and is shipping now. 300 only."
https://fourthdimensionrecords.bigcartel.com/
"Gary Mundy might be best known as the man behind Ramleh (well, to the readers of these pages), but Ramleh is a group (I may have used this opening line
before). Kleistwahr is his solo project, and after a short period of activity in the 80s, releasing four cassettes (all re-issued on vinyl), he started again in 2010, and it's now the work he's most active with. His current Kleistwahr doesn't sound like the old incarnation, which was noisy and collage-like. The current Kleistwahr is noisy too, but a different kind of noise. Mundy uses a guitar, organ, synthesizers, and a plethora of sound effects and creates a multi-layered, orchestral sound. No doubt there is new technology available these days that allows him to use multiple layers in the music. As I noted before, Kleistwahr's music is not here to cheer anyone up. It is dark and grim, as opposed to dark and pleasantly atmospheric. The soundtrack for harsh times, and luckily (?) we have plenty of those these days. I wonder what the 'Common Values' are, according to Mundy. The titles of the pieces are puzzling, anyway. There is 'Time To Realise', 'Heaven Maybe Never', 'Toward A New
Land' or 'In Blood Covered Land', all of which don't provide clues but leave much to guess (and, yes, it sounds grim) Kleistwahr's music is not piercingly loud, but somehow pierces right into your brain. When vocals are used, they sound far away, like a cry for help or a howl of pain. Maybe the voice is that one thing that sounds like Ramleh. The harpsichord sound I heard before (Vital Weekly 1271) returns here and has that haunted house, shivers down the spine sound. The title track is the longest, and following the loudest start, the volume drops, and Kleistwahr is off to a collage of voices and suppressed sounds and is more a collage piece, as opposed to the others, which are layered and psychedelic noise pieces. An excellent album all around, and Kleistwahr goes from strength to strength." [FdW / Vital Weekly]
|
2022 |
€13.00 |
|
|
Do Not |
LP |
Limited edition reissue of this album originally released in 1986 on cassette on Broken Flag. Comprising two untitled side-long pieces, Do Not catches Gary Mundy of Ramleh in peak "noise" mode with his solo endeavor, taking much from his place as one of the innovators of the so-called power electronics genre yet pushing this confrontational avant-garde sensibility somewhere entirely new. It is a sound that Kleistwahr has continued to explore and add new dimensions to since, but never completely untangles itself from this particular root. Raw and seemingly unrestrained, these pieces present a robust, white-hot sonic meltdown up there with the very best from this ultimately fertile period for music from the basement. This LP is packaged similarly to the vinyl reissues of the first two full-length Kleistwahr albums released by Harbinger Sound in 2011, Arsonicide and Myth. It is also being released the same time as the one-sided Mobility (FD 129LP) reissue originally released on cassette in 1983.
https://fourthdimensionrecords.bigcartel.com/product/kleistwahr-do-not-lp
|
2022 |
€18.00 |
|
| |
For the Lives Once Lived |
CD |
"Several years ago, Gary Mundy of Ramleh/Broken Flag (and far more besides) declared to me that he wished to do one new Kleistwahr album every year until he's no longer able to do them. Fourth Dimension Records has subsequently fulfilled a promise to honor this plan as much as possible and is managing to keep up so far. How Gary manages to keep pulling new ideas out of the proverbial hat at this rate is anybody's guess, but the latest album, For the Lives Once Lived illustrates very clearly that the wellspring he draws from has far from dried up. If you have been paying attention to the albums that have been released by Fourth Dimension Records during recent years, you should understand that his solo music has retained the molten intensity it has always been propelled by since Kleistwahr was founded in the early 1980s. While the work occasionally seems as though it draws from the same dusty religious setting as some of Messiaen's wonderful organ compositions, there's still an all-encompassing blanket of ravaged psychedelia firmly laced with blood-flecked barbs to help counter this. When Kleistwahr's music seems poised to elevate the atmospheric gestures towards the sublime and elegiac, there's always a gaping maw lined with razor-edged teeth lurking nearby to help keep all those lofty hopes and expectations from getting above themselves. For the Lives Once Lived may also surprise many with its opening song, "Rotten Boroughs," which both stands out from the rest of the album yet makes sense as part of it. This is another fantastic album from the unstoppable force that is Gary Mundy's Kleistwahr. Long may it continue. For the Lives Once Lived appears packaged in a Broken Flag-style sleeve featuring photos by Chris Low, design by Puppy38, and mastering by Sion Orgon."
https://garymundykleistwahr.bandcamp.com/album/for-the-lives-once-lived
|
2023 |
€13.00 |
|
| KLOOB |
Parallel States |
CD |
A welcome return to Winter-Light for Kloob with new work 'Parallel States'; his third solo album on our label.
‘Drifting helplessly in unchartered space. Gripped by fear and an inherent dread; the mind becomes wracked with feverish blurred visions. Intermittently slipping in to dreamlike sequences, spliced with harsh realities and the surreal. A sudden pulse courses throughout the body, triggering a magnificent view of the quantum limits. At once comprehending and understanding even the most intricate of macrocosmic notions.
Once the whole structure of mind, body and soul has undergone significant changes, the known boundaries of existence cease to impose such limitations.’
Ethereal soundscapes, deep-low drones, subtle-faint dub chords and gloomy atmospheres slowly slide in to assemble nebulous structures.
https://winter-light.bandcamp.com/album/parallel-states
|
2021 |
€13.00 |
|
| KLUSTER |
Eruption |
LP |
"Kluster was a short-lived project of three musicians/artists/performers: Dieter Moebius, Hans-Joachim Roedelius and Konrad Schnitzler. They recorded two albums in 1970, unprecedented in their experimental radicalism. Chaotic, apocalyptic (noise) improvisations, a sound later termed industrial music. Kluster disbanded as Moebius and Roedelius found the financial risk of bringing out a third album too daunting. Schnitzler decided to go ahead on his own, releasing the material they had recorded together, without any information or credits on the pure black LP sleeve. Moebius and Roedelius continued as a duo under the name of Cluster." [label info]
www.bureau-b.com
|
2012 |
€17.50 |
|
| |
Eruption |
CD |
"Kluster war ein kurzlebiges Projekt von Dieter Moebius, Hans-Joachim Roedelius und Konrad Schnitzler. 1970 erschienen zwei bahnbrechende Alben mit Geräuschimprovisationen: "Klopfzeichen" und "Zwei Osterei". Weil Moebius und Roedelius das finanzielle Risiko, ein drittes Album herauszubringen, zu hoch war, trennten sich Kluster, und Schnitzler veröffentlichte das gemeinsam eingespielte Material auf eigene Kosten. In der offiziellen Werkliste Schnitzlers wird das 1971 erschienene "Eruption" als erstes Schnitzler-Album mit dem Titel "Schwarz" geführt. Tatsächlich ist "Eruption" aber die dritte und endgültig letzte Kluster-LP. Das Album unterscheidet sich dennoch ganz erheblich von seinen Vorgängern. Auf Texte wird verzichtet, die Musik ist nichts weiter als sie selbst, und der Hörer kommt in den Genuss einer puren Geräuschsinfonie, deren geschickte Dramaturgie ihn bis zum Schluss konzentriert zuhören lässt. Kluster sind bei "Eruption" auf dem Höhepunkt ihrer musikalischen Ausdruckskraft. Die LP erscheint auf 180-Gramm-Vinyl, die Linernotes stammen von Asmus Tietchens." [label info]
|
2012 |
€12.00 |
|
| KMRU |
Stupor |
LP |
https://otherpower.bandcamp.com/album/stupor
Nairobi-born Berlin-based sound artist Joseph Kamaru, aka KMRU, shares his new work Stupor on the new Helsinki-based label Other Power. Commissioned by the Helsinki curatorial and commissioning agency PUBLICS, Stupor is comprised of three original long form tracks. The tracks on the album are speculative notes to social architectures and environments the artist has traversed.
As Bhavisha Panchia, a curator and researcher, writes in her liner notes:
“A musical alchemist, KMRU places his listeners’ ear into a sonic-spatial matrix in which he transmutes his trans-local experience of place into elevated sonic dimensions that demand a kind of listening that you need to surrender to. If listening positions you inside an event – into a relational, social and cultural act that also positions us in the world – then listening to this album projects you inside an indeterminate unfolding, thick with tensions of movement and transitions.
The artist’s pursuit of sounding out and responding to the world is undertaken through a creative mode of listening, recording and production, in which his ‘voice’ reverberates in his compositional arrangements – that mediate, translate, imagine and re-encode. As he engages with the environments he encounters, KMRU ‘renders sound negotiable, thinkable’.
His signature emerges through electro-acoustic forms as he configures spatial and temporal imaginaries still tethered to the experiences of the places his ear encountered. The tracks on this album, Stupor, are speculative notes to social architectures and environments the artist has traversed. His orchestrated compositions and arrangements levitate us and turn our ears towards places and times beyond our reach, propelling us into a future anticipated but ungraspable. It is exactly the physical and psychological space that KMRU forges from his recordings and digital processes that stretch and transform them into prolific sound ‘events’.
We could think of Nairobi and Berlin as instruments in KMRU’s compositions, where the east African city is the place from which KMRU’s listening has been nurtured, while the west European is the city to which his ear has been attuned. The artist’s relationship with Nairobi’s diverse neighbourhoods – from Kariokor flats in the Eastlands where he grew up, to the suburbs in Rongai – has shaped his approach. His ongoing recordings of the city are crucial to his process of working and become historical records that capture it in time. They could be thought of as aural archives of a postcolonial place, undergoing numerous planned and unplanned infrastructural as well as economic changes. He treats these sonic documents of a rapidly expanding postcolonial environment – alongside globalisation, hyper-capitalism and increasing economic disparity across the globe – as the foundations from which he creates.
Stupor reminds us that we are intrinsically spatial and temporal beings who contribute to the social construction of our worlds. Importantly, this album is a reminder of the capability of sound to carve out space and its potential to open spatial and temporal dimensions. Sound is movement. Sound is space. As Brandon LaBelle points out, “sound is both a thing of the past and a signal of the future”, pulling us forwards and pointing us back. The signals KMRU points us towards are indefinite, indeterminate and uncertain. They lean towards a future, yet never fully arrive there.
For Joseph Kamaru, sound is a sensorial medium through which social, material and conceptual interpretations are manifested in his works. KMRU carries with him a repository of listening experiences from Nairobi and beyond expanding his sonic practices, bringing an awareness of surroundings through creative compositions, installations and performances. KMRU has carved out a serious and definitive space on the list of essential authors in ambient experimental music - one of the most prolific and innovative artists in his field.
Composed by Joseph Kamaru
Mastered by Stephan Mathieu at Schwenbung Mastering
Original photos & artwork by Joseph Kamaru
OBI Design (Publics identity presence) by Valerio Di Lucente
Design by Matti Nives
Black vinyl LP edition of "Stupor". Inside out sleeve complete with OBI and printed inner sleeve with liner notes by Bavisha Panchia. Original photography and artwork by KMRU.
|
2023 |
€26.00 |
|
| KODAMA (HITOSHI KOJO & MICHAEL NORTHAM) |
Turning Leaf Migrations |
LP |
Nach der limitierten CDR auf HITOSHI KOJO Label OCTPIA ("Les Chambres Nuages", 2005) die erste Veröffentlichung des Duos (mit MICHAEL NORTHAM) in grösserer Auflage. Auf dieser LP schaffen sie mit Hilfe von Objekt-Klängen, rituell wirkenden Gesängen, traditionellen Instrumenten & Field Recordings sehr "konkrete" und doch oft fliessende, höchst ungewöhnliche psychedelische Geräuschmusik, deren Komplexität oft kaum durchschaubar ist - diese Überforderung eröffnet aber die Möglichkeit sich über die Ratio hinwegzusetzen und sich ganz den sich stets verändernden Strukturen hinzugeben.. .. die Aufnahmen stammen von verschiedensten (Aussen)-Orten, das "Studio" ist die Natur, die Psychogeographie als "nicht hörbarer" und doch erfassbarer Faktor spielt hier eine grosse Rolle. Einzigartige Transformationsmusik !
"Kodama is the ongoing recording project of two well-known visual and sound artists -- Hitoshi Kojo and Michael Northam -- and this is their first widely available release as a duo. Recorded in various improbable locations whenever they crossed paths over the course of several years and then finally edited and assembled in a cluttered garage in the west side of Indianapolis. There is a decidedly more improvisational feel and crisp psychedelic aura to these recordings when compared to their other work and one can hear the influence of Ghedalia Tazartes in how the various recordings were stitched together. To quote Hitoshi Kojo: 'We are the spirit of forest. Our howling has been offered to the many goddesses of the valleys. Teething our emptiness they, licking the stars, until white holes appear in our sky through them towards regenerative guides of the tonal-morphic omni-verses. Using found objects to seduce voices from unlikely sources as well as traditional instruments of wind, wires and wood. Kodama weaves between emotional poetry and dynamic forces of noises. The recordings have a strong atmosphere of each location -- the top of a mountain in Switzerland, a campground in Ohio, Lofoten Island in Norway, the arctic circle in Finland, Niagara Falls, etc. It includes a lot of the dirts of the raw recordings, but also incredibly beautiful moments such as the session with an owl in a Slovenian forest, an alpine summit singing meditation under the vast galaxy, and an encounter with the small people through strange ritual...' - HK. Limited pressing of 500 copies. Covers & insert printed on 2-color offset press with illustrations and design by Hitoshi Kojo." [label info]
"... All captured mainly outside, like the top of a mountain, a campground or the Lofoten Island. In terms of music I guess this is the best record of the lot, most thoughout and musically engaging. A refined mixture of ritual music (without those magickal overtones), drone, microsound and field recordings, all done in an unique way." [FdW / Vital Weekly]
|
2008 |
€18.00 |
|
| KODI & PAUSA |
In one week and new toys to play |
CD |
Number seven in the BROMBRON series, this time by a dutch impro-duo that does “the weird stuff” and more childish atonal/electronic experiments in the vein of DDAA, KLIMPEREI, FS BLUMM....
“Korm Plastics is proud to present the seventh release in the Brombron series. Originally a co-production between Staalplaat and Extrapool, it is now hosted by co-curator Frans de Waard. In the year 2000 Frans de Waard and Extrapool started the Brombron project. Two or more musicians become artists in residence in Extrapool, an arts initiative in Nijmegen, The Netherlands, with a fully equipped sound recording studio. These artists can work in a certain amount of time on a collaborative project; a project they always wished to do, but didn't have the time or the equipment to realize.
Natalie Bruys (Kodi) is foremost a visual artist who studied at De Rietveld Academie in Amsterdam, where she graduated with the production of a vinyl record with her own music. She then moved temporarily to Berlin where she continued to produce her own unique blend of soundscaping, plunderphonica and techno.
Lukas Simonis (aka Pausa) has his roots as an instrumentalist and musical 'activist' in the industrial music and noise rock of the Eighties ( Throbbing Gristle, the Residents, Pere Ubu, Sonic Youth and beyond).Being a part of the Rotterdam jazzbunker scene (a collective that consisted of heavy drug induced punk rockers, freejazzers, early electronic musicians and pre-postrock combo's) he discovered the delimited world of improvisation. In the meantime he played in bands like Dull Schicksal, Trespassers W and Morzelpronk. At the same time he was writing for underground magazines like Trespassers W, Opscene, Mondain Den Haag and the Koekrandt as well as organizing concerts, events and films, first at the Jazzbunker in Rotterdam later on the Dissonanten festival, the Dissidenten festival, Popifilm, Dodorama and finally WORM, a multimedia centre for experimental art. At the moment Simonis plays in Coolhaven (with Peter Fengler and Hajo Doorn), Liana Flu Winks (with Nina Hitz and Wilf Plum), ApricotMyLady (with the Bohman Brothers and Ann Laberge), The Static Tics (with Henk Bakker) and Vril (with Chris Cutler and Bob Drake). This sounds like a lot of work (and sometimes it is) but these bands and projects all exist only a few weeks or months a year. (so time enough to sit at home).
On 'In One Week And New Toys To Play' Kodi & Pausa combine their totally different background of rock and techno, playing the studio's analogue synth collection (aka the new toys to play) but also guitar, banjo, rhythmbox and a touch of the city's sounds through their use of field recordings.” [press-release]
|
2004 |
€6.00 |
|
| KOJO, HITOSHI |
High Tide Mirror |
CD |
"Inner resonance of planets... harmonies made from the distances between planets... melodies generated by their circular dances... Our bodies can become a receiver of cosmic music when we connect our roots to certain places on earth. However the electromagnetic field on the surface of the earth is unduly interfered nowadays. So our sympathetic ability is heavily oppressed by the violent moire. First, shall we let ourselves synchronize with the flow of the earth's fundamental magnetic field, immerse ourselves into the tonal dance with the sun and the moon? Then each of us will spontaneously begin to oscillate a unique vibration according to our character. It is the fundamental tone that becomes part of the universal harmony, and the first step to participate in the circular dance of the celestial orbs. Live sets recorded in autumn 2010 in Vevey Switzerland and Lyon France. Edited in winter 2011 in Brussels Belgium. CD in edition of 200 numbered copies (first edition), housed in a double envelope with hand-printed silk screen on 300g card stock. There are three versions of the cover: pale purple, deep purple and dark blue." [label info]
"Active as Plexia, Plexus, Spiracle and member of Bloxus, Juupala Kaapio, Libellula, Revenant and Turquoise (to lift off some info from discogs), but mostly reviewed here under his own name, Hitoshi Kojo with a new album here, of sets recorded in Vevey (Switzerland) and Lyon (France), edited later on in Brussels, where he lives these days. I must admit I never studied his website before, but now I did and learned he's into music, composition, installation, performance, painting, sculpture, video and photo 'and those mixtures' of which 'the extensive activities are based on his animistic sensitivity that all the matters and the spaces have their own memories. Touching the objects, Talking to animals and plants, Resonating with atmosphere in the space. Such daily activities since the childhood are the basis of his works.' His work is best described as drone like I should think and this new release is a fine example of that. Its hard to say however what he uses to create his drones, but my best guess would be that it is some sort of mixture of acoustic instruments and electronics, perhaps with the use of objects of an electro-acoustic nature. Something like that. It sounds pretty good, altogether. The six lengthy pieces here display a fine sensitive character, without falling too much in the trap of 'easy' drone music - the 'cigar wave form' as someone once called it. Kojo mixes together his sources in an elegant way, with ringing and singing overtones, bowing cymbals, strings and god knows what else. A delicate yet not always necessarily quiet release - powerful drones yet smooth when necessary. Excellent stuff." [FdW/Vital Weekly]
www.omnimemento.com
|
2012 |
€14.00 |
|
| KOLLAPS |
Until the Day I die |
CD |
"Until The Day I Die" is the third album from Australian post-industrial outfit KOLLAPS.
"Until The Day I Die" is a merciless and visceral assault on the senses and continues the trajectory of the band's idiosyncratic approach in their creation of sound. The album showcases an uncompromising force of harsh post-industrial music narrated by overarching themes of condemnation and redemption; of violence, romanticism, sexuality, and addiction. Much of the creation and lyrical conceptualisation of the record has been stylised and presented using William S. Burroughs' cut-up method.
A wide variety of metals and raw materials were used in the creation of the album including metal grates, a rusted hoist, cement cylinders, field recordings, hammering of various decrepit objects, broken amplifiers, an exposed reverb tank, various synthesizers, and the infamous metal coil; a crudely self-constructed artifice that has become iconic in its use across KOLLAPS' triptych of releases and lengthy touring history in Europe, Australia, and New Zealand.
"Until The Day I Die" has had a tectonic shift in production methods compared to its predecessors and was entirely written, recorded, and mixed internally the self-constructed ILoveHeroin Studios built above a sculpture museum in Lugano, Switzerland. All instrumentation was handled by Wade Black except for bass guitar by Andrea Collaro recorded at Hangar 121 in Lenate Pozzollo, Italy on all tracks except "D-IX" and "I Believe In The Closed Fist," handled by Black, and additional sound design and percussion by Giorgio Salmoiraghi.
The album was mastered by James Plotkin and completed with cover artwork by Nullvoid (Thomas Ekelund | Trepaneringsritualen).
CD in 6-panel digipak || LP with full colour matt-laminate sleeve and printed inner lyric sleeve.
Written, recorded and mixed by Wade Black
Bass guitar by Andrea Collaro except “D-IX”, and “… Closed Fist”
Additional sound design and percussion by Giorgio Salmoiraghi
Mastered by James Plotkin
Recorded and mixed at ILoveHeroin Studios in Lugano, Switzerland
Bass recorded at Hangar 121 in Lonate Pozzollo, Italy and engineered collectively by Kollaps.
Artwork: Nullvoid (Thomas Ekelund)
#########################################
"Sometimes I go to a concert with minimal expectations. Once I decided to go to an unknown name, I didn't bother to investigate further; I just saw and be surprised. A few years ago, I decided to go to Kollaps, which I thought would be an Einsturende Neubauten-inspired thing, seeing they took the title of their first LP as a band name. I learned that they were from Australia and they used metal, synthesisers, maybe a bass and a singer. Oh, and a stack of amplifiers. I was pleasantly surprised that night. It was much louder than I anticipated (for no good reason). The group clearly found inspiration in SPK and Neubauten, but with a manic singer, screaming, shouting, pointing the microphone towards the amplifiers, generating feedback. There was great control among the various players, and I think they played songs and some mind-numbing barrage of noise. Back home, I shamefully admit, I didn't follow up on this concert, checking their work online. So, 'Until The Day I Die' is my first encounter with this group with studio recordings. I still enjoy what I hear and find some interesting musical nuances here. It is not a festival of feedback. Not that I expected this to be. There are quite a few of that, obviously, sitting next to banging on objects, screaming, but also a satire (I should think) of neo-folk in the title track. Complete with guitar and sad vocals, but drenched in reverb, leaning towards feedback. Some orchestral samples, mangled field recordings, and the military bang on the drums. Top-heavy music and filled with furious aggression. Not the dulcet tones of summer, but the sounds of a society collapsing in misery. I love it." [FdW / Vital Weekly]
|
2022 |
€13.00 |
|
| KOMMISSAR HJULER & GUI RONG |
Erzählung der roten Gaslampe |
MC |
"The other half of the artist couple that recently shakes the ground in germany's underground art scene releases a new interesting collaboration with ex-national opera singer gui rong from china. One of the most disturbing hard listening-tapes on Voluntary Whores combines pieces composed only with the help of bicycle components, strange chinese singing and abnormal field recordings. Comes as C-50 indigo blue cassette, 21x21cm big art cover and a semi-tasty art object. Limited to 70 copies worldwide." [label info]
www.voluntarywhores.de
|
2014 |
€8.00 |
|
| KOMMISSAR HJULER & FRAU / JAAP BLONK W. BRAAXTAL & JÜRGEN OLBRICH |
Das Kapital |
LP |
LP in the series FLUXUS +/-, limited to 100 copies, numbered.
Tracks by Kommissar Hjuler und Frau are remastered by Sven Mühlender, Berlin.
The album DAS KAPITAL is conceptual collaboration by Jaap Blonk, Jürgen O. Olbrich and Kommissar Hjuler with special focus on Karl Marx' theories, all three artists focussed on special aspects of "DAS KAPITAL" in comparison to modern capitalism structures. Album is starting theoretically and ending in an overload as "Game Over".
Cover on front shows the work "Enter Konsum" by Kommissar Hjuler, which was prize winner of an art contest by Kleine Zeitung (Austria), cover backside shows a digital collage by Jaap Blonk, especically created for this album. |
2017 |
€20.00 |
|
| KONRAD KRAFT |
Nifbin Circle (coloured) |
LP |
Nifbin Circle is the fourth release by Detlef Funder, aka Konrad Kraft, on the Cologne label Aufabwegen.
Sounds generated with two apps on the iPad, provided the basic structures and the sound space. The strangely enraptured textures created in this way, with a subtle percussive touch, were partly combined with supporting beats in the course of further processing. Thus, after more than 30 years, tracks with rudimentary melodies and rhythms were created again.
Biography - Konrad Kraft (aka Detlef Funder)
1980, First tape productions in the field of Experimental/Industrial under the moniker Konrad Kraft.
1983, Assemblage of own first studio to realize tape recordings
1985 – 1994, Founding and managing Düsseldorf record store and label SDV-Tonträger.
Expanding the studio to 16 track facility; recording, production and release of various internationally renowned projects like Konrad Kraft & Dino Oon, Mynox Layh, TUU, Paul Schütze etc.
1992 – 1999, Various Voice-over productionen for german TV (arte, ZDF, ARD etc.)
1992 – 2006, Numerous productions iin the area of Techno/Trance for different labels, internationally booked DJ and live act
1999 – 2007, Founding and managing of 4CN-Studios Bochum for audio productionsa and mastering
2011, Konrad Kraft CD Temorary Audiosculptures And Artifacts released on Cologne based label aufabwegen
2016, Founding of „Paraschall“ label and studio for mastering and sound design.
Quadrat 12“ Vinyl released on aufabwegen
2016, Collaboration with Kai Angermann and formation of the duo Angermann/Kraft (prior Elektrofrühstück) and publication of CD Algorithm on Paraschall/Düsseldorf
2018, Reissue of Konrad Kraft Arctica tape on CD and LP via TAL, Düsseldorf
2019, OVAL 12“ Vinyl released on aufabwegen
2021, OBTAAL 2X12“ Vinyl Para002, Paraschall Records. Lim ed. of 250 copies with handmade cover.
2023, Nifbin Circle 12“ Vinyl, aatp09 is published by aufabwegen
2023, Stumm, Detlef Funder und Bernd Sevens, TAL Music (forthcoming)
2011- ongoing, selected live appearance at international festivals and venues, such as A/B Brüssels - Bel., Meakusma Festival - Bel., Image Movement – Berlin, Stadtgarten Cologne, Salon Des Amateurs – Düsseldorf, Weltkunstzimmer – Düsseldorf, BlackBox - Münster and more.
https://aufabwegen.bandcamp.com/album/nifbin-circle
"Nach „Oval“ erscheint auf Auf Abwegen mit „Nifbin Circle“ das neue Album von Konrad Kraft und das insgesamt vierte auf dem kleinen Kölner Label. Kraft, bürgerlich Detlef Funder, dessen Pseudonym auf Conrad Schnitzler und Kraftwerk verweist, beschreibt die Stücke als „tracks with rudimentary melodies and rhythms“, resultierend aus der Arbeit mit „two apps on the iPad, [which] provided the basic structures and the sound space“.
Tatsächlich ist schon direkt der Opener „Flabdragon Level 3“ ein verspielt klingendes Stück, das fast schon an ein Depeche Mode -Instrumental aus den frühen 80ern, so in etwa zur Zeit von „A Broken Frame“, klingt, das man vielleicht in einer alternativen Realität als B-Seite einer Single verwendet hätte. B-Seite nicht verstanden als etwas (nur) Sekundäres, sondern im Sinne von weniger kommerziell, aber eventuell spannender als die A-Seite. Es gibt ein tolles Zusammenspiel von perkussiven Momenten und leicht melancholischen Melodien. Das darauf folgende Titelstück mit bassartigen Sounds scheint aus vielen Schichten und Ebenen zu bestehen. „Fanznel Re“ ist mit Knistern und melodischen Flächen etwas reduzierter und erzeugt eine leicht dunkel-melancholische Atmosphäre. „Imrobial Connected“ besticht durch pulsierende flächige Sounds und pochende Rhythmik „Ilsimits II“ lässt kurzzeitig an Coils „Paranoid Inlay“ denken. Auf acht Stücken kreiert Kraft eine ganz eigene wie eigenwillige Form von abstraktem Elektropop, dessen oben zitierte „rudimentären Melodien“, an denen er sich laut Selbstauskunft erstmalig seit 30 Jahren versuchte, überzeugen." (MG)
"There is a great interplay of percussive moments and slightly melancholic melodies... crackling and melodic pads create a slightly dark-melancholic atmosphere... Kraft creates a very unique and idiosyncratic form of abstract electro-pop, whose "rudimentary melodies" are convincing." (African Paper). |
2023 |
€23.00 |
|
| KORBER, THOMAS / RALF WEHOWSKY |
Walküren am Dornenbaum |
CD |
"This three year-long collaboration begun in 2006 when Korber and Wehowsky embarked on intense recording sessions in Eggenstein, where the latter resides, lasting several days. The output from these sessions forms the basis of this work, augmented by additional field recordings and various electronic manipulations. Korber and Wehowsky used the same software which allowed them to exchange the pieces at any stage of the compositional process, so that every detail of the music could be shaped in a truly collaborative manner. The result obliterates the borders between improvisation and composition, spontaneity and careful planning. Tomas Korber (Zurich, 1979) received a basic training in clarinet and music theory alongside guitar lessons. He discontinued these studies after five years, shortly thereafter teaching himself to play electric guitar and use the computer and other electronic devices for music making. Korber has written compositions and played improvised music since the early 1990s. He is a prolific solo artist and performer; his work includes film scores and music for dance and theatre, as well as numerous collaborations. In 2009 he was awarded an artist residency in New York City by the Department of Cultural Affairs of the City of Zurich. Ralf Wehowsky founded the group P.D. (later renamed P16.D4) in 1981 and the label Wahrnehmungen in 1980, which was renamed Selektion in 1982. P16.D4 was a highly influential and experimental group. Their concept of materialaustausch (material exchange) was developed long before the term Ôremix' was coined. They performed at punk and No Wave festivals as well as at the bastions of academic avant garde such as Ferientage Neuer Musik in Darmstadt. In the early 1990s Wehowsky adopted his RLW moniker. His quiet, highly complex style of composition is based on artifacts of instrumental and electronic lateral noises. First edition of 300 copies." [label info]
www.entracte.co.uk
"Nur mit einigen Schwierigkeiten konnte ich diese laminierte Musik aus ihrer Verschweißung pulen. Aber wer würde bei dem Titel erwarten, dass einem da etwas leicht gemacht werden soll? Der Zürcher Bruitist ist durch Releases auf Cut und For4Ears, mit Mersault und dem Signal Quintet, ein seit 2003 wiederkehrender Name in der Noise Culture. Aka RLW reitet bereits seit 1980 ohne Furcht und Tadel auf den steinigen, dornigen Pfaden der Musique concrète und der experimentellen Klanggestaltung. Wobei ich immer schon lieber Spiel als Experiment dazu gesagt habe. Was die beiden da miteinander spielen, zielt, durch die Anweisung PLAY LOUD! forciert, auf das Hör-, nicht auf das Sprachzentrum. Wie es also in Worte fassen? Vinylglissandos und entsprechend verzerrte Samples, manchmal wie von gurgelnden Stimmen, mischen sich mit sirrendem Bohren, rau holpernden, rauschenden Verschleifungen, granularer Körnigkeit, zittrigem Mikrobeben, zischendem Brausen, streuenden Pixeln, aufwallendem und verhallendem Gedröhn zu durchwegs plastischen Eindrücken. ‚Leben in roter Landschaft‘ könnte auch ein Informel- Gemälde heißen, von Schumacher oder Tàpies. Die Ohren tasten über wulstige, körnige, löchrige Oberflächen, voller Grus und mit splittrigen, strohigen Einschlüssen. Als wären das Braillezeilen für brobdignagsche Fingerkuppen, oder eben Vinylauslaufrillen im Riesenformat. ‚Abstieg der Geisterseher‘ fiept zage, plinkt und flattert dazu drahtig. Tropfen hageln und prasseln, aus Liliputperspektive wird diese Perkussion zum katastrophalen Steinschlag. Zuletzt prasselt und knurscht noch einmal eine rote Landschaft, mit Effekten, als würde ein Tonband rückwärts gespult. Das ist nicht der Stoff, aus dem die Träume sind, sondern Reibungsflächen und Strahlungsimpulse des Materiellen." [Rigobert Dittmann, Bad Alchemy]
|
2010 |
€13.00 |
|
| KRAKEN |
Amore |
do-CD |
Nach FÖRLISA ein Doppelalbum des belgischen Duos, die wieder die dunkle Seite der Musik und des Lebens an sich ausloten, dabei aber zwei sehr gegensätzliche CDs vorlegen... auf der einen klingt das sehr minimal & elektronisch mit dunklen Flächen & hallenden Industrieanlagengeräuschen, wo später medizinische-kalte Spracheingaben auftauchen und die Spannungskurve allmählich geschickt nach oben wandert; auf der anderen gibt es mehr field recordings, strange Sprachbearbeitungen und Einspielungen und dunke Pulsationen & Beats & Bläser-Echos, die sich mit dunklen Klangmassen verbinden.....äusserst sorgfältig wurden hier Sounds ausgesucht und Stücke zusammengesetzt.... dark ambient der explorativen Sorte !
"...Amore" is a recording full of contrasts. The first CD requires an active attention span to fully appreciate the artistry involved. Although steeped in black ambience and drones the occasional slight experimental feel could be off putting for lesser souls. Whilst the second CD is more easily accessible to those into the darker side of music and life. All in all though the release is deceptively awe inspiring and is different enough to be a viable purchase for ambient / drone collectors.” [AuralPressure]
“With almost two hours of deeply absorbing soundscapes, latest album by Belgian project Kraken delivers an experience of abstraction similar to the aforementioned experience at the movie theatre. The album titled "Amore" first of all operates in the spheres of dark ambient built on low frequency drones, deep rumbling horns and mixtures of concrete and artificial sounds. The music is subtle and dreamy thanks to the drones of hypnotism and the distantly echoed voices as well as a clever use of field recordings. Even with the occurrence of the great amount of samples from real life accompanying you as you float through the tunnels of eerie ambientscapes the atmosphere on the album first of all delivers a sense of isolationism. Imagine the impression of being conscious enough to sense the dialogues of the surgical team as you lay on the operating table: The voices surround you, but they sound distant and you are not part of the dialogue. First CD has been divided into five works of art meanwhile second disc only consists of two tracks: Where the first track runs approx. 70 minutes, the closing track with its short duration of 49 seconds, first of all functions as a transformation between the sonic darkness of "Amore" and the outside world. Built on beautifully processed harpsichords the track, titled "de hoorn in je hoed", lightens up the atmosphere before the listener soon once again will have to face the real world. Despite the title there is absolutely no sign of romanticism on this remarkable exploration into the dark lands of Kraken.” [NMP / Vital Weekly]
www.spectre.be |
2005 |
€16.00 |
|
| KRAKOWIAK, TOMASZ |
A/P |
7 |
"On one hand, Krakowiak's recordings should not be a surprise to those who follow his activity on the free-improv scene, after all his recordings continue to penetrate the acoustic properties of individual percussion instruments. However, when this scene is slowly moving in the blind alley of predictability, and critics increasingly yearn for newer sounds and surprising collaborations, the latest Bocian Records release is a strong contrast. First, Krakowiak deliberately departs from the hi-fi aesthetics being associated with recordings of artists applying a similar approach to the percussion instruments (such as Christian Wolfarth, Jon Mueller or Jason Khan). These two pieces, recorded without any effects or processing are the sound of a single cymbal recorded with an old cassette tape. But this is not a tribute to the trendy, lo-fi aesthetics and Hypnagogic,the imperfections and the characteristic "analog" sound is Krakowiak's goal in itself, not a postmodern game of the genre convention (which many show in recent years). Finally, precision and attention of theserecordings make me think of Harry Bertoia's sculptures, or vitality of ideas and textures of Morphogenesis. A vitality, which often is to be sought among contemporary drone music publications." [Daniel Brożek]
www.bocianrecords.com
"One Tomas Krakowiak uses a cymbal and a stereo microphone on his 7". Both sides last exactly four minutes fifty-nine seconds, and one piece is called 'A' and the other is called 'P'. He plays the cymbal by using objects to create rotating sounds, to lift up the cymbal make it sing in overtones. Somehow I think these pieces are layered from various recordings, but of course I might be wrong. 'P' is the more droney version of the two, 'A', the more acoustic one. Both pieces aren't flawless, one hears small 'mistakes' of whatever it is to sets the cymbal to vibrate, which adds, me thinks, a nice human touch to it. Maybe all a bit too short for the format of a 7", and a 10" would have been more in place. But nice it is for sure." [FdW/Vital Weekly]
|
2011 |
€7.00 |
|
| KRAUSE, ANDRES |
Move Ground |
LP |
"The development and reproduction of new sound spaces, Move Ground is based on the soundtrack of an audio-visual installation of the same title that was premiered at the third Horkunst Festival in Erlangen, Germany in 2005. Field recordings from locations with inspiring acoustic qualities in Cologne were edited and mixed with select electronic sounds to create a sonic journey exploring varying external and internal spaces, providing an experience of the atmosphere and the spatial dimensions of the different locations. Move Ground was recorded and mixed by Andrés Krause in 2004-2006."
"From the top you can make out the wonderful and awesome sight of the plains that lie below, worn out at the foot of the city. On the horizon tall brick chimneys, round and square, vomit billows of soot into the clouds, while little further down, barely passing over the flat roofs of workshops covered in bituminized felt and sheet metal, whistling jets of white steam escape from thin aluminum flue pipes. A great silence descends over the plain as the rumble of the city dies out little by little and the noise from distant factories reaches you but falteringly. Sometimes, however, like a horrible complaint, you can hear the dull, raucous whistle of trains from the station as they pass, hidden by an embankment planted with acacias and ash trees. Finally, in the distance, in the far distance, a large white road climbs a hill and loses itself in the sky, its summit crowned by a billow of dust, like a cloud stirred up by an invisible horse drawn cart, hidden by the curve of the earth." [label info]
"Der Kölner Künstler Andrés Krause wirkt im Verborgenen. Große zeitliche Abstände liegen zwischen seinen Releases und auch die Musik selbst ist von einer gewissen Flüchtigkeit und strahlt etwas von dunklen Geheimnissen aus. Move Ground erstreckt sich in vier Parts über zwei LP-Suiten und ist wieder eine kraftvolle und intensive Arbeit geworden. Aber auch hier wird der Hörer nicht durch augenscheinliche Dynamik ins Geschehen hineingezogen, sondern muss sich den Zugang gewissermaßen erlauschen. Ein Aufkleber auf der Hülle verweist als Sourcings auf Klänge des Kölner Außenraums – kaum zu glauben, lassen die bassig-schabenden, irgendwie noch vorne drückenden Klänge doch eher an Unterwasserlandschaft oder schattige Höhlen denken. Lediglich im Part 4 von Move Ground treten konkrete Klänge aus den tiefen Frequenzschichten hervor: ein pochender Rhythmus wie von Fußstapfen mischt sich in die Textur, auch meint man, Stimmen zu hören. Ein Release, dem man Zeit geben muß, um auf as Gemüt zu wirken." [Zipo / Auf Abwegen]
|
2010 |
€18.00 |
|
| KRENG |
The Summoner |
LP |
LP : Laser-Cut Outer Sleeve in Fulltone Bronze & Black, incl. full Color Insert
"The Summoner comes 4 years since the last Kreng album Grimoire and 3 years since the massive retrospective box set Works for Abattoir Férme 2007-2011. A lot has happened in between, and this new recording can be seen as quite the departure from the aformentioned.
His most personal album to date, The Summoner is based around the 5 stages of mourning and is made after a year of losing several close friends. Hard enough material to work on, he decided to add a 6th stage, entitled The Summoning to be able to arrive at the finalé, Acceptance.
Conjuring up the spirit of György Ligeti, the first half of the album is made entirely of 12 string players being directed to play around, make noisey clusters and crescendoes, moving you between Denial, Anger, Bargaining and Depression. In fact, The Summoner is the first Kreng album NOT made by hordes of samples. Music to really dig deep in to.
Following into the second part of the album, twists and turns are taken and it's hard to know where exactly you are. The Summoning's haunting organs and smoke-filled chambers lead you in to an earth- shaking wall of guitars, drums and bass courtesy of Belgian doom band Amenra. Leaving you in a state of shock, the album closes in an incredibly heartfelt and quiet way with the fittingly named Acceptance." [label info]
www.miasmah.com
"The first release from Kreng since 2011, but well worth the wait. While the sound sources on The Summoner are quite the departure from his 2011 release Grimoire, the dark and disorienting atmosphere is still here. Here Caudron conducts a dozen string players, creating a twisted and droney orchestral mass that explodes and dies without warning, bringing to mind the terrifying works of Polish composer Krzysztof Penderecki. The song titles here, too, tell Caudron's story as the five stages of grief, going from "Denial" to "Acceptance". The first four tracks are dark, twisted, orchestral soundscapes, dynamic and haunted that slowly goad you into Caudron's warped world. The climax of the album is without doubt the titular track, sandwiched between "Depression" and the somber "Acceptance". The 15-minute long track features Belgian doom band Amenra (whose album Mass V we reviewed back in 2013) providing the slow, crushing trudge (with maybe the slightest, SLIGHTEST hint of uplifting melody) to bring the whole piece to a bombastic, epic zenith. Very few out there can capture the range of emotion and atmosphere that Kreng can - terrifying, cathartic, bleak, and maybe just a little bit uplifting. For fans of Gnaw Their Tongues, The Caretaker, and anything on the Miasmah label." [Aquarius Records]
"Es sind schon viele Alben aus Trauer entstanden, und viele handeln von der Trauer um eine geliebte Person. Alben, die das Trauern als solches zum Thema haben, sind seltener. Das könnte damit zu tun haben, dass die Frage nach den Mechanismen des Trauerns sehr theoretisch anmutet, aber sie ist auch komplizierter als man vielleicht denkt, denn eine Trauer, die sich weder in die Verdrängung noch in Selbstmitleid flüchtet, erfordert Leidensfähigkeit und ist keineswegs eine passive Angelegenheit.
Für den Belgier Pepijn Caudron ist das Thema auch keine theoretische Sache, denn der Grund für seine Beschäftigung mit dem Wesen der Trauer ist ein sehr persönlicher und rührt aus dem Verlust einiger ihm nahestehender Personen. Irgendwo stieß der Musiker auf die psychologische Beobachtung, dass Trauer häufig in mehreren, sich teilweise widersprechenden Phasen bewältigt wird. Zunächst schreckt der Trauernde davor zurück, den Verlust und den damit verbundenen Schmerz anzuerkennen und klammert sich mit unterschwelliger Verzweiflung an die Zeit vor dem Verlust. Da eine solche Verleugnung nur auf Zeit funktioniert, stellt sich bald so etwas wie Wut ein, Wut auf den Verlust als solchen, vielleicht auch auf die betrauerte Person, aber auch auf sich selbst und die eigene Unfähigkeit zu verleugnen und zu verdrängen. Mit der Phase des inneren Abwägens setzt der erste Schritt in Richtung Akzeptanz ein, dem allerdings meist eine Phase der Depression vorausgeht: Erst wenn diese durchlebt ist, kann der Trauernde den Schicksalsschlag akzeptieren.
Caudron erkannte in dieser Beschreibung so viel von seinen eigenen Erfahrungen wieder, dass er den Drang verspürte, seinen eigenen Weg durch die Trauer in einem Album durchzuarbeiten. „The Summoner“, das auf diesen Erfahrungen und Überlegungen beruht und doch noch einen Schritt weitergeht, stellt in der Diskografie des Musikers schon deshalb eine besondere Wegmarke dar, weil hier erstmals mit Studiomusikern statt ausschließlich mit Samples gearbeitet wird.
Die minutenlange Stille, mit der „Denial“ beginnt, könnte glatt für all das stehen, das der Trauernde, beide Hände auf die Ohren gedrückt, nicht wahrhaben will. Doch es ist eine trügerische Stille, in der sich klammheimlich eine unerbittliche Realität zusammenbraut, die durch ihr schwelend kreisendes Dröhnen, durch seltsame Stimmen und entferntes Gerumpel so bedrohlich wie ein düsteres Wahngebilde anmutet. Caudrons Erfahrung bei der Arbeit fürs Theater kommt ihm schon hier zugute, denn die leicht überhörbaren Details schwirren derart gekonnt im Raum herum, dass man auch als Hörer dieser Wirklichkeit kaum entweichen kann. Die darauf folgende „dialektische“ Folge von wenig Licht und viel Schatten weiß ebenfalls davon zu kosten – das trockenere, direktere „Anger“ mit seinen lauten und eruptiven Streicherkaskaden, das mit viel orchestralem Geklapper vor sich hinsuchende „Bargaining“, das weitaus eindeutiger dahingleitende „Depression“ und zuletzt die genügsame Ruhe des schlichten Pianos in „Acceptance“.
Mit „The Summoning“ geht Caudron über das Theoriekonzeot hinaus und markiert den Punkt, an dem der schwärzeste in den lichtesten Abschnitt übergeht. Wie um zu zeigen, dass an der Stelle etwas neues geboren wird, scheint er hier noch einmal das ganze Album zu bündeln und über sich selbst hinauszuführen, und es ist nicht unpassend, dass er dies nicht im Alleingang vollzieht, sondern seine Landsleute von Amenra mitmischen lässt. Das schleppende Schlagwerk, die kraftvollen, kernigen Gitarrenwände und das heißere Gröhlen der bekannten Doommetaller, die im Normalfall als niederdrückend empfunden werden, wirken hier fast so erhebend wie eine Levitation." [Uwe Schneider / African Paper]
africanpaper.com/2015/05/09/kreng-the-summoner/
|
2015 |
€17.00 |
|
| |
Cooties |
LP |
"Original Motion Picture Soundtrack by KRENG.
Death Waltz Recording Company is delighted to take you back to the schoolyard for a dose of fun with Kreng's score to COOTIES. A group of elementary teachers – including Elijah Wood, Alison Pill, and Rainn Wilson – up against an army of feral kids infected with a mystery virus, bringing new meaning to the term “playground violence." Produced by Wood's company Spectrevision, COOTIES is already shaping up to be a modern cult classic, not least through its infectious music.
Composed by the avant-garde project Kreng (aka Belgian musician Pepjin Caudron) the score for COOTIES reflects a number of influences, from Bernard Herrmann's work for strings to spaghetti westerns through a trip hop filter set to “extreme foreboding”. Kreng's approach will surprise and intrigue, compared to many scores of its ilk. While it's synth-heavy, there are key roles for haunting vocal effects and violins, mixing both aesthetically beautiful and madcap cues to create waves of emotionally and viscerally powerful tunes. COOTIES stands proud alongside – and in some cases above - the crop of contemporary horror scores. Relax, put the needle on the wax, and let this record infect your ears. You'll be voracious for more."
mondotees.com/collections/deathwaltz/products/cooties-ost
"Oh man, we wanted to see this movie from the second we first heard about it. Kids in a primary school get a wicked case of the 'cooties', which transforms them into zombie like wee beasties, and it's up to the teachers to survive, and if need be (which need very likely does be!) dispatch of the hungry, demonic hordes roaming the playground. The trailer looks ridiculous and over the top (we haven't actually seen it yet), and very much like a grade school version of another awesome horror-school classic, The Faculty. Beyond that just being such an amazing concept for a movie, there's the added bonus of the incredible score by weirdo soundsculptor / dronelord / avant grade composer (and huge aQ fave) Kreng, aka Pepijn Caudron.
Longtime readers of the aQ list are also likely fans of the Miasmah label, which Kreng generally calls home. His releases on Miasmah are moody and murky and minimal, twisted and shadowy, waste and faded and gorgeously mysterious. And while all that sounds like the perfect ingredients for a seriously sinister horror score, since this is not your typical horror movie, Caudron gets to explore WAY out of his usual sonic comfort zone, whether it's long sprawls of DJ Shadow like beat driven grooviness (in one instance, the haunting main theme is played by what sounds like a sitar!), or swirly, symphonic exotica, or hushed, somber shimmer, it's all woven together into a proper album, that is a pretty fantastic listen, even sans the film.
The DJ Shadow comparison is actually pretty apt as beats and breaks surface throughout, but it's in the execution that things get and stay weird, in fact one of the best musical moments is when a loping beat limps along beneath a cacophony of detuned brass. But it is a horror soundtrack, so Carpenterisms abound (reworked in Kreng's inimitable style), there are plenty of tense, driving synth jams, barely there haunted house ambience, darkly delicate pianoscapes, strangely dubby drifts, some deliriously atonal 20th century sounding cacophony and bursts of what sounds like some rad eighties VHS soundtrack, all dayglo distorted, blaring and bombastic.
While not nearly as dark as some of the Miasmah releases, there's an ominous underpinning to the proceedings, even at it's most playful and melodic, it's fun and freaky, and like the best soundtracks, not only is a great listen, but has us wanting to see the movie even more than we already did!" [Aquarius Records]
|
2015 |
€35.00 |
|
| KRISTOFFER NYSTRÖMS ORKESTER |
brakeHEAD |
CD |
"Kristoffer Nyströms Orkester (KNO) is a collaborative project between Peter Nyström (Megaptera/Negru Voda) and Kristoffer Oustad (V:28). A true sonic beat down, done in full Scandinavian style, with a battery of iron fisted rhythms hammering down in a thunderous downpour, and the caustic reverberations of the analog doom machine grinding and screeching in a symphony of clangorous and distressed beauty. This is an album that is as majestic as it is bleak, capturing the essence of old school Swedish industrial, but forging a new path towards a dark future.From auralpressure.com: "Brakehead" is a phenomenally majestic piece of dark ambience and noise that will leave you totally awe struck. The visceral raw power of the electronics is a thing of untamed beauty that heralds in a new era by which others must now be judged against." Guts of Darkness called this THE industrial disc of the year! Check out other reviews in the reviews section. A must for fans of Megaptera, Negru Voda, and all things Peter Nystrom. In stylish digipak." [label info]
www.malignantrecords.com
|
2006 |
€10.00 |
|
| KSHATRIY |
Kshatriy |
CD-R |
"During the 10 years of its existence Kshatriy has earned a strong reputation on the Russian dark ambient scene. Among his works are 3 full-length CDs on our label Muzyka Voln, collaboration releases with Vresnit and Bardoseneticcube and also several tracks on compilations including the recently released LP "Drone-Mind // Mind-Drone Vol. 3" (Drone Records, 2014). This recording is the first finished studio material recorded by Sergey Uak-Kib in 2005. Initially it was released by the author himself as a small CD-R edition, all copies of which were quickly spread between friends and collectors. This year the album was taken out of the archives, remixed and remastered and we are pleased to introduce it to your attention in a renewed form. Cold, dark and empty cosmic-scale spaces turn into rare oases of living pulsations but this illusion of immersion in organic matter doesn't last long and dissolves in endless flows of sonic winds. The album features almost no melodic lines but its fractal-patterned structure gives the music the magical power that allows to keep the listener's attention captured throughout this short trip. The physical release is made on quality pro-CDRs in an edition of 77 copies in a sleeve of designer silvery cardboard." [label info]
http://zhb.radionoise.ru/
"On CDR we find music by Sergey Uak-Kib, better known as Kshatriy, who has released a whole bunch of releases before. This particular release is the first finished recording he ever did, in 2005, and of which he distributed a handful of copies to friends. We didn't review that one, but his later works found themselves into these pages. Now it's re-issued again, in an edition of 77 copies, and the four pieces span thirty-six minutes. The heavy transformation of any sound given, but most likely field recordings create Kshatriy’s music. I can easily see Sergey traveling the Siberian land and capturing some arctic wind into his microphone and melting these with field recordings of contact microphones scraping the permafrost. Did you say Thomas Köner? That's probably a valid point of reference, or indeed other in Isolationist one-man studios around the world, from say the mid 90s onto the present day. All atmospheric, all dark (how often do I use these words on a weekly basis, I wondered), but Kshatriy has it's own blend, certainly in these earliest recordings there is a nice raw edge to it. Not that smooth, but with a grittier, somewhat metallic undercurrent. Nice and rough." [FdW/Vital Weekly]
|
2014 |
€8.50 |
|
| KUBISCH, CHRISTINA |
Five Electrical Walks |
CD |
"Christina Kubisch präsentiert mit »Five Electrical Walks« (Important Records) eine Musik, welche aus einem Fundus an Bestandteilen komponiert wurde, die sich zum einen praktisch selbst generieren. Abhängig sind sie zum anderen jedoch um so stärker vom neugierigen Empfinden der Menschen, die hier im Prozess der Klanggewinnung jeweils als Medium fungieren. Um elektromagnetische Felder hörbar zu machen, hat Kubisch bereits 1981 einen speziellen Kopfhörer entworfen, der hörbar macht, was sich den Sinneseindrücken üblicherweise vollkommen verschließt: Wer ihn auf den Ohren trägt, hört, was zweifellos da ist, aber was augenblicklich kein anderer mit seinen Sinnen erfasst.
Das Artwork zu den fünf Spaziergängen dieser Sorte wurde nun zum einen recht sachlich bis ansehnlich gehalten und zum anderen an manchen Rändern unscheinbar verziert von einigen der bemerkenswerten Zeichnungen, die Kubisch ebenfalls aus den elektromagnetischen Feldern gewinnt. Diesen haftet stets etwas sonderbar Geordnetes an, das sich in Reih und Glied auftürmt, um letztendlich doch nur eine vage, kantige Ahnung zu hinterlassen von dem, was sich in dieser durchdringenden Musik so geisterhaft und doch auch so förmig manifestiert. Die Klangskulpturen, die ihrerseits mal schlängeln, mal pulsieren, sind hierbei zu einigen Anteilen strikt ortsgebunden und beflügeln durch diesen individuellen Charakter die Sehnsucht nach einer eigenen Begegnung mit diesen Räumen und Plätzen, auf den Punkt gebracht durch die eigenen Worte von Kubisch zur Beschreibung von »Night Shift«, einer wunderbar finsteren Collage, die in verschiedenen Bahnhöfen und Flughäfen aufgenommen wurde: »What you see and what you hear seems to create a new, unknown reality.«
Man mag dieses Album als eine Dokumentation einer durch und durch künstlichen Addition zum menschlichen Wahrnehmungs-instrumentarium betrachten. Erfassen aber lässt es sich beispielhaft leicht und intuitiv: »Five Electrical Walks« ist ein wahrhaft inspirierendes Projekt, das den kindlich ungetrübten Synästheten in seiner Hörerschaft anspricht. Überhäuft wird man mit einer Vorstellungsverknüpfung nach der anderen, ohne jemals Kontrolle über das bunte, in einen zeitgemäßen Elektronik-Sound gekleidete Treiben zu erlangen: Die musikalischen Resultate, die sich durch einen sauber ausgearbeiteten Filter manifestieren, sind von einer zuweilen recht spröden, aufwühlenden Qualität, die dem Effekt der angesprochenen Grafiken recht deutlich entgegensteht. Ein noch größerer Kontrast im Rahmen einer Präsentation, die beide Ausdrucksweisen zu gleichen Teilen berücksichtigt, könnte die eindrucksvollsten Aspekte dieser Arbeit womöglich deutlich vertiefen." [Kai Ginkel / SPEX]
"Christina Kubisch is a first generation sound artist of the highest order. Kubisch has been working with electrical induction since the late seventies and in 2003 she began her Electrical Walk installations. Listeners wear specially built headphones that reveal electro-magnetic radiation emanating from the technological world around us. Five Electrical Walks is her first collection of compositions utilizing material recorded during Electrical Walks." [label info]
www.importantrecords.com
|
2007 |
€14.00 |
|
| |
Magnetic Flights |
CD |
"Two brand new pieces from one of the most exciting, active & relevant members of the first generation sound artists. Magnetic Flights is a perfect follow up to Five Electrical Walks (IMPREC167) and it is being released at the same time as a collection of two of Kubisch's unreleased archival pieces, also on Important.
Magnetic Flights is entirely made of electromagnetic field recordings of international airports and inside airplanes. The recordings of this piece were made by Christina Kubisch on her travels in 2007 from and to the airports of Bukarest, Manchester, Chicago, Seoul, Munich, Amsterdam,
Zurich, Frankfort, Paris, Lisbon, Berlin, Pisa, Milan and London.
The sounds were not altered electronically nor changed in any other way. The only tool ,which
was used for a part of it, was a filtering program (DINR)
All recordings were made with the help of special sensitive wireless headphones, by which the aboveground and underground electromagnetic fields are detected, amplified and made audible. The headphones are custom made and have been develeoped by myself and constructed by the engineer Manfred Fox, Berlin. The sounds are much more musical than one could expect. There are complex layers of high and low frequencies, loops of rhythmic sequences, groups of tiny signals, long drones and many things which change constantly and
are hard to describe.
Magnetic Flights consists of three parts with a short special sound at the beginning and another one at the end. The piece starts with an electromagnetic sound recorded just before departure and continues with the material of flight radiations recorded inside different airplanes. These electromagnetic fields slightly change pitch during departure and arrival, but remain quite constant during the flight itself. The relatively high and compact sounds gradually build up a dense layer of vibrations with continuous minimal variations.
In the second part some of the previous flight radiations gradually become filtered. The single signals mingle into a mix of small, short, nervous and very rhythmic signals. Their origin might be radio waves, communication signals with the tower , internet and atmospheric disturbances., but this is only a guess. The third part, the situation of arrival or transition, is a mix of typical electromagnetic sounds in the waiting areas of airports such as the deep vibrations of the screens of monitors which slowly fade in and out.
The piece ends with the electrical flickering of an electromagnetic field of unknown origin.
Christina Kubisch belongs to the first generation of sound artists. Trained as a composer, she studied painting, music (flute and composition) and electronics in Hamburg, Graz, Zürich and Milano, where she graduated. Her work can be described as the “synthesis of arts” - the discovery of acoustic space and the dimension of time in the visual arts on the one hand, and a redefinition of relationships between material and form on the other. Kubisch is best known for artistically and innovatively using techniques such as magnetic induction and ultraviolet light to create and realise her work.Since the 1970’s Kubisch has been experimenting with electromagnetic induction and was one of the first to use this method for creating sound installations. Some of her most well know works include the Electrical Walks series, where audience wear magnetic headphones, specially designed by Kubisch, with built-in coils that respond to electrical fields in the environment. Tapping into the electrical fields that result from light systems, anti-theft security devices, surveillance cameras, cell phones, computers, antennae, automated teller machines and other electric devices, she uses these visible sources to create unique and new sensory environmental experiences.
In the mid-1980s, Kubisch began to incorporate light as a compositional tool in many works, for example in the installation Skylines at the documenta 8, Kassel; the underground installation Klang Fluß Licht Quelle on Potsdamer Platz in Berlin and more recently Licht Himmel a permanent light sound installation at Gasometer Oberhausen, Germany. Since 2003 Kubisch has begun to work again as a performer and collaborates with various musicians and dancers, one of whom is Lotta Melin, with whom she will be co-facilitating the Lisbon workshop. An internationally recognised artist, Kubisch has shown work at major international exhibitions and festivals (Venice Benniale, documenta 8, Kassel, Ars Electronica, Linz, Sydney Benniale, Sonar, Barcelona and Sonic Boom, London) performing around the world she has received numerous grants and awards and her music has been realised on various labels such as Cramps Records and Edition RZ. Kubisch has been visiting professor in Maastricht, Paris and Berlin and since 1994, is currently the professor for sound art at the Academy of Fine Arts, Saarbrücken, Germany." [label info]
|
2011 |
€15.00 |
|
| KUBISCH, CHRISTINA & ANNEA LOCKWOOD |
The Secret Life of the Inaudible |
do-CD |
About our collaboration.
Annea and I first met in New York in 1975. I was writing an article about the experimental music scene in New York for an Italian magazine. We soon found out that we had a lot of common interests and ideas. In 1979 she came to Italy and together we performed her piece „World Rhythms“ at a festival in Como. I was deeply impressed by how Annea combined technical skills with intuitive performance.
Sound for her always has been more than just material to bring into a compositional form. It was more than raw material, it had a complex structure of its own and was transporting energy. Annea translated and communicated this energy to the listener and she does this with unusual intensity until today.
Over the years we followed each other’s works but unfortunately did not meet as often as we would have liked. During her stay in Berlin earlier this year we had another chance to discuss our works, materials, researches, concepts, doubts and future projects. The idea of a collaboration was a natural consequence of this exchange. We both investigate soundworlds which normally are not audible. Annea questions how the forces of nature influence us, I question how manmade electromagnetic fields have an impact on our lives. And we both love field recording, especially exploring underwater sounds with hydrophones.
We decided to exchange sound materials and left it open to the other what to choose and how to mix it into a new composition. The two new pieces which were created by this exchange are different but at the same time seem to belong together somehow. Annea sent me extracts from recordings of VLF chorus waves, solar oscillations, earthquakes, gas vents etc. while I transmitted to her a collection of recordings of electromagnetic waves which I had made audible and recorded with special custom designed induction headphones. Annea’s sound material was coming from sonic ultra and infra ranges and was speeded up or shifted down in order to become audible, my recordings are analog and were made directly on site in different cities. The sounds we use are all strange and powerful and they go together as if they were especially made for this collaboration. Until now what kind of influence the sources of these normally hidden waves have on us is not much explored. It is up to the listener to find out more about it.
Thanks to Gruenrekorder who supported our project from the beginning. — Christina Kubisch, November 2017
CD 1 – Annea Lockwood
WILD ENERGY | 2016 (with Bob Bielecki)
Wild Energy gives access to the inaudible, vibrations in the ultra sound and infra sound ranges emanating from sources which affect us fundamentally, but which are beyond our normal audio perception, many of which are creating our planet’s environment: the sun, the troposphere and ionosphere, the earth’s crust and core, the oxygen-generating trees – everything deeply integrated, forming an inaudible web in which we move, through which we live and on which we depend. It is our sense that through these sounds one can feel the energies generated, not as concepts but as energy-fields moving through one’s body. Here they have been shifted up (infrasound) or down (ultrasound) to bring them into the human audio range.
Wild Energy begins with solar oscillations (acoustical pressure waves) recorded by the SOHO spacecraft – 40 days of solar oscillations sped up 42,000 times, and ends with ultrasound recorded from the interior of a Scots pine tree.
Recordings made available to Annea Lockwood by scientists at the universities of Hawaii, Stanford, Iowa, Columbia (USA) and the Swiss Federal Institute for Forest, Snow and Landscape Research.
Sound sources:
The sun, acoustical pressure waves – recording courtesy of Alexander Kosovichev, Solar Oscillations Investigation team, Stanford University
Gas vents and tremors, Mt Kilauea – recordings courtesy of Milton Garces, the Infrasound Laboratory, University of Hawaii
VLF Chorus waves and Whistlers; Auroral Kilometric Radiation radio waves –recordings courtesy of Craig Kletzing, Radio and Plasma Wave Group, University of Iowa
Sei whale – recording courtesy of Arthur Newhall, Woods Hole Oceanographic Institute
Earthquakes – recordings courtesy of the U.S.G.S; Ben Holtzman, Lamont-Doherty Earth Observatory, Columbia University and Jason Moran
Trees, cavitation events and ultrasound emissions – recordings courtesy of Melvin Tyree; Roman Zweifel , Swiss Federal Institute for Forest, Snow and Landscape Research WSL and Marcus Maeder, Zurich University of the Arts, Institute for Computer Music and Sound Technology
Hydrothermal vents – recording courtesy of Timothy Crone, Lamont-Doherty Earth Observatory, Columbia University
Bats: pipistrelle, California myotis, silver-haired bats, Shockwave-Sound.com; big brown bat and Grote’s tiger moth recording courtesy of Aaron Corcoran, Wake Forest University
CD 1 – Annea Lockwood
STREAMING, SWIRLING, CONVERGING | 2017
Composing with combined sound files and sources, six from each of us, has been a unique experience for me, and a deep pleasure. I have long found Christina’s explorations of the electromagnetic fields within which we live now revelatory and essential – beautiful in their sonic detail and powerful in their effects on my body. And there is satisfying sense of complementarity here: Human-created sounds from Christina’s electromagnetic world, a world which she has been hugely instrumental in revealing to us, and non-human sounds and vibrations from the geophysical, atmospheric and mammalian spheres which are my sources.
Her sounds were a delight to work with, often with a clear pitch element and, while fluctuating in their details and flow, essentially stable. This contrasts well with the event-driven, more turbulent rhythms and noise content of my materials. It was fascinating to play with these differences and discover how easily our sounds blend as if drawn together magnetically into layered textures. I am most grateful to Christina for suggesting this collaboration.
Sound sources:
Annea Lockwood: Tremors and a bench collapse on Mt Kilauea, Hawaii, VLF whistlers, earthquakes in Sumatra and Honshu, Japan, ultrasonic sounds from a Scots pine tree, the Mid-Ocean Ridge Black Smoker hydrothermal vent, solar oscillations.
Christina Kubisch: electromagnetic waves recorded in a subway station, a server room, an underground tunnel, a power station, shopping centers and in the countryside during a thunderstorm after electricity had broken down.
CD 2 – Christina Kubisch
NINE MAGNETIC PLACES | 2017
Nine magnetic places is a journey without knowing where to go, what to find, how long to stay or what will come next. It is a discovery of a hidden world, a dreamlike trip by which the traveller encounters unexpected juxtapositions and sequences of electromagnetic waves. The piece was inspired by the first book using the technique of automatic writing, „Les champs magnétiques“ by André Breton and Philippe Soupault, published in Paris (1920).
The electromagnetic recordings were made in or traveling to: Las Vegas, Gdansk, Ystad, Kosice, Montreal, Bordeaux, Manchester, Dortmund, San Francisco, Paris, Ekaterinburg, Lagos, Venice, Bratislava, Bangkok and other places.
CD 2 – Christina Kubisch
BELOW BEHIND ABOVE | 2017
When I was about to finish this piece two powerful storms, called Xavier and Herwart, swept through northern Germany and Central Europe following each other within three weeks. The storms produced hurricane winds and left a path of destruction knocking down trees, power lines and buildings and caused widespread travel chaos.
I was working in my studio during both storms, looking at the shaking trees in front of my house while I was listening to sounds from vulcanos, solar oscillations, earthquakes and the intense vibrations of electromagnetic fields.
The experience of the two storms had a strong impact on my work. The piece became a kind of encounter of different energies and vibrations which meet in unforeseen ways.
Sound sources:
Annea Lockwood: Volcanic gas vents, VLF chorus waves and whistlers, earthquakes, solar oscillations and ultrasonic tree sounds.
Christina Kubisch: electromagnetic recordings from light systems, seismic research centers,transmitter systems and others. Hydrophone recordings from the river Rhein.
www.gruenrekorder.de
"A cause of extreme disgruntlement for this writer is the passive awareness that the bulk of a lifetime was splurged on issues and people not belonging to a sphere of intuitions and considerations even marginally correlatable with his own. If one inaugurates the process of growth by being predominantly attracted by non-vocal emissions, it is foreseeable that – quite soon – attention will not be given anymore to individuals imparting sagacity via mere words, typically instilling some kind of dismay in the potential victim. In that sense, imagine the (adult) quotidian disheartenment for not having a chance to remain within essential acoustic domains when the calls comes; silence is mandatory to do that, and silence is by now a rare commodity. Finally, try to explain all of the above to someone blathering non-stop because convinced – possibly via previous trauma – or out-and-out pretending of living outside his/her body, then get back to me for a good laugh together.
But we do get privileged whenever communicating – remotely but, by the grace of heavens, through sounds – with truly developed beings such as Christina Kubisch and Annea Lockwood, themselves linked by a long-time friendship and artistic consanguinity that never had resulted in a tangible collaboration. Until today.
Narrating yet again what these women have been doing throughout their histories of sonic researchers would be pathetic (but if you still think there is a need to, a peep to the presentation notes of this release will help explicating the kernel of the matter). This double CD encloses four handsome compositions derived from the manipulation of swapped materials; the common denominator is the attempt of turning invisible energies and inaudible frequencies into physically perceivable substances destined to increase one’s congenital acumen. Kubisch and Lockwood operate at levels of intuitive interiority unconceivable by the average gatherer of location recordings and electronics. We can literally “feel inside” the gradual effect of sources reconfigured in various types of aural concretization. They emerge as penetrating hums of radiophonic descent, or may resemble marine currents inhabited by a somewhat alien fauna attempting new forms of signal transmission. The ordinary becomes unconventional; the voice of nature and its private tumults get disfigured by deforming lenses that, rather amazingly, emphasize the gravity of each single event.
That these pieces ultimately can stand proudly amidst the finest electroacoustic musics of the last few decades is obviously a plus. However, what really counts is the implicit message: communication does happen at every stage of physical existence, including the supposedly inanimate. In times when most humans are bamboozled by things that do not exist particularized by brains that do not work, what we have to do is raising the aerials way up. Consequences – if there is sufficient emotional fuel in your personal tank – will inevitably materialize." [Touching Extremes]
|
2018 |
€16.00 |
|
| KUTIN, PETER |
Burmese Days |
LP |
"Over the past several years, Vienna-based composer / producer peter kutin has been working intensely at the little-explored junction between sound art and journalism / documentation. Focusing on sonic experiences in extreme or exceptional conditions. Kutin explores both the physical and psychological impacts of such extremes on how we hear. Later translating or orchestrating these experiences into sound. Despite his age, Kutin has already seen (and heard) many lost corners of the world, having realised field-projects that led him through deserts, jungles, mountain ranges, glacier gaps, war zones, volcanoes, protest marches and even into prison.
‘burmese days’ is not the traditional puristic field-recording album but more an abstract composition, which opens up a wide dynamic range of sonic perception, where electronic manipulations and timbres of selected traditional burmese instruments are interwoven with field recordings to form a captivating sonic essay – probably one of the most abstract and unexpected releases on Gruenrekorder .
Peter Kutin :
‘The following piece is mainly based on original field recordings from Myanmar taken between April & May 2012, half a year after the military dictatorship announced its withdrawal and indicated plans for a change towards a democratic – or a ‘hybrid military-civilian’ – system in Myanmar after more than sixty years of a military state and its repression. Suddenly it was legal for journalists to enter officially. When I found a timeslot and got the money and some contacts together, I set up a field trip following a journalistic and documentary approach. One of my main interests was to investigate whether the situation of people of ethnic minorities had already changed since the regime’s withdrawal. There were peace talks, but in fact most of the rebel groups were still at war with the military regime at that time. My route started at the border area between Myanmar and Thailand: topographically, this was a zone covered by a beautiful rainforest and all its richness of sounds; politically, it was a buffer zone : ethnic minorities, rebel groups, expelled people, opium and other drug smugglers and refugee camps.
At the end of 2012, US president Obama became the first American president to visit Myanmar in fifty years. He walked barefoot over the sacred marble ground of the golden Shwedagon Pagoda in the former capital, Rangoon, and warmly welcomed the newborn democracy. While I was there, ethnic clashes (some media referred to the terminology of an ‘ethnic cleansing’) started in the western Akran state. More than 30,000 people from the Rohingya (a Muslim minority) were chased from their homes. Many were killed in the violent clashes between Muslims and radical Buddhists. Not a single journalist was allowed to enter or get even close to the area. Freedom and Democracy are more elusive concepts or cachets than the media would like us to believe.
My recordings were first used for the production of a feature on Austrian national radio. I was a bit disappointed, feeling that the sounds had been used the ‘wrong’ way due to all the information within the spoken texts… In order I sat down and reflected on my recordings from an aesthetic point of view, thinking about how I could translate my personal experiences (heat, sickness, fear, jungle, rain, radical Buddhism, rebels fighting for freedom or more rights, the sound of mantras, gongs, bells and the language itself …). I also found out that the percussionist of Vienna’s Radio-symphonic-Orchestra has been collecting instruments from Myanmar since more than 10 years. So the use of some of these original Burmese metallophones (and their electronic transformations & manipulations) is now the constant element throughout the record, guiding the listener through different sonic stages. It is a piece about the vague state of the people’s identity – a life lived between hope, anger and fear, between the prospect of freedom and doubt of being betrayed.
‘Burmese days’ may be described as an acoustic diary, focusing entirely on sound and using almost no linguistic information. No interviews were used. The piece’s subtitles refer directly to some experiences.
For best result, it should be listened to at a high volume with good bass response.
‘Burmese days’ is originally written for
* traditional Burmese metallophones :
three Kye zees (high-range scaleed, rotating gong), three gongs of mid-range scale, one low-range gong; played by Berndt Thurner
* turntables :
I asked the Viennese turntablist dieb13 to cut a vinyl using only my Burmese field-recordings; he could choose from a selection
* live electronics (for treating the sound of the gongs) ; 4 channel spatialisation ; played by myself
‘Burmese days’ was premiered at Vienna’s Church of St. Ruprecht in June 2013 .
http://kutin.klingt.org/burmese_days.html" [label info]
www.gruenrekorder.de
"And then Gruenrekorder also expands to the world of vinyl with a rather unusual disc. Peter Kutin is a member of Dirac (see Vital Weekly 708 and 729) and had a solo CD (see Vital Weekly 818), which sees 'all field and studio recordings' by him, but also with Berndt Thurner on original Burmese metallophones and Dieb13 on additional electronics and turntables. If I understood correctly Kutin is the composer of this work that is partly a mixture of field recordings from Burma with some additional music from the musicians, all 'arranged and composed by Peter Kutin'. It's a pretty interesting work; one that works pretty well. The overtones from the metallophone collide nicely with the electronics from Dieb13 and mix well with the insect/bird sounds from the locations. Sometimes, and perhaps that's the best part, it's hard to tell whether we are hearing 'just' field recordings or perhaps also something else, something 'extra'. I guess that's where field recordings and 'music' - what's the difference, I wondered - blend together in a very natural way. 'Part 1' seems to be more about the instruments and 'Part 2' more about the field recordings - but perhaps I am wrong about this. Maybe that explains why this is on LP, rather than CD: to mark the difference between both sides. Excellent stuff all around! Great, moody music, carefully balancing sound art and music, field recordings and soundscapes." [FdW/Vital Weekly]
|
2014 |
€16.50 |
|
| KÜPPER, LEO & HOSSEIN MALEK |
Santur: Orient/Occident |
CD |
SR419
CD digipack + 24 page booklet
This disc offers two approaches to an ancient instrument called santur. The first - the eastern - by the Iranian master musician Hossein Malek, features improvised pieces recorded by Leo in the 80's - a unique and valuable archive. The second is the Western approach of his friend Leo Kupper, a student of the first; where it goes through the filter of undetectable electronic.
Santur - the word is mentioned in the Bible and the word is Aramaic. We find a representation of an Assyrian sculpture of Assurbanipal (667- 626 BC. AD). The Santur is an isosceles trapezoid zither seventy-two string (36 strings of brass and steel 36) fixed and crossed (with four strings per note). We play the instrument with light rods and fines medlar.
LEO KUPPER
Born in Nidrum, Belgium, April 16, 1935. Musicology Studies and History of Art at the University of Liege and Brussels. Collaboration with Henri Pousseur, at Studio Apelac (first electronic music studio of Belgium) from 1962. Musician at Radio Télévision Belge (RTB and RTBF). Founder and Director of Studio de Recherches et de Structurations Électroniques Auditives, since 1967.
HOSSEIN MALEK
Hossein Malek was born July 17, 1925, in the popular neighborhoods of Tehran.
He died in 1999 in the same town after an exile in Belgium. He was only two years old when he heard for the first time and discovered the Santur with emotion (play by the master Habib Samai who lived next door). He then had several other professors: Nurali Khan Borumand, Abolhassan Saba, and Shokro Ghamar. He enjoyed worldwide fame, playing in most countries of the world and leading an existence of particular intensity. During one special evening in '70, the Queen of England apologized to the other musicians she invited, ssaying that what she had just heard was so beautiful that she no longer wished to listen to anyone else.
www.subrosa.net
|
2016 |
€14.50 |
|
| KÖNER, THOMAS |
Aubrite |
do-LP |
Thomas Köner is one of the most influential modernist minimal composers. His music is often defined as dark ambient or drone, because of the use of low frequencies, material from gongs, shadowy resonances and boreal ambience, but at the same time its sound with constant fluctuation and vulnerability of sonic events, what makes it organic, human and almost comforting.
Köners soundscapes are no longer simply dark, the question now is that of a profound blackness. Such is the generic darkness of the abyss, the void and vacuum, the darkness of more than silence, of catastrophe and cataclysm, but also the soundscapes have utopian moments. It is a cosmological blackness, the black of nonbeing.
The more subtractive, the blacker the sound synthesis, Köner writes. Such blackness is non-music. Music will never be music until it ceases to represent and begins to sound like non-music or monochrome.
"Whoever hears the distortion of all sounds, will soon become Ultrablack. Whoever listens to this world, but has no affection for any of its sites, even to the place of Black Noise, may soon reach Ultrablack. Whoever understands the spirit of impartiality through ten thousand million partial tones, hears Ultrablack and can no longer be measured. No measures, no enclosures, no properties are the sign of ultrablack scores." Thomas Köner
Aubrite was first released 1995 on the label Barooni. Roland Speckle helped with production of the album. Aubrite is the name of a group of meteorites named for Aubres, a small achondrite meteorite that fell near Nyons in 1836.
https://forceincmilleplateaux.bandcamp.com/album/aubrite
|
2022 |
€26.00 |
|
| |
Daikan |
CD |
"The Earth is burning, covering all environments in ashes. Smoke comes to us from computers—from social networks accelerating the spread of burnt affects, damaging our ability to feel and respond to what the planet strives to express. We need to cool down. Thomas Köner’s music can help change the pace of our perceptions:
1) In DAIKAN (2002) — a Japanese term meaning “the coldest” or “the coldest part of the year”—the ear stretches until touching the depth of time that persists in the ice; a sonic drama offers the slowness thanks to which the skin of perceptions can reconstitute themselves; icequakes awaken listeners to the frozen life without scaring them.
2) Banlieue du Vide, considered by many to be Thomas Köner’s most iconic audiovisual work and best kept secret, has not been released previously. It is in the collection of a couple of art museums, e.g. the Centre Pompidou in Paris, and has been awarded the Golden Nica at Prix Ars Electronica in 2004, in the category Digital Musics.
Banlieue du Vide is the result of months of time-lapse observations of empty streets in the Finnish Arctic Circle, shown in glacially slow slow-motion. Phase cancellation, on which all noise cancelling technology is based, here affects the perception of time, the sense of the flow of time extinguishing itself. At this stage the void is not yet empty, traces of past noise fill the listeners mind with their haunting presence.
A remastered stereo version of the soundtrack is released as a special premiere as Bonus Track of the DAIKAN album.
Listening to this album, an excess of heat turns into an empowering coldness—like the transient feeling of our terrestrial embodiment in the midst of entropy."
Frédéric Neyrat
https://forceincmilleplateaux.bandcamp.com/album/daikan
|
2023 |
€16.00 |
|
| LA MONTE YOUNG & MARIAN ZAZEELA |
31 VII 69 10:26 - 10:49 PM / 23 VIII 64 2:50:45 - 3:11 AM The Volga Delta |
CD |
La Monte Young was born in Bern, Idaho in 1935. He began his music studies in Los Angeles and later Berkeley, California before relocating to New York City in 1960, where he became a primary influence on Minimalism, the Fluxus movement and performance art through his legendary compositions of extended time durations and the development of just intonation and rational number based tuning systems. With wife and collaborator, artist Marian Zazeela, they would formulate the composite sound environments of the Dream House, which continues to this day.
Seeing reissue for the first time since its initial 1969 release, Young and Zazeela's first full-length album is often referred to as "The Black Record" due to Zazeela's stunning cover design, complete with the composer's liner notes in elegant hand-lettered script.
Side one was recorded in 1969 (on the date and time indicated by the title) at the gallery of Heiner Friedrich in Munich, where Young and Zazeela premiered their Dream House sound and light installation. Featuring Young and Zazeela's voices against a sine wave drone, the recording is a section of the longer composition Map of 49's Dream the Two Systems of Eleven Sets of Galactic Intervals Ornamental Lightyears Tracery (begun in 1966 as a sub-section of the even larger work The Tortoise, His Dreams and Journeys, which was begun in 1964 with Young's group The Theatre of Eternal Music). According to Young, the raga-like melodic phrases of his voice were heavily influenced by his future teacher, the Hindustani singer Pandit Pran Nath.
Side two, recorded in Young and Zazeela's NYC studio in 1964, is a section of the longer composition Studies in the Bowed Disc. This composition is an extended, highly abstract noise piece for bowed gong (gifted by sculptor Robert Morris). The liner notes explain that the live performance can be heard at 33 and 1/3 RPM, but may also be played at any slower speed down to 8 and 1/3 RPM for turntables with this capacity.
“La Monte Young is the daddy of us all.” — Brian Eno
https://www.superiorviaduct.com/products/la-monte-young-marian-zazeela-31-vii-69-10-26-10-49-pm-23-viii-64-2-50-45-3-11-am-the-volga-delta-cd
"The father of drone, the man himself. Someting very very special for my lucky readers today.
La Monte Thornton Young is an American avant-garde composer, musician, and artist.
Young is generally recognized as the first minimalist composer. His works have been included among the most important and radical post-World War II avant-garde, experimental, and contemporary music. Young is especially known for his development of drone music. Both his proto-Fluxus and “minimal” compositions question the nature and definition of music and often stress elements of performance art. He is commonly seen as one of the four most celebrated leaders of the minimalist school, along with Philip Glass, Steve Reich, and Terry Riley, despite having little in common formally with Glass and Reich.
In 1962 Young wrote The Second Dream of the High-Tension Line Stepdown Transformer. One of The Four Dreams of China, the piece is based on four pitches, which he later gave as the frequency ratios: 36-35-32-24 (G, C, +C#, D), and limits as to which may be combined with any other. Most of his pieces after this point are based on select pitches, played continuously, and a group of long held pitches to be improvised upon. For The Four Dreams of China Young began to plan the “Dream House”, a light and sound installation where musicians would live and create music twenty-four hours a day. He formed the Theatre of Eternal Music to realize “Dream House” and other pieces. The group initially included Marian Zazeela (who has provided the light work The Ornamental Lightyears Tracery for all performances since 1965), Angus MacLise, and Billy Name. In 1964 the ensemble comprised Young and Zazeela; John Cale and Tony Conrad, a former Harvard mathematics major, and sometimes Terry Riley (voices). Since 1966 the group has seen many permutations and has included Garrett List, Jon Hassell, Alex Dea, and many others, including members of the 60s groups. Young has realized the “Theatre of Eternal Music” only intermittently, as it requires expensive and exceptional demands of rehearsal and mounting time.
Most realizations of the piece have long titles, such as The Tortoise Recalling the Drone of the Holy Numbers as they were Revealed in the Dreams of the Whirlwind and the Obsidian Gong, Illuminated by the Sawmill, the Green Sawtooth Ocelot and the High-Tension Line Stepdown Transformer. His works are often extreme in length, conceived by Young as having no beginning and no end, existing before and after any particular performance. In their daily lives, too, Young and Zazeela practice an extended sleep-waking schedule—with “days” longer than twenty-four hours.
Young made The Black Record during this period with Marian Zazeela, his wife. Zazeela also did the cover art for the album. The music is filled with moments of a seamless sudden liftoff from a place of linear accumulation and synthetic realisations, that the listener discovers are organized according to completely different principles. What sounds like a drone is actually a “stack”. The complex organisation of various modalities, musical and other, layered each upon the other, reaching always toward a higher wisdom or science toward which we all stumble. Within this music is both the journey and the arrival, each appealing to the other within the context of itself. These deceptively simple methods we might refer to as “drone” are layer up on layer of complex responses to the various stratagems I have highlighed above. The listening experience has the opportunity to reflect this intensity. In other words, this music is an appeal to the listeners freedom. You ae invited to wander inside its halls and come up with your own arrival.
This album is an essential for anyone interested in Avant Garde music. Personally – I adore it!" [Lisa Thatcher]
|
2023 |
€18.50 |
|
| LA STPO (La Société des Timides à la Parade des Oiseaux) |
Les Explositionnistes |
LP |
"Tous les amateurs de la formation rennaise culte La Société des Timides à la Parade des Oiseaux doivent déjà connaître Les Explositionnistes, paru initialement au milieu des années 1990 et considéré par beaucoup comme leur chef-d’œuvre. Pour les autres, cette réédition est l’occasion de redécouvrir cet univers unique et poétique qu’ils développent depuis 1984. Véritable trésor de la scène art rock française, La STPO n’a jamais cessé son activité depuis trente-quatre ans, offrant des concerts au compte-gouttes tout en assurant un rythme soutenu d’une répétition par semaine. Un premier EP en 1986, suivi d’une bonne dizaine d’albums (La STPO, 1989 ; Le Femme : Portraits, 1993 ; Les Explositionnistes, 1995 ; L’Enciversel Marsac, 1998 ; Expériences de Survie, 1999 ; 86-90, 2001 ; Le Combat occulté, 2005 ; Tranches de temps jeté, 2006 ; Les Liquidateurs, 2015 ; L’Imparfait Multiple de Dieu, 2015), ainsi qu’un split avec Volcano the Bear ou un album live, il est donc inutile de dire qu’il y a de quoi écouter ! C’est pourquoi cette sortie remasterisée d’un des albums qui les a fait connaître est fort bienvenue.
Mêlant des influences variées (post-punk, free jazz, no wave, avant-garde, rock in opposition, bruitisme…), le groupe créé autour de Pascal Godjikian (chant) et Jim B. (guitare) a néanmoins développé un monde onirique bien à eux, teinté de surréalisme et d’expressionnisme. Qui dit onirique ne veut pourtant pas dire planant ! Si certains passages de « Sarajevo-Stepanakert » ou « Barfüsserkirche in Erfurt » peuvent susciter une certaine mélancolie ou une forme d’irréalité, le style de la troupe c’est plutôt du direct dans ta face. « Violent » n’est peut-être pas le terme car tout est ici contrebalancé par l’humour, mais La STPO joue des brisures, des structures complexes, des fois très speed, nerveuses et tendues, au milieu desquelles peuvent émerger des hurlements ou des références à la guerre (les villes martyres de « Sarajevo-Stepanakert », le génocide arménien sur « Rouge, Bleu, Orange »). Et au milieu de tout cela, nous sommes invités à une valse monstrueuse, ambiance carnavalesque au milieu des décombres (« DadaMax Stellt Loplop Vor »). Dès ce premier morceau, l’inspiration picturale est mise en avant. Max Ernst, Pablo Picasso, Barnett Newman ou Lyonel Feininger sont conviés à la fête, et les superbes visuels de Jim B. leur rendent hommage avec brio.
Grave et délirante, en mutation permanente, la musique est foisonnante. Chaque écoute nous amène à découvrir de nouveaux sons. Le chant, théâtral à souhait, aborde de nombreux registres, en s’amusant en permanence de la langue, se l’appropriant pour créer son propre vocabulaire. Au sein de ces tableaux absurdes rendant compte de la cruauté du monde émergent souvent des mélodies, tellement nombreuses et triturées qu’elles en deviennent presque impalpables. Version épique, virtuose et énergique de l’esprit Un Département/Déficit des Années Antérieures, La STPO garde une forme plus rock. L’instrumentation variée (batterie, guitare, basse, saxophone, contrebasse, synthés, radio, xylophone, viole de gambe, balafon…) ouvre, cela dit, les possibilités sonores, pouvant aller de la fanfare orientale (« Rouge, Bleu, Orange ») à des sortes de collages, entre jazz fou et le Hörspiel (« Le Portrait de Dora Maar »). De ces alliances contrastées émerge au final une véritable beauté, dont seul le groupe a la clé (« Barfüsserkirche in Erfurt ») et dont on peut vite devenir accro. Pas de problèmes, l’œuvre est assez dense pour pouvoir s’abreuver à volonté." [Max Lachaud, OBSKÜRE MAG9
|
2018 |
€17.50 |
|
| |
L'Empreinte |
CD |
Gatefold card case with 8 page inner booklet
Les Liquidateurs : dedicated to the liquidators of Chernobyl and Fukushima
Armenian translation : Alice Godjikian
Obsküre Mag : 4/1/2019 - Max Lachaud
"Un nouvel album de La Société des Timides à la Parade des Oiseaux est toujours une joie : la promesse d’une plongée dans un univers inventif, délirant et poétique."
A new release from La STPO is always a joy : the promise of a dive into an inventive, delusional and poetic universe.
"Comme d’habitude, la production est impeccable, les graphismes inspirés et les textes toujours aussi énigmatiques. Un très bon cru, donc, et un des plus apocalyptiques."
As usual, the production is impeccable, the graphics inspired and the texts always as enigmatic. A very good vintage and one of the most apocalyptic.
https://lastpo.bandcamp.com/album/lempreinte
"Heimlich, still und leise haben La Société des Timides à la Parade des Oiseaux im Herbst 2018 doch tatsächlich ein neues Studioalbum veröffentlicht. Allerdings haben die auf "L'Empreinte" zu findenden Aufnahmen schon ein paar Jährchen auf dem Buckel. Die vier Tracks waren nämlich schon im Herbst 2012 fertig abgemischt, und sollten eigentlich zeitnah auf CD veröffentlicht werden. Allerdings gab es dann Probleme mit der Plattenfirma (Beta-lactam Ring Records), und das Material landete erst einmal in der Schublade. Ein Teil davon, das lange "Les Liquidateurs", erschien dann 2015 auf LP (parallel zur inzwischen eingespielten nächsten CD "L'imparfait multiple de dieu").
Drei Jahre später haben es La STPO dann mit Hilfe von Azafran Media doch noch geschafft das gesamte Album zu veröffentlichen. "L'Empreinte" kommt in einem platzsparenden, im typischen Stil der Band bunt bedruckten Pappklappcover, in dessen einer Seite die CD steckt. Dieselbe sollte man allerdings vorsichtig herausziehen, um Kratzer zu vermeiden, was sich als gar nicht so einfach erweist.
Gut 60 Minuten an Musik ist auf "L'Empreinte" zu finden, wobei das schon erwähnte "Les Liquidateurs" die Hälfte der Spielzeit ausmacht. Dasselbe, zum Entstehungszeitpunk das längste und ambitionierteste Stück der Formation, ist den Liquidatoren von Tschernobyl und Fukushima gewidmet, also den Arbeitern, die bei beiden Reaktorkatastrophen in vorderster Front in den stark verstrahlen Gebäudeteilen gearbeitet und aufräumt haben. Viele von denselben haben ihren Einsatz mit dem Leben bezahlt. Die meisten leiden bis heute an den gesundheitlichen Folgen. Im Zentrum des Stücks steht ein junger armenischer Liquidator, und anhand seines Schicksals werden die Ereignisse von Tschernobyl klanglich (und textlich) nachgezeichnet. Mehr Informationen findet der interessierte Leser hier.
Ein dichtes Gemenge an Klang arbeitet sich hier suitenartig aus den Boxen, beginnend mit von einem Cello erzeugten Alarmheulen, hektisch und schräg, bedrohlich brodelnd, sehr abwechslungsreich und farbig, gehalten natürlich im typischen multiinstrumentalen, punkig-sperrigen RIO-Avant-Stil, den La STPO auch sonst pflegen. Dazu gibt es allerlei Text und Gesang, in Englisch, Französisch und offenbar Armenisch. Das Ergebnis wirkt ein wenig wie ein Theaterstück, oder eine Avantprog-Oper (wobei der Gesang natürlich kaum etwas opernartiges an sich hat). Zumindest könnte ich mir das gut in einem multimedialen Gewand bei einer Aufführung vorstellen, als Spectacle (wie man in Französisch sagen würde), begleitet von allerlei Filmmaterial, Projektionen und entsprechenden Kostümen.
Die drei kürzeren Nummern bieten musikalisch-stilistisch Ähnliches, kommen aber trotz der auch hier zu findenden exaltierten Vokaldarbietungen Godjikians etwas weniger theatralisch daher. Die für die Band typische, wild-deftige bis klangmalend-hallende Musik wird geboten, bestimmt von der schräg jaulenden Gitarre, umfangreichem Tastenwerk, der kraftvollen Rhythmusabteilung, und verschiedenen weiteren instrumentalen Ergänzungen (Blechgebläse, Klarinettenklänge, Celloeinlagen und allerlei Perkussives). Gegen Ende von "Offre Spéciale de Lancement de la Chute" kommt sogar fast mediävale Stimmung auf, wenn Godjikian madrigal-artig seine Stimme erklingen lässt.
"30000 Fois" ist offenbar die älteste Nummer der Sammlung, ist hier doch noch Benoît Delaune an Bass und Cello zu hören, der La STPO 2008 verlassen hat. Mein Lieblingsstück ist aber "La Vallée des Empreintes", das auf beeindruckende Art und Weise zwischen fast lyrischem Klangschweben und heftigen Ausbrüchen hin- und herwechselt.
"L'Empreinte" ist ein weiteres hervorragendes Album der Société des Timides à la Parade des Oiseaux, welches allen RIO-Avantprog-Freaks, so sie denn keine Aversionen gegen bisweilen exaltierte menschliche Lautäußerungen haben, sehr viel Spaß machen sollte. Fazit: Besser spät als nie!" [Achim Breiling/Babyblaue Seiten]
|
2018 |
€15.00 |
|
| LADIK, KATALIN |
Water Angels |
LP |
Head-spinning, previously unreleased sound art by Hungarian force of nature Katalin Ladik, exploring the relationship of sound and women’s bodies thru forms of collage, performance art, and poetry - RIYL Diamanda Galas, Teresa Winter, Annea Lockwood, László Hortobágyi
Alga Marghen’s 2nd survey of Ladik’s legacy, ‘Water Angels’ follows from the 2019 compendium ‘Phonopoetics’ with an unmissable immersion in previously unexplored regions of her music, which was just one part of a practice spanning poetry, performance art, creating and acting in her own plays and “happenings”. These set of ears slept on her ‘Phonopoetics’ LP and are now playing catch-up here to a remarkable body of work that strikes us as witty, ludicrous, and ravishingly expressive of a rich artistic life and personal philosophy. Elements of Hungarian folk, sampled classical records, and self-taught extended vocal techniques meet textual inspiration from James Joyce and Lewis Carroll, and the sounds of her first husband, composer and ethnomusicologist Ernö Király’s custom 58-string “zitherphone” in an enchanted sort of dramaturgy that reminds us to Annea Lockwood’s sensorial aesthetics as much as Teresa Winter’s avant-songcraft and the imaginary, worldly spaces evoked by Katalin’s one-time engineer László Hortobágyi, adding up to a real feast for searching and hungry listeners.
With all material salvaged from tapes and significantly improved by sound engineer Boris Kovač, we’re assured these works have never sounded better, suitably so for their first release. The A-side hosts her standout ‘Water Angel’ (1989), a wondrous 25 min work mixing her own lyrics with Lewis Carroll and Joyce’s, in a range of naif to possessed voices, over backdrop of field recordings and Király’s unique zitherphone sounds, culminating an eruption of Carl Orff’s ‘Carmina Burana’. The B-side follows her timeline to 1990’s ‘Three Orphans’, where she occupies a starker sound stage with a flux of voices, giggling, gurgling, and bewitching, and vaulting into Hungarian folksong. Finally, three 2019 compositions ‘White Bird’, ‘Ice Bird’, and ‘Electric Bird’ spanning free concrète to a carousel of gurning vocal tekkerz, and yielding her strange vitality in the modern day.
|
2021 |
€22.00 |
|
| LALI PUNA |
Our Inventions |
CD |
"2004 erschien ihr letztes Album "Faking The Books", dennoch ist Lali Punas Einfluss auf die elektronische Popszene immer noch spürbar. Gemeinsam mit The Notwist zeichnet die Band um Valerie Trebeljahr für moderne, experimentell angehauchte Popmusik verantwortlich. Mit "Our Inventions" rücken sie die Grenzen des Genres wieder mal ein Stück weiter. Der Song "Rest Your Head" schlägt eine souveräne Brücke zur vergangenen Bandhistorie. Hier pulsieren die Keyboards in warmen Wellen und begleiten Trebeljahrs Flüstern mit einlullenden Melodien - bis einen der Drumcomputer aus versponnenen Tagträumen reißt. Während das Vorgängeralbum förmlich auf die Bühne strebte, zeugt "Our Inventions" von intensiver, fast schon introvertierter Studioarbeit. Gleichzeitig unterstreichen Songs wie "Remember" und "Everything Is Always", was Lali Puna so besonders macht: überschwängliche Mitsingharmonien mit Feinschliff, die ihre Seele nicht hinter der Technik verstecken. Das Album schließt mit "Out There", Lali Punas Kollaboration mit Yukihiro Takahashi (Yellow Magic Orchestra). //
More than half a decade has elapsed since the release of Faking The Books, Lali Puna's third (and hitherto most recent) long-player, but the band's impact on the climate of electronic rock music remains palpable. Along with sister-group The Notwist, this Weilheim quartet have helped map out the musical landscape for modern, experimentally minded pop music, and Our Inventions finds Lali Puna continuing to push the frontiers of their medium. 'Rest Your Head' serves as a perfectly poised re-introduction to the band and all they've become. Initiated by waves of glassy pulsations and warm, swelling synths, the song has the feel of a reverse-lullaby - gently winding its way through reposeful melodies, guided by the welcoming whisper of Trebeljahr's vocal until the final third kicks in with drum machine hits, and you're wide awake. While Faking The Books, with its vibrant riffs and extrovert tendencies, had the sound of a record begging to be played live, Our Inventions exhibits the hallmarks of an album spun from intensive studio-bound introspection. Two of the most explosive and ebullient songs here - 'Remember' and 'Everything Is Always' - confirm so much of what's special about Lali Puna: all the elements are at once precision engineered and delivered with absolute heartfelt conviction; perhaps never before have such jubilant pop hooks been so meticulously and fastidiously crafted, yet you can always hear the soul behind these machines. This is an album that's made for and about the modern world, concerning itself with the driving forces of progress and technological obsession. Trebeljahr's lyrics are suggestive of alienation and disenfranchisement from nature during the irony-laced title-track: "The birds in the trees/Singing our mobile melodies/What a sweet, sweet world", later stipulating that 'progress' never really gets us anywhere on 'Everything Is Always' ("Nothing new/These days"), while hinting at the ultimate bankruptcy of the all-devouring consumer age during 'Safe Tomorrow': "Never going anywhere/Don't stop by and get to know/Stuff your memory with facts/Save Save Save". The final song on the tracklist is 'Out There', a collaboration with the Yellow Magic Orchestra's Yukihiro Takahashi. The version appearing here is an alternate rendering of the track that appeared on Takahashi's Page By Page album in 2009. Here Trebeljahr addresses the global financial collapse ("Their kingdom's past, their kingdom's gone/Just ruins and plain desert/It's all burnt down, we're left alone"), and sure enough, Our Inventions is a body of work that keenly engages with the concerns of its time, one that confronts the excesses and ever-accelerating pace of modernity. The sublime, virtuoso electronic arrangements of Our Inventions directly lock onto the record's recurrent key themes, depicting a world inundated with technology and consumed by a fixation on progress - simultaneously passing commentary on this state of affairs and overcoming it. When Trebeljahr intones "Things move on/I'm gonna work fast because tomorrow comes quick" it sounds like it's being sung from the perspective of someone who's already there." [label info]
www.morrmusic.com
|
2010 |
€16.00 |
|
| |
Our Inventions |
LP |
"2004 erschien ihr letztes Album "Faking The Books", dennoch ist Lali Punas Einfluss auf die elektronische Popszene immer noch spürbar. Gemeinsam mit The Notwist zeichnet die Band um Valerie Trebeljahr für moderne, experimentell angehauchte Popmusik verantwortlich. Mit "Our Inventions" rücken sie die Grenzen des Genres wieder mal ein Stück weiter. Der Song "Rest Your Head" schlägt eine souveräne Brücke zur vergangenen Bandhistorie. Hier pulsieren die Keyboards in warmen Wellen und begleiten Trebeljahrs Flüstern mit einlullenden Melodien - bis einen der Drumcomputer aus versponnenen Tagträumen reißt. Während das Vorgängeralbum förmlich auf die Bühne strebte, zeugt "Our Inventions" von intensiver, fast schon introvertierter Studioarbeit. Gleichzeitig unterstreichen Songs wie "Remember" und "Everything Is Always", was Lali Puna so besonders macht: überschwängliche Mitsingharmonien mit Feinschliff, die ihre Seele nicht hinter der Technik verstecken. Das Album schließt mit "Out There", Lali Punas Kollaboration mit Yukihiro Takahashi (Yellow Magic Orchestra). //
More than half a decade has elapsed since the release of Faking The Books, Lali Puna's third (and hitherto most recent) long-player, but the band's impact on the climate of electronic rock music remains palpable. Along with sister-group The Notwist, this Weilheim quartet have helped map out the musical landscape for modern, experimentally minded pop music, and Our Inventions finds Lali Puna continuing to push the frontiers of their medium. 'Rest Your Head' serves as a perfectly poised re-introduction to the band and all they've become. Initiated by waves of glassy pulsations and warm, swelling synths, the song has the feel of a reverse-lullaby - gently winding its way through reposeful melodies, guided by the welcoming whisper of Trebeljahr's vocal until the final third kicks in with drum machine hits, and you're wide awake. While Faking The Books, with its vibrant riffs and extrovert tendencies, had the sound of a record begging to be played live, Our Inventions exhibits the hallmarks of an album spun from intensive studio-bound introspection. Two of the most explosive and ebullient songs here - 'Remember' and 'Everything Is Always' - confirm so much of what's special about Lali Puna: all the elements are at once precision engineered and delivered with absolute heartfelt conviction; perhaps never before have such jubilant pop hooks been so meticulously and fastidiously crafted, yet you can always hear the soul behind these machines. This is an album that's made for and about the modern world, concerning itself with the driving forces of progress and technological obsession. Trebeljahr's lyrics are suggestive of alienation and disenfranchisement from nature during the irony-laced title-track: "The birds in the trees/Singing our mobile melodies/What a sweet, sweet world", later stipulating that 'progress' never really gets us anywhere on 'Everything Is Always' ("Nothing new/These days"), while hinting at the ultimate bankruptcy of the all-devouring consumer age during 'Safe Tomorrow': "Never going anywhere/Don't stop by and get to know/Stuff your memory with facts/Save Save Save". The final song on the tracklist is 'Out There', a collaboration with the Yellow Magic Orchestra's Yukihiro Takahashi. The version appearing here is an alternate rendering of the track that appeared on Takahashi's Page By Page album in 2009. Here Trebeljahr addresses the global financial collapse ("Their kingdom's past, their kingdom's gone/Just ruins and plain desert/It's all burnt down, we're left alone"), and sure enough, Our Inventions is a body of work that keenly engages with the concerns of its time, one that confronts the excesses and ever-accelerating pace of modernity. The sublime, virtuoso electronic arrangements of Our Inventions directly lock onto the record's recurrent key themes, depicting a world inundated with technology and consumed by a fixation on progress - simultaneously passing commentary on this state of affairs and overcoming it. When Trebeljahr intones "Things move on/I'm gonna work fast because tomorrow comes quick" it sounds like it's being sung from the perspective of someone who's already there." [label info]
www.morrmusic.com |
2010 |
€16.00 |
|
| LAMIA VOX |
Alles ist Ufer. Ewig ruft das Meer |
CD |
Long awaited new material from Lamia Vox. Titled “Alles ist Ufer. Ewig ruft das Meer” (Everything is shore. The sea calls forever) after the Gesänge poem by Gottfried Benn, the album is’nt presented merely as a musical piece but bears a deep spiritual message and a counterblast to the rational, materialistic and post-theist nihilism of current age. Inspired by early modern poetry, Hermeticism, fin-de-siècle symbolism and naturphilosophie, this new opus celebrates another vision of the world, one of higher dimensions and beyond the human sphere, a world of intoxicated and ecstatic alchemy of poetic language and ideas. An upward movement and a breakthrough from the bonds of materia to the source of life and eternity. Dionysian liberating lawlessness to oppose sterile rationalism and creativity, divine madness, metanoia as a form of ultimate salvation. Poetry flows, it is a sacred art and process and the laboratory of the Magnum Opus, a divine gift of deliberate madness.
CD editing of 600 copies in 6 panel digisleeve with matt lamination. 7 Tracks. Running Time 35:09
LP Edition of 300 copies in gatefold sleeve, matt lamination on black vinyl. 7 Tracks. Running Time 35:09
https://cycliclaw.bandcamp.com/album/alles-ist-ufer-ewig-ruft-das-meer
|
2020 |
€13.00 |
|
| LAMINAR |
Manifold |
CD |
Nach der hervorragenden Debut-CD dieses New Yorkers Projekts auf Soleilmoon (“Ante-Chamber“) ist dies das zweite volle Album, wo wieder mikrotonale Soundereignisse der Umwelt aufgenommen und verarbeitet wurden: das Fallen von Blütenpollen auf den Boden, das Flattern von Insektenflügeln, verdunstendes Wasser... bei diesen Transformationen entstehen sehr geräuschhafte, rauschige, tief pulsierende, abwechslungsreiche Geräuschbäder... hier kann man ganz tief eintauchen in surreal-obskure Lauthüllen und Landschaften... erinnert an HAFLER TRIO, ROLAND KAYN, DIMUZIO...
“ Laminar's sound investigations and amplification of everyday life's miniscule sounds might resemble another Soleilmoon project, Alp. But Laminar's agenda is far more malevolent. Inspired by the imperceptible sounds of pollen falling from a flower to the ground, the flutter of insect wings, and the evaporation of water, Laminar has recorded "second order sonoritites" of these sonic phenomena, and expanded them through an aural threshing device. The intense eruption of turbulent noise found on "Sector One" and "Sector Five" from the Ante-Chamber album taps into the physicality of Laminar's investigations. In effect, Laminar fuses these tiny sounds with a radioactive isotope to document violent breakdown at a molecular level.” [press-release]
|
2002 |
€14.00 |
|
| LAND:FIRE |
Gone |
LP |
Eines der Highlights der Neuzugänge dieses Katalogs, dieses neue anonyme Projekt auf LOKI mit brodelnd-massivem dark ambient, archaic music at its best, eine dichte und alles verschlingende Atmosphäre wird heraufbeschworen, mit sakralen und melancholischen Untertönen.
Highly recommended massive & dense dark ambient archaic noise.. sacral and melancholic.. there are rumours this could be a HERBST9-sideproject.
[old Drone Rec info 2002]
„With it´s first release this new project from Germany has sculptured a sombre, frightening and illusionary soundtrack that creates an imagination about devastated landscapes and scorched areas where traces of human existence are to be found only on remaining fragments from noted radio transmissions. Massive drones and sinister melodies rise out from the inside of a dark and bleak ground while crushing rhythms and unreal vocal shreds echoing through a wide spectrum of sounds and effects. Limited edition of 555 copies!” [press-release]
|
2002 |
€12.00 |
|
| LAST DOMINION LOST |
Snowdrops from a Curate's Garden |
CD |
“Snowdrops from a Curate's Garden” is a 2011 live recording of industrial veterans Last Dominion Lost with all exclusive, unreleased tracks. Active since 1992, Last Dominion Lost feature Jon Evans, John Murphy (Shining Vril, Krank, Ex-SPK/Whitehouse/Current 93) and Julian Percy. Through their pedigree, Last Dominion Lost are considered to justifiably carry the legacy of the legend that is SPK - and that’s also by their sound, as they stand for an undiluted brand of industrial music, combining shuddering analogue sounds, clanging metal rhythms and feedback with ritual percussion & chants. On “Snowdrops from a Curate's Garden” the main focus lies on the hypnotic, ritual and mental aspects of music, with an omnipresent metallic percussive backbone. It comes as no surprise to find the group reveling in dark subject matter like psychopathology, debasement and religious deviation, to which they manage to deliver an authentic soundtrack.
The LP is congruously accompanied by authentic photographs of the infamous Victorian era Lunatic Asylums in Kew and Beechworth, Australia. Last Dominion Lost take an ethically moved stance, commemorating the fact that from its beginnings as a penal colony, the majority of the early white Australians were drawn from the classes of the poor, dispossessed and desperate, long known as factors that encourage depression, alcoholism and psychological ill-being. The process of transportation was attended by squalor, disease and rape. These damaged individuals were then thrust into a harsh and alien environment, housed in circumstances worse than a modern refugee camp, and expected to build their own prisons – circumstances that effectively made mental illness was one of the colony's very first imports. From there the dismal history of mental hospitals took its course, evolving from incarceration over therapeutic occupation to, ultimately, medication. It is the practice of oppressing those who cannot “conform” to the norms imposed by the system, the root cause of the underlying aggression with which the Australian general public treated each other, and still continue to do.
This live album has been recorded at Kalyug Festival, Berlin in 2011 and is perfectly mastered by James Plotkin, providing the album a sharp, forceful & modern sound. Thus “Snowdrops from a Curate's Garden” can be considered the missing link between the grainy, demo-type 1990s recordings that became “The Tyranny of Distance” (Tesco, 2004) and the enthusiastically received “Towers Of Silence” album (The Epicurean / silken tofu, 2014), which displayed a very contemporary, indicatory approach at that classic industrial sound.
Beautifully duplex black/gold printed cover, 300g natural paper, postcard, 140g black vynil, black disco bag in transparent high quality sleeve with flap, includes download code. Limited edition of 253 copies, hand numbered. First 50 copies come with small postcard.
The Epicurean . cure.8
Format: 12" LP & file download
Release date CD: 23. October 2017
Release date LP: 21. October 2015
Artwork, typography and design: The Epicurean
Playtime: 37:42 min
|
2017 |
€13.00 |
|
| LAST INDUSTRIAL ESTATE |
Last Industrial Estate |
CD |
"Last Industrial Estate is one of the various projects of Anders Peterson of Ghost Sound and gterma fame, a warm and melancholic twist upon the dark ambient canvas. LIEs is an ode to the remnants of the industrial era and expands upon of the self-titled album released on Kalpamantra netlabel earlier this summer. The album now features a more sinister edge which stands out like a jet-black pool of oil upon an overlooked dusty tarmac. Album in jewelcase with 16-page booklet." [label info]
http://gterma.blogspot.se
|
2012 |
€13.00 |
|
| LASWELL, BILL & NICHOLAS JAMES BULLEN |
Bass Terror |
LP |
The concept of this series was the confrontation of electric guitars as the tutelary instrument, but here and this time only, it came out of bassists confronting each other.Never released before as LP vinyl. Available here as a 400 copies limited red vinyl.
This recording is the dark side of Bill Laswell at the peak of his art in 1995. He goes into a black trance. The piece is not from a collaboration, it was designed alone, in his studio in Brooklyn. Bass Terror Tetragrammaton is also to be linked to an alchemical process.
Nocturnal Crawl is a totally hypnotic piece, the first that Nik Bullen designed outside of Napalm Death and Scorn. The two pieces answer each other strangely, like two sides of the same hidden anxiety.
|
2018 |
€15.00 |
|
| LE GALL, PASCAL |
Returns |
CD |
“RETURNS is a suite in four parts. At the beginning each part was a musical composition as such but finaly after a while the idea of an organisation of this different parts was introduced. The first part, mixed with the sound of different broken glasses, is a musical overture and introduce with his rhythms and his melodies the following parts. The three following parts are mixed with different sounds from records played on turntables with variable-speed drives.
With the intense focus of a scientist fed up with pointless repetition, Pascal takes a scalpel to composition, improvisation and performance, and (with the most basic means) examines their sameness, and their miniscule but important differences.”
https://pascallegall.bandcamp.com/album/returns |
2018 |
€14.00 |
|
| LEICHTMANN, HANNO |
The African Twintower Suite |
LP |
"October 2005: Seminal German director Christoph Schlingensief (R.I.P. 2010) shoots his latest feature film “The African Twintowers" in Lüderitz/Namibia with Irm Hermann, Klaus Beyer, Robert Stadlober, Patti Smith........
Autumn 2006: Schlingensief approaches Berlin musician/composer Hanno Leichtmann (Groupshow, Static, Denseland) regarding a soundtrack for the film. There were hours and hours of raw material; the concept being a movie with few dialogues and music throughout - a 90 minute psychedelic collage; an associative visual and sonic trip.
With the help of John Nijenhuis aka Sir Henry as well as a trio of musicians playing indian music (tabla, sitar, tampura), they started to improvise in Leichtmann's recording studio projecting film sequences on a wall. Within 4 days and nights an enormous amount of tracks had been recorded and several rough mixes had been compiled.
After a while though, Schlingensief decided to shift the concept. The film transformed into an art installation with 18 monitors showing sequences simultaneously (presented at the Berlinale and Steirischer Herbst), and later on, a kind of “Making of..." with 90% off-comments by Christoph Schlingensief and very little music was made.
Thus, “The African Twintowers Suite" represents a lost soundtrack; compiling the most interesting recordings, newly edited, layered, collaged, shortened and mixed between 2009 and 2010." [label info]
www.dekorder.com
|
2011 |
€14.00 |
|
| LEITMOTIV LIMBO |
Superior State |
LP |
Superior State is the second Leitmotiv Limbo album released by Port Adelaide’s De la Catessen Records, after the 2022 CD Spiritual Disturbance. This time, Leitmotiv Limbo’s isolationist studies have been bumped to vinyl, which feels like the perfect format for these twelve miniatures. The project of Adelaide artist Elijah Värttö, Leitmotiv Limbo has, over the past few decades, tracked a history of quietly insistent experimentation, embracing several technologies – invented instruments; analogue filters; drum synth – to sketch desolate, cavernous structures, sometimes performed in reverberant spaces, such as church halls, which gifts the recordings a ritualistic air.
For Superior State, Värttö is more intently focused on rhythms and pulses, resulting in a beautifully sculpted collection of poetic vignettes. You can hear some trace elements, here, of the minimalist techno-not-techno of artists like Pan Sonic, or Studio 1/Freiland, in their reductionist ethos. But also, in the insistence of Värttö’s attention to detail, and his careful focus on a delimited number of elements, the twelve pieces on Superior State recall the work of mysterious German outfits Werkbund and Mechthild Von Leutsch, or the solo explorations of artists like Asmus Tietchens, Achim Wollscheid and Goem.
It's intensely evocative music, recalling all kinds of phenomena, both man-made and natural: electricity pulsing through wires; the humming of the central nervous system; the quiet hiss of deserted computer laboratories; the pulsations of plant life; the molecular vibration of atoms. Värttö has tapped into the poetry of the programmatic on Superior State, and he’s sharp in his grasp of the significant effect that the incremental shifting of a few simple parameters can have on the overarching structures he’s building here. Indeed, that poetry is echoed back in the beautiful liner notes by Adelaide artist Michael Hocking. Alive, flickering with incident, Superior State is energy transmitted, coursing through the collective’s veins.
Music recorded in a room on Nile St, Port Adelaide across six evenings, of one week in January 2023. Instruments of analogue electronics were built, performed and recorded by Elijah Värttö directly to 4-track tape, with two room mics. The instruments form four quarters, as two hemispheres mirrored. Each hemisphere has a symmetry of structure, albeit comprised of differing materials.
Detail of artwork: spray paint on metal by Elijah Värttö
Mastered for vinyl by Giuseppe Ielasi
Design by Sam Songailo
℗ Elijah Värttö 2023
© De la Catessen Records 2023
"While I recognized the Leitmotiv Limbo immediately, I was surprised that I had already reviewed four previous releases by Elijah Värttö's music project (Vital Weekly 951, 1152, 1219 and 1336). All of these were on cassette, but now it's time to do the next step and release an LP. The music is ready for it, I'd say. Värttö sounds like a Finnish name, but he's from Adelaide, just like the label here, who also re-issued the 'Spiritual Disturbance' cassette on CD. The press information talks about "invented instruments, analogue filters, drum synth" and influences of Pan Sonic, Studio 1 (Wolfgang Voigt rather than the dub label), Freiland, but also Werkbund, Asmus Tietchens, Achim Wollscheid and Goem. Some of these names I am very familiar with, and while I can't say these people don't influence him, I also believe that maybe, except for Werkbund and Tietchens, I don't hear these influences to that extent. Rhythm plays an undeniable part in the music here. Still, there is only some of that 'techno that isn't techno' of Pan Sonic or Goem here (more the latter than the first, in 'Parading Brutality', for instance), nor the conceptual edge of somebody such as Wollscheid. In these twelve pieces, I hear more of a nod towards mid-80s industrial music, where you can find albums by Tietchens of similar musical interests. Also, given the more loop-like approach, a group like Dome (in 'Relative Space', for instance). This LP is a giant leap forward compared to the previous cassette works. There was naivety in his older work, which was most enjoyable, but rightfully, it was time to move on. Leitmotiv Limbo now exercises more control, more composition, if you will. There is less of that 'roll the tape and see what happens' approach, but the music here is to the point. There is no endless wailing about, but each of the twelve compositions is just that. Not too industrial, never noisy, but with a studio-as-instrument approach, exploring uncharted territory on the sonic map. I can hardly wait for the next one." [Vital Weekly]
https://leitmotivlimbo.bandcamp.com/album/superior-state |
2023 |
€26.00 |
|
| LEJEUNE, JACQUES |
Early Works 1969-1970 |
LP |
"This LP of early compositions by Jacques Lejeune features three seminal works: D'une Multitude En Fête and Petite Suite, originally released on the Perspective Musicales series in 1970, and a previously unpublished composition, Géodes, from the same period. These three pieces (not included in the recent Parages and other electroacoustic works 3CD set) are some of Lejeune's earliest music for tape and may be considered a "prequel" to his later, more thematic works. Still, his concise musical narrative is ever-present in these first recordings. The sidelong D'une Multitude En Fête (1969) refers to multitude, number, celebration and any crowd situation as a form of ceremony — all evoking a circular gaze, as topics of the different aural events and their anecdotal development emerge, leading to the dream, as a story we tell to ourselves. Géodes (1970) features percussion improvisations by Lauréat Dionne with Jacques' tapework inflecting prisms deep into its thundering, rhythmic core. This concert version appears on vinyl for the first time. Concluding the album is Petite Suite (1970), with each section referencing a traditional musical form using both anecdotal as well as instrumental flourishes. The original drum and guitar elements performed here by Michel Foudrinoy and Jean-Pierre Vassout. These pieces have been compared to Pierre Henry's bold rock themes in Messe Pour Le Temps Present and also recall the peculiar atmospheres of some of the great, early Nurse With Wound records that would follow. In contrast, Lejeune's early approach was heavily steeped in sonic narratives, combining unusual and ambiguous events to create a sound world uniquely his own. Early Works 1969-1970 explores the first precision splices by one of the true visionaries in musique concrète." [label info]
www.robotrecords.com
|
2015 |
€26.50 |
|
| LERMAN, RICHARD |
A master of scale and other pieces |
CD |
RICHARD LERMAN erforscht gerne konzeptuell seine akustische Umwelt mit selbstgebauten Instrumenten oder gewagten Installationen. Hier sind 4 seiner Stücke (Zeitraum 1981-1997) mit detaillierten Beschreibungen seiner Arbeitsweise veröffentlicht worden. Hochinteressant & abstrakt..
“ a collection of concert pieces all using self built transducers and other instruments. includes "Entrance Music" (1981 recorded in Utrecht with Richard playing self-build instruments (including a 40 foot long amplified slinky played with a violin bow, an Audubon bird call, an early version of a plinky and others), twelve self built microphones & transducers along with tape delay; "A Matter of Scale" (1986) recorded inside the Houston Astrodome with the players (including the late Jim Pomeroy) placed on various bases
while performing with tiny hand held instruments like the plinky and
amplified drinking straw; "Old Friends with Pitch to MIDI" (1994) recorded in New York as a trio with Tom Hamilton on synthesizer, Bertrand Moon on guitar and Lerman on amplified bicycle, a plinky, a soda straw, amplified tuning forks, plastic cups transduced through harpsichord wire and other object; and "Changing States 6" (1997) which is a duet for percussionist and suspended and amplified metal microphones caused to sound by heating them with a small jeweler's propane torch. Richard Lerman has been active in music since the 1960's and yet only having two previous releases: "Travelon Gamelon" LP on Folkways and "Within Earreach" CD on Artifact Recordings (both sold out from the labels). His work has also been featured on such notable anthologies as "Echo. Images of Sound II" on Het Apollohuis and the book and CD package "Site of Sound: Of Architecture and The Ear". He regularly performs and does installations in the United States and Europe and recently had a selection of his Super 8 films show at MOMA in New York. Richard Lerman currently teaches at ASU in Phoenix, Arizona. "Essential listening for lovers of granular metallic music and spacious twittering." [The Wire]
|
2003 |
€12.00 |
|
| LES FRAGMENTS DE LA NUIT |
Musique de Nuit |
LP |
"Ombeline Chardes (Geige) und Michel Villar (Klavier) sind Filmkomponisten. Aber eben auch LES FRAGMENTS DE LA NUIT. Um ihre Musik auch live darbieten zu können, entschlossen sie sich, ein Quintett aus drei Geigen, einem Cello und einem Klavier zusammenzustellen. Ihre bisherigen Alben "Musique Du Crépuscule" (2008) und "Demain C'etait Hier" (2010) erhielten gute Kritiken und machten sich mehr als gut auf vielen europäischen Festivals. Mit ihrer Musik, die zwischen Tragik, Epos und Atmosphäre pendelt, setzt sich die Band über musikalische Grenzen hinweg: pulsierenden Klavierakkorde führen Cello und drei Geigen an und treffen hier und dort auf weiblichen Chorgesang. ,Musique De Nuit" versammelt neu aufgenommene Tracks sowohl aus den frühen Tagen von LES FRAGMENTS DE LA NUIT als auch brandneue Stücke. Das Album ist ein Zeugnis über das Können der Band, zeitgenössische klassische Musik aus ihrem strengen Korsett zu befreien und mit stilistischen Referenzen an Post-Rock, Pop oder sogar Metal zu füllen. Das erinnert an die Arbeit von Komponisten wie STEVE REICH, PHILIPP GLASS oder ARVO PÄRT mit solchen Gruppen wie GODSPEED YOU! BLACK EMPEROR, BALANESCU QUARTET oder MAGMA. Im Herbst 2011 haben LES FRAGMENTS DE LA NUIT Teile zum Soundtrack des Tilda Swinton Films "We Need To Talk About Kevin" beigetragen. Die LP kommt im festen Cover mit dicker Innenhülle auf 180gr Vinyl mit Downloadcode!" [label info]
www.denovali.com
|
2012 |
€16.50 |
|
| LEVANDER, ERIK |
Jökel |
CD |
Swedish musician Erik Levander gained attention as part of the new wave of young DIY laptop experimentalists arising in the early 2000's. His somewhat eclectic early output has since developed into a unique and vibrant blend of digital, analog and acoustic sounds weaved into epic and powerful atmospherics. Levander has performed his work extensively, including shows at Roskilde Festival, Norberg Festival, Nordic Music Days and Forma Nova Festival. With the release of ‘Jökel´, Levander’s seventh full length album, he continues to break new ground, presenting a conceptual album that may be his most minimalistic, lingering and evocative release to date.
As a result of ignorance, negligence, and a lack of immediate responsible profound political action, there are indications that planet Earth is irreversibly about to leave the relative climate stability we have enjoyed during the Holocene for roughly the last 10,000 years. Some of the most apparent signs of ongoing climate change are found in the continuous reports of sea ice, inland ice, shelf ice and glaciers shrinking at an alarming rate. This album is a homage to the still living glaciers. The album title 'Jökel' means 'Glacier' in Swedish, with roots in the Icelandic word 'Jökull'. The compositions are in particular inspired by Levander’s 2009 visit to the glacier Mýrdalsjökull in Iceland, a glacier famous for covering the active volcano Katla. With imaginary field recordings, barren but vigorous soundscapes, Levander invites the listener to experience this desolate glacier 'in sensu'. Perhaps this awareness, and by appreciating the beauty and importance of these natural wonders, we can somehow in the extension help the survival of the glaciers, and contribute to recover the environmental balance of this planet.
https://glacialmovements.bandcamp.com/album/j-kel
|
2021 |
€15.00 |
|
| LEVEL |
Opale |
CD |
"Die speziellen Spekk-Digibags im Format 12,5 x 16 cm sind jedesmal wieder eine Augenweide. Sie stehen für einen Ästhetizismus, den ich mich scheue, ‚japanisch‘ zu nennen. Nennen wir es daher ‚universalen Feinsinn‘, der sich akustisch manifestiert in einer elektroakustischen Serie von meist minimalistischem Anstrich. Opale (KK016), den Beitrag von LEVEL, das ist Barry G. Nicholas, ziert die Aufnahme des Aderngeflechts eines Blattes, skelettartige Architektur der allerzartesten Bauweise. LEVEL konstruierte dazu 8 Tracks mit gebildeten und feinsinnigen Titeln wie ‚[jeux]‘, ‚[eastre]‘ und '[oriente]', allesamt aus dem dröhnenden Morphing von Pianoklang. Der Zeitfluss, sprich, der Bewegungsablauf, ist jeweils verlangsamt, träumerisch. Nicholas nennt dieses ‚Als ob die Zeit still stünde‘ ‚[a frozen moment]‘, einen ‚gefrorenen Augenblick‘. Von Schopenhauer stammt das poetische Bild von Architektur als ‚gefrorene Musik‘. Umgekehrt wäre Musik dann tauende oder schmelzende Architektur. Genau so klingen Opales Kontrukte. Festes scheint im zähflüssigen Übergang zu Flüssigem. In ‚[mobilus]‘ klingen noch Teile der Binnenverstrebungen rhythmisch zischend an. Dazu sind auch die einzeln und leicht unscharf oder mit Schlagseite dahin driftenden Pianonoten noch halbfeste Kerne in diesem Traumfluss, der durchwegs melancholisch getönt ist. Bei ‚[a frozen moment]‘ kommen Radiosamples und ‚Störungen‘ - wie schleifende Metallteile, Kettenrasseln oder tröpfelnde Geräusche - ins Spiel, den dunkel rumorenden Abschluss taufte Nicholas ‚[il alp]‘. Deutete Freud Alpträume auch als Wunscherfüllung?" [Bad Alchemy]
"OPALE was recorded during a period of personal turmoil, and creative turbulence. I wanted to follow the Level | Cycla release with a fresh perspective, and a new formula. Having created Cycla from piano and keyboard sounds generated using software which I then subjected to various treatments and deformations, I wanted to create something less fractured, less manipulated. I called upon my good friends, Linden Hale, and Keith Berry to provide me with original piano samples to use as source material, which I then fed through the sampler, but this time attempted to keep to the original spirit of the source material, adding my own digital touches and textures as I went along.
Opale represents a singular line of thought, and a singular approach, so I suppose in some sense, all of the tracks actually comprise one piece, broken into several parts. The pieces all represent “the Frozen Moment” …as the hands of time are unrelenting, waiting for no man, I am sure many of us have ached for time to stand still during moments that are particularly poignant, perhaps, or maybe, mourning the loss of a loved one, we could hold on to these precious moments with them for just a little longer. I have experienced these moments on several occasions, and having lived a humdrum, and pressurised existence, sometimes I yearn to be able to stand back, relax, and savour precious moments for much longer than they actually last in order to gain a greater appreciation of their beauty and magnificence. Opale represents these precious moments, and simultaneously worships and mourns their passing.
My deepest thanks and love go to my dear wife, Maura Wallace-Nichols, also Linden Hale, and Keith Berry for their contributions, and these recordings benefitted from their contributions and creativity, and deepest thanks also to Nao at Spekk, and Mike at Smallfish for confidence in my works, and undying support. (August 2008)" [text by Barry G Nicholas / Level]
www.spekk.net
|
2008 |
€15.50 |
|
| LICHT-UNG |
Gieb Fahrt! |
mCD-R |
3" CDR, 1 TRACK, 1 VIDEOFILE, 12 MINUTES. LIMITED AND NUMBERED EDITION OF 150 COPIES. MINI DVD BOX WITH 2 INLAYS. licht-ung, a art (lyrics, pictures, etc.) and sound project from Germany. The name stands always for his very own art. Strange, peculiar, dadaistic. licht-ung have several releases on his own label, some are splits with artists like Government Alpha, Stilluppsteypa, Aube. There is also a 7" on Drone Records, that shows the lower side.
This TOSOM release contains a 12 minute piece, in the best japanese Noise tradition. Very harsh, very intensive, very loud. The second track is a short video file for your PC.
lichtlaterne. wenn der regen nebens cafe faellt. und jemand spaziert. einen brief schreibt, und geburtstag hat. endlich, finalmente, sind wir drin. wir koennen tanzen, klettern, sehen den fluß. seine schiffe.
auch fuer sie scheint eine ampel. die post spart hilfe die ganze nacht lang auf. waere sie nicht gewesen, haette viel dort bleiben muessen, denn wir koennen nicht alles behalten. wir konnten nie alles loslassen. nur alles haben wir verloren. die maserung bleibt wie eine spur in der tuer. in einem anderen land. Du lebst." [label info]
"... So Johannes is to contemporary noise what Da Vinci was to the renaissance? The 3inch has a strange short video of 6 seconds and a 12 or so minute harsh noise work which mixes harsh rumble with high pitched feedback. The noise piece is competent to the point of a total refinement of what harsh noise should be, and that's praise not criticism, it winds and weaves through a sonic landscape at times quixotically so much so that the piece IMO could have been longer - but it pays to leave your audience wanting more - which I do (though not sprouts!)." [Jliat / Vital Weekly]
label: www.tosom.de
|
2007 |
€7.50 |
|
| LIDDIKOATIGHT & LEIF ELGGREN / KAAOS IN ECCENTRIS |
split 7 |
7 |
Weird Single on this finnish label: KAAOS IN ECCENTRIS is an experimental improvisation-trio who build strange semi-electronic sound-sculptures that are at the same time chaotic and structured, whereas LIDDIKAOTIGHT, a project with KOUHEI and other japanese freaks, in “telephatic collaboration” with LEIF ELGGREN, create a mind-explosive ambient-noise composition, & with lots of unexpected sound-effects over a hiss-loop.
Liddikoatight = Kouhei Matsunaga & friends, here in telepathic collaboration with Leif Elggren.
Kaaos in Eccentris = Niko Skorpio, Ibrahim Terzic, Ovro & Mockingwyrd.
|
2004 |
€6.00 |
|
| LIFE GARDEN |
Plutonian Dub (SOLD OUT) |
7inch |
unbelievable intense and mesmerizing two tracks of yearnful ethereal ambience with mighty rhythmical parts, monumental and melancholic at the same time...
"LIMITED+NUMBERED FIRST EDITION OF 250 COPIES
GREY VINYL; HANDCOLOURED PE-SLEEVES
LIFE GARDEN FROM PHOENIX, ARIZONA, ARE THE REMAINS OF THE LEGENDARY GROUP MAYBE MENTAL, WHO HAVE BEEN AROUND IN THE 80's IN THE EXPERIMENTALLY ORIENTATED GLOBAL CASSETTE-UNDERGROUND AND RELEASED 7 TAPES (THAT ARE HARD TO FIND NOW), AND ONE SPLIT-LP WITH CONTROLLED BLEEDING.
LIFE GARDEN CREATE A UNIQUE STYLE OF THEIR OWN BY COMBINING AMBIENT ATMOSPHERES WITH EASTERN INFLUENCES, MAKING IT INTENSE AND MAGNIFICENT COMPOSITIONS.
DRONE RECORDS HAVE NOW RELEASED THE VERY FIRST PIECE OF VINYL BY THIS GROUP, WHICH CONTAINS THE TRACKS 'PLUTONIAN DUB' AND 'CHAOS LULLABY' - WITH THE YEARNING SINGING OF SU LING, THE SURREAL DRONES AND THE POWERFUL RITUAL DRUMMING THIS APPEARS TO BE A TIMELESS AND WISE AURAL MONUMENT.
AFTER HAVING HAD 4 BAD PRESSINGS WE ARE MOST HAPPY TO PRESENT THIS
UNIQUE 7". FINALLY WE'D LIKE TO SAY 'SORRY' TO ALL OF YOU WHO HAD TO WAIT THAT LONG!
" an exploration into a wide range of sound, emotion, wonderment and intensity "
DRONE RECORDS DR-20/APRIL 1997 |
1997 |
€ |
|
|
Songs from the other Side of Emptiness |
LP + 7inch |
"Life Garden was formed in Phoenix, Arizona during the fall of 1989 by George Dillon, Su Ling and W. David Oliphant. The group was the reinvention of post-industrial band Maybe Mental (1982-1987) and delved into an ineffable territory; where language failed, their music found root.
Life Garden's sound focused on creating a space that would transcend people to a world of beauty, intensity and mystery. Each release was loosely guided by one member, Caught between the Tapestry of Silence and Beauty (1991) was focused towards the poetry and vocals of George Dillon who sadly passed away after the completion of the album.
During this period LG began to shift from using synths and samplers to an all acoustic approach. Over several months Su Ling and David developed a unique improvisational style using digital multi-effects and loopers to process Su's vocals and a variety of percussion, string and wind instruments. This became the foundation of the LG sound and is heard thoughout 'Songs from the other Side of Emptiness'.
The LP + 7inch includes music from the following bodies of work-
Worlds Whirl Beneath The Sun Volume 1 (1990),
Pry Open My Mouth With The Red Knife Of Heaven (1992)
Seed (1993) and Ahitanaman (1995).
Artwork by Yuske Imai
Remastered by Wouter at Brandenburg Mastering"
lullabiesforinsomniacslabel.bandcamp.com
|
2017 |
€20.00 |
|
| |
The Living Room Tapes |
MC |
"LIFE GARDEN formed from the steam and momentum of Industrial, sound sculpture and Dada activity in the early 1990s. Stemming from the experimental projects Maybe Mental and Amnesia Quartet, Life Garden set forth on a stronger esoteric path. The LivingRoom Tapes captures previously unreleased work, including their very first and last recordings. Extensive liner notes by W. David Olyphant describing the nature, working process and history of this legendary group.
Any listener of esoteric, ritual, or the ancient qualities of dungeon-synth look no further, the masters of such recordings have returned.
90 Minute PROTAPE
DAWN RIDE - 2017
wdavidoliphant.bandcamp.com/album/the-living-room-tapes
|
2017 |
€12.00 |
|
| LILES, ANDREW |
The Dying Submariner |
CD |
THE DYING SUBMARINER besteht, wie es der Subtitel bereits andeutet, aus 4 Stücken hallgeschwängertem Piano – das sind dronig-düstere, melancholisch-sphärische und disharmonisch-verstörende Schwingungen, oft mollgetönt, sein düsterstes und minimalstes Werk bisher.
“Leviathan low end growls belch a hazy pitch into the sea, rendering daylight useless to penetrate the unknown depths. Andrew's concerto for piano and reverb conjures many spirits, including that of wrathful Poseidon. The piece (in 4 movements) also conjures the spirit of nothingness. A sense of complete loneliness prevails in the echoey death throes. The faint scent of forebears fascinated with watery graves and abandon lingers from the wake of such pieces as Gavin Bryars’ The Sinking Of The Titanic and many of Harold Budd's early works, though Liles’ fitful concerto paints his submariner's demise more as a dissonant, prolonged struggle than as a melodic, majestic descent. Spatially, the work tends to build into shifting layers similar to Charlemagne Palestine, Henry Cowell's clusters or La Monte Young's Well Tuned Piano (though Andrew's work is not based on a microtonal system). The ringing resonances sometimes fan out as distinct harmonic phrases, and sometimes the notes simply propagate and clash with the reverb creating ripples of pure metallic sound, even to the point where the piano's strings melt into the sculptural, welling up more like tidal pools alongside Bertoia and Dumitrescu. A beautifully disturbing wet suit suite of sonic sound.“ [label info]
|
2006 |
€13.00 |
|
|
Ouarda (The subtle Art of...) |
do-LP |
Es hat drei Jahre gedauert, bis das neueste Werk 'Ouarda (The Subtle Art Of Phyllorhodomancy)' von ANDREW LILES endlich in den Läden landete, wobei der Entstehungsprozess fast genauso lang dauerte. Aufgenommen in Studios in Paris, London und Sizilien ist ,Ouarda." ein Reisetagebuch, das sich schlicht und einfach weigert, für längere Zeit an einem einzigen Ort zu verharren. Die Musik, die LILES hier versammelt, ist genau so unterschiedlich, wie die musikalischen Gäste, die sich auf ,Ouarda." versammeln. Mit dabei: Danielle Dax, Maja Elliott, Rose McDowall, Karl Blake, Edward Ka-Spel und Daniel Padden von VOLCANO THE BEAR, die alle einzigartige und absolut atemberaubende Beiträge liefern. Düster, eingängig, unerklärlich und außergewöhnlich ist ,Ouarda..' ein Manifest des Produktionstalents von ANDREW LILES, der ohne Zweifel ein einmaliger Soundzauberer ist.// Limited edition (600 copies) double LP pressed on colored vinyl. UK-based Andrew Liles' (Current 93, Nurse With Wound) latest offering has taken nearly three years to hit the shelves and almost as long to create. Recorded in London, Paris, and Sicily, Ouarda (The Subtle Art Of Phyllorhodomancy) is a travelogue that refuses to stay stuck in any one place for any extended period. The music herein is as diverse as the array of guests involved: Danielle Dax, Maja Elliott, Rose McDowall, Karl Blake, The Legendary Pink Dots' Edward Ka-Spel and Volcano The Bear's Daniel Padden all bestow unique and stunning contributions that soar along with Liles' unique brand of minimal surrealism. Obscure, accessible, incomprehensible and exceptional, Ouarda (The Subtle Art Of Phyllorhodomancy) is testament to the breathtaking production talents of Andrew Liles -- arguably the most vital and original soundsmith of recent years." [press release / Cargo translation]
www.dirter.co.uk
|
2008 |
€22.50 |
|
|
Ouarda (The subtle Art of...) |
CD / DVD |
"We are pleased to announce for the first time on a digital format the release of a dual disc expanded edition of the critically acclaimed LP 'Ouarda (The Subtle Art of Phyllorhodomancy)'. 'Ouarda' features contributions from amongst others Danielle Dax, Rose McDowall and Edward Ka-Spel.Side One of this disc is an audio CD including an extra track and slightly remixed version of the LP. Side Two of the disc is a DVD which includes - A film by Michael Tang with musical adaptations by Colin Potter, Old Tom's Marrow - A film by Andrew Liles and three amazing 5.1 mixes by Freida Abtan. Packaged in a beautiful Super Jewel Box with a full colour 8 page booklet with stunning Liles artwork." [label info]
www.dirter.co.uk
|
2009 |
€16.00 |
|
|
Monster Munch |
7inch |
"The first musical release in the 'MONSTER' series is the 'MONSTER MUNCH E.P.' The 'MONSTER MUNCH E.P' is an 8 track 7". Side one of the single is playable at both 45 and 33.3. The single comes in a beautiful card fold out sleeve that measures 14" by 14" with 'exotic' artwork by Andrew Liles. The record is pressed on candy coloured red vinyl and is limited to 300 copies. ‘MONSTER’ started in 2009 with the ‘GONZO’ download and t-shirt and two button badges. Planned for the coming months are a book and CD called 'DREAMY GORGEOUS MONSTER and a DVD ‘THE PHANTASMOGORICAL MONSTER THEY CALL TOKOLOSHE’. The first LP 'THE MIRACULOUS MECHANICAL MONSTER' will be released in May and a Mini LP 'THE MULDJEWANGK' in the summer months. The 'MONSTER' series of recordings and ephemera are unexpected musical adventures and all tie together as one cohesive 'MONSTROUS' anthology." [label info]
www.touretterecords.com
|
2010 |
€11.50 |
|
|
Miraculous Mechanical Monster |
LP |
"Limitiert auf 500 Stück auf grünem Vinyl in glänzender, dicker und semipornographischer Hülle! "The Miraculous Mechanical Monster" ist der neueste Zugang zur ständig wachsenden und zum Sammeln animierenden "Monster"-Serie von ANDREW LILES. Die LP ist zum Teil ein Konzeptalbum, das die Geschichte von nicht richtig funktionierenden Robotern, Monstern und bizarrem Sex erzählt. Die Geschichte kann der aufmerksame Hörer verfolgen, wenn er den Text auf dem Rücken der LP liest. So wie alle Veröffentlichungen von LILES passt auch diese LP nicht in ein vorgegebenes Genre und ist damit unbestreitbar eine seiner verdrehtesten und exotischsten Aufnahmen. Diese LP wird in dieser Form nie wieder gepresst oder veröffentlicht werden." [label info]
www.myspace.com/andrewowenliles
www.dirter.co.uk
|
2010 |
€16.00 |
|
|
Fast Forward through Time (Illusion Four) |
LP |
"180g Vinyl. Hier kommt der erste Vinylrelease seit 20 Jahren (!) auf United Dairies, dem legendären Label von Steven Stapleton! Die 'Through Time'-Serie gründet sich auf Ideen rund um das Konzept der Zeit - das Verrinnen der Zeit, Zeitreisen - und teilweise auf die Texte von John von Neumann, besonders auf seine Ideen des selbsterneuernden universellen Aufbaus und seine Vorlesung 'The General and Logical Theory of Automata'. Dies ist der vierte und letzte Teil der 'Through Time"-Serie. Die LP ist strenge limitiert auf 500 Stück - keine NURSE WITH WOUND/United Dairies Plattensammlung ist vollständig ohne sie! //
The year 2014 marks the first vinyl release on Steven Stapleton's legendary United Dairies label in over 20 years! The 'Through Time' series is based on ideas around the concept of time, the passage of time, time travel and also in part on the writings of John von Neumann. This LP is the fourth and final part of the 'Through Time' series, and strictly limited to 500 copies. No Nurse With Wound/United Dairies collection is complete without it! The record is pressed on audiophile virgin 180-gram vinyl and the sleeve features beautiful front cover art by Babs Santini (a.k.a. Steven Stapleton)."
[label info]
|
2014 |
€18.00 |
|
| |
It's only Pain |
LP |
"It's Only Pain is Liles' first 'general' release since 2018. All the lyrics used on the album were written by Liles' father, Michael Liles. They were discovered when clearing out his spare room after his death in 2017. The poetry was written sometime in the late 70's and has been given a life here. As with most Liles releases this recording covers a lot of styles, from heavy rock to psychedelia, and even a track that wouldn't be out of place in a West End musical. It is a compelling album full of unlikely twists and turns, a unique homage to his dead father's memory and words. Contributions come from Karin Park, Faust's Jean Hervé Peron, ex Mayhem frontman Maniac and Mared Lenny (the critically acclaimed Welsh singer known as Swci Boscawen). This album is issued in two sleeve designs, here are also various different vinyl colours, these will issued randomly, the edition is limited to just 250 copies."
"Andrew Liles, an important post-millennial part of the Nurse With Wound/Current 93 ‘family’, releases music at a fairly breathtaking rate, yet It’s Only Pain is described by label Dirter as his first “general release” since 2018. Never mind the taxonomy, clock the concept: all the LP’s lyrics were written by Liles’ father in the 1970s, discovered after his death, and are interpreted – often translated from English – by multiple guest vocalists. Many are already in the musician’s collaborative orbit, some are more surprising. My recollections of Mared Lenny’s late-00s music (frankly pedestrian Welsh language indiepop under the name Swci Boscawen) did not mark her as someone with a future appearing on NWW solo projects, yet here she is on opening song ‘Skid-Row Schizoid’, narrating bilingually over a song that’s a bit like if Van Der Graaf Generator had been an influence on Fourth World music.
Liles’ taste for dramatic arrangements can border on kitsch but more often charms. Karin Park, synthpop soloist and Årabrot member, leans into her roles with terrific relish, initially reading over sawing strings and clanging piano on ‘A Thousand Minds’ before adopting an operatic register for ‘Beyond The Cosmos’ and ‘Humanist’. Faust’s Jean-Hervé Peron hams it up spiritedly over ‘Down The One Side’s stern gothic folk and ‘Bywyd Llonydd’ revels in its diverse guestlist: Matt Davies, owner of a Welsh record store and a fine ‘dramatic reading’ type voice; Maniac, ex of black metal originators Mayhem; and Awen Schiavone, author of a children’s book about a penguin named Pedro." [Noel Gardner / The Quietus]
|
2021 |
€30.00 |
|
| LILLY JOEL |
What lies in the Sea |
CD |
" 'What Lies In The Sea' is the fruit of a ten year collaboration between singer Lynn Cassiers and keyboardist Jozef Dumoulin, and is the first release for their duo Lilly Joel. Both musicians are free spirits and true, much-lauded innovators in their respective fields.
Belgian singer Lynn Cassiers is as much a singer as she can be called a sound sculptor, using her voice, microphone, and electronics to create soundscapes.
Pianist Jozef Dumoulin (Belgium) redefined the Fender Rhodes keyboard through a scope that is at the same time fully contemporary, eclectic and highly personal.
This recording marks a milestone on their path as a band and crystalizes a moment in a universe that was carefully shaped and daringly explored. The music is straightforward, fresh and original - the focus never being the attempt to be part of some distinct genre, but only to be honest towards one's own place in a ever changing world. There are reminiscences of experimental music, jazz, rock, electro, pop, traditional music and contemporary classical music, which is totally normal considered who's at work here. Anyhow, all those influences are fully digested and serve as countless small bricks that are used to make a new big image, that stands on it own and can be watched as such.
Lynn Cassiers
Quoted to be 'one of the most remarkable voices of our improvisation scene' (enola), Lynn Cassiers' universe is one that covers a wide diversity of styles. Lynn is recognizable by her songlike approach in contexts that can range from noise over ambient to free jazz. She's part of impro-rock band Tape Cuts Tape on the sides of ex-deus guitarist Rudy Trouvé and improv-jazz drummer Eric Thielemans, and also performs with her solo project 'The Bird, the Fis and the Ball'. Besides writing music for theatre and her various collaborations with great artists and ensembles such as Marshall Allen, Octurn and The Brussels Jazz Orchestra, she is a steady member in different bands on the actual music scene of Western Europe.
Jozef Dumoulin
Known for his open and luminous approach to the piano and to music in general, always anchored in tradition without being burdened by it. Besides the Fender Rhodes solo, his own projects include The Red Hill Orchestra (a trio with Ellery Eskelin and Dan Weiss) and a duo with Benoît Delbecq. Highly-demanded as a sideman, Jozef Dumoulin has recorded and toured with the finest of musicians in the domain of jazz, improvised music, rock and traditional music. He currently lives in Paris." [label info]
www.subrosa.net
|
2015 |
€13.00 |
|
| LINDBLAD, RUNE |
Death of the Moon |
CD |
Obskure historische Aufnahmen von 1953-1960 von diesem sehr unbekannten schwedischen Composer, der ein Pionier war im Gebrauch und Entwickeln von Multimediaeinsatz und –ideen. Seine Musik ist ziemlich strange & surreal, fast unbeschreibbar, field recordings, Radiosounds, Geräusche allerlei Art, ruhige Trompeten, Flöten, geisterhafte Atmos, konkreter Irrsinn...(?) Auf einem Konzert 1957 wurde seine Musik als "pure torture" betitelt. Dies ist eine Wiederöffentlichung einer LP die vorher auf RADIUM erschienen ist.
#############
label-website: www.pogus.com
|
1997 |
€13.00 |
|
| |
Objekt 2 |
CD |
Zweiter Teil der Zusammenstellung, diesmal aus der Zeit von 1962 - 1988. Konkretes Material, Stimmen, eine Menge UAOs [unidentified acoustical objects] von dem außergewöhnlichen Komponisten! Die neueren Aufnahmen sind elektronischer ausgerichtet, zum Teil wild & nervig...
re-issue of the remainder of a long out ot print Radium do-LP. Very unusual & experimental stuff.
###########
www.pogus.com
|
1998 |
€13.00 |
|
| LINDHOLM, GRETA |
Rhythm Voice |
LP |
"Greta Lindholm is an absolutely unique personality in the contemporary dance scene. She toured in India, Mexico, Japan, Scandinavia, Italy and France, during the ’70 and ’80 making known her synthetic and experimental approach in the choreographic field. Her art explores new boundaries and is essentially pure celebration of the body language and voice in its intimate relationship with the fluidity of movement. Using mainly foot drumming and vocal rhythms, she makes her body the only instrument of continuous exploration, halfway between traditional songs and rhythmic-gestural improvisation. Greta seems to treasure different vocal cultures and give them an avant-garde reinterpretation: from Scandinavian folklore to jazz scat singing, from baroque arias to the African Pygmy. Particular influence is given by the metric-vocal spelling of Karnatic and Hindustan music. All these differents suggestions serve to reinforce and accompany her plastic movements. Greta’s performances are studded with imaginary phonemes, onematopeic patterns, rhythmic phrasing, phonetic articulations, breathing, spiral structures, frenetic drifts, clap handings or feet like timpani or snare drums. In this way her dance becomes “silent music” and can have analogies with other noteworthy vocal explorations, such as those of Meredith Monk. For the first time an audio document is a available on LP and CD, a co-production with our beloved friend: Sing a Song Fighter."
https://blacksweat.bandcamp.com/album/rhythm-voice
|
2021 |
€20.00 |
|
| LLOYD, DALE |
Akasha_for Record |
pic-LP |
"A welcome return from Dale Lloyd with this, his first new release in three years. Akasha_for Record is a two-part composition, filled with highly dynamic intricacies very carefully arranged. Rich micro-detail meets subtle emotional resonance in a spellbinding work created specifically for the vinyl format. Akasha_for Record is an opulent listening experience, indeed, and one that will reward close, repeated scrutiny. The record's artwork consists of two gorgeous, lightly manipulated, full-color photographic images by Lloyd. The sound/vision combination of Akasha_for Record is truly intriguing and utterly beautiful. Dale Lloyd is well known for phonography, composition, graphic design, and curatorial skills for his highly acclaimed and/OAR label. He has recorded for numerous labels over the years, including Elevator Bath, and/OAR, Alluvial Recordings, Mystery Sea, and Room40. Lloyd lives in Seattle, Washington. This picture disc LP has been released in an edition of 216 copies." [label info]
"... One of the two sides opens with a modulating hiss that harmonizes with a sinewy drone and gets punctured by a series bone-numbing electrical charges for something that could have some unsavory context had it been generated by John Duncan, but then again it could be a field recording of a grain-slew with minor post-production techniques. In fact, each of the pieces on Akasha For Record have this sense that they could be the results of well-situated field recordings like those of Tarab or Eric La Casa, as the smudges and grittiness of these recordings allude to
such strategies. Another track shimmers like the vibration of a loose piece of metal on an industrial HVAC, with the timbres generating a
surprisingly fluid and beautiful resonance like something Andrew Chalk would actively seek out. There's greater evidence of field recordings
on the tracks that do feature the roar of surf and a cold wind intermingled with the softened white noise of sand getting pushed around. Lloyd had devised this album to complement the crackles that get magnified through the picture disc - a medium which notoriously wears heavier than most pressings of vinyl. The album certainly works well with its medium. Beautiful stuff, and super limited to 216 copies." [Aquarius Records]
www.elevatorbath.com
|
2009 |
€17.50 |
|
| LOCRIAN |
Return to Annihilation |
CD |
"Ein Kapitel wird geschlossen – ein neues Kapitel aufgeschlagen. Nur wenig scheint so reichhaltig wie die Chroniken LOCRIANs. Nach “The Clearing“ und den Split-Alben mit MAMIFFER und Christoph Heemann folgt nun also “Return To Annihilation“. Eine Herausforderung dieses Albums bestand für die Band darin, dass Terence Hannum mittlerweile viele Kilometer von André Foisy und Steven Hess entfernt wohnt. So tauschte die Band zunächst Ideen via Email aus, bevor sie sich für drei Tage ins Studio einschloss, um das Album aufzunehmen.
Entlang des ersten Durchlaufs fällt auf, dass die Musiker auf “Return To Annihilation“ noch fokussierter gearbeitet haben. Die große räumliche Distanz, mit der die Bandmitglieder umzugehen lernen mussten, scheint doch eher eine nahe Ferne gewesen zu sein. Das Zusammenspiel ist noch konzentrierter, die Improvisationen sind noch besser abgestimmt. Zudem hat man das Gefühl, dass LOCRIAN durch ihre verschiedenen Kollaborationen und Tätigkeiten in den diversen Nebenprojekten Facetten freigelegt und entdeckt haben, die gleichzeitig als eine Art Türöffner für ihre neuen Ideen fungieren. Ihre schöpferischen Ressourcen zeigen sich ideenprall und die Frische sowie die Freude beim Kreieren von Musik sind dem Album deutlich anzuhören.
Das erste Stück “Eternal Return“ eröffnet hymnisch. Verschachtelte Synthesizerspuren, krachendes Schlagwerk, vorpreschende Gitarrensounds und ein bis in die tiefste Innerwelt berührender, fauchender Schreigesang lassen den Kurs des Albums erahnen. Doch jene Richtung führt nicht über vorgebahnte Wege. Es werden Schneisen ins Unterholz geschlagen, die Pfade ins Unbegangene oder hier konkret ins Ungehörte eröffnen. Im Fortlauf folgt “A Visitation From The Wrath Of Heaven“. Mächtige Electronics verrätseln diesen nächsten Gang, dazu rummst Steven Hess mit seiner Herzschlagtrommel, bevor der Gesang das Stück zu einem choralartigen Wunderwerk aufbaut, um kurze Zeit später abrupt abzubrechen. Und bereits hier lässt sich vermuten, dass sich LOCRIAN bei den Aufnahmen gegenseitig noch stärker angetrieben zu haben scheinen als auf den Vorgängerveröffentlichungen. Bei “Two Moons“ werden von Sekunde zu Sekunde andere Aspekte in den Vordergrund gerückt, dadurch entsteht ein dröhnendes Gebilde, welches sich von allen Stücken wohl am stärksten Einhegungsversuchen entzieht. Die Besonderheit dieses Albums liegt neben der Unvorhersehbarkeit auch darin, dass die Amerikaner ihrer Impulsfülle nachgeben, jedoch dabei niemals ihren Wiedererkennungswert verlieren. Der Wechsel von stürmischen und ruhigen Passagen wirkt nicht konstruiert, sondern entwickelt sich natürlich. Das Titelstück “Return To Annihilation“ führt den choralartigen Gesang fort, dazu hämmert ein Bolz-Drum, die Gitarren krachen Gewitter ähnlich. Ein orchestrales, dröhnendes Brausen zeigt dessen Entladung. Das Ambient lastige, rauschhaltige “Exiting The Hall Of Vapor And Light“ zieht hinter diesen Gewitterwolken auf und beruhigt das vorher Aufgewühlte. Dem schließt sich kontrastierend die Krachsinfonie “Panorama Of Mirrors“ an. Den Abschluss bildet das 15minütige “Obsolete Elegies“, welches alle Weggabelungen und Wetterlagen des Albums vereint und final den tiefsten, sich selbst beschleunigenden Wirbel in die eingeschlagene Schneise bricht.
“Return To Annihilation“ ist durchwirkt vom Überraschenden aus dem Dunklen. Es umgürtet die Arbeit der Amerikaner. Hervorgerufen wurde es durch wahre Passion, die sich in der dem Album inhärenten Wucht offenbart. Viele Bands verlieren im Laufe der Jahre die Dunkelheit der Anfangstage und verwalten ihre kreative Ausbleichung. Nicht so LOCRIAN – das Dunkle wird hier nicht abgeschabt, sondern in seinen Stufungen neu ausgeleuchtet. André Foisy sprach davon, dass “Return To Annihilation“ das bisher wichtigste Album in der Bandgeschichte sei. Das schürt Erwartungen. Von einem Höhepunkt, vom Gelungenen kann immer dann gesprochen werden, wenn Erwartungen ihre Einlösung finden. Wenn das Ergebnis übergroße Schatten auf hohe Erwartungen wirft, kann vom Bleibenden gesprochen werden. Dieses Ergebnis wird sich auf die Erwartungen im Vorfeld der nächsten Veröffentlichung aufprägen. Eine Klimax gen Unendlichkeit – oder die nimmer endenden Chroniken LOCRIANs." (D.L./ Blackmagazin]
"For a band so devoted to endings, the noise metallurgists of Locrian are surprisingly keen with beginnings, too. More than a year ago, Relapse Records announced they'd signed the Chicago-and-Baltimore trio. The move seemed surprising at the time, but not because Locrian’s electronics-and-effects-driven approach was at odds with the more orthodox heavy metal roster at Relapse; in fact, the label’s two decades are dotted by momentous dalliances with experimental music. Instead, before signing to Relapse, Locrian released a lot of music, a strategy that worked for a band putting out very limited editions on rather small labels but maybe not one meant for a fringe act now signed to an imprint as large as Relapse. Just how many Locrian eight-tracks or singles could and would Relapse actually handle?
Since the deal, though, Locrian have only issued three titles-- a re-release of one such short-run record bundled with new material, a glacial collaboration with kindred lurkers Mammifer, and a beautiful piece with German sound art veteran Christopher Heemann. After many consecutive years of several albums, splits, and singles each, Locrian went almost silent-- just not behind the scenes. All along, they were sketching, building, and refining Return to Annihilation, their proper Relapse debut and step into a much bigger spotlight. It's an auspicious new phase of their existence: Return to Annihilation is the most provocative and engaging Locrian album to date, a brilliant mystery that evades simplistic definitions by turning their historical din and destruction in on itself and, sometimes, back again.
In initial interviews for Return to Annihilation, Locrian-- multi-instrumentalist André Foisy, vocalist and multi-instrumentalist Terrence Hannum and drummer Steven Hess-- spoke about the influence of Genesis on their new work. It felt to some like trolling, as there was no way the intricate (and sometimes awkward) prog rock of Genesis might have a substantive pull on music so ostensibly moonless and monolithic. But Return to Annihilation is intrinsically elusive, with twists so compelling and layers so deep that each listen reveals a half-dozen new facets. The title track, for instance, is a three-part suite. Locrian begins with the primal, repetitive wallop of Swans, repurposed with industrial accessories. Despite the aggressive delivery, it feels tunefully poppy, beckoning the listener forward just before the song shifts into a cataclysmic drone. Smothering electronics battle with piercing guitars, shaping a stalemate of willpowers. Hess’ drums goad the band forward again, hitting a climax that’s dense but buoyant, like the phosphorescent coda of a melodramatic post-millenial black metal epic. Though this is a triptych of distinct sections, the parts are strangely cohesive, blending into one another as a balance of extremes.
For 50 minutes, Return to Annihilation runs like a whirlwind journey that you must mentally revisit when it’s done playing. Indeed, during the last three months, I’ve listened to this record a few dozen times, and each trip through only seems to solicit more questions about the material itself-- about its balance between corroded metal and coruscated drone, about its strange sense of enveloping atmosphere and unstoppable propulsion, about the completed puzzle and its complex constituent pieces. Sometimes its 15-minute closer, “Obsolete Elegies”, feels like an exhalation of relief, with muted piano and long-tone violin suggesting Pelt plundering the workshop of La Monte Young; other times, the quaking electronics and plodding guitar of the same piece intimate a hangman’s anthem, a steady gaze directed over and over again toward another imminent death.
What’s most rewarding about Return to Annihilation is this sense of narrative and emotional limbo, or the feeling that supposedly staunch binaries-- birth and death, beauty and brutality, triumph and defeat-- function exclusively in interrelated arcs. Sure, there are entire tracks here that feel more nihilistic or uplifting than others. The neon guitars and escalating drum patterns of “Eternal Return” are exultant enough to soundtrack an action movie’s climax, while “Exiting the Hall of Vapor and Light” fashions a great, gray canvas from static and distortion, a diorama of nothingness. But in every instance, defeat and relief seem only to be dissolving through one another, not pushing one another from the frame. The guitars in “Vapor and Light” slink into patterns that don’t resolve, but for an instant, they bubble into the sort of ebullient loop that you might hear on a Dustin Wong record; it’s like glimpsing light at the end of a tunnel that’s so big you didn’t even know you were surrounded. And “Eternal Return” takes shape around bitterly shouted imprecations and swells of background noise so strong they sometimes threaten to push the ascension off track. Return to Annihilation forever demands that you decide for yourself-- or, of course, don’t.
In the past, Locrian albums have seemed to me almost uniformly doomed, with their lyrics about industrial decay and blizzards of irascible tones creating an atmosphere of general oppression. But Return to Annihilation implicitly urged me to revisit those earlier records and to listen for, if not foreshadowing, signs that there’d been more ambiguity and complexity at work than I’d first supposed. And there is: The great Drenched Lands seems more forgiving than I’d perceievd, as if its excoriation of society is more of a way out than a mere self-excommunication. Moments of The Clearing, particularly the electrostatically foreboding “Coprolite”, sound in retrospect as if they are trying to climb out of the dark, even if they don’t succeed. Return to Annihilation, then, feels like a perfect nexus of Locrian’s past and future. This is the rare album that reveals new depth within a catalog that already seemed so deep and ruminative while proclaiming rather unlimited possibilities for a band nearing the end of its first decade. It’s a beginning refashioned from expired endings-- as it turns out, an essential Locrian idea." [Pitchfork]
www.relapse.com
www.relapse.com
|
2013 |
€13.00 |
|
| LOCRIAN & MAMIFFER |
Bless them that curse you |
do-LP |
"Bless Them That Curse You captures an unprecedented balance of claustrophobia and solace. It's a strange alchemy to render something both inviting and alienating; it requires a special kind of skill to create music that sounds like it's rattling apart at its seams, unraveling in a torturous but compelling fashion. It demands an acknowledgement of the fine line between noise and racket, between tension and tedium. Finding an interpersonal chemistry to pull it off can take years of searching and refinement. Initiated by a history of record swapping and mutual admiration, Chicago's Locrian and Seattle's Mamiffer managed to accomplish such a feat. Since their inception, Locrian's sound has thrived on harnessing emotional resonance through texture and space. Highlighting a specific melody or beat in their music is unnecessary; their ability to trigger unease, fear, despair, and paranoia by playing with dynamics in timbre and timing is the central fixture in their work. While the Chicago trio's approach is certainly unorthodox, they are not without sonic peers. Seattle duo Mamiffer similarly explores new territories in sound by marrying fragmented elements of neoclassical, drone, and proto-industrial dirge into compositions that are beguiling, haunting, and occasionally violent. Originating as a solo project for pianist Faith Coloccia, the project grew to encompass husband Aaron Turner and a rotating cast of guest musicians. Coloccia's work, by nature, is malleable and suited towards the collaborative process. The collaboration between the two groups yielded some of the most beautiful material Locrian has ever recorded, and inversely pushed Mamiffer into the most caustic of new territories. Composed and recorded in Chicago at the renowned Electrical Audio studio, the album is the result of two disparate approaches arriving at one cohesive voice. It's at turns contemplative and reserved, unnerving and unsettling, thunderous and feral. Aided by the engineering prowess of Greg Norman, the mixing skill of Randall Dunn, and the auxiliary instrumentation of Alex Barnett (Oakeater) and Brian Cook (Russian Circles), Bless Them That Curse You is a richly textured study in an unconventional creative process, blending fine-tuned synchronicity with spontaneous brute force. Limited edition of 550, packaged in deluxe LP fold out designed by Faith Coloccia. Double LP on three sides. Clear and grey
brown vinyl." [label info]
www.utechrecords.com
|
2012 |
€29.50 |
|
| LONG DEAD SEVENS |
White Waltz & Other Stories |
do-CD |
"Produced by Boris ‘Mephisto’ Wilsdorf, Einstuerzende Neubauten’s producer. Two CD edition (contains the bonus album "The White Waltz Companion Disc" limited to 400 numbered copies in a full color book bound case and 16 page booklet. Somewhere betwixt the brooding, 10 gallon groan of 16 Horsepower; the baroque drawl of Blue Ruin; the whiskey smell of Bad Livers and The Bad Seeds’ beef scented brand of western gothic hangs a wanted poster offering reward, dead or alive, for the atmospheric, detailed twang of Long Dead Sevens. Oh death and grief and sorrow and murder shine like a tin star polished with the bullets of Nick Cliff’s baritone croon. Yet deep in the black heart that lies beneath banjo, fiddle, slide guitar, piano and derringer; somewhere near the unmarked grave of the coward Robert Ford; in a place that smells of salt peter and rancid tonic, the high lonesome is joined by the growling din of collapsing new buildings. A theatrical steam-industrial moan echoes through the mesa heralding an age not quite ancient and not quite modern. Colts and Mausers unite to shoot ‘em up in this dark, enveloping, weirding wild west operetta. Yippee Ki-Yay!
Paul J. Rogers - acoustic/electric guitars, percussion, melodica, sound sculpture, backing vocals
Nick Cliff - vocals
Jennifer Hames - piano, violin, organ
Ian Turner - bass guitar, banjo, steel slide/resonator guitar, 12 string
Nick Hames - drum kit, percussion
Sarah Miller - guest backing vocals"
[label info]
www.blrrecords.com
|
2008 |
€15.00 |
|
| LOON |
same |
CD |
"Loon's tunes cast pterodactyl shadows. The guttural guitars travel at the speed of Swans, languidly pounding out metal blasts that would make Sir Lord Baltimore scared. Their juxtaposition of ballsy femme vocals and black metal rasp generates an intense texture dynamic within the syrupy, trudging riffs. Loon is a quaking heaviness, like Hannibal crossing the Alps on Marshall stacks, though the loud is tempered with interesting production and unique arrangements. Loon's sonic crush soars with the loftiest flocks."I have no idea how this record hasn’t gotten more praise, it just might be the most underrated metal album of the past year. I think a lot of that is simply because nobody knows it exists, it’s self-released, and there’s no website to order from. Thankfully, they sent it to us to share with all of you. This Providence, RI three-piece features members of Megasus, Moonshine, Wake Up On Fire, etc. They play the best possible brand of slow, driving doom metal with the occasional passage of occult folk thrown in."
LOON was conceived of on the shores of Grout Pond in the Green Mountain National Forest by Mis Zill (vocals/guitars, former member of Moonshine, Wake up on Fire) and Anne Marie Ticaric (drums/vocals) in October of 2007. They were soon after joined by bassist Paul Lyons (Megasus) and began to write heavy, melodic songs in a bitterly cold warehouse in Providence RI. These songs are collected on the self titled debut LP released in December 2010. LOON has toured through much of the east coast and across the midwest, and plans to record and tour more in 2011." [label info]
www.blrrecords.com
"Witchy doomy heaviness from Rhode Island, home of ultra avant doom heavies The Body, electro rockers Six Finger Satellite, spastic hyper noiserock duo Lightning Bolt, and hardcore legends Dropdead, among others, but female fronted doom rockers Loon have way more in common with the current crop of heavies like Jex Thoth, The Devil's Blood, Sub Rosa, Blood Ceremony, Cauchemar, Christian Mistress and Purple Rhinestone Eagle, and fans of any of those bands will definitely dig Loon's stonery psychedelic grooves, and pop flecked Sabbathy doominess, but Loon definitely have their own take on that sounds, beyond the doom aspect, which is really pretty minimal, sure it IS doomy, but it's way more groovy, there's also a serious slowcore vibe going on, a downer pop woven into the group's more metallic heaviness, which ends up reminding us of a way heavier more traditionally metal True Widow, which is totally NOT a bad thing. And then there's the vocals, which are amazing, slipping from demonic screech, to sweet melodious croon, powerful and intense, and often reminding us of country chanteuse Neko Case surprisingly enough. So if you can imagine Neko Case singing for a Sabbathy doomy downer pop stoner metal combo, well then, you might have an idea of what Loon has going on. And while the vocals might be the best we of the bunch, in terms of actually singing, the songs are pretty fantastic too, spacey and psychedelic, groovy and heavy, a little bit proggy, super hooky, with just enough pop, the guitar sound buzzy and crunchy, the drums powerful, the whole sound hooky and heavy, doomy and sort of dreamy at the same time. After a gorgeous hazy bit of psychedelic acoustic guitar, the record finishes with the nearly 10 minute "Grackel" which is the perfect Loon track, mixing all the various elements, the Neko Case like vocals (sounding surprisingly twangy here!), the shrieked demonic howls, the groovy Sabbathy riffage, the super melodic poppiness, the dirgey slowcore, all culminating in a woozy washed out feedback drenched spacey psychedelic outro, that could have (and probably SHOULD have) gone on for ANOTHER 10 minutes. Definitely a new favorite. Anyone into ANY of the above mentioned bands should for sure check this out." [Aquarius Records]
www.blrrecords.com
|
2011 |
€13.00 |
|
| LOPEZ, FRANCISCO |
Untitled # 300 |
LP |
"Pressing of 300 copies on crystal-clear 200-gram virgin vinyl packaged in a custom letterpress jacket printed, die-cut, and hand-assembled at Studio On Fire in Minneapolis, with particular care taken to retain the fine detail of the cover's microscopic type. Francisco López is internationally recognized as one of the major figures of the sound art and experimental music scene. For more than 30 years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion' --Pedro Higueras, Sonom Studios. 'Untitled#300 is an LP based on multi-track field recordings I did in 2011 of a large colony of seagulls in a group of small islands right in front of the Moroccan-Algerian border, together with hydrophone and contact mic recordings of sea creatures underwater from the same location (side A and B of the LP, respectively). Being interested in going beyond a traditional 'soundscape' perspective, I've played freely with mixing and editing, in an unorthodox way, different multi-channel recordings I did. Side A ('abovewater') is the large seagull colony. In side B ('underwater') what you hear is predominantly millions of very small shrimp-like crustaceans, dolphin sonar (the beating pattern of the first section), and occasional fish (the 'frog-like' calls) --Francisco López. Original environmental sound matter recorded in the Chafarinas Islands off the coast of Morocco, summer 2011. Edited, mixed, and mastered at mobile messor, The Hague, the Netherlands, summer 2012. Field work carried out with the collaboration and support of the SIGEIN-Chafarinas research group (Integral Ecological Management System of the Chafarinas Islands), directed by Francisco J. Acosta (Universidad Complutense de Madrid, Spain) and coordinated by Javier Zapata (Spanish National Park Service)." [label info]
www.taigarecords.com
|
2015 |
€26.00 |
|
| |
Wilderness Studio 2005-2019 |
do-CD |
francisco lópez - WILDERNESS STUDIO 2005-2019 / On-site Composition in the Wild
Over the past fifteen years, with the assistance and companionship of some friends, small groups of artists and members of the local communities, I have been directing two consecutive incarnations of an annual residency/workshop at Mamori Lake in the Brazilian Amazon (‘Mamori Sound Project’, 2005-2011) and Mmabolela Reserve in the South African savanna (‘Sonic Mmabolela’, 2013-2019), for composers, audio artists, sound designers and other creative individuals from all over the world. Its focus has been on creative approaches to the work with environmental sound matter, through both recordings and profound listening, by means of an extensive –and I would say iconoclastic– exploration of natural sound environments in those contrasting locations of rainforest and savanna. In a number of different ways –theoretical, practical and experiential– I have been trying to bring in a vigorous questioning of canonical conceptions of so-called ‘field recordings’, a realm of audio creation that has manifested a significant expansion over the past few years but that, in my opinion, has failed to overcome representational clichés and obsolete creative rules. As I see , the main aim of this experience is neither technical nor conceptual, but rather transformative, from both artistic and personal perspectives. At a personal level, these ‘sonic years’ in the Amazon rainforest and the African savanna (two types of environments I had experienced as a biologist many years earlier in Brazil and Senegal) have had a very profound effect on my experience and conception of sound as both a prodigious phenomenological conduit and an ontological entity in its own right, along with –not subservient to– the other creatures of the rainforest and the savanna. This transcendental transformation has had fundamental outcomes for me, such as what I call ‘field listening’ (a post-media non-representational practice of profound listening in the field) and ‘sonogenic composition’ (a creative approach in which sound itself suggests and leads the compositional decisions, structure and nature). Among many other strategies, in this residency/workshop I proposed the participants to create audio pieces while still in the natural environment, and I did myself a few of those as well over the years. The classic super-analytical procedure of listening through all the many hours of recordings before creating anything might not necessarily be the best one, particularly now that the possible amount of recorded time is so vast. There is also an element of immediacy and immersion in the actual environment that I am convinced has a significant and very positive effect in what we can create under those conditions. This ‘on-site composition in the wild’ naturally brings forth challenging, heuristic and fruitful frameworks of audio creation in the form of spontaneity, incomplete knowledge, non-exhaustive observation, emotional probing of materials, un-systematic decisions, persistent presence of the sonic environment, immediate juxtaposition of listened and recorded ‘reality’, and so forth. This double album compilation presents the on-site composition pieces I created with my portable minimal ‘wilderness studio’ during all the past years of this residency/workshop in the Brazilian Amazon and the South African savanna.
------------------------------------------------------------
‘Mamori Sound Project’ at Mamori Lake and ‘Sonic Mmabolela’ at Mmabolela Reserve have materialized as independent projects with virtually no funding, which have been made possible –more often than not against significant odds and through some quite remarkable adventures– by the collective effort of a small group of incredibly dedicated friends, as well as all the international participants:
[120; from Algeria, Australia, Austria, Belarus, Belgium, Brazil, Canada, Colombia, Czech Republic, France, Greece, Germany, Hong Kong, Hungary, Iceland, Iran, Ireland, Israel, Italy, Japan, Mexico, New Zealand, Norway, Poland, Romania, Russia, South Africa, Spain, Sweden, Switzerland, The Netherlands, UK, USA]
Wilderness Studio 2005-2011: BRAZILIAN AMAZON
My sincere gratitude goes to Asier Gogortza, Jorge Llorella, Nacho Martí, and Martín Azúa (of Mamori ArtLab); Slavek Kwi, Jerson and Katia Vieira da Silva, and the entire Mamori Lake community.
Participants in ‘Mamori Sound Project’, 2005-2011:
Aernoudt Jacobs, Alex Massana, Anders K. Landstrand, Andrea Williams, Annie Mahtani, Artur Matamoros, Barbara Ellison, Bernat Cuní, Brice Jeannin, Camilla Hannan, Cécile Martin, Cédric Maridet, Christopher Fleeger, Ciara Moore, Constantine Katsiris, Damien Perollaz, Daniel Blinkhorn, David Drury, David M. Michael, Dionisio Alfaro, Dominik t’Jolle, Els Viaene, Eric Miller, Farahnaz Hatam, Hilary Mullaney, Jaime Rojas, James Webb, Karl Lemieux, Kim Foscato, Laurent Wermenlinger, Lawrence English, Leah Barclay, Lindenberg Munroe, Linn Halvorsrød, Luca Forcucci, Ludger Kisters, Marc Behrens, Marcelo Nakata, Marta López-Briones, Mathias Janssens, Matt Shoemaker, Michael Trommer, Mikel Nieto, Nicholas McConaghy, Nimalan Yoganathan, Olof Dreijer, Perri Lynch, Rebecca English, Ruben García, Sam Hamilton, Sam Ripault, Samuel E. Dunscombe, Scott Konzelmann,Simon Whetham, Slavek Kwi, Stefano Tedesco, Suzanne Wehmer, Thanassis Kaproulias,Thelmo Cristovam, Todd Shalom,Tom Lane, Tulipa Ruiz, Vanessa Michelis, Victoria Soanes.
Wilderness Studio 2013-2019: SOUTH AFRICAN SAVANNA
My sincere gratitude goes to Mark and Lesley Berry (owners of Mmabolela Estates), James Webb, Barbara Ellison, Neil Lowe, Paulo Ghiglione, Mabig Frans Meela, Bolpetse William Mosima, Madikana Johannes Malobela, Maria Mokgadi Mosima ‘Khani’, Tamaries Lettah Tebodi, Malebogo Queen Molele, and the entire staff
community at Mmabolela Estates.
Participants in ‘Sonic Mmabolela’, 2013-2019:
Aernoudt Jacobs, Alex Davies, Alexandra Spence, Andy Martin, Angélica Castelló, Barbara Ellison, Bethan Parkes, Brigitte Hart, Brydon Bolton, Cara Stacey, Cédric Maridet, Christina Kubish, Christopher Fleeger, Clinton Watkins, Craig Wells, Daan Hendriks, Daniel Lea, Dave Phillips, David M. Michael, Dimitrios Bakas, Dmitry Gelfand, Eric Mattson, Ernesto Coba, Evelina Domnitch, George Vlad Cancea, Gregory Kramer, Hanan Benammar, Hannah Gilmour, Harm Roché van Tiddens, Herbert Baioco Vasconcelos, Iddo Aharony, Jean-Baptiste Masson, Jeremy Hegge, Jesús de la Peña, Josten Myburgh, Jun Mizumachi, Kate Carr, Kim Foscato, Ksersti G. Andvig, Luca Forcucci, Lucille Calmel, Luke Pearson, Matthew Aidekman, Michael Clemow, Michał Jacaszek, Mike Vernusky, Niketa Sheth, Peter Terner, Robert Kellough, Robert Schwartz, Robyn Farah, Ruben García, Sara Retallick, Scott Konzelmann, Slavek Kwi, Steve Ashby, Steve Norton, Stijn Demeulenaere, Thomas Voyce, Thóranna Björnsdóttir, Tim Bruniges, Tristan Horton, Ulf A. S. Holbrook, Vicki Hallett, Yvonne Freckmann.
------------------------------------------------------------
First released on 2xCD ('nowhere') in September 2020 - Edition 300 copies.
(c) francisco lópez 2005-2020 – www.franciscolopez.net
https://franciscolopez.bandcamp.com/album/wilderness-studio-2005-2019-brazilian-amazon-south-african-savanna-on-site-composition-in-the-wild
|
2020 |
€19.50 |
|
| LOPEZ, FRANCISCO & RICHARD FRANCIS |
In de blaauwe hand |
CD |
Nice collaboration of these two artists who also once had EPs on Drone Rec. (R. FRANCIS as ESO STEEL) - this studio work made at EXTRAPOOL studios is a one-tracker with a very subtle & droney fluidum, layers of sound develop very very slowly, changes & cut-ups are set and lead to interesting developments but never in a harsh way... a full meditation / transcension drone that goes from silence / void to abundance and back again.
"Francisco López (Spain) and Richard Francis (New Zealand) have created "in de blaauwe hand" upon invitation from Extrapool for a brief working residency in Nijmegen, to develop a collaboration piece for the Brombron CD series. Working with very small seed source sound samples that were exchanged between them, two intermingling compositional paths unfolded in two parallel small studios. In a short ¬but very intense- period of time a whole world of very delicate and subtle materials arose. The whole piece (a single one-hour track) merges without mix a dreamy geography of subtleties and complex organicities that is more the result of aesthetic affinities than pre-structured plan. In that sense, this is a composition born from the sound themselves, following the paths indicated by them. And a surprising one.
Over the last twenty years Francisco López has been developing a powerful and consistent world of minimal electroacoustic soundscapes, 'trying to reach an ideal of absolute concrète music'. To date, his catalog comprises more than 140 sound works, which have been released by one hundred record labels from Spain, France, Italy, Germany, The Netherlands, Switzerland, Poland, Austria, UK, Norway, Greece, Russia, Canada, USA, Mexico, Puerto Rico, Argentina, Japan, China, Australia. He has toured extensively throughout Western and Eastern Europe, North, Central and South America, Japan and Australia doing acousmatic performances, and he has received commissions from a number of reknown institutions and organizations, such as the Dutch and Spanish National Radios, the Goethe Institut, V2 Organization (Rotterdam), Yale University Theater (New Haven), the Ralph Lemon Company (New York), the Zeitkratzer Ensemble (Berlin), Creative Time (New York), Quartier Ephemere (Montreal) and Sound Traffic Control (San Francisco).
Richard Francis has been releasing works on CD/vinyl, performing solo and in collaboration as a touring artist since 1996. He uses field recordings of acoustic and electronic sounds and a tone generator to compose textural and tonal sound works. He has released solo and collaborative works on a number of labels worldwide and runs his own label CMR through which he releases limited edition lathe cut records by New Zealand artists. In performance he uses a computer and electronics and has toured Japan, Australia, Hong Kong, Canada, USA and Europe. Since 2003, Francis has composed works for sound installation, participating in group and solo shows at galleries throughout New Zealand. He has collaborated for recording and/or performance with many artists including Bruce Russell, Francisco Lopez, Jason Kahn, Mattin, Birchville Cat Motel, Gate, MSBR, Tetuzi Akiyama, Lawrence English, Rosy Parlane, Howard Stelzer, Jason Lescalleet, Jay Sullivan, Empirical, Pumice, Kuwayama Kiyoharu, Phil Dadson, Anthony Guerra, Sean Meehan, Ishigami Kazuya, Antony Milton, James Kirk, MHFS, Tim Coster, Paul Winstanley, Takefumi Naoshima, Toshihiro Koike.
Design by Richard Francis"
[label info]
www.kormplastics.nl
|
2009 |
€13.00 |
|
| LOS ANGELES FREE MUSIC SOCIETY (L.A.F.M.S.) |
35 S. Raymond Avenue |
LP |
"One afternoon in 1975, friend and fellow music traveler, Harold Schroeder, showed up at Poo-Bath Record Shop where Tom Recchion worked selling records and experimental music to people, forcing them to buy albums that he swore would change their lives. Harold asked if Tom wanted to share in a studio space close to the shop. After seeing it Tom Recchion immediately said “YES!”.
They moved in and divided the space in half. On Tom’s half he made drawings, paintings, performances, video, sculptures, installations and music. Harold had his all set up for music with his newly acquired Steiner-Parker synth and guitars and things. At the beginning they played under the name “The Two Who Do Duets”. Soon the late night jam sessions that took place in the back of Poo-Bath moved over to the 4th floor of 35 South Raymond. It was pretty beat up and derelict, the way one imagines an artists’ studio to look. They could make all the noise they wanted. No one else was on their floor.
The music heard on this LP has remained unheard since it was recorded and was created just before and right after the inaugural concert by the LAFMS groups Le Forte Four, Doo-Doettes and Ace & Duce. This concert took place in late January 1976.
The sessions on this release feature members of the newly formed and expanded Doo-Doettes, which now included Dennis Duck, Juan Gomez, Harold Schroeder and Tom Recchion, as well as Ju Suk Reet Meate from Smegma and Ace, of Ace & Duce.
35 S Raymond eventually became a sort of LAFMS headquarter, with Chip Chapman of Le Forte Four, artist and future Extended Organ vocalist/guitarist Paul McCarthy, and soon to become singer for Nervous Gender, punk/folk artist Phranc, who along with many other artists and musicians, moved into the building. 35 S Raymond allowed for free expression and explorations of all sort. Some wild parties ensued, not to mention the luxury of endless hours of experimentation. Parking was free and so was the art and music.
Ace found the tapes for side one (“Tom’s Studio”) in his archive and Ju Suk Reet Meate found the tapes for side two (“50 of Every American Are Machines”) and edited them both for this release. No overdubs or remixing was employed.
Edition of 200 copies presented in luxury gatefold sleeve."
|
2018 |
€25.00 |
|
| LOSCIL |
Submers |
do-LP |
"Submers is the second album from the Vancouver-based Scott Morgan aka Loscil. All of the tracks are named after submarines, the final cut being a requiem for the crew of the ill fated Russian nuclear vessel Kursk. Recorded at home on computer with samples and keyboards used as sound sources, Submers is rife with source less echoes, steely surfaces and ominous melodic and rhythmic undertows. The sifted melodies are layered over muffled, clicking and pulsing rhythm tracks with an appropriately aquatic feel to the entire album." [press release]
"Peruse the ether for reviews of this album, and surely you will see writers invoking oceans and blue depths. After all, a collection whose tracks are odes to submarines straightforwardly invites such imagery. But come to think of it philosophically, submarines are also spaceships. While engaging this work I always remember a line by Poet Malena Morling. It went something like, “I always wonder about space, how it never ends.” I believe Submers comprehends “endless space” as much as it probes “oceanic depth.”
This album, and Loscil’s work, in general, has a oneiric quality, in that Mr. Morgan helps you traverse vast spaces while remaining still. The songs are impeccably organized bouquets of circulating, oscillating, chattering, hissing, placating, and agitating layers of audible vibrations, that pool, and loop together slowly, only to (slowly) wind down and die out. To one’s amusement and dismay, Submers is primarily created by complex organizations of filtered and manipulated samples from the western classical universe.
In the feel of these tracks, there is a lingering want for something intangible and more extensive than ourselves as I am propelled into the unknown unknowns by Argonaut I, and Gymnote. The space hums with deep bass. The timbre is beautifully unique and hard to find in vinyl pressings of electronic work. These two tracks could represent the last flickering lights of a submarine shining on a giant skeleton as the sailors plummet into depths that haven’t seen the light in a million years. These tracks could also represent a voyage into luminous fractal formations of constellations in uncharted galaxies.
Speaking of which, I often felt Loscil’s work has a fractal quality where same patterns repeat to infinite depths. For example, in Nautilus the beat design is enveloped by an aura of low-frequency sounds interspersed by uncanny flutes. The tracks take us to a state where everything seems vast; after all, it could also be as if we have become tiny insects looking at the magnified world with the wonder of space travel.
I find myself walking towards Loscil’s LPs in many improvisatory and premeditated mix sets. I especially love the track Resurgam, as the melodic movements could be easily harmonized and improvised with the beauty of an evening Raga like Yaman Kalyan. In the mix Rain of Rivers (@ Queitcalm Records) I especially enjoyed playing Resurgam as an accentuated bridge between Deru’s soulfully sad 1979 and the eerily beautiful melodic journeys of Everything (by Ben Lukas Boysen and Sebastian Plano). In “My Immaculate Morsels of Sadness” I could not help but allow Submers to arrive twice in the form of Triton and Gymnote, so as to converse and juxtapose with the dramatic compositional elements of Robot Koch and Cinematic Orchestra.
If you chance upon this work, be prepared to travel, inside and out, submerged, looking through a periscope or a telescope. Perhaps someday Loscil will have an album meditating on spaceships, but until then this is it." [Drastic Steps]
https://loscil.bandcamp.com/album/submers
|
2018 |
€32.50 |
|
|
Clara |
CD |
The latest collection by Cascadian resident loscil aka Scott Morgan is a stunning meditation on light, shade, and decay, sourced from a single three-minute composition performed by a 22-piece string orchestra in Budapest. The subsequent recording was lathe-cut on to a 7-inch, then “scratched and abused to add texture and color,” from which the entirety of Clara was sampled, shape-shifted, and sculpted. Despite their limited palette, the compositions summon a sense of the infinite, swelling and swimming through luminous depths. Certain tracks percolate over narcoleptic metronomes while others slowdive in shimmering shadowplay, sounding at times like some noir music of the spheres.
Although Morgan's compositional premise for Clara was quite defined, the resultant work is wonderfully opaque and spatial, equal parts lush and lurking, traced in fine-grained gradients and radiant silences. The album's title comes from the Latin for ‘bright': a fitting muse for this masterpiece of celestial electric currents and interstitial ether, where “shadows are amplified and bright spots dimmed.”
watch a video for Vespera here: vimeo.com/510813904
https://loscil.bandcamp.com/album/clara |
2021 |
€18.00 |
|
| |
Clara |
do-LP |
The latest collection by Cascadian resident loscil aka Scott Morgan is a stunning meditation on light, shade, and decay, sourced from a single three-minute composition performed by a 22-piece string orchestra in Budapest. The subsequent recording was lathe-cut on to a 7-inch, then "scratched and abused to add texture and color," from which the entirety of Clara was sampled, shape-shifted, and sculpted. Despite their limited palette, the compositions summon a sense of the infinite, swelling and swimming through luminous depths. Certain tracks percolate over narcoleptic metronomes while others slowdive in shimmering shadowplay, sounding at times like some noir music of the spheres. Although Morgan's compositional premise for Clara was quite defined, the resultant work is wonderfully opaque and spatial, equal parts lush and lurking, traced in fine-grained gradients and radiant silences. The album's title comes from the Latin for 'bright': a fitting muse for this masterpiece of celestial electric currents and interstitial ether, where "shadows are amplified and bright spots dimmed."
https://loscil.bandcamp.com/album/clara
|
2021 |
€32.50 |
|
| LOTUS EATERS |
Mind Control for Infants |
do-LP |
"Lotus Eaters is Stephen O'Malley (Sunn O))), KTL, etc.), James Plotkin (Khanate, Phantomsmasher, etc.) and Aaron Turner (Isis, Old Man Gloom, etc.). Initially released on CD in 2002 by Neurot Recordings, Mind Control For Infants has been expanded, remixed and rearranged for this vinyl edition using alternate takes from the original recording sessions. Quietly subversive and contemplative, Mind Control For Infants features droning and silvery finger-picked guitars that conjure holy states, grumbling thunderclouds, and dark metal ambience that breathes in the stillness. This version also incorporates reconfigured material from "Marijuana," the group's contribution to The Ajna Offensive 4CD+book compilation, Infernal Proteus. This ultra-deluxe double LP release was cut direct to metal and pressed on 200 gram virgin vinyl. It comes housed in an old-style Stoughton tip-on gatefold jacket wrapped in foil-stamped brown linen with an 8x8" offset print mounted on the front cover. Heavy-duty printed innersleeves with flooded pockets are also included. Presented in a limited edition of 1000. Black vinyl." [label info]
www.taigarecords.com
|
2009 |
€33.00 |
|
| |
Wurmwulv (black) |
do-LP |
"Lotus Eaters is Stephen O'Malley (Sunn O))), KTL, etc.), James Plotkin (Khanate, Phantomsmasher, etc.) and Aaron Turner (Isis, Old Man Gloom, etc.). Previously issued on CD, Plotkin has remixed, remastered and rearranged Wurmwulv for this vinyl edition using alternate takes from the original recording sessions. The 2LP also includes reworked material from Lotus Eaters' self-titled 7" released by Drone Records. 52 minutes and 29 seconds on 3 sides of direct metal mastered 200 gram virgin vinyl, the 2LP has a drawing by Turner etched on side D. Housed in a Stoughton tip-on gatefold jacket designed by O'Malley, Wurmwulv features Stephen Kasner paintings printed on linen-textured woven paper, a spot varnished interior and flooded pockets. The Kasner paintings and Turner drawings included were created specifically for this vinyl edition of 1,000. Reconfigured for vinyl, Wurmwulv is a solvent-soaked carpet ride into loose soil. Worms writhe over cilia as moist roots lick and graze skin. The dampened howls of wolves reverberate through water freezing into creaking crystals. When oxygen levels reach a critical low, a cacophony of clanging metal provides an inhalation of humid air." [label info]
www.taigarecords.com
|
2011 |
€27.50 |
|
| LOVESLIESCRUSHING |
Xuvetyn |
CD |
INK19: “Xuvetyn is glorious from start to finish, very much in a loveless-era My Bloody Valentine-gone-ethereal vein. Genius. This is some of the most amazing music ever to come off four tracks. Loveliescrushing’s music is soaked in shimmering, fuzzy, noisy brilliance. Beautiful female vocals waft through the hazy, swirling fog of layered feedback-drenched, processed guitars. This is ethereal lo-fi at its finest”
"VEILS OF GORGEOUS GUITAR WASH AND ANGELIC GOSSAMERY VOICE. BEAUTIFUL AND GRANDIOSE ORCHESTRAL SUBTLETY AND CHILDLIKE NAIVETE, BILLOWY, FUR-LINED, MILKY SOFTNESS TO A BLASTING METALLIC ROAR. 75 MINUTES OF SPACEY DRUMLESS IRIDESCENT TEXTURES AND ATMOSPHERIC SOUNDSCAPES.
MELISSA’S VOCALS ARE GLASSY SHIMMERING AND EVANESCENT LIKE SNOWFLAKES MELTING IN YOUR HAND. SCOTT’S INFAMOUS GUITAR DAMAGE CONJURES IMAGES OF AN AURORA’S PHANTASMAGORIC MAJESTY OR A JET ENGINE’S INTENSITY. GUITAR AND VOICES SCULPTED, MANIPULATED AND PROCESSED INTO BEAUTIFUL NOISE. ANOTHER GEM OF LO-FI BRILLIANCE GLEANED FROM A 4-TRACK." [label info?]
|
1996 |
€14.50 |
|
| LUCIER, ALVIN |
Works for the Ever Present Orchestra |
do-LP |
Black Truffle’s documentation of the prolific recent work of legendary American composer Alvin Lucier continues with Works for the Ever Present Orchestra. This is a very special release for the composer, as it presents pieces written for the thirteen-member Ever Present Orchestra, formed in 2016 exclusively to perform Lucier’s works. At the heart of the ensemble are four electric guitars, an instrument Lucier began composing for in 2013 with Criss-Cross (recorded by two core members of the Ever Present Orchestra, Oren Ambarchi and Stephen O’Malley, for whom it was composed, on Black Truffle 033). Through the use of e-bows, the guitars take on a role akin to the slow sweep pure wave oscillators heard in many of Lucier’s works since the early 1980s, but with added harmonic richness. Like much of Lucier’s instrumental music, the pieces recorded here focus on acoustic phenomena, especially beating patterns, produced by the interference between closely tuned pitches. The work presented here is some of the richest and most inviting that Lucier has composed. Though all of the pieces clearly belong to the same continuing exploration of the behaviour of sound in physical space and make use of related compositional devices, each takes on a strikingly different character. Titled Arc, for the full ensemble of four guitars, four saxophones, four violins, piano and bowed glockenspiel inhabits a world of sliding, uneasy tones, punctuated by a single piano note. Where Double Helix, for four guitars, rests on a pillow of warm, low hum, EPO-5, for two guitars, saxophone, violin, and glockenspiel possess a limpid, crystalline quality. Accompanying the four new compositions are two adaptations of existing pieces for radically different instrumentation, demonstrating Lucier’s excitement about the new possibilities suggested by this dedicated ensemble. Works for the Ever Present Orchestra is an essential document of the current state of Lucier’s continuing exploration, as well as offering a seductive entry-point for anyone who might yet be unacquainted with his singular body of work.
Presented in a deluxe gatefold sleeve with cover artwork and liner notes from Alvin Lucier. Includes a download code featuring hi-res vesions of the LP material. The download code also includes the bonus Adaptions for the Ever Present Orchestra featuring two pieces (“Two Circles” and “Braid”) that are not included on the LP version. Mastered by Rashad Becker. Design by Lasse Marhaug.
https://blacktruffle.bandcamp.com/album/works-for-the-
ever-present-orchestra
|
2020 |
€26.00 |
|
| LULL |
Moments |
do-LP |
Isolationist, minimal, alienating Drone / Dark Ambient from Mick Harris (SCORN, FRET, ex-NAPALM DEATH). Staggeringly beautiful, glacial sub-bass sounds, deep ambient and thunderous tones, with subtle shifts. Originally released as a 99-track continuous CD in 1998 (Relapse), now presented on vinyl for the first time, "Moments" is expanded to 100 cuts, with bonus material from the original recording sessions.
"Tectonic rumblings and icy sound slivers move and swirl around each other, slipping into spaces between the molecules which make up your physical body and then break it apart in preparation for rearrangement. Moments of expansive emptiness and claustrophobic terror overlap one another and then overcome your mind as you journey through this bleak void of sound. At one moment warm and organic, the next, slowly slipping into a machine-like coldness to freeze and paralyze... Sound as a vehicle to bring you through that doorway towards dimensions previously unknown. Hypnotic and soothing with a lingering sense of dread throughout" (Carrion Kind).
File next to Lustmord, Sleep Research Facility, Thomas Köner.
Double LP in a textured gatefold sleeve.
Ltd x 500 copies on 180gm brown vinyl.
Ltd x 250 copies on 180gm black vinyl.
Created and mixed by Mick Harris in the Box, January 1998
Edited and mastered by Bill Yurkiewicz and Dave Shirk at Sonorous Mastering, Inc., February 1998
Vinyl mastering for Cold Spring by Martin Bowes
Artwork by Abby Helasdottir
https://coldspring.bandcamp.com/album/moments-csr295lp
"The other new release is a re-issue. 'Moments' was already on CD in 1998, and while it was one long piece of music, the CD had 99 index points for your random pleasure. There are 100 (99 is the maximum for CDs), but how do you randomly play these from vinyl? I have yet to work out. I reviewed the CD back in Vital Weekly 140. Lull is Mick Harris, once of Napalm Death, later of Scorn. Lull was (is?) his deep ambient project. At the end of the century, we called this Isolationist music, which may have had various shapes, but Lull certainly was at the deep end of it all. His music was all about filtering out as many mid to high frequencies he could get away with and then giving the low bass end a few twirls, so there would be sufficient variation at work. With this approach, Harris had things very well under control. You could play this music at a shock and awe volume, inducing
earthquakes; I didn't do that, as I enjoy this on a moderate volume. Now, your room/space fills up with these low-end rumblings, and it becomes a more natural part of your environment. The variation within these small pieces is more than I remember from the CD version, usually lasting thirty seconds to a minute, with exceptions well below or above that. I am not convinced that vinyl is the best sound carrier for such low-end music. Perhaps, the CD format is more suited for such an experience, I thought. But this one surely is one of them when it comes to classic moments (pun intended) of historic isolationist music." (FdW) |
2021 |
€29.50 |
|
| LUNDVALL, TOR & LEILA ABDUL-RAUF |
Ibis / Quiet Seaside |
7inch |
"Over the past few years, Tor Lundvall has thoughtfully displayed his ambient sound works in connection with Dais Records, releasing two retrospective multi-disc box sets and two full length albums. Apart from his collaboration with Tony Wakeford on Autumn Calls, collaborations with others have been extremely rare. Tor and multi-instrumentalist, Leila Abdul-Rauf (Vastum / Hammers of Misfortune / formerly of Amber Asylum) first got in touch in late 2011. Their exchanges eventually led to a musical collaboration of both like-minded artists joining in to illustrate their unique and personal visions of nature, life and art.
During a visit to Lundvall's home in May 2012, Leila wrote a spontaneous track on Tor's Winter Piano entitled Ibis. Tor recorded and engineered the track along with Leila's vocals. Later that month, Lundvall added various sounds and ambient washes to the mix. A solo version of Ibis, featuring the original piano / vocals but with additional horn, was released on Abdul-Rauf's debut LP Cold and Cloud on Saadi Saati Records in 2013 (Lundvall also designed the sleeve and created the cover art for this LP). The earlier, collaborative version of Ibis has remained unreleased until now. It was agreed that a 7" was the perfect format.
On the reverse, Lundvall has written a new piece entitled Quiet Seaside constructed around Abdul-Rauf's guitar riffs which Lundvall also recorded during her 2012 visit. The track captures Tor's signature lush keyboard and ambient whirl. The early mix was sent to Leila who worked in her slow-moving brass performance and textured tone scales to make this work as introspective as it is beautiful. Limited edition of 300 vinyl copies featuring artwork by Tor Lundvall. Release due on August 5, 2014." [label info]
www.daisrecords.com
|
2014 |
€11.50 |
|
| LUSTMORD & KARIN PARK |
Alter (lim. col. vinyl) |
do-LP |
Limited coloured LPs housed in gatefold w/ special canvas cardboard stock and silver hot foil! Nordic pop diva KARIN PARK of ÂRABROT adds her ethereal, mournful voice and keys to the primordial sound of legendary electronic pioneer LUSTMORD for this sublime and poignant collaboration. ALTER is a ritual of our times. On the pair's frst collaborative work, the nine tracks that make up ALTER are every bit as heart-wrenching as they are terrifying, mining new sonic territory, it is a fascinating study of light and shade that delves deep into vast uncharted darkness. Their ability to create atmosphere on the album opener "Hiraeth" is second to none, perfectly assembling a harrowing backdrop for Park's lilting sound of longing. From there, Park's vocals add all of the emotional depth and power found in names like Kate Bush, Maynard J Keenan and Elizabeth Frasier, perfectly playing against Lustmord's waves of dark drama and creating a wholly unique record that recalls Dead Can Dance, Massive Attack and Portishead at their greatest. Considering Park's credentials, it might be surprising that a collaboration with Lustmord would ft so seamlessly. Utilizing a sound comprised of elements of industrial, synth pop and more, the celebrated Swedish solo artist and member of Norwegian rock band Ârabrot utilizes experimentation in her work, blazing trails and bringing to mind the work of her peers The Knife, Scott Walker, Robyn, Depeche Mode and Burial with her darkly-rich compositions. Multiple winner of Norway's Spellemann award, Park co-wrote the Norwegian entry for the 2013 Eurovision, fnishing fourth overall. But it is the sensibility of the sacred music of her youth that Park adds to ALTER, contributing a powerful vocal that guides the listener through the cavernous, mystical depth of their collaborative work. "Lustmord is the Gustave Doré of music", Karin Park ofers pensively. "Painting magical pictures with a sound that is so vast, it gives space for your own imagination." Brian Williams grew up in North Wales, beginning his musical career as Lustmord in 1980 and becoming a pivotal fgure and pioneer in the early industrial music scene in the UK. A former member of SPK during arguably their most crucial era, Williams went on to work with Throbbing Gristle members Chris & Cosey and appeared on early albums by Current 93 and Nurse With Wound amongst others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed, as well as on several video game, television scores and solo albums. Williams has also contributed to and collaborated with artists as varied as the Melvins, Clock DVA, Jarboe, John Balance of Coil, Clock DVA, Paul Haslinger (Tangerine Dream), Wes Borland (Limp Bizkit), Puscifer and more, including Grammy Award-winners Tool from their much acclaimed eforts 10,000 Days and Fear Inoculum.
TRACKLISTING: 01. HIRAETH 02. THE VOID BETWEEN 03. PERIHELION 04. TWIN FLAMES 05. ENTWINED 06. KINDRED 07. SONG OF SOL 08. SELE |
2021 |
€35.00 |
|
| |
Alter (black vinyl) |
do-LP |
Limited coloured LPs housed in gatefold w/ special canvas cardboard stock and silver hot foil! Nordic pop diva KARIN PARK of ÂRABROT adds her ethereal, mournful voice and keys to the primordial sound of legendary electronic pioneer LUSTMORD for this sublime and poignant collaboration. ALTER is a ritual of our times. On the pair's frst collaborative work, the nine tracks that make up ALTER are every bit as heart-wrenching as they are terrifying, mining new sonic territory, it is a fascinating study of light and shade that delves deep into vast uncharted darkness. Their ability to create atmosphere on the album opener "Hiraeth" is second to none, perfectly assembling a harrowing backdrop for Park's lilting sound of longing. From there, Park's vocals add all of the emotional depth and power found in names like Kate Bush, Maynard J Keenan and Elizabeth Frasier, perfectly playing against Lustmord's waves of dark drama and creating a wholly unique record that recalls Dead Can Dance, Massive Attack and Portishead at their greatest. Considering Park's credentials, it might be surprising that a collaboration with Lustmord would ft so seamlessly. Utilizing a sound comprised of elements of industrial, synth pop and more, the celebrated Swedish solo artist and member of Norwegian rock band Ârabrot utilizes experimentation in her work, blazing trails and bringing to mind the work of her peers The Knife, Scott Walker, Robyn, Depeche Mode and Burial with her darkly-rich compositions. Multiple winner of Norway's Spellemann award, Park co-wrote the Norwegian entry for the 2013 Eurovision, fnishing fourth overall. But it is the sensibility of the sacred music of her youth that Park adds to ALTER, contributing a powerful vocal that guides the listener through the cavernous, mystical depth of their collaborative work. "Lustmord is the Gustave Doré of music", Karin Park ofers pensively. "Painting magical pictures with a sound that is so vast, it gives space for your own imagination." Brian Williams grew up in North Wales, beginning his musical career as Lustmord in 1980 and becoming a pivotal fgure and pioneer in the early industrial music scene in the UK. A former member of SPK during arguably their most crucial era, Williams went on to work with Throbbing Gristle members Chris & Cosey and appeared on early albums by Current 93 and Nurse With Wound amongst others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed, as well as on several video game, television scores and solo albums. Williams has also contributed to and collaborated with artists as varied as the Melvins, Clock DVA, Jarboe, John Balance of Coil, Clock DVA, Paul Haslinger (Tangerine Dream), Wes Borland (Limp Bizkit), Puscifer and more, including Grammy Award-winners Tool from their much acclaimed eforts 10,000 Days and Fear Inoculum.
TRACKLISTING: 01. HIRAETH 02. THE VOID BETWEEN 03. PERIHELION 04. TWIN FLAMES 05. ENTWINED 06. KINDRED 07. SONG OF SOL 08. SELE
|
2021 |
€28.00 |
|
| LYKAION ECLIPSE |
Mesa |
CD-R |
"This intense drone-drama demonstrates well the boundless depths of soundscape. A slowly shifting sound sculpture, foremost in our audio field, appears to recede simultaneuosly into the distance, creating a profound auditory tension. Lykaion Eclipse creates a sonic experience of ambient subtlety and soft industrial electricity."
|
2007 |
€10.00 |
|
| LYNCH, DAVID |
ERASERHEAD - Original Soundtrack Plus |
CD |
"Wieder veröffentlichter Soundtrack zum Lynch-Kultfilm; plus Bonus-Track: Wenn es einen Film gibt, dem das inflationär gebrauchte Prädikat "Kultfilm" gebührt, dann ist das "Eraserhead", der erste Spielfilm David Lynchs. Das unheimliches Meisterwerk von 1977 ist auch für seinen Soundtrack berühmt geworden, für den der US-Regisseur Fats Wallers’ Orgelpfeifen, Peter Ivers’ unvergessliches "In Heaven Everything Is Fine", Geräusche, Atmen und andere Seltsamkeiten vereinte. Der wieder veröffentlichte Soundtrack zu "Eraserhead" enthält außerdem den 2001er-Remix des Ivers-Songs. "Eraserhead" erscheint in einer Reihe mit anderen Lynch-Soundtracks wie etwa "Twin Peaks" und "Inland Empire"." [Indigo]
|
2008 |
€16.00 |
|
| M.B. (MAURIZIO BIANCHI) |
Mectpyo - Blut |
do-LP |
"2LP in gatefold sleeve. Edition of 300 copies. At the beginning of the metabolic year 1980, after Maurizio Bianchi finished the embryonal experience as Sacher-Pelz, he decided to undertake the concrete-synchronized course as M.B., a long-lived acronym that will accompany him along his next way of neuro-synthetic experimenter. His first ever release was the private cassette-tape entitled 'Metcpyo-Blut'. An hematopoietic experiment decomposed during the months of March and beginning of April 1980 at Mectpyo Studio. Proposed here in its original layout, this 2LP set holds intact, at a distance of almost three decades, the epicentre of M.B. sonorous universe, projected towards an euphonic cacophony. 'Mectpyo-Blut' consists of two tragic sections imbued with synthetic chloroform: the 1st, 'Maidanek Bakterium-Musique Belzec', exhales an icy atmosphere conveying a sense of mystery and annihilation. The 2nd, 'Mutant Brain-Mord Banhof' assembled the most disparate electro-hypnotic levitation's into a vertical rationality, bold, morbid and haunting. Psychic-cerebral works, they seem to spring from a neuro-atomic continent, with unreal outlines, where its influence artificially expands the ankylotic tissues by environmental arthrosis. Edition limited to 300 copies in full colour gatefold sleeve, reproducing various graphic materials from the original cassette edition. Attention: this is the real thing, top powerful and modern in its integral length (and not a meaningless edited excerpt as other unexperienced labels in demand would have cheaply proposed you!)." [label info]
|
2010 |
€32.50 |
|
|
Endometrio |
LP |
"First ever vinyl reissue of the highly coveted classic LP by Italian noise composer/ sound visionary Maurizio Bianchi. Originally released in an extremely limited private press quantity in Italy in 1983, Endometrio showcased M.B. at his most crucial turning point, delving into the uncharted waters he aptly titled 'bionic music', blending organic electronics with contorted sounds of the human body to compose one of the most interesting ambient records to date. Copies of the original LP are practically non-existent and hard to come by, therefore making this reissue an important addition to any experimental aficionado's audio library. Complete with current liners and artwork insert from Maurizio Bianchi, limited to 500 hand numbered editions." [label info]
|
2010 |
€19.00 |
|
| |
Hibernum |
CD |
"Exclusive work by Italian noise legend Maurizio Bianchi.
A marginal division of the whole existence in four palpable seasons, marked by pestilential changes in emotional hemisphere.
At the end, the hibernating organisms organize a reproducing molecule of environmental for a silent "hybernum".
‘Hibernum’ contains 3 lengthy, slowly shifting atmospheres for private meditation.
Mastered by Siegmar Fricke for Pharmakustik
Photography by Gerald Wack
Design by Jan Van den Broeke." [label info]
www.eetapes.be
"Odd. That is, in one word, the career of Maurizio Bianchi. Its perhaps about time someone did a book on him, or a decent website. Apparently he is now for the second time in hibernation, releasing no longer new music, but sometimes I wonder to what extend he actually did release new music in the past years? The information on the covers is not always very clear either. Take this 'Hibernum'. It says: "devised and decodified between the years 1995-2022" on the outside, which seems a bit strange to me already, but on the insert we read 'frozen granularity treatments and mastering by Siegmar Fricke 2011'. Now the name Fricke popped up on a lot of the second coming releases of Bianchi, and its never really clear what his involvement is. Just mastering or is it also additional composing, or perhaps even more? Maybe that's why a book would be a great idea to clarify all of that. On 'Hibernum' we find three long tracks of chilling electronics, of which the first is 'Primaveram/Aestatem' quite a drone piece, and much of the second one also, but it ends in quite a chilling highly processed rumble of metallic sounds (the 'granularity treatments' I wondered, and for much of the music anyway I was thinking to what extends computers play an important role for Maurizio Bianchi in his second life?). The title piece sounds like a mass of humming frogs, which are slowly being eaten by a giant killer machine - more drone like again, a bit static, and like the first a bit over-long, before moving into a different cold field of electronics - as cold is indeed the keyword for not just this release, but for pretty much a lot of the music composed by Bianchi in the last thirty years, with or without the help of who-ever. Throughout 'Hibernum' was a bit long I thought but nevertheless one of his better works of recent years - actually like so many!" [FdW/Vital Weekly]
|
2011 |
€13.00 |
|
| M.B. / FRAG |
Psychation |
CD |
An overwhelming collaboration between the legendary Maurizio Bianchi and FRAG recorded in early 2020.
4ib Records.
MB & FRAG - Psychation ( 4IB Records )
"Any work of architecture that does not express serenity is a mistake."
LUIS BARRAGAN
What is serenity?
To some; serenity is a tranquil, sequestered, fulfilled state of existence. A wilful pause of the modern consumer existence that pollutes and perverts our lives. A cessation of the demands modernity forces so brutally upon our febrile short lives.
To others serenity exists within scripture, tomes and ritualistic expressions of the divine. The devout seek a glimpse of this divinity, through the serenity they seek whilst shackled to the cold clay of this mortal coil.
Stephen Burroughs is FRAG and FRAG is a project that has found serenity in the brutalist architecture of the Midlands of Britain. In seeking to express in sound; the collapse of the industrial heartlands of the United Kingdom he has created through his FRAG project; a collection of audio sculptures that evoke the concrete isolation of his claustrophobic environment.
FRAG is the soundtrack to a mankind that is alienated completely from the natural order of life. His compositions are not warm but cold, angular and granular. Huge slabs of desolate anguish that despite their sterile inhumanity pulse and seethe with submerged longing. The sound of FRAG is that of a lone human hand extending skywards from a collapsed building. That hand pointing accusingly, cursing the heavens for that fate that has befallen it. Beneath that dead mortar is humanity slowly expiring under the cold dead weight.
It is entirely logical that FRAG and Maurizio Bianchi would collaborate together. In his early Archeo years Mr Bianchi explored the themes of isolated consciousness in the industrialised environment. The stark truth of the industrial age was explored by MB as he sought his own solace to the decaying soulless hell that surrounded him. Alienated by the inhumanity of his existence he sought to hold a mirror up to the crushing weight that sought to crush any and all resistance to its dehumanizing nature. Whilst MB sought to escape this brutalism of the soul by seeking an eremite like existence within the works of faith, FRAG became the lone wolf operative working behind enemy lines to fight a rearguard war of attrition against this inhuman leviathan. Both MB & FRAG have and are fighting the same war, against the same foe , using the same weaponry; the medium of sound.
Psychation despite containing three lengthy tracks really needs to be listened to as a whole. Despite the tracks being individual entities with quite different atmosphere they are best appreciated as a thematic progression across the entire album. These tracks are constantly evolving and mutating pieces of angular geometry. A cascade of electronic shapes that fluctuate and shift in a metamorphosis of Musique Concrete tonal expressionism. At times the unrelenting nature of the album is just about to break your endurance before a snatch of melodic ambience breaks through the tumult and disarray.
Where Psychation differs from most 'noise' based albums is that it retains its granite density without descending into chaotic nonsensicality. Despite the at times abrasive incisive attack of sound it retains a sense of weight. Almost as if the sound is being layered as one would layer asphalt, layer after layer added and poured. Over and over again in ceaseless repetition. The sound of humanity as it is drowned beneath the post human neo liberal order. Psychation is the sound of humanity as it thrashes and drowns beneath the technologic order that it has birthed into being.
Psychation is a warning to us all. A warning of the world we will inherit if we forgo our humanity and spirituality. If we throw all caution to the wind and embrace the technologic future.
Psychation is a window into that world. The post serenity, post human world of concrete, zero & ones and mindless consumerism.
MB & FRAG are pointing at the inevitable conclusion of our existence if we as humans choose to venture any further.
[Kristian Carter]
M.B. - PSYCHELECTRONICS, SEGREGATED NOISES, NUCLEAR PICTURES.
FRAG - PSYCHELECTRONIC SURGERISM.
ADDITIONAL PHOTOGRAPHY - KRISTIAN R. CARTER.
https://tunnelsofh.bandcamp.com/album/psychation
|
2020 |
€13.00 |
|
| M.BRYO + D.M.T. |
Things I was due to forget (1979-2005) |
do-LP |
"M.BRYO + DMT is one of the musical projects of the Antwerpen based multimedia artist Mark BURGHGRAEVE.
In the late seventies Mark followed Art school and from young age tempered with electronics. He formed M.BRYO + DMT, his first full synthetic band that time with some fellow students.
time.
M.BRYO + DMT played from 1982 till 1984 in clubs, cultural centers, chappels and exhibitions sometimes complete with the D.M.T. band, sometimes solo.
Among (lots) of other things, Mark constructed the original KLINIK with Marc Verhaeghen and collaborated with the (in)famous theatre director Jan FABRE...
"Things I was due to forget" is a compilation of songs that appeared on K7 and vynils or came from M.BRYO's personal archives of unreleased tapes all remastered by the artist especially for the release.
This timeless jewel is now available as double LP in a run of 439 copies."
https://somnambulist-mbryo.bandcamp.com/album/things-i-was-due-to-forget-part-1
|
2019 |
€25.00 |
|
| MACHINE LISTENER |
Sentient System |
CD-R |
Machine Listener began with such a name, due to a project that is based on exploring and exploiting inherent characteristics from machines, and making compositions from them. In the beginning, it seems that everything from home printers to huge factory generators were used as sources. Their electromagnetic signals or the frequencies they emitted, or simply the noises they make, were the basis of compositions by sound artist Matthew Gallagher. Eventually, of course, Gallagher moved into sourcing the potential of synthesizers, both as machines and as instruments.
It can be assumed that Machine Listener's pure synth LP ("Endless Coil"), now out on Tusco Embassy, where we can guess that machines were used for their proper intention, came after "Sentient System", released in extremely limited quantities by filth-noise veteran Wyatt Howland (Skin Graft) on his own SK SK label in 2014. It is not up to us to say how "Sentient System" was created, but it is safe to assume that a little of both of these approaches were traversed, and as a result, "Sentient System" could be considered the apex of Machine Listener's adventures with mechanical, aleatoric components of industry.
Whatever the case may be, "Sentient System" is unlike any other recording you'll ever hear. It is both excellent in terms of composition and also permeated with a conceptually sound "hands off" approach, with caterwauling animal behavior, screeching panic signals and pervasive cicada hum. Some segments of these soundscapes could fit perfectly as cerebral, revelatory moments in a particularly head-fucked horror film, hewn with a certain feeling for a desolate science fiction future, or simply in mindscapes where pure noise is the end and the means. The release stands on its own, and apart from the rest, but at the same time is extremely important in adding to the legacy of industrial noise.
Originally limited to a criminally low quantity of copies, we here at NO PART OF IT are extremely excited to bring this release to a wider audience.
https://nopartofit.bandcamp.com/album/sentient-system |
2016 |
€9.00 |
|
| MACHINEFABRIEK |
Marijn |
LP |
"After countless self-released 3" CD-Rs, heres the first more widely distributed full-length LP by Holland's Rutger Zuydervelt presenting six tracks of post-industrial ambience. Zuydervelt works with live instruments, mostly piano and guitar, and intense computer processing to create gloomy instrumentals. Zuydervelt's tracks develop very slowly and he takes all the time in the world to push them to the level of density his music requires. The album starts with the snaps and crackles of "Kreukeltape", its treated piano giving the track a distinct deteriorating charme. "Somerset" features Zuydervelt on guitar and has a very physical presence to it, mostly through the noisy digital hiss in the background. In "J'espère Zuydervelt delicately layers feedback and white noise on top of a repeating piano theme. The magnum opus of "Marijn" is the 18 minute album ender "Lawine" though. Zuydervelt starts looping piano, but soon departs from there and plays a menacing melody followed by a transistory section that leads to the grand finale: A five minute noise orgy that sounds like plugging headphones into the turbine of an Airbus. This is quite a surprise when compared to the overall quiet nature of the remainder of the LP, but it sums up a very dense and satisfying album." [label info]
www.burningworldrecords.com
|
2007 |
€15.50 |
|
|
Stroomtoon |
CD |
" 'Stroomtoon can be translated as 'the sound of electricity'. The album was constructed with hours of material I recorded while experimenting with a new live setup, using an analogue tone generator and some looper pedals. The pure sines of the generator and the static and crackling sounds of that old and dusty machine gave me a nice myriad of sounds to work with, creating endless loops and textures. The original idea was to use parts of these recordings in unedited form, but playing around with these soundfiles was so much fun, and gave me so much possibilities that the end result became much more layered and detailed, while still keeping the raw energy of the original material intact. Hopefully you, the listener, will find this an electrifying album.' Rutger Zuydervelt was born on 28 July 1978 in Apeldoorn (The Netherlands), but now resides in Rotterdam. He started working as Machinefabriek in 2004. The name (meaning 'machine factory') was on the façade of a building Rutger passed everytime he went shopping for groceries. Except for a few piano and guitar lessons when he was young, Rutger didn't study music. Instead, he graduated as a graphic designer. The sleeves of his releases are practically always designer by Rutger himself, being a crucial part of the music." [label info]
www.nuun-records.com
"A full on new release by Machinefabriek, solo and in the conventional format of a real CD. It seemed a rarity recently. Rutger Zuydervelt uses his trusted set of effect pedals, field recordings, mixer, computer but leaves away the guitar in favor of an analogue tone generator, radio and korg monotron, which you see everywhere these days. With this relatively easy set up Zuydervelt creates fine electronic mood music. I would like to add 'as only he can do' but that's not the case. He creates fine electronic mood music as various people can do, and Zuydervelt belongs to the top league of the genre. That much I can say, and this new album, with four shorter pieces and one long one (LP length, perhaps a LP version is imminent somewhere?) is a pretty strong affair. Moving away from the ambient atmospheres of his earlier work, he now has some very nice pieces of sustaining tones, crackles, hiss, static and puts them together in a lovely collage of sound. Not through rapid editing, but slow
fading into new worlds all the time. These five pieces flow in natural way into each other, especially since the first piece is the longest, and already moving through various phases here. Altogether a great album, and surely one of the best of Machinefabriek in recent times. Changing the menu slightly, which is always good in my book, while staying close to what he normally does. Excellent all around." [FdW/Vital Weekly]
|
2012 |
€13.00 |
|
| |
Stillness Soundtracks |
CD |
"Trained as a graphic designer, Rotterdam's Rutger Zuydervelt started releasing as Machinefabriek in 2004. In 2006 he released his first official full length album, 'Marijn', which was voted by the Wire as one of that years bests electronica albums. Since then, his discography expended rapidly, releasing on international labels such as 12K, Staalpaat, Important, Experimedia, Type, Home Normal, Dekorder and Glacial Movements. His improvised live performances has seen stages across the globe, including Japan, Canada, Russia en Israel. Besides making albums and playing gigs, Zuydervelt regularly works with film makers and choreographers, as well as producing on installations.
'When Esther Kokmeijer approached me with the idea of making the scores for a series of short films she was working on, I didn't hesitate. Having seen a lot of her photography, I immediately knew how inspiring the footage she shot in Antarctica and Greenland would be. And this expectation proved to be correct. In quite a short period (we had set a deadline, to show the result at an open studio date) we swapped sketches and edits of the videos and audio, until the combinations felt perfect.The 'Stillness' films aren't documentaries in the sense that they tell a clear story. We're seeing the Arctic through Esther's eyes, slowly passing giant icebergs and simply being amazed be the impressive and seemingly endless landscape. While in other films it's mostly the other way around, in 'Stillness' the narrative, if there is any, comes from the music. When making these soundtracks, the idea was to guide the viewer through the images with a sense of abstract story telling. Instead of the original first thought of making dark, cold soundscapes, the bleak mountains of ice are now colored by lush arrangements and even quite romantic themes. Esther and I released the videos on a usb-stick, in a limited edition of 100, that was sold out in no time. Now the scores are presented on 'Stillness Soundtracks', including two exclusive tracks. It speaks for itself that there's no better label to release this then the Glacial Movements label, so I couldn't be happier.' Rutger Zuydervelt, April 2014." [label info]
www.glacialmovements.com
|
2014 |
€14.00 |
|
| MAEROR TRI |
Sensuum Mendacia / Somnia |
CD |
"Musicians of the now-defunct Maeror Tri have already had many opportunities to work with Zoharum on both releasing their new recordings and reissues of their older material. Our catalog contains titles by Troum ("Autopoiesis / Nahtscato", "Seeing-Ear Gods" and "Dreaming Muzak"), 1000Schoen (double split with Polish Ab Intra), and also their original project Maeror Tri ("Emotional Engramm" and "Meditamentum"). Together with musicians we remove blank spots in their discography by restoring their older recordings.
Maeror Tri was a project operating since the mid-80s until 1997, when they released their last album entitled "Emotional Engramm." In their works they penetrated such genres as minimalism, ambient and industrial music, and borrowed drone aesthetic from classical music. In addition to seven regular albums on CD and LP, they released a number of cassettes. They contained much rawer recordings compared to those from the trio's regular albums.
One of these two tape albums is "Sensuum Mendacia" originally released in 1991 by the Welsh label Direction Music. It was the third tape in the discography of Maeror Tri. The following rerelease is expanded with 5 additional tracks lifted from the split tape with Nostalgie Eternelle duo released in 1990. All the recordings have been remastered for this release.
The album is released in a 2-panel ecopak in a strictly limited edition of 350 copies. The cover is designed by Marcin Łojek (rozpad.com). It is mastered by Łukasz Miernik. The whole production process is overseen by Michał Porwet." [label info]
www.zoharum.com |
2016 |
€12.50 |
|
|
Hypnobasia |
CD |
"Musicians of the now-defunct Maeror Tri have already had many opportunities to work with Zoharum on both releasing their new recordings and reissues of their older material. Our catalog contains titles by Troum ("Autopoiesis / Nahtscato", "Seeing-Ear Gods" and "Dreaming Muzak"), 1000Schoen (double split with Polish Ab Intra), and also their original project Maeror Tri ("Emotional Engramm" and "Meditamentum"). Together with musicians we remove blank spots in their discography by restoring their older recordings.
Maeror Tri was a project operating since the mid-80s until 1997, when they released their last album entitled "Emotional Engramm." In their works they penetrated such genres as minimalism, ambient and industrial music, and borrowed drone aesthetic from classical music. In addition to seven regular albums on CD and LP, they released a number of cassettes. They contained much rawer recordings compared to those from the trio's regular albums.
One of these two tape albums is "Hypnobasia" originally released in 1992 by the Italian label Old Europa Cafe. It was the fifth tape in the discography of Maeror Tri. The following rerelease is expanded with 3 additional tracks lifted from various artists compilations from 1989-1992. All the recordings have been remastered for this release.
The album is released in a 2-panel ecopak in a strictly limited edition of 350 copies. The cover is designed by Marcin Łojek (rozpad.com). It is mastered by Łukasz Miernik. The whole production process is overseen by Michał Porwet." [label info]
www.zoharum.com
"MAEROR TRI war ein Trio, das vom Ende der 80er-Jahre bis zum Jahr 1997 aktiv war. Nach einer Reihe von Veröffentlichungen, die sich in dem Rahmen Dark-Ambient, Industrial, Drone, Experimental einordnen lassen, war mit dem 1997er-Album „Emotional Engramm“ jedenfalls Schluss. Zwei Mitglieder, MARTIN GITSCHEL und STEFAN KNAPPE, machten danach mit TROUM weiter; HELGE SIEHL veröffentlichte in den Folgejahren als 1000SCHOEN.
Gerade zu Beginn der Existenz von MAEROR TRI wurden eine Reihe von Tapes veröffentlicht, von denen einige bereits auf CD wiederveröffentlicht wurden. Die noch vorhandenen Lücken möchte nun das polnische ZOHARUM-Label schließen, indem es zum einen „Sensuum Mendacia / Somnia“ und zum anderen „Hypnobasia“ wiederveröffentlicht. „Sensuum Mendacia / Somnia“ umfasst dabei das „Sensuum Mendacia“ Tape und die MAEROR TRI-Stücke des „Somnia Et Expergisci“ Split-Tapes, das damals zusammen mit NOSTALGIE ÉTERNELLE veröffentlicht wurde. „Hypnobasia“ wurde noch um drei Tape-Compilation-Stücke aus der Zeit ergänzt.
Gemeinsam ist beiden Veröffentlichungen, dass die Gitarre prägendes aber nicht wahrnehmbar dominierendes Element ist, wobei das Klangspektrum von Drones und Noise bis hin zu Akkorden und melancholischem Einzelanschlag der Saiten reicht. Die zupackendere, Richtung Industrial und Noise tendierende Seite von MAEROR TRI deckt hier definitiv „Hypnobasia“ ab, hier wird mit rhythmischen Elementen, Noise und bearbeiteten Stimmen gearbeitet. Ruhiger, flächiger, klanglich weitläufiger und auch melancholischer erscheint dagegen „Sensuum Mendacia / Somnia“. Der Klang erscheint bei beiden Veröffentlichungen als organisches, mit vielen Unebenheiten und Wendungen ausgestattetes Gebilde. Hochgezüchtete, digitale Soundwälle oder gar symphonische Elemente sucht man hier jedenfalls vergeblich. Im Klangbild mag man hier und da vielleicht den Staub der 90er-Jahre und die vielleicht noch nicht ganz ausgereifte technische Ausstattung erkennen; dennoch haftet dem Sound eine gewisse Zeitlosigkeit an, die das Wirken von MAEROR TRI auch aus heutiger Sicht als spannend erscheinen lassen kann." [Tony F. für nonpop.de]
|
2016 |
€12.50 |
|
| |
Ultimate Time |
CD |
Musicians of the now-defunct Maeror Tri have already had many opportunities to work with Zoharum on both releasing their new recordings and reissues of their older material. Our catalog contains titles by Troum ("Autopoiesis / Nahtscato", "Seeing-Ear Gods" and "Dreaming Muzak"), 1000Schoen (double split with Polish Ab Intra), and also their original project Maeror Tri ("Emotional Engramm" and "Meditamentum"). Together with musicians we remove blank spots in their discography by restoring their older recordings. Maeror Tri was a project operating since the mid-80s until 1997, when they released their last album entitled "Emotional Engramm." In their works they penetrated such genres as minimalism, ambient and industrial music, and borrowed drone aesthetic from classical music. In addition to seven regular albums on CD and LP, they released a number of cassettes. They contained much rawer recordings compared to those from the trio's regular albums.
The fourth release in this series is "Ultimate Time" originally released in 1994 by the Italian label Old Europa Cafe. It was the tenth cassette in the discography of Maeror Tri. The following rerelease is expanded with an additional track lifted from the compilation "The Art of Marginal Talent" released in 1997. All the recordings have been remastered for this release.
The album is released in a 2-panel ecopak in a strictly limited edition of 350 copies.
https://zoharum.bandcamp.com/album/ultimate-time |
2018 |
€13.00 |
|
| MAGNETICA ARS LAB / MAURIZIO BIANCHI |
LoopKlängeNoise |
CD |
"MAGNETICA ARS LAB is the musical project founded in Cagliari (Italy) by Arnaldo Pontis, computer specialist and electronic musician, active for a long time in the electronic experimentation and sound. He was a member of TH26, Machina Amniotica and many other musical projects.
"LoopKlänge Noise" is the magnificent result of his collaboration with the father, founder and precursor of industrial sound in Italy: MAURIZIO BIANCHI / M.B.
Subtitled "Verses Without Words" and inspired by the work of Vasilij Kandinskij and by his theories about necessary contamination between visual art and music, "LoopKlängeNoise" quotes two of the most important books from the author's abstract expressionist years: "Klänge" (München, 1912) and "Verses Without Words" (Moscow, 1903).
Following the original structure of the book "Verses Without Words" the artists recorded 13 double-titled tracks, in which the "second title" is an hommage to Kandinskij's 13 pictorial works originally included in this book.
Magnetica Ars Lab and Maurizio Bianchi invited some of the best projects from Sardinia's and few important artists from Italian electronic, experimental and industria music scenes. "LoopKlänge Noise" is the result of a great collaboration release featuring exclusive guest artists / musicians on each track: Fausto Rossi / FAUST'O, SIMON BALESTRAZZI (T.A.C.), CORRADO ALTIERI (Uncodified, Monosonik, Th26), RAIMONDO GAVIANO (Svart1), MAUTHAUSEN ORCHESTRA, NICOLA BOARI (SLP), NICOLA LOCCI (Exagonal), MASSIMO OLLA (Noisedelik), ALEX NASI (Colonel XS), ROBERTO BELLI (Brigata Stirner), Kaiser Schnitt Amboss Laszlo and more.
The CD is available in a limited edition of 300 copies in slim DVD box, + a 16-page booklet with info and great photos by FABRIZIO TEDDE. All (unpublished) photos were taken by Fabrizio from industrial mining areas of the Sulcis region in Sardinia.
The booklet includes also few excerpts from writings and quotes by John Cage, Klaus Schulze, Wu Ming, William S. Burroughs, Jean Baudrillard, Luigi Russolo and more.
"We fought for painting, but painting alone will not suffice. I had the idea of a synthetic book that removed half of the old, narrow conceptions, breaking down the walls between the arts.... and finally prove that the problem of art is not a problem of form but a problem of spiritual content." Kandinskij" [label info]
www.finalmuzik.com
|
2013 |
€12.00 |
|
| MAIDA, CLARA |
In Corpore Vili |
CD |
1. Composer:
Clara Maida
2. Title:
in corpore vili
3. Performers (Studios):
Ensemble Resonanz,
Kammerensemble Neue Musik Berlin,
Ensemble Orchestral Contemporain,
Arditti String Quartet,
Heather O’Donnel
(Elektronisches Studio der Technischen Universität Berlin;
Studio für Elektroakustische Musik der Akademie der Künste, Berlin)
4. Format:
Audio CD, Digisleeve, Booklet German/English
5. Total time:
67:28
6. Catalogue #:
ed. RZ 10017
7. EAN Code:
4029455100178
8. Release date:
30. January 2010
9. Tracklist:
(1)
1. Mutatis mutandis (2008)
2. Psyché-Cité/Transversales (2005/06)
(2)
1- Fluctuatio (in)animi (2006)
(3) 2- Ipso facto (2006)
(4) 3- Via rupta (2005)
(5) 3. ...who holds the strings... (2003)
(6) 4. Doppelklänger (2008)
Eine ko-produktion zwischen Berliner Künstler Programm des DAAD, edition-rz und Deutschlandradio Kultur
"In den ersten Jahren zielten meine kompositorischen Forschungen darauf, die unbewussten, psychischen Energieflüsse, die zum Werk führen, samt ihrer Strukturen nachzuzeichnen. Parallel zu einem analytischen Ansatz, der den Zugang zu diesen unbewussten Aktivitäten begünstigt, studierte ich psychoanalytische Literatur, um mir ein musikalisches Denken zu erarbeiten, das einer psychischen Komplexität gerecht würde, die sich nur in gewissen Handlungen und unwillentlichen Äußerungen oder in Phantasien und Träumen äußert. Aus diesen Studien entstand ein strukturelles und formales Potential für eine Musik, die noch zu schreiben war, da allein die Plastizität der Klangwelt in der Lage schien, die Beweglichkeit und Instabilität heraufzubeschwören, welche die Gestaltung der Elemente des Unbewussten unablässig verändern.
During the first years of my compositional research, my goal was to mark out, in my music, the flux of the psychic energy at work in the unconscious and its underlying structure. At the time, I was going through an analytical process favouring access to this unconscious activity, and my readings in the field of psychoanalysis were helping me in the effort to elaborate a musical thinking likely to account for this psychic complexity, which only appears through unintentional acts and words, or in fantasies and dreams. A whole structural and formal model for a potential music was emerging then, since only the plasticity of the world of sound seemed to be able to suggest this mobility and instability, which endlessly alter the configurations of the components of the unconscious." [credits / label info]
www.edition-rz.de
www.edition-rz.de
|
2010 |
€15.50 |
|
| MALDUR ATAI |
Borgata |
CD |
"A brutal murder was committed in Ostia beach near Rome on 2 November 1975. A car ran over a man, turned around and repeated the act. Pier Paolo Pasolini was the victim. The murderer was found and confessed to murdering Pasolini. However, later on, he claimed he was forced to do it. They threatened they would kill his family otherwise. Them naturally being the cops. Since the truth emerged only several years after closing the case, the majority linked the death of the famous society figure, poet, essayist and filmmaker with his outrageous movie “Salò, or the 120 Days of Sodom”.
A friend of Pier Paolo stated that Paolo had been going to Ostia beach to meet some strangers who had stolen some rolls of “Salò”. A few bloodied fragments of the script were found in the pocket of Paolo’s jacket. More specifically, this was a leather folder containing a few bloodied pages. The murder case was investigated by a team of three detectives. And a strange thing happened then. One of the detectives stuck to a completely different version of the murder than the rest. He blurted it out to the media saying that “everything is much more complicated than someone’s trying to make it appear”. He was removed from the case by the authorities and subsequently disappeared. After a while the case was forgotten by the media.
However, fifteen years later, Sergio Citti, the aforementioned friend of Paolo, told Paolo’s biographer, a journalist, that he was the only one who could actually disclose the actual circumstances of Paolo’s death. He recalled that a stranger came to his door introducing himself as a detective on Paolo’s case. The man looked deeply stressed, handed Sergio some pages of notes pointing out that they contained information on the cause of Paolo’s violent death. Without saying a further word the man left. Later Sergio saw the man’s photo on TV news. They announced that a police officer was missing. Sergio was shocked by this and threw himself into reading the notes. These were pages torn out from the diary, indicating that the writer was the officer of the special commission investigating the circumstances of Paolo’s death. He was called to recognise the body in the site of crime. He found a leather folder in the pocket of Paolo’s jacket. Some of the pages were missing, others were sunken with blood. The words in capitals on the folder said “The Third Secret of Fatima”. In the middle of the folder there was a clear text fragment with words “Bring me some wine, La Popessa. In a second, Sir”. The following text was illegible because of the blood stain half page large. Then one could read “Pope Pius XII feels sick. He is short of breath. He attempts to sit down, lowers his feet from the bed onto the floor but lacks any strength to stand up. La Popessa blows out the candles and leaving the Pope’s bedroom closes the door behind her”. The next pages were evidently torn out. The following page contained Scene No. 57, “A horrible stench pervaded the Pope’s death venue, while his face was morbidly pallid. As a doctor, I recognised the classic aftermath of tasting the cup of the Borgia”. No more text ensued. All the following pages, except the last one, were torn out. And THE LAST one was empty. The diary-author recollected that standing in this murder site he came to realise that someone in an awful hurry was terribly reluctant to let anyone see the content of the folder.
Sergio read the entire diary of the detective. He had a clear idea what folder was meant. Once Paolo had mentioned to him that the shock caused by “Salò” was nothing in comparison to the fiery response his next film “The Third Secret of Fatima” would receive. He also hinted that the script covered not only the past, but also the future. The events shown in the film had indeed taken place in the past, and were meant to make the audience realise the horrible things awaiting them in the future. During their last meeting, Paolo hinted he was meeting someone important and, before closing the door, winked saying a strange thing – “Just remember the Satan entered Vatican in 1972”. The next day Sergio received a call from the police and leant the horrible news that Paolo had been brutally murdered. Sergio was invited to recognise the body. It was Paolo. Later on, Sergio was questioned about his last meeting with Paolo and the details he could remember.
Sergio provided Paolo’s biographer with more details of the diary of the missing detective and the information that he remembered from the TV reports. They said nothing unusual had been found at the detective’s place. All things were where they belonged. The detective’s garments were lying nicely folded in wardrobes and drawers. The money found in the place made the police think the detective could not have been gone away. The only suspicious thing was the diary put open on the desk. All pages were missing, except the last one. And that was empty. A glass of water knocked down next to the diary perhaps implied a scene of rush or drama.
Sergio then assumed that the stranger and the missing detective were one and the same person and the pages came from that same diary. The torn out pages contained the detective’s notes and assumptions, as well as other interesting and important details of the investigated case. The detective wrote that the name of the script found in the pocket of the filmmaker’s jacket - “The Third Secret of Fatima” - caught his attention. He did some investigation whether the murder was somehow connected to the script. He turned for help to the Vatican Curia. In the extensive official letter the detective asked for more information on the third secret of Fatima, for he had suspicions this could have been connected to the murder of the famous filmmaker. The official response was short. It read: “We sincerely regret the demise of the famous filmmaker. However, it is not in our competency to explicate the secrets of the Divine. This is a higher reality that is not subject to the mortals”. It was signed by Paul Marcinkus, the head of the Vatican Curia and the third most powerful person in Vatican.
Later on, the detective received an anonymous letter from Vatican. The letterhead contained Vatican water marks. It read: “I am aware of your document. If you wish to find out more, please come to the specified derelict church at the given time”. The detective went to the meeting place in the dark rural site in the midst of the vineyards. The church had no doors. There was only a stone arch that looked either neglected or under reconstruction. Upon silently approaching the pulpit covered by a thick layer of dust the detective called out. He heard a hushed invitation from the pulpit to come closer. The voice agreed to reveal all known information on the condition that he will stay unknown. The detective concurred.
Then the voice told him quite a number of interesting things about the third secret of Fatima. There exists a great power, a group of interests, aware of the ancient prophecy of Tibet predicting the recurrence of maldur atai cult. They seek to prevent the said return so that the truth is not revealed. They elaborated the plan of taking over Vatican and impeding the advent of the Messiah. This long-term strategy included such tasks as replacing the white popes with the black ones from the ranks of the Jesuit Order generals. The secret document in particular stressed that a very powerful element in the form of a child had been sent to the Earth, and would play a vital role in all spheres of influence as well as coordinate and rule all political, military and shadow forces resisting the advent of the redeeming Messiah. The agents of these spheres of influence suspect that Messiah is the maldur atai cult predicted by the legend of Nepal. It is believed that a man wearing a white long robe of the Pope was seen in the third apparition in Fatima. The children who witnessed the Marian apparition were scared to death. They recounted they had seen one more man in black, huge as a gorilla. The face of the man in a white robe was deadly pallid. He said nothing. He was foaming at the mouth. The man in black uttered the following words to the children: “I will make an entrance as a child exactly five years from now, I will break all the holy seals and make the world ready for the advent of the beast. And upon my arrival I will gain confidence of the most powerful in the world”. The children were frightened to death seeing the dreary face of the tall man. They named him a “Gorilla”. For many years afterwards the appalling man stayed in the children’s dreams and they screamed “Gorilla”, “Gorilla”, “Gorilla” in their sleep. The man in the pulpit suggested the adepts of maldur atai cult had sent a sign of warning from another dimension. The third secret of Fatima might have warned the humankind about the upcoming dreadful scenario. The man also said that the events of Vatican in the last decades implied a quite a number of parallels with what was revealed in the apparition in Fatima. The year 1972 was crucial for the Holy throne. The mysterious man did provide further explanations but suggested the detective read the press. The media was brimming with the coverage of these events. They concerned a few persons associated with the illuminati, Vatican, NATO, Zionists, cocaine and banks.
The biographer asked Sergio whether he suspected that Paolo had been murdered for he had received information from unknown sources about the global conspiracy predicted by unnatural powers and had based his film script on this information? Sergio replied that Paolo had always liked to keep to himself both his creative ideas and his lovers, who might have included the members of clergy from Vatican. However, it was obvious that these events had nothing to do with “Salò”, while – to Sergio’s regret - Paolo was not completely open. All this was somehow connected to the filmmaker’s new film titled “The Third Secret of Fatima”. It has never been made. Only after reading the fragments of the detective’s diary, Sergio drew attention to this and realised what was happening in the head of Paolo when he was leaving to meet the strangers. Furthermore, why did they try to hide so much that the Pope’s life was threatened in Fatima and that the man who disclosed the attempt was named “Gorilla”? The biographer of Paolo’s life told Sergio that he had investigated the subject of the maldur atai cult and he found it strange - or perhaps it was only a coincidence - that both the last page found in Paolo’s jacket and the last page of the diary found in detective’s house were empty. Just like the pages found in the cells of the missing maldur atai adepts in Nepal. Or at least that’s what the local legends told. Sergio replied: “It is true that the coincidence is indeed weird”.
Later the Paolo’s biography was published in small run. It contained all collected information about the death of Pier Paolo Pasolini, the filmmaker. The book titled “Borgata” did not receive a wide acclaim, although the promotion campaign and its headings loudly claimed that the book reveals the hitherto unknown circumstances of the murder of the filmmaker Pier Paolo Pasolini, that the cause of the death is not “Salò”, but “The Third Secret of Fatima”, that the unshot movie was suppressed by reality and who killed Pier Paolo Pasolini. All these revelations made way to this book.
“Borgata”, the forth full-length album by Maldur Atai, centres on the events described in this unpopular book." [label info]
www.autarkeia.org
|
2012 |
€12.00 |
|
| MALLINDER, STEPHEN |
Um Dada |
CD |
Stephen Mallinder, co-founder and frontman of the iconic Cabaret Voltaire, has returned with his first solo album in over 35 years: Um Dada. Laced with leftfield house and cut-up sound collages, Um Dada is a melding of energies that are an exercise in simplicity and motion. Sincere, playful realism that beckons your body to move, always reminding you to never take yourself too seriously without forfeiting your agency.While steering Cabaret Voltaire through the 1980's, Mallinder was already busy piecing together his first solo album entitled "Pow Wow", which would help define Mallinder's interest in the more leftfield electro sounds shaping England at the time. It was this diverse and abstract hybrid that helped inspire generations of artists and musicians through steeping raw machine funk within the whimsical and absurdist ideology. Since the release of "Pow Wow" in 1982, Mallinder continued his pioneering work with Cabaret Voltaire, as well as recording and touring with his electro projects Wrangler, Creep Show, Hey Rube, Kula, and Cobby & Mallinder. In addition to his non-stop schedule in electronic music, his professional life as a journalist, broadcaster, producer and now a professor of Digital Music & Sound Art at the University of Brighton, has lead Mallinder to a unique point in his career. Most in his position would be caught up in rosy retrospection, but Mallinder himself says, "There's too much digital finger-licking right now; every thought and desire at the turn of a dial_ well a click of the mouse. And there's a giddy, false nostalgia about the analogue past. Sorry to burst your bubble but the truth of history is more mundane: practical, pragmatic...Um Dada is about `play' - cut and paste, lost words, twisted presets, voice collage, simple sounds - things that have been lost to technology's current determinism. Let the machines talk to each other, let them dance .. they lead, we follow."Um Dada opens up with the exact machine-led surrealism that Mallinder recommends in "Working (You Are)". A thick, stripped back dance floor groove provides the ideal foundation for Mallinder's eccentric vocal cuts. The frisky chops present an almost twisted irony, subtly bringing to mind the role we're all forced to play as just another cog in the ever grinding capitalist machine of life. Yet, somehow, the listener is left feeling optimistic. A prime example of simplicity at work. Tracks such as "Satellite" give a skillful illustration of Mallinder's adeptness with his musical expertise while preserving his core historical context as only simple reference. The underlying bassline and percussion, coupled with the floating melodies and airy vocal refrain disclose the vulnerabilities of love and loss without a hint of irony or nostalgia.Um Dada is mischievously idealist, however never loses touch with reality. Offering structure while simultaneously dismantling any and all preconceptions. The spirit of sincerity that sustained Cabaret Voltaire's lengthy career is abundantly present within founder Stephen Mallinder's journey through his own whimsical utopian consciousness and staking claim to an identity that is solely his own.
https://www.daisrecords.com/products/stephen-mallinder-um-dada
|
2019 |
€13.00 |
|
| |
Um Dada |
LP |
Stephen Mallinder, co-founder and frontman of the iconic Cabaret Voltaire, has returned with his first solo album in over 35 years: Um Dada. Laced with leftfield house and cut-up sound collages, Um Dada is a melding of energies that are an exercise in simplicity and motion. Sincere, playful realism that beckons your body to move, always reminding you to never take yourself too seriously without forfeiting your agency.While steering Cabaret Voltaire through the 1980's, Mallinder was already busy piecing together his first solo album entitled "Pow Wow", which would help define Mallinder's interest in the more leftfield electro sounds shaping England at the time. It was this diverse and abstract hybrid that helped inspire generations of artists and musicians through steeping raw machine funk within the whimsical and absurdist ideology. Since the release of "Pow Wow" in 1982, Mallinder continued his pioneering work with Cabaret Voltaire, as well as recording and touring with his electro projects Wrangler, Creep Show, Hey Rube, Kula, and Cobby & Mallinder. In addition to his non-stop schedule in electronic music, his professional life as a journalist, broadcaster, producer and now a professor of Digital Music & Sound Art at the University of Brighton, has lead Mallinder to a unique point in his career. Most in his position would be caught up in rosy retrospection, but Mallinder himself says, "There's too much digital finger-licking right now; every thought and desire at the turn of a dial_ well a click of the mouse. And there's a giddy, false nostalgia about the analogue past. Sorry to burst your bubble but the truth of history is more mundane: practical, pragmatic...Um Dada is about `play' - cut and paste, lost words, twisted presets, voice collage, simple sounds - things that have been lost to technology's current determinism. Let the machines talk to each other, let them dance .. they lead, we follow."Um Dada opens up with the exact machine-led surrealism that Mallinder recommends in "Working (You Are)". A thick, stripped back dance floor groove provides the ideal foundation for Mallinder's eccentric vocal cuts. The frisky chops present an almost twisted irony, subtly bringing to mind the role we're all forced to play as just another cog in the ever grinding capitalist machine of life. Yet, somehow, the listener is left feeling optimistic. A prime example of simplicity at work. Tracks such as "Satellite" give a skillful illustration of Mallinder's adeptness with his musical expertise while preserving his core historical context as only simple reference. The underlying bassline and percussion, coupled with the floating melodies and airy vocal refrain disclose the vulnerabilities of love and loss without a hint of irony or nostalgia.Um Dada is mischievously idealist, however never loses touch with reality. Offering structure while simultaneously dismantling any and all preconceptions. The spirit of sincerity that sustained Cabaret Voltaire's lengthy career is abundantly present within founder Stephen Mallinder's journey through his own whimsical utopian consciousness and staking claim to an identity that is solely his own.
https://www.daisrecords.com/products/stephen-mallinder-um-dada
|
2019 |
€21.00 |
|
| MALONE, KALI |
Living Torch |
CD |
"Following her critically acclaimed album The Sacrificial Code, Swedish-American composer Kali Malone returns with Living Torch on Portraits GRM.
Living Torch, through its unique structural form and harmonic material, is a bold continuation of Kali Malone’s demanding and exciting body of work, while opening new perspectives and increasing the emotional potential of the music tenfold. As such, Living Torch is a major new piece by the composer and adds a significant milestone to an already fascinating repertoire.
Departing from the pipe organ that Malone’s music is most notable for, Living Torch features a complex electroacoustic ensemble. Leafing through recordings from conventional instruments like the trombone and bass clarinet to more experimental machines like the boîte à bourdon, passing through sinewave generators and Éliane Radigue’s ARP 2500 synthesizer. Living Torch weaves its own history, its own genealogy, and that of its author. It extends her robust structural approach to a liberated palette of timbre.
Living Torch was initially commissioned by GRM for its legendary loudspeaker orchestra, the Acousmonium, and premiered in its complete multichannel form at the Grand Auditorium of Radio France in a concert entirely dedicated to the artist.
Composed at GRM studios in Paris between 2020-2021, Living Torch is a work of great intensity, an œuvre-monde that is singularly placed at the crossroads of instrumental writing and electroacoustic composition. Living Torch proceeds from multiple lineages, including early modern music, American minimalism, and musique concrète. It’s a work as much turned towards exploring justly tuned harmony and canonic structures as towards the polyphony of unique timbres, the scaling of dynamic range, and the revelation of sound qualities.
GRM (Groupe de Recherches Musicales), the pioneering institution of electroacoustic, acousmatic, and musique concrète, has been a unique laboratory for sonorous research since 1958. Witnessing the extreme vitality of the music championed by GRM, the Portraits GRM record series extends and expands this momentum with Kali Malone’s Living Torch.
Biography:
The compositions of Kali Malone implement specific tuning systems in minimalist form for pipe organ, choir, chamber music ensembles, and electroacoustic formats. Malone’s music is rich with harmonic texture through synthetic and acoustic instrumentation in repetitive motions and extended durations. The music emits distinct emotive, dynamic, and affective hues which bring forth a stunning depth of focus.
Kali Malone has performed extensively in Europe and North America at Musica Festival, Berlin Atonal, Moogfest, Kanal Pompidou, Elbphilharmonie, Paris Philharmonie, and Radio France.
Her commission projects and residencies include the INA GRM, The Richard Thomas Foundation, MACBA, Macadam Ensemble, Orgelpark, Elektronmusikstudion and Tempo Reale. She collaborates and performs with various artists, including Stephen O’Malley, Lucy Railton, Frederikke Hoffmeier, Leila Bordreuil, Drew McDowall, Caterina Barbieri, and Ellen Arkbro. In 2016 she co-founded the record label and concert series XKatedral, together with Maria W Horn, in Stockholm."
https://kalimalone.bandcamp.com/album/living-torch
|
2022 |
€15.00 |
|
|
All Life Long |
do-LP |
Kali Malones mit Spannung erwartetes neues Album »All Life Long« ist eine Sammlung von Musik für Pfeifenorgel, Chor und Blechbläserquintett, komponiert von Kali Malone zwischen 2020 und 2023.
Chormusik, aufgeführt vom Macadam Ensemble unter der Leitung von Etienne Ferschaud in der Chapelle Notre-Dame-de-L'Immaculée-Conception in Nantes. Musik für Blechbläserquintett, aufgeführt von Anima Brass im Bunker Studio in New York City. Die Orgelmusik wurde gespielt von Kali Malone und Stephen O'Malley auf den historischen, temperierten Pfeifenorgeln der Église Saint-François in Lausanne, des Orgelparks in Amsterdam und des Malmö Konstmuseums in Schweden.
Kali Malone komponiert mit einer seltenen Klarheit. Ihre Musik ist geduldig und fokussiert und baut auf einem Fundament sich entwickelnder harmonischer Zyklen auf, die verborgene emotionale Resonanzen hervorrufen.
Kali Malone's anticipated new album "All Life Long" is a collection of music for pipe organ, choir, and brass quintet composed by Kali Malone, 2020 - 2023. Choral music performed by Macadam Ensemble and conducted by Etienne Ferschaud at Chapelle Notre-Dame-de-L'Immaculée-Conception in Nantes. Brass quintet music performed by Anima Brass at The Bunker Studio in New York City. Organ music performed by Kali Malone and Stephen O’Malley on the historical meantone tempered pipe organs at Église Saint-François in Lausanne, Orgelpark in Amsterdam, and Malmö Konstmuseum in Sweden.
Kali Malone composes with a rare clarity of vision. Her music is patient and focused, built on a foundation of evolving harmonic cycles that draw out latent emotional resonances. Time is a crucial factor: letting go of expectations of duration and breadth offers a chance to find a space of reflection and contemplation. In her hands, experimental reinterpretations of centuries-old polyphonic compositional methods become portals to new ways of perceiving sound, structure, and introspection. Though awe-inspiring in scope, the most remarkable thing about Malone’s music is the intimacy stirred by the close listening it encourages.
Malone’s new album All Life Long, created between 2020 - 2023, presents her first compositions for organ since 2019’s breakthrough album The Sacrificial Code alongside interrelated pieces for voice and brass performed by Macadam Ensemble and Anima Brass. Over the course of twelve pieces, harmonic themes and patterns recur, presented in altered forms and for varied instrumentation. They emerge and reemerge like echoes of their former selves, making the familiar uncanny. Propelled by lungs and breath rather than bellows and oscillators, Malone’s compositions for choir and brass take on expressive qualities that complicate the austerity that has defined her work, introducing lyricism and the beauty of human fallibility into music that has been driven by mechanical processes. At the same time, the works for organ, performed by Malone with additional accompaniment by Stephen O’Malley on four different organs dating from the 15th to 17th centuries, underscore the mighty, spectral power that those rigorous operations can achieve.
All Life Long simmers in an ever-shifting tension between repetition and variation. The pieces for brass, organ, and voice are alternated asymmetrically, providing nearly continuous timbral fluctuation across its 78-minute runtime even as thematic material reiterates. Each composition’s internal framework of fractal pattern permutations has the paradoxical effect of creating anticipated keystone moments of dramatic reverie and lulling the listener into believing in an illusory endlessness. On an even more granular level, the historical meantone tuning systems of each organ used, and the variable intonation of brass and voice, provide further points of emotional excavation within the harmony.
The titular composition “All Life Long” appears twice on the album, first as an extended canon for organ and again in the final quarter, compactly arranged for voice. In the latter, Malone pairs the music with “The Crying Water” by Arthur Symons, a poem steeped in language of mourning and eternity. For organ, “All Life Long” moves with a patient stateliness, the drama concentrated in moments when shifting tonalities generate and release dissonance and ecstasy. For voice, each word is saturated with feeling, the singers swooping gracefully downward to capture the melancholy of the narrator’s relationship to the timeless tears of the sea. “Passage Through The Spheres,” the album’s opening piece, contains lyrics in Italian pulled from Giorgio Agamben’s essay In Praise of Profanation. In it, Agamben defines profanation as, in part, the act of bringing back to communal, secular use that which has been segregated to the realm of the sacred, a process Malone enacts each time she performs on church organs.
This is not music of praise, or of spiritual revelation, but it is an artistic enactment of translating the indescribable. It carries the gravity of liturgical chant, and its fixation on the infinite, but draws its weight from the earthly realm of human experience. A music that draws the listener into the present moment where they can discover themselves within the interwoven musical patterns that can come to resemble the passage of days, weeks, years, a lifetime.
https://kalimalone.bandcamp.com/album/all-life-long
|
2024 |
€32.50 |
|
| |
All Life Long |
CD |
Kali Malones mit Spannung erwartetes neues Album »All Life Long« ist eine Sammlung von Musik für Pfeifenorgel, Chor und Blechbläserquintett, komponiert von Kali Malone zwischen 2020 und 2023.
Chormusik, aufgeführt vom Macadam Ensemble unter der Leitung von Etienne Ferschaud in der Chapelle Notre-Dame-de-L'Immaculée-Conception in Nantes. Musik für Blechbläserquintett, aufgeführt von Anima Brass im Bunker Studio in New York City. Die Orgelmusik wurde gespielt von Kali Malone und Stephen O'Malley auf den historischen, temperierten Pfeifenorgeln der Église Saint-François in Lausanne, des Orgelparks in Amsterdam und des Malmö Konstmuseums in Schweden.
Kali Malone komponiert mit einer seltenen Klarheit. Ihre Musik ist geduldig und fokussiert und baut auf einem Fundament sich entwickelnder harmonischer Zyklen auf, die verborgene emotionale Resonanzen hervorrufen.
Kali Malone's anticipated new album "All Life Long" is a collection of music for pipe organ, choir, and brass quintet composed by Kali Malone, 2020 - 2023. Choral music performed by Macadam Ensemble and conducted by Etienne Ferschaud at Chapelle Notre-Dame-de-L'Immaculée-Conception in Nantes. Brass quintet music performed by Anima Brass at The Bunker Studio in New York City. Organ music performed by Kali Malone and Stephen O’Malley on the historical meantone tempered pipe organs at Église Saint-François in Lausanne, Orgelpark in Amsterdam, and Malmö Konstmuseum in Sweden.
Kali Malone composes with a rare clarity of vision. Her music is patient and focused, built on a foundation of evolving harmonic cycles that draw out latent emotional resonances. Time is a crucial factor: letting go of expectations of duration and breadth offers a chance to find a space of reflection and contemplation. In her hands, experimental reinterpretations of centuries-old polyphonic compositional methods become portals to new ways of perceiving sound, structure, and introspection. Though awe-inspiring in scope, the most remarkable thing about Malone’s music is the intimacy stirred by the close listening it encourages.
Malone’s new album All Life Long, created between 2020 - 2023, presents her first compositions for organ since 2019’s breakthrough album The Sacrificial Code alongside interrelated pieces for voice and brass performed by Macadam Ensemble and Anima Brass. Over the course of twelve pieces, harmonic themes and patterns recur, presented in altered forms and for varied instrumentation. They emerge and reemerge like echoes of their former selves, making the familiar uncanny. Propelled by lungs and breath rather than bellows and oscillators, Malone’s compositions for choir and brass take on expressive qualities that complicate the austerity that has defined her work, introducing lyricism and the beauty of human fallibility into music that has been driven by mechanical processes. At the same time, the works for organ, performed by Malone with additional accompaniment by Stephen O’Malley on four different organs dating from the 15th to 17th centuries, underscore the mighty, spectral power that those rigorous operations can achieve.
All Life Long simmers in an ever-shifting tension between repetition and variation. The pieces for brass, organ, and voice are alternated asymmetrically, providing nearly continuous timbral fluctuation across its 78-minute runtime even as thematic material reiterates. Each composition’s internal framework of fractal pattern permutations has the paradoxical effect of creating anticipated keystone moments of dramatic reverie and lulling the listener into believing in an illusory endlessness. On an even more granular level, the historical meantone tuning systems of each organ used, and the variable intonation of brass and voice, provide further points of emotional excavation within the harmony.
The titular composition “All Life Long” appears twice on the album, first as an extended canon for organ and again in the final quarter, compactly arranged for voice. In the latter, Malone pairs the music with “The Crying Water” by Arthur Symons, a poem steeped in language of mourning and eternity. For organ, “All Life Long” moves with a patient stateliness, the drama concentrated in moments when shifting tonalities generate and release dissonance and ecstasy. For voice, each word is saturated with feeling, the singers swooping gracefully downward to capture the melancholy of the narrator’s relationship to the timeless tears of the sea. “Passage Through The Spheres,” the album’s opening piece, contains lyrics in Italian pulled from Giorgio Agamben’s essay In Praise of Profanation. In it, Agamben defines profanation as, in part, the act of bringing back to communal, secular use that which has been segregated to the realm of the sacred, a process Malone enacts each time she performs on church organs.
This is not music of praise, or of spiritual revelation, but it is an artistic enactment of translating the indescribable. It carries the gravity of liturgical chant, and its fixation on the infinite, but draws its weight from the earthly realm of human experience. A music that draws the listener into the present moment where they can discover themselves within the interwoven musical patterns that can come to resemble the passage of days, weeks, years, a lifetime.
https://kalimalone.bandcamp.com/album/all-life-long
|
2024 |
€16.00 |
|
| MAMA BÄR / MAMA BAER |
Mitten im Wald |
MC |
"Kommissar Hjuler & Mama Baer are well-known to the crafting art scene in Germany with their extreme live performances and sculptures/pictures they regularly exhibit.
Mama Bear's new solo release includes 3 tracks (Khmerzen 1 to 3) with very strange and dark soundtrack-ambient accompanied by crying / alienated voice overs - and on B-side the 10-minute madness "for the maincontrol" - a walk through non-existing forests. If you are into deep and scary soundscapes, this might be the right tape for you. Transparent C20-tape comes with natural object and is limited to 41 copies only." [label info]
www.voluntarywhores.de
|
2013 |
€8.00 |
|
| MANKOWSKI, ADAM |
Dzwieki z Offu |
CD |
Music, word, murmur - stratified and contrasted with the sound naturalism obligatory in Polish cinema, gave rise to a completely new path of film acoustics development, which ceased to be only a sincere mirror and became a conscious element in the creation of psychic reality. The musical material contained in the album is an attempt to subjectively interpret the huge wealth of experience brought by the film debut of Grzegorz Królikiewicz - the movie Na Wylot. Movie has never belonged to the favorites of critics, and all analyzes and reviews - which took place after the premiere and for the next decades - focused almost on the problems of the moral work. The artistic layer of the film remains underestimated and still overlooked, as well as the potential of the techniques used to assemble and execute the sound, which allowed to significantly extend the psychological portrait of the main characters of the drama. The overriding aim of the process of creating this musical material was the desire to evoke the creative spirit accompanying the director and his composers - Henryk Kuzniak and Jerzy Hajdun. The creators responsible for the sound layer, dared to break with the contemporary tradition and departing from naturalism, created a sound space that is a kind of deformation of reality in which the lost and deformed sound often reaches us from outside the frame.
The basic assumption of the project "Dzwieki z Offu" is to bring the audience to the figure of Grzegorz Królikiewicz - director, screenwriter and professor of film arts associated with Lodz. The film debut of the author, made at the WFDiF Film Laboratory in Lodz, was an absolute sensation at the time of the premiere on the background of Polish cinematography. This was due to the use of innovative techniques for the implementation and assembly of sound, as well as artistic experiments in combining the sound layer with the image.
Adam Mankowski - born in 1985, lives and works in Lodz. A sound artist, improviser, independent music journalist and photography enthusiast. An insightful observer of newly emerging music phenomena of an avant-garde character. Since 2006 he has been continuing his solo music activity under the name - Limited Liability Sounds. He moves in the genere of improvised, experimental and intermedia music. He co-founded the experimental duo Scindite (2014-2015) and the ambient project Insomnia (2005-2012). Winner of this year's artistic scholarship, Mayor of the City of Lodz.
llsnoise@gmail.com
www.llsnoise.pl
www.facebook.com/llsnoise
"ADAM MANKOWSKI in Lódz ist in den Kreisen, in denen er sich seit 2006 bewegt, besser bekannt als Limited Liability Sounds oder auch mit Scindite. Als LLS hat er zwischen Re-Drum und Emerge auch schon bei Attenuation Circuit angedockt, mit genug Anspruch und Courage, sich an "An Hommage to Luciano Berio" (2017) und gar an "Music for Philosophers" (2018) zu wagen. Dzwieki z Offu [Klänge aus dem Off] (ACU 1013) dreht sich nun lokalpatriotisch um Grzegorz Królikiewicz (1939-2017), den durch etwa "Wieczne pretensje" [Ewige Nörgelei] (1974), "Zabicie ciotki" [Die Tante erschlagen] (1984), "Der Fall Pekosinski" (1993) oder "Sasiady - Neighborhooders" (2014) bekannten Altmeister der polnischen Filmkunst in Lódz. Und insbesondere um dessen preisgekröntes und kontroverses Debut "Na wylot" (dt. Durch und durch, 1972) und die Filmmusik dazu von Henryk Kuzniak & Janusz Hajdun. Mankowski nähert sich dem an durch nicht unharmonische Drones und perkussive Geräusche und Ansätze von Rhythmik, durchsetzt mit Samples. Als Metasoundscape, durch den Alltagsgeräusche und Instrumentalklänge geistern, Fetzen eines Kinderchors. eine Handvoll Pianonoten, angerührte Strings, von allem nur Tupfer, Schlieren, ein Anhauch, wie ein melancholisch eingetrübter Schleier, gewebt aus Erinnerungen und durchhuscht von Mäusen, die im Oberstübchen daran nagen, betropft von Tropfen und müden Schlägen, mit vagen oder klimpernden Griffen in die Tasten, von Glocken bebimmelt, von Vögeln bezwitschert. Dumpf verzerrte Klänge kehren wieder, Geräusche kreisen und malen unrund und schleifend, das knarzende Gefüge scheint zu träumen. So vieles ist wie im Traum und durch den Lauf der Dinge unscharf geworden: die Festung Przemysl von "Fort 13" (1984) nicht weniger als der Totschlag und die "Na wylot"-Liebe von Jan & Maria oder "Die Kostbarkeit des freien Gewissens", wie Królikiewicz 1981 seine Mahnung vor dem religiösen (ideologischen) Bürgerkrieg überschrieb, und wie es in Polen weitergeht, nachdem wieder das Messer gezückt wurde." [Bad Alchemy] |
2018 |
€12.00 |
|
| MARANHA, DAVID |
Noe's Lullaby |
CD |
OSSO EXOTICO member with solo-album:
Not much info about this release you can find on the ROSSBIN-site, except the proposal: "To play Loud." So we did. And reached a great effect! NOE'S LULLABY is a one-tracker that is very different from the known OSSO EXOTICO-material: very creepy, slow-down percussive-pulses, dark & droney, lots of cymbal-sounds, distorted basses, almost a post-rock dark-drone mixture...
www.rossbin.com
"Noe's Lullaby is a mysterious recording in several senses of the word. Portuguese composer David Maranha has chosen to be obscure regarding instrumentation, listing the performers (a septet) but not what they're using to produce the sounds. From the aural evidence and what one can discern from past projects of his, it appears that such devices as stroked metal strings, wine glasses, harmoniums, guitars, and percussion (all with perhaps some electronic modulation) are among them. The music itself also has an air of mystery, even ritual. Difficult to pinpoint, it has something of Arnold Dreyblatt, but without the fast, intricate rhythms, staying entirely in a steady, slow tempo. On the other hand, there's more than a taste of Tony Conrad but much more rhythmically active. Pauline Oliveros' Deep Listening Band comes to mind, but there's not a shred of new agey fuzziness here. The beats are sometimes hammered on metallic surfaces, buttressed by crashing cymbals, other times implied in a throbbing pulse possibly generated by string overtones, but never entirely lost. This rhythmic motif, as viscous and syrupy as it is, makes Noe's Lullaby quite approachable for ears attuned to more rock-like bands such as Godspeed You Black Emperor!. The drone aspect of the single, lengthy piece could get suffocating were it not for the care lavished on all the accompanying details, the subtle embellishments floating alongside the drones. Indeed, as the work goes on those ornaments take on an independent (though adjacent) life of their own, every bit as solid and imaginative as the underlying throb. This interplay, even tension, helps make Maranha's piece as fascinating on an intellectual level as it is luxurious on a purely sensual one." [Allmusic.com]
|
2007 |
€6.00 |
|
| MARANHA, DAVID & HELENA ESPVALL |
Sombras Incendiadas |
LP |
"Helena Espvall first met David Maranha in 2006 when her band Espers played a show in Lisbon. They played two gigs the following year, and Espvall contributed to Maranha's Marches of the New World. Since then they always had the intention of working together more extensively and once Espvall moved to Lisbon two years ago they had no more excuses. Sombras Incendiadas ('Exploding Shadows') features Espvall on amplified cello and Maranha on electric organ and amplified violin. Espvall has an amazing cello sound, kind of Velvet Underground, while David Maranha is in the vein of La Monte Young or Tony Conrad. As a duo, they create heavy drones with delicate harmonics behind the wall of sound. The textures are raw, the compositions are minimalistic, and the riffs are heady. The repetitive patterns played very loudly create a monolithic, hypnotic, and time stopping album. Sombras Incendiadas is available on LP (with a download coupon) and digitally. David Maranha, violin, electric organ. Helena Espvall, cello. Recorded in Violente do Céu by David Maranha between december 2012 and march 2013."
www.three-four.net
"Over the course of many years I have been enjoying the music from David Maranha a lot. First when he was playing with Osso Exotico, a group with among others his brother Andre, and later on solo or in collaboration with others. One could easily say, with any exaggeration, that Maranha represents minimal music in Portugal, more so than say Rafael Toral who is more the 'drone' master (before he started being interested in jazz). Here he teams up with Helena Espvall from Sweden, who lives in Philadelphia, where she is part of the psychedelic and free-folk scene. In 2006 they met for the first time, when Espvall played in Lisbon and since Espvall lives in that city for two years it's only natural they would work together. There are three instruments on this record: Espvall's amplified cello and Maranha playing electric organ and amplified violin. The music reminds the more informed listener of the drone/noise/minimalism of the sixties; think Tony Conrad (especially him) or a heavily
amplified and drugged out LaMonte Young or maybe The Velvet Underground in their normal habitat, less any drums. It's busy as hell, with these loud, repetitive moves that sound like a menace and it's nowhere mechanical. This is a heavy record, I must say. It's not for the weak of hearth and mind: it goes right into your brain and sticks like thick knitting needle; it goes under your skin and never leaves. This is not the kind of drone aiming to please the listener, but make him sit upright and listens carefully. Play loud is not something I would say easily, but in this case: yes, absolutely play very loud and don't engage yourself in any other activity, other than listening and be fully immersed." [FdW/Vital Weekly]
|
2015 |
€14.00 |
|
| MARANHA, DAVID / FERRANDINI, GABRIEL |
A Fonte de Aretusa |
LP |
"A fonte de Aretusa is the convergence between the legendary organist David Maranha and the free-form young revelation drummer Gabriel Ferrandini. Based in Lisbon, Portugal this duo started in 2010, with regular rehearsals and concerts that lead to this first album that captures a bloody free live act where the music is pulsing and vibrating over a droning flow of sound. 42 minutes (here divided in two, due to vinyl restrictions) of a massive attack to the listener among free percussive frames and brutal organic drone merging together into a powerful and permanent movement of vivid music captured in one of their first live performances at ZDB venue. 150g LP, 400 gr carton cover with black inner sleeve." [label info]
www.mazagran.org
|
2011 |
€17.50 |
|
| MARC WANNABE |
Things don't last very long |
CD |
Schwülstig-obskure rhythmische Elektronik, oder wie soll man das nennen, was MAREK WANTZECK hier produziert hat? Rollend abgefederte Beats werden mit allerlei vokalen Geräusch-emissionen verwurstet, der Effekt ist (jedenfalls bei mir und einigen von meinen 1000 selfs), dass man verwirrt das Tanzbein schwingen muss. Filed under: Mind-fuck-Techno!
“After 3 years the third rumbling album by Marc Wannabe finally is released! A journey through 12 crackling & grooving tracks, based mainly on the sounding sputum of throat & mouth. 60 minutes of straight & oblique rhythms, pulsating basses & energetic transfers. Old friends showing up, leaving breathes, noises & voices, and also the well known old pleated robots can be found somewhere... Marek Wantzéck (aka Marc Wannabe) explains the conceptual background of this album:
"How to handle that professional music as we know it? Well, the construction, you see, really made me start to use situations and transistors radios. And that became an image of the piece what was happening around me. And the title really came after the piece and is like a silent protest. So there was a strong connection there with things don´t last very long." That may answering a lot - but not everything. To get the full spectrum of possible answers: Listen to this CD!” [press release]
"Cultureclash. Kampf der Genres. Audiogebrösel aus dem kollektiven Musikgedächtnis der letzten Jahre. Hip-Hop, Grime, Dub, Experimentelles und abstrahiertes Rhythmusgefühl. Random Music, bizarres Audiotheater für Leute, die unter ihre Achim Wollscheid-MP3s einen Technobeat mischen.
Marc Wannabe präsentiert mit »Things Don't Last Very Long« fucked up Jazz, Knödelpop, dümmliche Hip-Hop Etüden und breites Verständnis für jegliche Form von öffentlichkeitsfern entstandenen Schülerhandyaufnahmen getreu dem Motto: mach mir die Sau für 1 Minute Schulhofimpression. Alles aufgezeichnet. Da darf es auch mal grunzen oder spastische Vokalverrenkungen geben. Mach dich zum Horst verdammt noch mal.
Wannabe darf alles, erlaubt sich alles und zieht auch noch andere mit hinein. Column One sind dabei und dürfen Wannebe auditiv abkanzeln und ihn in der Karzer schicken, während Stea Andreasson ihn wieder aus der Ecke zieht um ihm mit rotem Lolitamund die Leviten zu lesen. Andreassons filmisches Zitateschnippeln aus der Krimiserie Der Alte mag da als pädagogisches Anschauungsmaterial dienen.
Das braucht es dann auch mal. Alle Register werden hier gezogen. Und wer das alles nicht versteht, sollte die CD mal vor der Schule in der Cliquenraucherecke abspielen. Damit bist du einer von allen bei soviel stilistischer Vielfalt." [Thorsten Soltau / AEMAG] |
2005 |
€10.00 |
|
| MARCHETTI, LIONEL |
La grande vallee / Micro-climat |
LP |
"I wonder if my fascination for clouds (without being an obsession) may have risen at the end of the '80s as, whilst composing 'Micro-climat', I would regularly wander between the Vercors mountains and the high plateaus of the Monts du Forez discovering, through my eyes, body, breath, active observation and walk, that natural forms when constantly changing and yet swollen with a unity of matter (in this instance, water) open one up to a deep, fundamental breath and a clear field for the mind. The sky and its forces: our ally. A model for a natural music which, although fixed, as in musique concrète (a rule of the genre), moreover on a recording tape, will remain charged with such a poetic quality that (isn't it its role or rather its reality?) it will ensure a perpetual renewal for our senses, so as to reach another idea of the world, far more open and richer than what we could have imagined." --Lionel Marchetti, 2011.
"Lionel Marchetti is a major figure of the 'third generation' of concrète musicians, a term he values. Listening to these works, imbued with poetry and traversed by micro-narratives, one can indeed retrieve the original concrète spirit, the one that draws from the sonic world, with ears wide open, so as to extract a fertile, rich and multiple substance then shaped and conveyed towards a formal and musical abstraction. Lionel Marchetti has mastered this process, but his real distinctive feature is a truly unique talent for setting climates (as one sets traps) and keeping us on constant alert. The two pieces in this record perfectly illustrate the entrancing dimension of Lionel Marchetti's music, whose charm leads us, through each successive listening, to become voluntary captives so as to better liberate ourselves." --François Bonnet, Paris, 2020.
"La grande vallée": Musical composition, design and sound production carried out at the INA grm Studios (Paris) in 1993/95; Original audio recordings in the Drôme and the Mont Ventoux areas "Micro-climat" is the first movement of the Sirrus cycle (Micro-climat, Passerelle, Sirrus) composed in 1989/90; Musical composition, sound design and production, audio recordings in 1989/90 at the CFMI studios in Lyon (Lumière University, Lyon 2). Mastered by Giuseppe Ielasi; Cut by Andreas Kauffelt at Schnittstelle, Berlin, November 2020; Translations: Valérie Vivancos; Layout: Stephen O'Malley.
https://lionelmarchetti.bandcamp.com/album/la-grande-vall-e-micro-climat
"A long-standing member of Groupe De Recherches Musicales, the French composer, Lionel Marchetti, is one of the great contemporary exponents of musique concrète and acousmatic playback, having worked in the idioms since the late 1980s - producing dozens of solo and collaborative releases - and written extensively on the subjects. He is regarded as among the most important figures within the idiom’s third wave.
Recollection GRM’s LP, La grande vallee / Micro-climat, dives back toward the earliest days of the composer’s catalog of works. The album’s first side comprises the work La grande vallee, which was created at GRM between 1993 and 1995, before its original release in 1998 as part of Metamkine’s legendary Cinéma Pour L'Oreille series.
Drawing on a vast range of recordings from diverse sources - many taken from the natural world - over the works’ 20+ minutes, Marchetti weaves a startlingly imagistic and hauntingly musical tapestry of sonority. Shadows of ambience rise and fall amongst long tones and bristling textures, sculpting a space to be occupied fully, and where the boundaries between obscurity, clarity, and abstraction fade within expanses of brilliantly balanced organisations of sound.
The entire second side is given over to an earlier work, Micro-climat, created by Marchetti in 1989 and 1990 at the CFMI studios in Lyon, but remaining unreleased until 2001, when it appeared on his CD only release, Sirrus, issued by Auscultare Research. While radically different and arguably more explicitly experimental in its material presence than La grande vallee, the work similarly speaks from Marchetti’s intimate relationship with the natural world, drawing much of its inspiration and source material from his wanderings during this period in the Vercors mountains and Monts du Forez in the south of France.
Building on heavily processed tones and textures that dance with interspersed environment sounds - locatable and unplaceable - the work’s engrossing structures pulse with energy in a careful balance between pure abstraction and the ephemeral trace.
Largely unknown outside of France and a small number of devoted fans of experimental electronic practice, Recollection GRM’s LP, La grande vallee / Micro-climat, presents Lionel Marchetti as a crucial and welcome voice in late 20th and 21st century musique concrète.
A deeply poetic channeling of the natural world through rigorously experiential techniques, with its two works appearing for the first time ever on vinyl, it’s a vibrant and engrossing listen from start to finish that shouldn’t be missed. Like all things from the label, it’s bound to go fast so grab it while you can." [Soundohm]
|
2021 |
€20.00 |
|
| MARCLAY, CHRISTIAN |
Records ’81-’89 |
CD |
Rares Material von diesem berühmten amerikanischen Konzeptkünstler, der mit Schallplatten arbeitet.. (s. „Record without a Cover“, LP von 1985)
"Much anticipated release of early material (including unissued stuff) from the NYC master of high-art/lo-destruction vinyl manipulation. Features tracks from 1981 through 1989: early cassette-only material, obscure comp tracks, etc., packaged with detailed annotation from Marclay and liner notes from Thurston Moore. "One Thousand Cycles" is from one of Marclays's infamous recycled records -- cut up and reconfigured vinyl. "Second Coming" & "His Master's Voice" are relatable to hip hop dj-ing, but with Marclay's distinct cut-up aura; "Groove" is a massive looped drone track. The whole thing reeks of historic significance, yet still sounds vital in a contemporary sense as well -- this is the record you have been waiting for." [press release]
|
1997 |
€15.00 |
|
| MARHAUG, LASSE |
Context |
LP |
"Lasse Marhaug is one of those characters that operates at the nexus of so much stuff that’s important to us here - working as a producer (over the last couple of years alone he’s helped shape albums by Jenny Hval, Kelly Lee Owens, Okkyung Lee, Hillary Woods etc etc), a mastering engineer (far too many releases to mention), a prolific sleeve designer (likewise), publisher (his occasional Personal Best magazine is still going strong) and, perhaps most importantly - a recording artist in his own right. ‘Context’ is his most substantial release in years - a crushing assembly of bone-dry/darkside drone/machine malfunctions that’s bursting with a visceral, throbbing, mass of feeling. If yr into anything on the spectrum from Mika Vainio to Grouper to Kevin Drumm or Deathprod - this one’s as good as it gets
Over almost three decades of activity, Marhaug has carved out notoriety as a solo performer, a prolific collaborator (working with everyone from Sunn O))) to Jim O'Rourke) and as a busy producer, who's notched up credits on some of the most striking-sounding albums of the last few years. This new album was created as a swan song for the infamous Oslo studio that he's inhabited for 17 years, prior to his move back to the Arctic Circle where he originally came from. Recorded over a 14-month period and painstakingly edited from hours upon hours of material, it might just be the most impressive, moving record we’ve heard from him so far.
The interplay between piercing softness and deafening noise is the key to "Context", displaying a philosophy Marhaug has been exploring for years. Few other artists are able to balance chaos and harmony with such ease; Marhaug does it without grandstanding, it's music that sounds as simultaneously beautiful and as daunting as the Arctic landscape he's returning to. At any moment a sound can be alluring or treacherous, like the frozen sun reflecting on a snowy mountaintop. Marhaug's deftness with rhythm and bass emerges on 'Context 3', as he pairs Vainio-esque low-end pulses with crumpled noise and widescreen tones; as disquieting music-box chimes absorbed into the blasted soundscape on 'Context 5', while we're thrust into the freezing cold on 'Context 6', subjected to punctuating gusts of white noise and trapped string loops.
Trust it’s a rare and near-mythical beast, conjuring vast, treacherous soundscapes illuminated with pangs of sentiment that naturally weave strands of his non-musical practice in their psychosensual lustre and gritty attrition. As he steps into a new phase of his career, we're left with a concluding chapter that stands as a summation and open-ended post-credits reveal."
"Bursts of harsh noise, slivers of angular static, rumbles of punishing bass: Though the sounds here are every bit as intense as Marhaug’s past might lead us to expect, his patience and appreciation of space mean the results are newly delicate, the fragile skeleton of a once-formidable beast." - Pitchfork
https://marhaug.bandcamp.com/album/context
|
2022 |
€28.50 |
|
| MARTINIS, SOCRATES |
On Motion, Stasis and the Geometry of Desire |
MC |
"This odd cassette without first researching its origins sounds like ‘field recordings’ only not of actual fields but of industrial environments, possibly the continuous sound of a train or tram ride. Some are short, a few seconds others longer, all consist of such ambient sounds of mechanical travel… or perhaps an air conditioner or continuous extractor fan. No other sounds – human – animal or atmospheric except perhaps the slight sound of a garment on the microphone or a police siren of the European kind. The cassette arrived without card insert but from the on body print and via the Anitfrost website Socrates Martinis can be tracked down – a sound artist working in Greece. From here the tape appears to have 2 tracks on side A, and a further 2 on the B side. The B side containing again recordings in situ, only some of much more quieter ‘locations’ if these are actual
locations, and I guess now the short silences indicate where one track starts and another ends, though this is not obvious. Occasionally one is aware of the sound recordist ’s breath… but that is as expressive as this tape gets in a ‘representational’ sense. Why the printed inserts were not used is not stated, however this lack of information helps the enigmatics of this work. As such it has a strange beauty about it, clearly not in the telos or anti telos of noise, but much more the idea of listening as listening to sounds that are remarkable in their unremarkability and ubiquitous of industrial urban life and its environments. As such it poignancy captures the actual fragility of such environments which are seldom documented, noticed or of interest. ‘Art’ then in the great tradition of art, as who once would have thought a railway station a suitable subject for a painting…." [jliat/Vital Weekly]
www.antifrost.gr
|
2012 |
€8.00 |
|
| MARTUSCIELLO, ELIO |
Unoccupied Areas |
CD |
Grossartige neue Experimentalmusik von diesem italienischen Komponisten (auch mit OSSATURA aktiv), die noch am ehesten der Elektro-Akustik zuzurechnen ist. Soundschnipsel z.B. von der „answering machine Solution“ CD (Staalplaat) und von vielen anderen kontemporären Musike(r)n werden von ihm äusserst sorgfältig und so gut wie ohne Wiedererkennungswert der Originalquellen neu bearbeitet und zusammengesetzt, so dass hochdynamische, klanglich perfekt aufeinander abgestimmte Collagen entstehen. Es gibt absolut keine Wiederholungen, jeder auftauchende Klang ist „neu“, jede Sekunde für eine Überraschung gut. Das Zuhören erfordert ein wachsames, aufmerksames Bewusstsein, das Gegenteil von meditativer Musik ! TIP!
"This is a quiet masterpiece. Five tightly focused electroacoustic compositions that are austere, rich, strange and brilliantly executed. Elio has an ear like a bat and a serious antipathy toward cliché, and he never relies on repetition for structure; these pieces seem rather to grow out of themselves in surprising but somehow logical ways like perfect exotic blooms. His is also a music of extremes, never theoretical but always grounded in the grain of the sounds themselves. Working with sounds taken directly from the world -- in 'A@travero', the electronic world: disembodied voices from answering machines, radio, Television, CDs, cinema and the internet; in 'Proiezioni', the cinematic world of machines: cameras, projectors, empty film spools, and so on for each piece which starts with the collection of similarly connected materials. The final track, a hommage to Pierre Schaeffer, draws directly on Schaeffer's own captured recordings, taking, as concrete music does, already cooked materials as just another kind of raw ingredient. The sources may be quotidian, but they are not mundane. And they have been refined and polished and stretched and squashed and buffed and etherised to the point where they are like polished steel, reflecting something in a distorted plane, resembling something as a Brancusi might, but unfamiliar, transfigured." [press release]
|
2005 |
€14.00 |
|
| MARUTTI, ANDREA |
Sleepless Nights / Lysergic Mornings |
mCD-R |
we welcome back the italian artist ANDREA MARUTTI (also known under the Amon or Never Known aliases, head of the sadly defunct Afe Records label too). andrea was the very first artist to have a 3" on taâlem, and that was exactly 18 years ago!
andrea proposes here a rather psychedelic yet dark and ambient journey in 2 parts...
notes by andrea marutti:
“Sleepless Nights | Lysergic Mornings” is particularly important both for taâlem and me, because it comes exactly 18 years after my “Traces 94-95“, which on December 3, 2001, inaugurated the now incredibly long series of the label’s publications, and also because it represents my first proper release since I re-built my studio and started working on new music during the recent years.
“A Cypher For Glitchbusters” and “Peter’s Psychedelic Breakfast”, the two tracks featured on the EP in a seamless sequence, were created on purpose of a release on taâlem and were especially designed to fit the 3″ MiniCDr format.
In January 2019, as a sort of ‘personal experiment’ on myself, I worked on this music exclusively by night. For about one week I decided to sleep no more than a few hours each day during the late afternoon, and stayed awake all night to work with my synthesizers, sampler, effects and so on.
The resulting lack of rest put me in a particular state of mind, where I was less focused on the search of an ‘audiophile’ quality to the music, suggesting me to experiment with, and concentrate on, what would be usually considered ‘errors’. I intentionally included some glitches, tape hiss and various defects, and also used field recordings and other sounds which I originally recorded on cheap cassettes during the early ’90s, when I had an habit to slow down sounds with two tape decks and I usually re-recorded the same cassettes hundreds of times.
Both titles are inspired by this ‘experience’, and the tracks have a sort of ‘psychedelic quality’, or at least that is the impression they still give me months after their creation.
“A Cypher For Glitchbusters” is an attempt to describe with just a few words the practice I mentioned a few lines above, while “Peter’s Psychedelic Breakfast” is both an hommage to a quite more famous sonic breakfast – which I guess needs no further explanation – and a personal dedication to my closest friend who has been supporting and helping me ever since my memory can remember.
https://taalem.bandcamp.com/album/sleepless-nights-lysergic-mornings-alm-131
"The first disc is by the Italian artist Andrea Marutti, who used to run a label called Afe
Records and also records as Amon, Spiral, Never Known and Lips Vago. His latest 3” for Taâlem
is, as the title implies, a hallucinogenic drone that throws in some weird wrenches as it gets closer to the end. Marutti works in the post-Lustmord “dark ambient” mode here, starting out with ominous blankets with low throb and slow-motion watery threat. After several minutes, the curtains lift and with cleansing light comes children talking and roughly-recorded scrape that seems like it jumped in from a different record. It’s a neat tonal shift, one that continues into Marutti’s second track,
“Peter’s Psychedelic Breakfast”. That title is, of course, a nod towards Pink Floyd, though its
unclear who Peter is or what the Floyd connection is. This track is another drone, though lighter in mood than the opener. The strangest part os the very end, in which the sound fades and dissipates, leaving a coda of digital glitches as if someone accidentally bumped the microphone or a cord went bad… and then abruptly hits an “off” switch. Weird." [HS/VITAL WEEKLY]
"Abnormal mind expanding landscapes
Andrea Marutti is one pioneering sound art and ambient drone music producer with a large catalogue of recordings published on his own indie label (AFE — Another Friendly Edition) and well noted niche publishers such as Eibon and Nextera.
Part of his new efforts are welcomed by the Belgium based label Taâlem (whose production is mostly devoted to experimental and underground electronic music with a fancy for droney artefacts). Among those last offerings sleepless nights | lysergic mornings plays with convincing technical abilities and inspirational inclinations on the wave of radical minimalism and eerily moving vaporous soundscapes—with Vance Orchestra and Quest. As stated in the press release the psych-out and extra-sensorial dimension is put to the front in those dense, ominous clouds of sounds and sustained electronic chords. The ensemble has a beautiful and striking vintage organic feel which give a heart ahead of the electronic curves. Repetition of phrases, looped textures are subtly punctuated by abstract micro-noises and musique concrète sounds. Somewhere between Deathprod, early Cluster I & II, Folk Rabe, and early Vidna Obmana." [Igloo Mag] |
2019 |
€5.50 |
|
| MARUTTI, ANDREA / CARLO GIORDANI |
Impressioni Organizzate di Ansie Liquide |
CD |
Building on 15 years of friendship, and nearly a decade working together, two fixtures of the Italian experimental music scene, Andrea Marutti and Carlo Giordani, come together with their collaborative debut full length release, "Impressioni Organizzate di Ansie Liquide" (Organized Impressions of Liquid Anxieties) - a rippling body of sonorous abstraction - issued by St.An.Da./Silentes.
The origins of the album date to 2011, when Andrea Marutti was asked by the filmmaker and cultural agitator, Massimo Indellicati, to compose soundtracks for a series of experimental short films - "Aquology - Oceano interiore" - centred around aquatic and science fiction themes. Intent on intervening with his own practice in electronics and synthesis, he asked field recordist, engineer, and software designer, Carlo Giordani, to come on board.
While the film project was never fully realized - only small fragments of Marutti and Giordani's initial collaboration were used - their creative relationship bore fruit, bringing them together regularly over the subsequent years, each pushing and expanding the other's approach toward sound into new territories. The album - the result of an enduring process of reworking of the cumulative material that resulted from their collaborations between December 2013 and January 2020 - melds these two distinct sensibilities into a single, palpable force.
"Impressioni Organizzate di Ansie Liquide" rests at the sublime juncture of shifting materiality and perception; where the organic transforms into the otherworldly and the synthetic bubbles with life. The collision of two highly individualized creative practices - built from a vast pallet of sonority - across its breadth, the locations of source and the intervening hand shift in and out focus, gathering as an expanse ambience and event that gives the impression of being guided by chance occurrences and responses of its own making.
Amplifying the incidental into the mystical and metaphysical, this work challenges the very notions of how we locate the meaning of music and art. Unified by the thematic vision of water that first brought Marutti and Giordani together, the album culminates as a series of evolving, abstract images, alluding to the embryonic fluids that give way to life. Drifting long tones, buzzing electronics, and woven textures of ambiguous sound, rumble and dance between the foreground and distance, penetrated by punctuations drawn intermittently from Marutti's synths and Giordani's deft snapshots of the world.
Like its subject, "Impressioni Organizzate di Ansie Liquide" is an immersive, languid realm, filled with elegant, poetic beauty, that bristle with unknown elements and the lingering potential of danger. A remarkably sensitive reminder of the creative potentialities that rest at the heart of electroacoustic, concrete, and field recording based musics, doubling as a vision of their possible futures, Marutti and Giordani have created an album that simultaneously drowns the ear and fortifies it with breaths of fresh air.
The album is presented on a glass-mastered CD limited to 200 copies which is housed in a deluxe six panel digipack with black finish, and features pictures by Stefano Gentile.
Andrea Marutti was born in 1970 in Savona and currently lives in Milan, Italy. He began his experiments with music in the early '90s using mainly tapes and objects. A few years later he also started to use synthesizers, samplers and other electronic devices, and founded the Lips Vago Digital Studio.
His most well-known projects are Amon and Never Known. During the late '90s and early '00s several of his releases in the field of Ambient / Dark Ambient music have been published by labels such as Eibon Records, Nextera, Amplexus, Silentes, Drone Records, Taâlem, etc. on CD and other formats.
For some time he was also responsible of other projects dealing with different styles of electronic music ranging from Lo-Fi, Weird and Cheap Electronica to IDM (Wolkspurz & Ramirez, Lips Vago) to Dada, Noise and Nonsense (Spiral).
With the turn of the century he started recording and releasing Experimental Ambient tracks under his own name, in duo with Giuseppe Verticchio/Nimh as Hall of Mirrors, with Davide Del Col (Ornament, Echran, Antikatechon) as Molnija Aura, and again in duo with Andrea 'Ics' Ferraris as Sil Muir. Later on he was also involved in two collective projects: Maribor with Giuseppe Verticchio, Maurizio Bianchi, Stefano Gentile, Pierpaolo Zoppo and Gianluca Favaron, and Meerkat with Andrea Ferraris, Davide Valecchi/aal, Fabio Selvafiorita, Luca Bergero/Fhievel, Logoplasm, Luca Sigurtà, Matteo Uggeri/Hue and Adriano Zanni/Punck.
During the years he also had the chance to collaborate with many other friends, musicians and artists: Fausto Balbo, Madame P, Aidan Baker, Femina Faber, a034, Moan, OvO, Sparkle in Grey, Amalia Del Ponte, K11, Subterranean Source, Raffaele Serra, ODRZ...
Between 1995 and 2013 he has ran Afe, a label devoted to experimental electronic music. During its existence, Afe has released dozens of works by many renowned international musicians: Maurizio Bianchi, Bad Sector, Maeror Tri, Telepherique, De Fabriek, Ultra Milkmaids, Aidan Baker, Logoplasm, Bestia Centauri, True Colour of Blood, Dronaement and many more.
After a few years of hiatus, in late 2017/early 2018 he re-built his studio in a new location and began to work on new projects.
Carlo Giordani is an electronic engineer, working in the field of Information and Communications Technology; he is a project manager and consultant, specialized in big data architectures, database consolidation and data warehouse migration. Previously he has worked as a geophysicist, developing data processing software related to electromagnetic fields.
Despite his technical training he has always been interested in photography and sound. One of his passions is to capture sounds, process and stratify them, dissect them with an acoustic microscope and force them to become compositions.
He began his activity of 'sound hunter' in 1981: armed with a Marantz Superscope portable cassette recorder, he used to record rain and thunderstorms. Due to the limits of the technology available to him ar the time, he reluctantly abandoned his project quite soon.
After a break which lasted almost twenty years, in 2001 he successfully resumed his activity of field-recordist, publishing many works on the Internet in a short time (some of which are now available on his personal website) and two audio CDs (namely "Sanglisente" and "La voce degli Alberi", which translates into "The Voice of Trees"); he has given lectures, live performances in selected venues and on the Internet, and has curated transmissions for Framework Radio.
Among the many other projects he has been involved in during the recent years, his contribution to three documentaries deserve a special mention. For these productions he collected and provided sounds which were essential in the narrative process:
- "L'oro bianco e altri racconti" ("White Gold and Other Tales"), a five days expedition to record the dams of Venerocolo and Pantano dell'Avio Lakes in the Brescia district, Italy;
- "Ragazzo" ("Boy"), with sounds recorded at Lagoscuro, above the Mandrone refuge in Trentino, Italy;
- "I compagni sconosciuti" ("The Unknown Companions"), with sounds sourced in an old farmhouse in the lower Brescia area, a house as a musical instrument.
In 2019 he was also present with an installation entitled "È buono e si sente" ("It's Good and You Can Hear It") at the event "Forme" at the Fair of Bergamo , Italy.
store.silentes.it/catalogue/standa2024.htm
|
2020 |
€12.00 |
|
| MASIN, GIGI |
Plays Venezia |
LP |
LP black vinyl // LP gold vinyl ltd. 106 hand-numbered copies // CD // Tape ltd. 100 copies
Five years ago, back in September 2016, Stefano Gentile published a photographic book entitled IL SILENZIO DEI TUOI PASSI (The Silence of Your Steps), which collected a series of 56 pictures, both in b/w and colour, dedicated to the nights in Venice. The book was a journey through the most remote "calli" and "campi" (streets, alleys and squares, as they're called in Venice) in search of the true 'breath' of the city, far away from the hordes of tourists who 'attack' it every day during daylight hours.
On such occasion, renowned musician Gigi Masin composed a 30 minutes epic ambient track entitled VENEZIA 2016 which was the perfect soundtrack to the images included in the book. The track was published on CD and released bounded with the book itself in a limited edition of 480 copies only, and has been unavailable for years now.
In 2021 Gigi Masin returned to that great piece of music and to its timeless sounds. Finally, Silentes can now offer PLAYS VENEZIA, Masin's latest work contanining a re-edited version of that 'pearl', accompanied by two unreleased tracks composed and recorded in the same period.
Once again inspired by the city, Masin created an enduring and wonderful ambient masterpiece, a sort of return to the origins, to his home. Adding to the intrinsic quality of the originals, the tracks were beautifully mastered by Brandenburg Mastering in Amsterdam.
PLAYS VENEZIA is simply an unmissable release and one of Masin's greatest accomplishment in a long carrier that never ceases to amaze us.
13.silentes.it/private_sounds/sps2143_gigi_masin_plays_venezia.htm
|
2021 |
€20.00 |
|
| MASONNA |
Bursting Absolute Moods |
LP |
"THE LOST FIRST ALBUM 1989'- Cascades of electronic noise, a psychedelic touch and vocal belching mixed together constitute the ingredients of Mademoiselle Anne Sanglante Ou Notre Nymphomanie Auréolé, the double-barreled name for Masonna. Maso Yamazaki founded his project in 1987, with a charismatic and glamorous personality who become a cult figure in "Japanoise" scene. 'Bursting Absolute Moods' should have been the 1989 debut LP album on Vis A Vis Audio Arts, the legendary label run by Juntaro Yamanouchi, but never released until now! All tracks were recorded live, at home, with no mixing and no overdubs. The album is full of very rough harsh noise that's mostly made up of lots of distorted screaming. This early work is very loud, noisy, and has lots of angry energy. The distortion and effects on the vocals are top notch, they in combination with his awesome screaming create a complete audio assault. Limited to 300 copies"
|
2019 |
€22.50 |
|
|
Hate |
do-LP |
A towering holy grail of Japan noise music, Urashima is proud to present the first ever vinyl reissue of Masonna’s astoundingly ambitious and very ultra limited cassette, Hate, in one stunning gatefold cover double LP, in a limited edition in just 299 copies. Among the most ferocious and rare cassette from the artist discography, finally entering the light of day on vinyl analogue support. Grab a copy while you can. There aren’t many, and they’re not going to sit around for long.
https://urashima.bandcamp.com/track/hate-part-2
|
2021 |
€32.00 |
|
|
Frequency L.S.D. |
LP |
Originally released on CD in 1998, Frequency L.S.D. is now presented on vinyl for the first time. Features 14 ear-wrenching, extreme Japanese noise tracks from Maso Yamazaki (Controlled Death). "Frequency L.S.D. is the best Masonna CD ever, and one of the top five noise albums of all time" --Matt Kaufmann, Exile Osaka. "The cult icon of Japanoise once again makes another proverbial anti-statement with his uniquely harsh blend of screams, feedback, and constantly changing blasts, rumbles and blips of sonic destruction... The main attraction of this release to new and old fans alike is the use of '60s psychedelia in the warped textures of sound laid out in each track. Instead of being treated to a barrage of uncontrolled, harsh, and maddening noise, we are treated to lengthy explorations into the joys of warped synthesizer repetition and digitally altered radio frequency loops... the best noise release put out by any artist and, after just one listen, it's not hard to hear why" Chronicles Of Chaos. Personnel: Maso Yamazaki - voice, microphone, EXPJ Ringmodulater, Colorsound pedals, '60s fuzz noise canister; Spectral Audio Analogsynth, Sherman Filterbank, delay. 180 gram vinyl; edition of 400.
https://coldspring.bandcamp.com/album/frequency-l-s-d-csr297lp
|
2021 |
€25.00 |
|
| |
Inner Mind Mystique |
LP |
Masonna, the moniker of the Osaka based artist Maso Yamazaki, belongs to the second wave of Japanese noise. The name alone, a pun on Madonna’s name by combining the Japanese words Maso (マゾ, Masochist) and Onna (女, Woman), illuminates the wry humour and intensity that rubbles below his work.
Masonna claims that his interest in making noise is rooted in childhood encounters with the sounds of destruction on tv. Initially playing in psychedelic rock bands, following encounters with the work of artists like Hanatarash and Nord, he disappeared from view for a number of years, quietly developing his own singular vision of the idiom, before bursting onto the scene in 1987 with a performance style, marked by frenetic energy, damaged equipment, wild body movement, and often personal injury, that quickly set him apart. The following year, he released his debut album, “Like a Vagina” - an overdriven blast of psychedelia and harsh noise - that would rattle everything in its wake.
In recent years, Urashima has dedicated considerable energy to slowly returning Masonna’s back catalog to print, many of which were issued in tiny editions and have remained virtually unobtainable since their initial release. The latest among these is the project’s “Inner Mind Mystique”, originally released in 1996 on CD. Comprising seven studio recordings that embark on a full sonic onslaught of few equivalents, the album deftly deploys Masonna’s mastery of cut-up techniques, folding screaming vocalisations, effects, burbling electro noises, high-pitched twees, and other sci-fi sounds into a hurling mass that balances between something deep and primal and futuristic. Each piece is the culmination of a vast array of electronic sound events, meticulously sequenced within a complex vocal fusion of earthly and heavenly sounds that almost transform into a form of violent ambience because of the density and consistency that they display.
Immersive and almost transcendental in effect, Masonna’s “Inner Mind Mystique” is unquestionable an high water mark in the history of Japanese noise, taking the extremes of an already boundary pushing genre into the next realm. Truly amazing and not for the faint of heart, Urashima’s beautiful edition of 299 copies represents this masterstroke’s first ever appearance on LP and comes complete with an A3 poster and a cardboard insert, housed in a sleeve faithfully reproducing every aspect of the original 1996 release. An absolute must for any fan of experimental music and noise.
|
2023 |
€24.00 |
|
| MASTER MUSICIANS OF BUKKAKE |
Elogia de la Sombra |
maxi-CD |
"Two tracks, 31 minutes. Southern are very excited to present the latest release in our Latitudes series from Master Musicians of Bukkake. Recorded at Southern Studios by Harvey Birrell on 17 April 2010. Additional tracking and mixing at Aleph Studios in Seattle. Produced by Randall Dunn. Mastered by Mell Dettmer. Artwork by Randall Dunn and A.Turner. Elogia de la sombra is the 24th recording in the Latitudes series. Edition of 1000 copper foil-stamped and hand assembled CDs and 1000 LPs.
Master Musicians Of Bukkake are an enchanting collective, comprising a fine pedigree of musicians from bands as diverse as Earth, Sun City Girls and Burning Witch. With an amalgam of global influences drawn from music, philosophy, mysticism, and the kitchen sink, they are difficult to pigeonhole, but this is to their credit as Master Musicians are entirely original and when they come together, the result is truly magical.
I see Master Musicians Of Bukkake as a kind of sonic playground, allowing an even greater form of expression for these like-minded individuals. Call it the Exotic Other. Needless to say, the prospect of watching all of those musicians perform together live is always an event. We just had to get them to the Southern Studios to record a Latitudes session, knowing full well that they would adapt to the improvised nature of these sessions with great ease, and with great results!
The finished piece is two lush tracks, the first a sumptuous canyon of melody and timbre and the second an arcane tribute to NEU! and such Krautrock pioneers. Both tracks are testament to their musical prowess. Absolutely mesmerising." [Lauren Barley]
Track Listing
1. Tainted Phenomena
2. Elogia de la sombra
Running time 00:30:59 minutes
www.southern.com/southern/label/LTT
|
2010 |
€11.50 |
|
|
Elogia de la Sombra |
mLP |
"Two tracks, 31 minutes. Southern are very excited to present the latest release in our Latitudes series from Master Musicians of Bukkake. Recorded at Southern Studios by Harvey Birrell on 17 April 2010. Additional tracking and mixing at Aleph Studios in Seattle. Produced by Randall Dunn. Mastered by Mell Dettmer. Artwork by Randall Dunn and A.Turner. Elogia de la sombra is the 24th recording in the Latitudes series. Edition of 1000 copper foil-stamped and hand assembled CDs and 1000 LPs.
Master Musicians Of Bukkake are an enchanting collective, comprising a fine pedigree of musicians from bands as diverse as Earth, Sun City Girls and Burning Witch. With an amalgam of global influences drawn from music, philosophy, mysticism, and the kitchen sink, they are difficult to pigeonhole, but this is to their credit as Master Musicians are entirely original and when they come together, the result is truly magical.
I see Master Musicians Of Bukkake as a kind of sonic playground, allowing an even greater form of expression for these like-minded individuals. Call it the Exotic Other. Needless to say, the prospect of watching all of those musicians perform together live is always an event. We just had to get them to the Southern Studios to record a Latitudes session, knowing full well that they would adapt to the improvised nature of these sessions with great ease, and with great results!
The finished piece is two lush tracks, the first a sumptuous canyon of melody and timbre and the second an arcane tribute to NEU! and such Krautrock pioneers. Both tracks are testament to their musical prowess. Absolutely mesmerising." [Lauren Barley]
Track Listing
1. Tainted Phenomena
2. Elogia de la sombra
Running time 00:30:59 minutes
www.southern.com/southern/label/LTT
|
2011 |
€14.00 |
|
| |
Totem Three |
CD |
"Following the tremendous success that was Totem 2, Important offers you Totem 3. LP pressed in an edition of 1000. This is the final offering before entering the new wave of the failed future from MMOB. Totem 3 journeys from quiet Bardo womb choosing meditations and instrumental mantras to the delusional glee of Kali Yugafied Indian rock. Totem 3 is the most diverse and heartfelt of the Totem Trilogy. A steady pulsating musical mirror prison expressing the atrophy of our 'Modern World' through no-age hallucinations of passionate and unfolding melodies. A blissful mirage filled caravan with no destination pushing onward through a mercurial blue sanded desert between what is and what was. A place where disembodied nomadic djinn join in lament attempting to push through the cell phone interference with a message of no return." [label info]
www.importantrecords.com
|
2011 |
€13.00 |
|
| MATHES, JEREMIE |
Arkhaios |
10inch |
"These two new 10" releases (of LP length) lead to an area where words and rational thinking are suspended, and a connection with deeper parts of your mind begins...
JEREMIE MATHES is a French field recording artist (known for some excellent CDs on Unfathomless) living in Cambodia since some years. For "Arkhaios" he combined cavernous object drones (recorded at an abandoned factory site) with various instrumental sounds from ancient Khmer instruments (Tro u, Khim), all highly processed. You get the impression as being under the earth in a place populated by metallic amoeba or other smallest creatures, inside sewerage ducts or an deserted mine, exposed to the circulation of air...
This is the spirituality of the underworlds! "Dissolving time, space, mangling sounds collected into a simulacrum of altered realities. A oneiric junction between the concrete world and other unknown
territories." [J. Mathes]
ed. of 300 copies, black vinyl, Artwork by Stijn Deprez, based solely on pictures realised by Jérémie Mathes." [press release]
https://soundcloud.com/drone-records/jeremie-mathes-tomleiki
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"The two pieces are based on same materials s "Uunartoq Qeqertoq" for the Drone Mind Serie LP [vol 04] on Drone records, and on my album "Fallow Memory" on Unfathomless label: A coalescence of acoustic sound sources recorded in an industrial complex of abandoned factories in South of France between 2010 to 2015.
In-situ improvisations inside reverberant metal tanks, deserted warehouses that I had the possibility to infiltrate during my exploration of the site. Generating sound in these empty spaces mainly by using found objects, combined with instruments that I've brought as a Tibetan bowl, small bells, percussions, cymbal, a bow, and a violin. Capturing the inner substance, the hidden vibrant matter of various types of metallic structures, machinery, tubes, and pipes o extended my sonorous palette.
All of these elements were used exclusively in the composition of my pieces. Dissolving time, space, mangling sounds collected into a simulacrum of altered realities. A oneiric junction between the concrete world and other unknown territories. Recorded, edited and composed by Jérémie Mathes [2017/ 2018].
Artwork by Stijn Deprez, based solely on pictures realised by Jérémie Mathes." [artist info]
www.substantia-innominata.de/SUB-27.html
|
2020 |
€15.00 |
|
| MATHIEU, STEPHAN & EKKEHARD EHLERS |
Heroin |
LP + 12inch |
"Between Christmas 2000 and New Year 2001 producers Ekkehard Ehlers and Stephan Mathieu recorded an album of warm, soft, delicately crackling electronic music in the space of that week. It was christened with the ambivalent title "Heroin" and was released on CD via the label Brombron in 2001 and later in 2003 re-issued on Kit Clayton's Orthlorng Musork on double-LP with remixes the pair had commissioned as expansions.
17 years later Heroin sees its first vinyl release to include all 13 tracks from the original CD track-list on this LP + 12“ set. The centerpiece "Herz" finally receives its long deserved vinyl treatment (side C, at 45rpm) and on the flip side Thomas Brinkmann contributes a mirror in a magnificent remix of that very piece on side D.
Ehlers and Mathieu were both highly prolific solo artists during the period 2000-2004, and in just two years after the initial release of "Heroin" each had produced over half a dozen new solo recordings: among them the serial masterpiece Ehlers' "Plays" (Cornelius Cardew, Hurbert Fichte, John Cassavetes, Albert Ayler, Robert Johnson) released as 5 stunning LPs in a series on Staubgold, while Mathieu's 'Full Swing Edits' spread over five 10" records plus his album 'FrequencyLib' on Mille Plateaux, 'Die Entdeckung des Wetters' on Lucky Kitchen and ‘The Sad Mac’ on Atsushi Sasaki’s Headz label were greeted to critical acclaim.
Both artists were expanding their conceptual sonic approaches in the glow of developing laptop technologies which would to these times in 2020 seem quite primitive, but these two in that period used the state-of-the-art to aid and abet their conceptual visions, while at times the duo used unorthodox experimentation - yet always had a distinctively melodic and musical form at its heart and soul. Ehlers can be seen as a conceptualist, as a meta-musician who interrogates the mediums and methods of sound production - reflecting on the conditions and possibilities of improvisation (e.g. "Plays Albert Ayler") and exploits ideas of mutation and distortion of popular aesthetics played out within a ghostly form of divine pop beauty in his project März.
Mathieu, originally a drummer and co-founder of what has come to be known as the Berlin 'Echtzeitmusik' scene. His approach could be similarly described as working a critical analyst and researcher: Subtly and precisely working in the realm of processing as a method of intervening in melodious/harmonic analog sound sources.
Ehlers and Mathieu may not think too much about their singular productions and publications outcomes, but instead concentrate on the process and musical personality that characterizes their gesture- style itself stays in the background - and they usher a music from small minimal sound sources coaching a patient music of slow intervention - much like a refraction of light than a concrete painting or a blurred photograph - beatus accident.
And indeed, "Heroin" is an album that embraces the happy accident being made up of reduced, often very catchy and very direct micro hooks which seem laser-guided into a space accepting obvious melodic beauty in what feels like an observation of musics unfolding and revealing it's DNA, embed with for a kind of yearning for innocence and naiveté - as if Satie were on the jukebox in "The Crying of Lot 49". Not to say the music is "reduced", but rather: 'restricted' and born from acceptance of limitations, and the artists allowing the sounds to just "be.." with some incremental degrees of coercion.
The album not only sounds like that of 2 producers who are both dreamers and scientists, but that Ehlers and Mathieu chose to work with these means in a dialogue together to reduce pop music to its musical/tonal core, it is not Pop music anymore, rather a ghostly pointilistic itteration of song. "Heroin" is located at this transition, around that point at which tracks, that were or could have become pop compositions, irrevocably slip into a static harmonic nirvana. We are invited to follow the arch of Heroin in a slow-motion morphine musical haze.
Heroin sounded timeless when originally released and proof is that it remains so, one wishes that Ehlers and Mathieu would convene again for a week, a month or an entire year to continue this process of slow rumination, picking affectionately over the sounds they both love - and then maybe when everything is condensed, evaporated they would write more songs with those sonic refractive elements that remain.
Remastered by Stephan Mathieu, March 2020. Vinyl cut by Lupo @ Loop_O. Design by Caro Mikalef for Cabina."
https://schwebung.bandcamp.com/album/heroin
|
2020 |
€26.00 |
|
| MATTHEWS, KAFFE |
Bea |
CD |
Zweite CD mit extracts von 5 Performances in den USA (dez. 97)., wo sie z.T. übermächtig- überwältigende, hypnotisierende Klangwälle geschaffen hat, z.T. stark fragmentierte & collagierte Klänge in den Raum wirft, und irgendwie einen ganz eigenen Stil verfolgt!
"The music is vast,sculpted into textural landscapes, vibrating granular technorhythms, through her stage processings with sometime use of random material collected via outside microphones or sonic collaborator." Ingesamt 26 Tracks, die z.T. ineinander übergehen - TIP!
|
1998 |
€15.50 |
|
| |
Still a slapper |
do-7 |
KAFFE MATTHEWS ist wieder da mit puren Frequenz-Modulationen und minimalen pulsierendem elektronischem „Fuzz“, spannend arrangiert erinnert das an Releases aus der „material series“ von Staalplaat... superb !
“Kaffe Matthews is well known for her improvisational work with either electronics alone or combined with acoustic instruments. Her use of LiSa, live sampling software, makes her able to work with minimum input. A 30 sec. microphone recording on location should be enough for a whole live-set.... and it is. These two 7"-es contain 4 tracks and are to be heard as a set. Matthews starts with an atmospheric track consisting of not much more
than simple tones, which hardly go above a few simple sine waves... but then again also not. The typical full and pulsating sound she produces makes that these simple tones are part of a wide spectrum of atmospehers, arranged in such a way that she actually doesn't need much more than tones to tell her story. The following 2 tracks ("a" and "slapper") show her talent for making the unsynchronised followable. Both these tracks live on an unstable heartbeat so to say, but nevertheless with a convincing rhythm/groove. Although a short track, "a" has a complete build-up. Repetition of elements over a calm stream of lower tones give this track a subtle drive and atmosphere. "Slapper" crackles furthur in a very energetic way, turn up the volume I suggest. Again this hard to follow beat, but steady enough to give you some sense of a tempo and the accompanying tapping foot. The last track returns to the world of overtones but in a more unsettling way, a good track to leave you behind a bit puzzled but also reassured and to make the circle complete.” [press-release]
|
2001 |
€10.00 |
|
| MATTIN & RICHARD FRANCIS |
Lisa Says |
LP |
"LP clear vinyl 33 rpm
release date: 18.09.2012
artists: MATTIN & RICHARD FRANCIS
title: Lisa Says
order no.: aatp38
time: ca. 50 min
sleeve designed by Richard Francis, comes with text insert. Clear vinyl 300
handnumbered copies.
On “Lisa Says”: This LP captures the first transcontinental collaboration between artists
Mattin and Richard Francis with sounds recorded in Stockholm, Berlin and Auckland, NZ. The mixdown portrays the current state of affairs in composed noise: filtered gritty sound blocks flow and float with no seeming direction
when sudden breaks puncture the structure and create something like a melody. Well, almost. The music is accompanied by a text insert that
documents a skype conversation between the two artists discussion the methods and aesthetics connected to this release and their ways of working in general.
Mattin Bio www.mattin.org
Mattin is a Basque artist working with noise and improvisation. His work seeks to address the social and economic structures of experimental music production through live performance, recordings and writing. Using a
conceptual approach, he aims to question the nature and parameters of improvisation, specifically the relationship between the idea
of “freedom” and constant innovation that it traditionally implies, and the established conventions of improvisation as a genre. Mattin considers improvisation not only as an interaction between musicians and instruments,
but as a situation involving all the elements that constitute a concert, including the audience and the social and architectural space. He tries to expose the stereotypical relation between active performer and passive
audience, producing a sense of strangeness and alienatio in that disturbs this relationship.
Richard Francis Bio www.richardfrancis.net.nz
Richard Francis has been releasing works on CD/vinyl, performing solo and in collaboration as a touring artist since 1996. He uses field recordings of acoustic and electronic sounds and a tone generator to compose sound works.
He has released solo and collaborative music on a number of labels worldwide and runs his own label CMR through which he releases limited edition lathe cut records by New Zealand artists. In performance he uses a computer and electronics and has toured Japan, Australia, Hong Kong, Canada, USA and Europe. Since 2003, Francis has composed works for sound installation, participating in group and solo shows at galleries throughout New Zealand. He has collaborated for recording and
performance with many artists, and has had recent published collaborative CDs with Jason Kahn (USA/Swiss) and Francisco Lopez (Spain). Collaborations for recording and/or performance: Bruce Russell, Francisco Lopez, Jason Kahn, Mattin, Birchville Cat Motel, Gate, MSBR, Tetuzi Akiyama, Lawrence English, Rosy Parlane, Howard Stelzer, Jason Lescalleet, Jay Sullivan, Empirical, Pumice, Kuwayama Kiyoharu, Phil Dadson, Anthony Guerra, Sean
Meehan, Ishigami Kazuya, Antony Milton, James Kirk, MHFS, Tim Coster, Paul Winstanley, Takefumi Naoshima, Toshihiro Koike." [label info]
"A project in two parts, one the actual music, as recorded on July 3 2008 in Berlin and one the conversation as a piece of text from August 31 2011 in which Richard Francis and Mattin talk about the recording from three years before, about their methods of working together but also with others. A fascination they have in common is about white and pink noise, and sustaining those sounds. It's an interesting text to read, as it clears up some interesting things but it's not entirely necessary to read the text to like the music I should think. The buzzing, cracking and sustaining sound, which sometimes hoovers closely above the threshold of hearing, reminds the listener of your ventilator or heater buzzing, or the faint noises from afar late at night. If I understand right, this record is for Francis an end to the way he working and for Mattin the start of a new working method, a more conceptual approach if you will. This record contains some very minimal music, with very few sound elements, but are fascinating to hear. Crackles of vinyl (not from the pressing), field recordings very remotely humming and the white/pink noise slowly washing ashore and moving away. All of this in a very quiet and contemplating way. If you think Mattin is all about noise then you should surely try this record for a change. Maybe this is more what you would expect from somebody like Richard Francis, but this is a great improvised electronic record. Excellent head space music." [FdW/Vital Weekly]
www.aufabwegen.com
|
2012 |
€13.00 |
|
| MAXWELL, JULES |
Cycles / Nocturnes |
do-LP |
"Cycles is the latest album of work by Irish composer Jules Maxwell whose music has featured at London's National Theatre, The Royal Opera House, Shakespeare's Globe Theatre and The Roundhouse. Most recently he has been working with the band Dead Can Dance and in 2021 he released an album entitled Burn with singer Lisa Gerrard. Cycles is an exquisite album of meditative instrumental music. It is quiet and circular in nature but deeply atmospheric and dramatic at moments. Cycles will be released on Friday 25th March on Berlin based label Ghost Palace. A limited double vinyl edition will also be available featuring the Cycles album and its predecessor Nocturnes."
"Heute morgen, kurz nach fünf, kurz nach Wecker klingeln. Noch ist es verdächtig ruhig und entgegen meiner Gewohnheit, eines jahrelang antrainierten Automatismus folgend, schalte ich nicht erst den Wasserkocher und dann Deutschlandfunk ein. Sondern ich lege, während der Tee vor sich hin zieht, „Cycles“ von Jules Maxwell auf. Genauer gesagt, die erste der Doppel-LPs.
Mit dem Opener „Deeper Sleeper“ in den Tag zu starten ist ungewohnt entspannt, denn sogar noisy Kinder und Jugendliche verstummen mit einem „Ohhh“ und bewegen sich auf einmal fast lautlos. Wer hätte das gedacht. Warum ich das jetzt in einer Review erwähne? Weil diese Szene vermutlich am besten beschreibt, was Jules Maxwell auf dieser Platte für eine Stimmung erzeugt. „Cycles“ ist ein ruhiges, meditatives Instrumental-Album, welches mit den ersten Tönen den Pulsschlag entschleunigt. Dennoch schafft es Maxwell Spannung aufzubauen. So, dass der*die Hörer*in ganz bei und in der Musik bleibt.
In „A Rose On The Road“ führt ein Klavier, wie ein langsamer, rhythmischer Glockenschlag in den Song ein, im Hintergrund bauen sich sphärische Klänge auf, werden intensiver, dringlicher und bauen eine Dramatik auf, die ab rund dreieinhalb Minuten von einer Geige (oder ist es eine Bratsche, ich tue mich schwer damit das rauszuhören) aufgenommen wird. Nach rund fünfeinhalb Minuten haben sich die Klänge, die Töne, vereint und lösen sich auf, so dass ein sanfter Übergang zum nächsten Song geschaffen wurde.
Und das, was ich hier für diesen Song beschrieben und versucht habe in Worte zu fassen, ist exemplarisch und findet auch in den anderen Songs statt. Immer anders, aber dennoch ist das Album eine Einheit und als solches zu hören. Zu hören ist Jules Maxwell zur Zeit auch Live. Er tourt mit Dead Can Dance. Termine findet ihr hier.
Doch kommen wir zur zweiten LP, die sich im Gatefoldcover befindet. Hierbei handelt es sich um die, digital schon im März vergangenen Jahres erschienene LP „Nocturnes“. Jetzt auf Vinyl sind „Nocturnes“ und „Cycles“ vereint und auch musikalisch bilden sie eine Einheit. Eventuell ist „Nocturnes“ stellenweise ein wenig verspielter, zum Beispiel in „April 1964“ oder auch „Virgin Territory“ wird im Laufe des Songs verspielter. Grundsätzlich wird aber die Stimmung, die Jules Maxwell auf „Nocturnes“ kreiert hat, in „Cycles“ aufgenommen und intensiviert.
Und wer jetzt bei den Stichwörtern meditativ und ruhig denkt, es wäre sicherlich nicht so seine*ihre Musik, dem*der empfehle ich mal reinzuhören. Denn die Platte berührt, egal ob man jetzt vorwiegend Progressiv Rock, Metal oder Radio-Pop hört. Wer’s nicht glaubt, spule nochmal zurück zum zweiten Absatz, oder hört halt mal rein.
Erschienen ist das Vinyl auf dem Label Ghost Palace und liegt mir als Testpressung in schwarzem Vinyl vor. [Vinyl Keks]
|
2022 |
€26.50 |
|
| MAZANEK, JIRI |
Radha-Krsna |
CD |
"For many years I dreamed about making an album for the greatest lovers and divine principles Radha and Krishna. Finally, my longyear friend Jožan Púry encouraged me to do so. Everything was made possible thanks to a very very devoted musician, sound engineer and friend Michal Ditrich. I am grateful for all of his inspiring remarks, by which he gave my ideas the right direction and then made the realization easy. This loving piece of work would not have come into existence without his help.
For long years I have been sending my love into our world and the whole spiritual universe through my thoughts, my heart and now also through sound vibration. May your hearts be filled with love so that you could give it to everybody around.
Jaya Radhe, jaya Krshna" [Jiri Mazanek]
www.nextera.cz
|
2007 |
€13.00 |
|
| MAZUREK, ROB / EXPLODING STAR ORCHESTRA |
Dimensional Stardust |
LP |
Marfa TX-based multidisciplinary abstractivist Rob Mazurek has made an indelible impact on creative music over the past 30 years. Emerging from the musical nexus of the 1990s Chicago scene, he’s written more than 400 compositions and is featured on more than 70 recordings (including International Anthem’s very first, IARC0001, "Alternate Moon Cycles"). He’s led or co-led many ensembles – including the Chicago Underground (Duo, Trio, Quartet & Orchestra), Isotope 217 (alongside members of Tortoise), Pharoah and the Underground (feat. Pharoah Sanders), Alien Flower Sutra (with Emmett Kelly), São Paulo Underground (his primary working group across his time in Brazil), and a duo with Jeff Parker – each of which possesses its own distinct musical personality.
While Mazurek’s solo work as a musician expands from cornet, piano, and piccolo trumpet studies to embody musique concrete and electronic experimentation, his composition for large ensemble reveals an intuitive sense of scale. Commissioned by the Chicago Cultural Center and the Jazz Institute of Chicago in 2005 to assemble a group representing the diversity of the city’s contemporary avant-garde, Mazurek amassed a 14-piece ensemble and began composing music for what became his Exploding Star Orchestra (ESO). Including musicians from the often-segregated communities of Chicago’s North, South, and West sides – from his long-time collaborators in Tortoise’s expansive orbit, to Great Black Music luminaries from the hallowed AACM, to free jazz revivalists from the Umbrella Music group – ESO debuted in the urban epicenter of Chicago’s Millennium Park and, shortly after, went into John McEntire’s Soma Studios to record "We Are All From Somewhere Else" (Thrill Jockey, 2007). By the time of "Galactic Parables Vol. 1," ESO’s 2015 triple LP release on Cuneiform Records, Mazurek reflected to Pop Matters that "Exploding Star Orchestra is the conceptual, compositional and philosophical center of all my work... a life star of musical, visual and conceptual ideas."
In 2018, JazzFest Berlin curator Nadin Deventer invited Mazurek to present a new iteration of ESO with musicians based in Berlin as well as Chicago. Meeting the commission with the boundless ambition characteristic of his artistic approach, he imagined a jubilee of fifteen musicians and improvisers, true to ESO’s ethos in their widely diverse backgrounds and voices, but more tightly arranged around his intricate compositions than ever before. Summoning an array of symphonic studies – from Béla Bartók to Morton Feldman to Gil Evans to Sun Ra to Pedro Santos to Bill Dixon to The Art Ensemble of Chicago – in an ecstatic and wholly original program, Mazurek’s November 2018 debut at Berliner Festspiele marked a new pinnacle in his distinction as a composer and conductor of Contemporary Music. “Mazurek’s arrangements burst in colors, making synesthetes of us all,” wrote Paul Acquaro in a review of the concert for Free Jazz Collective.
When Mazurek returned to Chicago in Summer 2019, International Anthem took the opportunity to capture his new ESO compositions with a cast of collaborators from their collective constellation of artists. Over a handful of studio dates between August 2019 and March 2020, Mazurek channeled his arrangements through 11 musicians – Nicole Mitchell, Jeff Parker, Jaimie Branch, Joel Ross, Mikel Patrick Avery, Tomeka Reid, Chad Taylor, Ingebrigt Håker Flaten, Macie Stewart, Angelica Sanchez, and John Herndon – and commissioned his long-time lyrical collaborator Damon Locks to draft original texts for each of the titles and record vocal tracks. After three months of rigorous post-production, editing and assembly work, in June 2020 Mazurek completed his culminating new collection of ESO recordings: "Dimensional Stardust."
"Dimensional Stardust" showcases the intricacy and complexity of Mazurek’s compositions but in their most potent, most compacted forms. Opting to focus on tight ensemble orchestration over passages of open improvisation, Mazurek distills a maximal orchestra of explosive improvisers into a beautifully restrained, graceful group exercise in melodic minimalism. The album features almost no “soloist” moments, excepting Jeff Parker’s other-worldy guitar meltdown on “The Careening Prism Within,” and when Nicole Mitchell’s flute floats to the front of the barrage on “Sun Core Tet.” Mazurek himself is sparsely present as instrumentalist, only occasionally joining the ensemble with his piccolo trumpet (notably on “Parable 3000,” where he shares leads with Mitchell’s flute and Joel Ross’s vibraphone, and his trills and textures haunt ghostly around Jaimie Branch’s trumpet counterpoint). Even Damon Locks’s voice is employed more like an ensemble instrument than a lead vocalist. Locks’ distinctively dry, abstract narrative flow beams in intermittently – sounding almost like fragments of Deltron 3030 through an Orson Wells-style radio transmission – climaxing in the album-closing poetry of “Autumn Pleiades.” And all the way through, the electro-acoustic poly-rhythmic percussion section (Chad Taylor, Mikel Patrick Avery, and John Herndon) churns, thrusting the music forward as the harmonic instruments collectively bow between frenzied, futurist chromaticism and soaring, pan-humanist pentatonic anthems.
Somehow swirling the most adventurous elements of avant-garde jazz and contemporary classical into the most universal attractors of pop music, the cosmic opera of "Dimensional Stardust" is a pure spiritual extension of Exploding Star Orchestra’s unifying ethos, and a new peak in the prolific creative career of Rob Mazurek.
***"Dimensional Stardust" is the second album co-released by the North & South American partnership of International Anthem & Nonesuch Records, following Jeff Parker's early 2020 release, "Suite For Max Brown." International Anthem & Nonesuch Records are slated to co-release at least 6 titles over 3 years, details on future albums TBA. Outside of North and South America, these albums are marketed & distributed by K7 Records.***
Rob Mazurek - director, composer, piccolo trumpet, electronic renderings, modular synth
Damon Locks - voice, electronics, texts
Nicole Mitchell - flutes
Macie Stewart - violins
Tomeka Reid - cellos
Joel Ross - vibraphone
Jeff Parker - guitar
Jaimie Branch - trumpet
Angelica Sanchez - acoustic piano, electric piano
Ingebrigt Håker Flaten - bass
Chad Taylor - drums, percussion
Mikel Patrick Avery - drums, percussion
John Herndon - drum machines
https://intlanthem.bandcamp.com/album/dimensional-stardust
|
2020 |
€26.00 |
|
| MAZZON, ENNIO |
Dimenticanza |
CD-R |
Wir konnten die letzten Exemplare des Debut-Albums dieses Ambient-Newcomers aus Italien ergattern, der hier mit flockig-fliessenden Atmosphären-Drones glänzt, die immer wieder durch sanfte digitale Störgeräusche durchbrochen werden. Kommt im handgemachten Spezialpapier-Cover, nummiert! Zu entdecken !
www.myspace.com/feelscaperecordings / www.myspace.com/emazzon
|
2009 |
€7.00 |
|
| MCDOWALL, DREW |
A THREAD, SILVERED AND TREMBLING |
LP |
Scottish experimental/electronic musician Drew McDowall's lifelong interest in an elegiac solo bagpipe style called pibroch (ceòl mòr in Gaelic) has been an inspiration for much of his previous work (including Coil's legendary Time Machines). This form, often traditionally used for laments and for tributes to the dead, fuses modal drones with flickering dissonance and plaintive melody evoking an ancient, solemn mood. His latest work, A Thread, Silvered and Trembling, both incorporates and transforms these elements via exploratory electronic processing, weaving an electro-acoustic tapestry of strings, shudders, voids, and voices, alternately disembodied and displaced. Co-produced with engineer Randall Dunn at Circular Ruin Studios in Brooklyn, the collection's four pieces capture McDowall at his most elevated and elusive, in thrall to "the ineffable - that which refuses to be spoken." McDowall's palette here is unusually eclectic, sourced from a dynamic orchestral ensemble arranged by Brent Arnold and comprised of cello, viola, violin, harp (Marilu Donovan of LEYA), and french horn. Ebbing between shrouded electronics and enigmatic, sometimes spectralist orchestration, the album moves with a seething, simmering energy, surging into elegant, uneasy crescendos. The first two pieces are inspired by a liberatory hijacking and inversion of a grim biblical story (and by a cryptic and strange UK simple syrup branding). Opener "Out of Strength Comes Sweetness" shivers with short echo and resonant pads, before shifting into the album's centerpiece: the 14-minute saga "And Lions Will Sing with Joy." A murmuring electrical storm of keening strings and disorienting drones gradually grows darker and denser, until suddenly there's a crack in the clouds, revealing mutated choral voices and sparkling harp. McDowall describes the track as "an incantation to help usher in a break, and a new beginning." The record's latter half evokes a deep untamed animism shot through with spiraling radiance. "In Wound and Water" sways with harp, plucked strings and eerie cello undertows while lush layers of disorientated electronics hang in the dusk. There is no resolution, only a faint gradient of fragile dissipation, leading into the album's harrowing and climactic closer, "A Dream of a Cartographic Membrane Dissolves." Processed voices (credited on the liner notes to "The Ghosts Who Refuse to Rest") contort, whisper, and gather as the rest of the ensemble sharpens, poising to strike. Then it does - grand, tragic stabs of strings and horns lashing the sky, storming heaven by force. The fallout is poetic and inevitable, raining embers into a dark sea. But the journey and catharsis of A Thread linger long after it goes silent. Like so much of McDowall's multifaceted catalog, this is music of immanence and alchemy, attuned equally to the sacred and the profane, to the tile and the mosaic. |
2024 |
€25.00 |
|
| MEAT BEAT MANIFESTO |
Ruok |
CD |
MEAT BEAT MANIFESTO is back! Vital, daring, powerful experimental dancefloor with BRAIN !
“ Visionary, Forefather, Innovator...these are terms that get thrown around all to loosely in the world of electronic music, but for certain individuals, these descriptions apply without question. Jack Dangers, the veteran composer and sound sculptor behind Meat Beat Manifesto, is one of these individuals. This, MBM's seventh album and first in 4 years, represents a healthy growth in the innovative Meat Beat sound. At first listen, the dense, dark layers of samples, breakbeats, and politically-charged vocals that were the hallmark of previous MBM releases are noticeably stripped down on R.U.O.K? The music was in part created in Danger's Bay area studio on a incredibly rare 1970's synthesizer unit called the EMS Synthi 100. R.U.O.K? collaborators include the turntablist-of-the-moment, Z-Trip, and ambient legend Alex Paterson of The Orb.” [press release]
Sub Rosa website: www.subrosa.net
|
2002 |
€13.50 |
|
| MECHA / ORGA |
56:24 |
CD |
Filed under: polyphonic power-drones! Griechisches Projekt mit einem sonoren Drone one-tracker, der an HAFLER TRIO oder NIBLOCK erinnert, Obertöne überschlagen und überlagern sich wellenartig, das ganze wird allmählich immer lauter und massiver in einem fast unmerkliches Crescendo, das furios anschwillt, zum Ende hin gewinnen die Drones eine schon unangenehmen Druck & Präsenz ! Intensiv und definitiver TIP!
“...as if a garden being planted and you are watching all the process from the bare earth to the colourful result, comes “56:24”... generating a drone layer which slowly starts the cultivation process where layers upon layers slowly build a delicate atmosphere and the way they expand and grow draws an even more colourful result, as if a swarm of insects spreads the pollen in our garden, helping it grow even more beautiful and even more colourful, lasting in a flabbergasting droning result... or at least, such was the atmosphere last march in Halandri where Yiorgis Sakellariou (aka Mecha-Orga) premiered this piece for us. And it was John Pallas, who by the time the set ended proposed absurd the cd release and didn't leave until we 3 shook hands... such also was our life in our 2006, like a fertile garden, with lots of releases and trips here and there, always ending with our occasional meetings at cafe Amarrylis in Kifissia for coffee (Mecha-Orga) & Shitloads of alcohol (absurd) or at “Varsos Kifissia” to enjoy our sweets & cofee (Mecha-Orga), hot-cold chocolate (absurd). and as a friend wondered of how the future will look like, we thought nice to picture Mecha-Orga on the cd's front cover sleeve, as a middle aged man, thinking of how he'll create his next piece-live set and a grey haired absurd on the cd label, probably in a meeting w-someone to discuss an upcoming release or project in one of editions_zero's side-ghost labels, book publishing houses, etc etc etc... comes highly recommended if you fancy instant trips to colourful droning soundgardens!!!” [Nicolas Malevitsis]
"The name Mecha/orga keeps popping up in Vital Weekly and though not entirely a household name, it should be one, at least some day. His new CD could be of great help to achieve this. Mecha/orga is the name chosen by Yiorgis Sakellariou from Greece, who works since time under this guise (and plays regular music as well under various other guises and in various other capacities). The work, indicated by it's length, was created one afternoon in february last year, and played live there after a couple of time. No bullshitting about. The length becomes the title, and the listener can come up with his or her own story. Mecha/orga plays drone music. On a laptop. How much more simple can it get? Or rather does it have to be complex? No it doesn't. Over the course of the fifty-six minutes and twenty-four seconds Yiorgis Sakellariou plays a slowly unfolding piece of drone music, which seems to be growing in intensity throughout. When you think nothing more can be added, he adds another layer. And another. And another. Most suitable to play in the dark, at night and ghostly activities will surely occur. Or during the day, outside and watching plants grow. Multi-purpose music, I'd say. Great stuff. Powerful music." [FdW / Vital Weekly]
www.void.gr/absurd
|
2007 |
€13.00 |
|
| MEELKOP, ROEL |
Momentum |
CD |
Second release on HERIBERT FRIEDLS new label !
“To many Roel meelkop is a musician of microsound music, with releases on Trente Oiseaux, Staalplaat, Intransitive, but he was originally trained as a visual artist and even sold a painting once. Since he is involved in music he has also a built a number of sound installations. The once I saw all involved multiple speakers, sometimes hidden in the ceiling or in trees, and the music moving over the speakers. It's an entirely different thing to make music for this than for the stereo set up of a CD release. But on this new CD (and for once one that hasn't been lying around for years), meelkop reduces his multiple speaker installations to a stereo mix, taking it out of the original concept of the installation, but to be enjoyed as music for the home. As per usual, meelkop doesn't tell us much about the actual installation, and the titles leave not much to know either. So with everything removed other than the music (a very meelkopian thing to do), we are left with six pieces from the period 1997 to 2004, which continue his work explored before on his releases up-to the recently reviewed '5 (Ambiences)', when things got more 'ambient' (see Vital Weekly 488). There are hints here of the forthcoming minimalist and ambient style, such as in lengthy 'Sined', from 2002, with it's soft outbursts of sine wave sounds. Overall this is a most enjoyable CD, and if there should have been any differentiation between work on CD and installation, meelkop has successfully managed to wipe these differences out. These pieces work also quite well outside the context of installations.” [Frans de Waard / Vital Weekly]
www.nonvisualobjects.com
|
2005 |
€14.50 |
|
|
5[zwischenfälle] |
CD |
"5(zwischenfaelle) is the latest release by dutch electronic musician ROEL MELLKOP. It is a special release in Meelkop’s catalogue because it is consist of five piece that were originally used in the context of sound installations running over a certain period of time in specific special surroundings. For 5(zwischenfaelle) Meelkop has set himself the task to compress these soundscapes into five dense and still minimal audio pieces that could work outside the context of the original installations. 5(zwischenfaelle) is focussed on single sound events and stark beautiful dynamic movements in a certain area of sound and does not have the bruitistic research-like feel of other solo works by Meelkop. 5(zwischenfaelle) makes for concentrated unpolished ultra minimal listening with maximum effect. For all friends of Bernhard Günter, Francisco Lopez, Joe Colley/Crawl Unit or Marc Behrens this is a definite work!
Roel Meelkop (Tegelen, NL, 1963) studied sculpture and painting at Academie van Beeldende Kunsten in Rotterdam, NL. He graduated in 1990 and in the years after that he concentrated mainly on painting. Five years later, he decided to expand his views on art and philosophy and applied for a postgraduate course at the same academy. He graduated from this course in 1997. By then, Meelkop had abandoned painting altogether in favour of working with sound. Before this he had already been working with THU20 on experimental sound collages and electronic music. This practice was extended and now includes sound installations and performances as well.
Nowadays, Meelkop regularly plays live performances around the world, either solo, or with one of the three musical projects he is involved with: THU20 (musique concrete), Kapotte Muziek (electro-acoustic music) or GOEM (electronic music). His solo music is a unique combination of the aforementioned styles. Besides his live activities, Meelkop has a long list of releases to show for his creativity and productivity in the studio. Another area of interest for Meelkop is sound in space. The relation between space and sound and the unique artistic possibilities this offers have urged him to create several installations, not only in exhibition spaces, but also in public spaces. Most of these installations are created specifically for the spaces that will hold them and are based on Meelkop’s impressions from these spaces. In most cases the work is not visual but auditory, thus expanding the existing space in a way that visual art will never achieve. Central issue in these installations is the experience of space and time at a specific place and time. Aside from his artistic activities, Meelkop is also active as organiser, curator and programmer of contemporary sound art and electronic music in Rotterdam, NL and as a reviewer for the email magazine Vital Weerkly." [label info]
"ROEL MEELKOP ist als Soundtüftler und inzwischen auch Kurator für zeitgenössische
elektronische Musik in Rotterdam nicht ohne
Vergangenheit in der niederländischen Szene.
Seit 1986 arbeitet er in dem Audio-Art-Kollektiv
THU 20, seit 1995 tritt er regelmäßgig mit Kapotte Muziek auf und veröffentlicht desweiteren seit 1997 mit Frans de Waard und Peter Duimelinks als GOEM sowie Arbeiten unter seinem Namen und seinem dubbigen minimalacid-
elektro Alter Ego slo-fi. Zu 5 (Zwischenfälle)
(AATP18, digipak ltd. 500) selbst ist zu
sagen, dass er hier Stücke aus spezifischen
Soundinstallationen aus dem Zeitraum 2005-
2006 überarbeitet und damit aus dem eigentlichen
Kontext gerissen hat. Allesamt unbetitelt,
werden 4 längere Tracks jeweils von einer
kleinen Präambel ein- und ausgeläutet. Das
räumliche Element fließt hier dennoch erfolgreich ein, durch Pausen wie auch durch überraschende Klangkontraste. Die Abstraktion
des eigentlichen Ausgangspunktes nimmt
fluchtartig zu, aber so, dass die Statik des Raumes nicht gefährdet wird. Verhallende Geräusche vielschichtig arrangiert, unerwartete
Klänge, undurchsichtige Hintergrund-lautmalereien. "Zwischenfälle" ist hier ein sehr gut gewählter Untertitel, da eine beruhigende Wirkung nicht von diesen Aufnahmen ausgeht." [cs / Bad Alchemy]
|
2007 |
€13.00 |
|
| |
4 Propositions |
CD |
"Roel Meelkop's musical activities date back to the early 1980s when he started influential group THU20, with Jac van Bussel, Peter Duimelinks, Jos Smolders and Guido Doesborg. The working method of THU20 included many discussions about how to compose and why. This period was crucial in forming Meelkop's ideas and concepts about sound and how to organise it, but it was not until the mid-'90s that he was able to fully realise these ideas. The purchase of a sampler and later a computer radically changed his possibilities of working with sound, offering infinitely more control and freedom. Since then he released works on such labels as Trente Oiseaux (Germany), Staalplaat (Netherlands) and Intransitive (US). His other activities include working as a member of both Kapotte Muziek and GOEM with Peter Duimelinks and Frans De Waard and organising sound events in Rotterdam. Aside from releases, Meelkop also creates site-specific sound installations, often in collaboration with other artists and has performed live around the world Microsuoni.it). This is the first release for the fledgling Tariff Records of Los Angeles, California." [label info]
|
2002 |
€14.00 |
|
| MEESE X HELL |
Hab keine Angst, hab keine Angst, ich bin Deine Angst |
do-LP |
STANDARD 2LP VINYL EDITION - LIMITIERT
"Geboren 1970 in Tokio, verbrachte Jonathan Meese seine frühe Kindheit in Japan, und kam mit drei Jahren 1973 gemeinsam mit seiner Mutter zurück nach Deutschland. Als Kind sprach er nur japanisch und englisch. 1995-1998 Studium an der HfbK in Hamburg, 1998 Durchbruch als bildender Künstler auf der Berlin Biennale. In seinen Gemälden, Performances und Aktionen thematisiert Meese immer wieder die Rolle Deutschlands und deutsche Mythen. Eine ursprünglich beauftragte Meese-Inszenierung des Parsifal 2016 in Bayreuth wurde 2014 wegen angeblicher Unfinanzierbarkeit gekündigt. Der Münchener Techno- und House-Produzent Hell ist seit zwei Jahrzehnten ein Bewunderer Meeses. Als Hell vor zwei Jahren bei Jonathan Meese anfragte, ob dieser das Cover für Hells neues, kürzlich erschienenes Album House Music Box gestalten wolle, sagte dieser sofort zu. Die Wertschätzung entpuppte sich als gegenseitig. Man verabredete eine experimentelle Studiosession, um auszuloten, ob die polarisierenden Sprachperformances von Jonathan Meese in Verbindung mit Musik von Hell eine eigene Qualität entwickeln würden. 2019 nahmen Hell und Meese zum ersten Mal gemeinsam auf. Meese steuerte Textideen auf Papier bei, Hell hatte Instrumentals vorbereitet, die sowohl Hells stilistische Interessen, als auch Meeses musikalische Vorbilder - von DAF über Sisters of Mercy bis hin zu Kraftwerk - berücksichtigten. Hell: Mir wurde in vielen gemeinsamen Gesprächen klar, wie musikaffin er eigentlich ist und wie viel unterschiedliche Musik er kennt. Und vor allem: Wie sehr die Musik ihm auch in seiner Kunst als Inspirationsquelle dient. Die Sessions - insgesamt drei, davon zwei gemeinsam mit Meeses 91-jähriger Mutter Brigitte - fanden im Trixx-Studio am Berliner Moritzplatz statt. Meese assoziierte Freestyle über Beats und Loops von Hell. Hell: Ich bewundere Jonathan Meese nicht zuletzt als performativen Künstler - und gerade auch seinen stimmlichen Vortrag. Im Studio sang, sprach oder flüsterte er dann seine improvisierten Texte über die Tracks, die ich vorbereitet hatte.
https://meesexhell.bandcamp.com |
2021 |
€25.00 |
|
| |
Hab keine Angst, hab keine Angst, ich bin Deine Angst (special edition) |
do-LP & BOOK |
Limitiertes Hardcoverbook + 2 LP + 24-Seiten Künstlerbuch und Poster! Geboren 1970 in Tokio, verbrachte Jonathan Meese seine frühe Kindheit in Japan, und kam mit drei Jahren 1973 gemeinsam mit seiner Mutter zurück nach Deutschland. Als Kind sprach er nur japanisch und englisch. 1995-1998 Studium an der HfbK in Hamburg, 1998 Durchbruch als bildender Künstler auf der Berlin Biennale. In seinen Gemälden, Performances und Aktionen thematisiert Meese immer wieder die Rolle Deutschlands und deutsche Mythen. Eine ursprünglich beauftragte Meese-Inszenierung des "Parsifal" 2016 in Bayreuth wurde 2014 wegen angeblicher Unfinanzierbarkeit gekündigt. Der Münchener Techno- und House-Produzent Hell ist seit zwei Jahrzehnten ein Bewunderer Meeses. Als Hell vor zwei Jahren bei Jonathan Meese anfragte, ob dieser das Cover für Hells neues, kürzlich erschienenes Album "House Music Box" gestalten wolle, sagte dieser sofort zu. Die Wertschätzung entpuppte sich als gegenseitig. Man verabredete eine experimentelle Studiosession, um auszuloten, ob die polarisierenden Sprachperformances von Jonathan Meese in Verbindung mit Musik von Hell eine eigene Qualität entwickeln würden. 2019 nahmen Hell und Meese zum ersten Mal gemeinsam auf. Meese steuerte Textideen auf Papier bei, Hell hatte Instrumentals vorbereitet, die sowohl Hells stilistische Interessen, als auch Meeses musikalische Vorbilder - von DAF über Sisters of Mercy bis hin zu Kraftwerk - berücksichtigten. Hell: "Mir wurde in vielen gemeinsamen Gesprächen klar, wie musikaffin er eigentlich ist und wie viel unterschiedliche Musik er kennt. Und vor allem: Wie sehr die Musik ihm auch in seiner Kunst als Inspirationsquelle dient." Die Sessions - insgesamt drei, davon zwei gemeinsam mit Meeses 91-jähriger Mutter Brigitte - fanden im Trixx-Studio am Berliner Moritzplatz statt. Meese assoziierte Freestyle über Beats und Loops von Hell. Hell: "Ich bewundere Jonathan Meese nicht zuletzt als performativen Künstler - und gerade auch seinen stimmlichen Vortrag. Im Studio sang, sprach oder flüsterte er dann seine improvisierten Texte über die Tracks, die ich vorbereitet hatte." |
2021 |
€40.00 |
|
| MEGAPTERA |
Staring back at you |
CD |
Rares Material des schwedischen Death Industrial Kult-Projekts!
"In a final celebration of Megaptera’s 15 year anniversary, Malignant presents the definitive last statement from this prominent and highly influential death industrial project. Staring Back At You concentrates on demo versions, outtakes, and rare songs from various arenas, including the compilations Zyklon B, Beating the Meat, Slaughter Age ’95, The Book ov Shadowz, Death Odors II, as well as material from the Deep Inside mLP, and more. These tracks capture Megaptera at their grittiest, creepiest, and most horrifying...a grinding, lurching monstrosity fueled by the madness, violence, lies, wars, and disease that plague the world. Lmtd to 800 copies, and coming in a 6 panel digipak designed by Mårten Kellerman, this has been re-mastered by Magnus Sundstrom, with additional boosting courtesy of Thomas Garrison. Staring Back At You is final nail in the coffin for Megaptera, and may they rest in peace, but continue to deliver nightmares, maddening thoughts, and the darkest of obsessions. Track listing: More Disturbance (demo version), The Passage (demo version), Disoriented (Totally Different demo version), Lurking Fear (Pre-damaged demo version), Frozen Corpse, The Final Day (excerpt), Morior, Mass Murder, Antropofagi, Deep Inside." [label info]
label: www.malignantrecords.com
|
2006 |
€8.00 |
|
| |
Near Death |
LP |
Urashima's vinyl reissue captures the essence of "Near Death" in its purest form. The tactile experience of placing the needle on the vinyl and allowing the album to unfold as intended by the artists adds a new dimension to the sonic journey. The haunting melodies and unsettling textures resonate even more powerfully, making this reissue not just a reproduction but a revival of the album's visceral impact.
Immerse yourself in the mysterious and haunting world of "Megaptera," a captivating music project that pushes the boundaries of industrial and dark ambient genres. Initiated by Peter Nyström alongside Mikael Svensson, with the participation of Magnus Åslund, "Megaptera" embarked on a sonic journey into the heart of darkness, where atmospheric textures and chilling soundscapes intertwine.
"Megaptera" is a project that defies conventional classification. The trio's early collaboration set the groundwork for soundscapes that delve into the darkest corners of the psyche, inviting listeners to confront their fears and delve into the unknown.
At the core of "Megaptera" lies an intricate fusion of industrial rhythms, unsettling textures, and atmospheric layers. Each composition is a sonic voyage, transporting the audience to realms where the borders between reality and imagination blur. The music possesses an uncanny ability to evoke emotions that are rarely explored, creating an intense and immersive experience for those who dare to listen.
Prepare to be transported to the edge of consciousness with the Urashima's vinyl reissue of "Megaptera - Near Death." Originally released on Sound Source .1917. cassette in 1991, this pivotal album not only marked the inception of the "Megaptera" project but also carved a niche for itself in the annals of dark ambient and industrial music.
"Near Death" is a journey into the depths of the human psyche, a descent into the unknown territories of the mind. With the collaborative efforts of Peter Nyström, Mikael Svensson, and the participation of Magnus Åslund, the album takes on an even more profound resonance. The combined creativity of these minds birthed a sonic masterpiece that fuses haunting atmospheres, experimental soundscapes, and industrial rhythms into a symphony of darkness.
From the first notes, "Near Death" envelops the listener in an uncanny aura, a sense of foreboding that guides you through its enigmatic passages. The album is a testament to the trio's ability to manipulate sound, sculpting it into a chilling narrative that unfolds across its tracks. The atmospheric textures evoke a sense of unease, while the pulsating rhythms create a hypnotic rhythm that carries you along the journey. Throughout the album, there's a palpable tension, a feeling of being suspended between reality and a realm of shadows. The layers of sound intertwine, creating an intricate web that seems to echo the labyrinthine corridors of the subconscious. The distant whispers, eerie drones, and subtle shifts in dynamics pull the listener deeper, inviting introspection and exploration.
In a world that often shies away from the darker corners of human experience, "Near Death" is a fearless exploration. It is an invitation to confront the shadows that dwell within us, a reflection of the mysteries that lie beneath the surface. As the vinyl spins and the sounds envelop you, you'll find yourself embarking on a sonic odyssey that is equal parts unsettling and transformative. "Megaptera" is not for the faint of heart; it is an invitation to confront the shadows that reside within us all. Through its intense sonic explorations, the project beckons listeners to embrace the darkness and embark on a journey that delves into the most primal aspects of human experience.
https://urashima.bandcamp.com/album/near-death
|
2023 |
€25.00 |
|
| MEIRINO, FRANCISCO & DAVE PHILLIPS |
We are none of us |
do-LP |
"Francisco Meirino (Phroq) & Dave Phillips (Schimpfluch Gruppe) have collaborated on this extremely dynamic electro-acoustic studio album. Through meticulous arrangement of electronics, processed sound and field recordings they create a dark and unsettling audio narrative. 'We Are None of Us' exemplifies these two masters at the best of their craft. This 2xLP version contains 2 additional tracks not included on the CD and comes with download card for bonus live track, a recording of their full performance at Ertz Festival, Bera, Spain, 11 sept. 2010. Released in a limited edition of 200 copies." [label info]
www.misanthropicagenda.com |
2012 |
€29.00 |
|
| MEIRINO, FRANCISCO & KIKO C. ESSEIVA |
Focus on Nothing on Focus |
LP |
"A unique work stemming from a studio collaboration between Francisco Meirino and Kiko C. Esseiva. Using the same source material each artist composed one side of the LP. Assembled in 2012 and 2013 from hours of multitrackrecordings using reel-to-reel tape recorders, emf detectors, piezo transducers, analogue synths and various homemade sound objects. Discover, compare, enjoy the work of these two sound artists ! High Quality 180g Vinyl with excellent sound - not at least due to the cut done by Flo Kaufmann. Numbered edition of 300 copies." [label info]
www.aussenraumrecords.com
"Whether it’s relevant or not I don’t know, but immediately before listening to Focus on Nothing on Focus by Francisco Meirino and Kiko C. Esseiva in order to make notes for the final review, I watched a documentary about Joy Division. The record is a 12″ vinyl black void with a black label which you might think is a precursor to the abyssal darkness contained within. In fact after Joy Division’s bleak visions born of greyscale Manchester streets steeped in rain and the bedroom’s so cold, you turn away on your side, it was a relief to enjoy some movement, vibration and a surprising selection of fleeting semi-colours.
four men on a bridge
Assembled in 2012 and 2013 from hours of multitrack recordings as a duo, each artist was given one side of the record to present his individual composition using the original material as the building blocks. As the first release on Andreas Unterkircher’s Ausenraum label, the black and white cover picture of electrical equipment cut up and interrupted, repeated and sliced, slid out of place and readjusted, then partially contained within a perfect circle seems an apt metaphor for the processes etched into the grooves here.
she filled her time pushing the pram round Salford
There is an interesting YouTube video of Meirino and Esseiva playing together as a duo in an art gallery or something similar. They are set up against a side wall on a long table next to each other. Various people are seated in the white space, others walk in and out informally. Being able to see all this taking place, the physical approach of each artist is interesting and illuminating and offers some understanding into why each side of this LP sounds as it does.
tear us apart
Meirino stands bent over his black boxes of plugs and wires activating switches and summoning up raw electrical bleed and grime from the insides of these dark objects. He turns a torch on and off at intervals, and the completion and termination of the circuit is heard as a visceral thud. Essevia remains seated at his desk and, amongst other things, manipulates a tape recorder thoughtfully and subtly, reacting and operating within and against the bodily groundedness of the sputtering sound shrapnel exhibiting a concentrated intelligence and sense of purpose. Whether this performance formed part of the substrata from which this LP was carved I don’t know, but it is certainly an informative document.
it’s a picture of a tomb
For me all Meirino’s music seems to exist in a landscape with enhanced perspective and a very remote vanishing point: In other words the sounds are stretched out from incredibly distant thuds occurring below the horizon to crackles and clicks right up against the eardrum, as if generated inside the speakers themselves independently of anything else.
growling like a dog
Meirino places us on a ship negotiating a sea of fluctuating plasma. Creaks and groans from the rigging and the swell of undulating static gives way to scuttling creature in the hold. Early on a filament of light, a laser emission like a bowed violin note repeats a few times as a vestige of the sun’s benediction. Later, work of some secret nature takes place. Something rattles back and forth along rails as machines hum. Excited wings vibrate against the microphone and objects drop and roll across the hard floor. People talk, but the men’s voices are rudely cut off and are no more. A crescendo of metal and tooled desolation builds from nothing to form a rattling, prison riot cacophony then… suddenly we are in some dead pond where the water (or some other analogous fluid) carries sounds from afar. Unknown denizens of this inky pool signal to each other ever more frantically, again a crescendo… Nothing… Nothing… Nothing… Run-off groove…
Ian’s dead
Esseiva is an artist I have never heard before. Seemingly his compositional hand is more controlled than Meirino’s and the work focuses more closely on fewer competing strands. This approach yields a completely different experience, yet obviously both sides of the disc are united by their common provenance. Differences aside each promise is fulfilled in its singular entirety.
I came off the phone and went back to the table
Kiko C. Esseiva pledges breath and motors and grinding gears. A ribbon of steady sound unfolds and fades just once. This is a workshop in which the instruments that make this music are being built, and the very building of them is the music itself, and after they have finished playing, the dismantling of them is also the music itself. Sheets of steel and other substances are beaten in frantic rapidity. Tiny hammers pound. Insectoid nano-mosquitoes plague the workspace. Cut. Fibrillating electricity. Cut. A buffeted wire fence with mechanical animoids squeaking and chirruping in iron filing nests. Steel wool ruffles and frazzles. Cut. Dead air. A ball bearing rolls around an uneven plane causing other objects to become infectiously agitated and inexplicably animated. An organ plays itself, just once. Vibrating glass planes, jars, flasks and light bulbs. Cut… Near silence… Readjust to the tiny flecks of vinyl crackle not being part of the whole… And yet in a way they are… It all is… Run-off groove… Click… Click… Raise the needle.
unknown
pleasures" [Chris Whitehead / Sonicfield] |
2013 |
€16.00 |
|
| MELANCHOHOLICS |
Masking My Monkeys |
7" |
The MELANCHOHOLICS are a german trio producing "thick atmospheric darkness" as they call it. With a background rooted in Death Metal & Grindcore as well as in Industrial, they still use guitar, bass & electronic sounds nowadays, but their aim is to explore the realms of loneliness and melancholy by sculpting almost filmic soundtrackish atmospheres with not much aggression anymore. This is their first vinyl-release and both tracks are filled with beautiful accordeon drones, desert-like guitars, electronic sounds and voice-samples (for the experienced: on the second track "MESSAGE FOR THE OPERATOR" you might recognize a very famous old man). Thus they are enlarging the "classic" drone sound in a very fruitful way.
Filed under: ADDICTIVE BLUE BLUES-DRONES / www.myspace.com/melanchoholics
DARK BLUE TRANSPARENT VINYL. SILK-SCREENED COVERS IN SIX DIFFERENT CARDBOARD COLOURS & WITH TWO PRINT COLOURS. BLACK INLAY WITH SILVER PRINT.
|
2009 |
€7.00 |
|
| MELT FAMAS |
Serial Weather |
10inch |
"MUSIKZIMMER LABEL:
The label Musikzimmer is based in Aarau (Switzerland) and Berlin. It was born with the idea of giving birth to music not only in a ethereal way. We want to materialise what we like. We want to produce, to touch and to spread it.
It all started 21 years ago with one of the first „independent“ exhibition spaces in Switzerland, the Kunstraum Aarau. Since approximately 7 years we focus on soundart and sound related site specific interventions. And because not every manifestation finds its form in a frame work of an exhibition, we started to organise concerts and offer now a stage without stairs to concertant situations. To can those situations as long as possible we decided to cut them into vinyl.
MELT FAMAS – serial weather is the first conserved situation. It will be followed by a 10“ of chained melodies by RM74. The concept is simple. 10 inch, 1 cover version and the cover sleeve is designed by an artist who does not play on but maybe with the record.
MELT FAMAS:
When the movement of a terrestrial object around a static point is repetitive, we talk about oscillation...When two people oscillate around several electric devices according to a nearly repetitive movement, we talk about rock‘n‘roll. At Melt Famas, during the supper, we talk about oscillations, aquatic rock‘n‘roll. Dessert comes when the table has already been cleared.
In the living room, guitar screams exhort to indiscipline, and voices invite to the reconstruction of a new order. At Melt Famas‘, codes are made for others. According to the stars position, the degree of gravity and the level of caffein of the last tea, sounds meet under the fingers until dizzyness spreads, and invite us to an immobile trance. Fred Billet and Nicolas Magot, or l‘invitation au voyage with a one way ticket.
FRED BIGOT: (aka Electronicat)
The root of Fred Bigot‘s music is in guitar. The way he makes music is all related to the way he plays guitar, including imperfections, lo-fi sound, noise, melody and the practice of improvisation.
The distorted but melodic guitar, the unquantised rhythms, the delay-heavy vocals and the buzzing rumbling 808 bass drum all became characteristic features of the Electronicat sound. His songs encompassed an array of influences in all respects - particularly glam rock, psychedelia, 60s garage rockabilly and experimental electronic music - and took it further making electronic music sound more rock n roll and vice versa.
To date he has released numerous albums and singles on international labels (Holy Mountain, Onitor, Disko b, Optical Sound, Ldrr). He has produced tracks for pour Beans, Miss le Bomb, Marina Ribatski (ex- Bondo de Role), remixes for Depeche Mode, Numbers, Bretzel Göring. Fred played all around the world alongside with artists such as Felix Kubin, Stereolab, Adult. He has collaborated with numerous artists and musicians, building up an impressive resume that includes projects with musicians J.G Thirwell, Gerhard Potuznik, Khan and contemporary artists Nicolas Moulin, Anu Pennanen and Pauline Curnier-Jardin.
NICOLAS MALLET:
After having visited experimental and post-punk music, Nicolas Mallet turned into Nicolas Metall. Melodies in minor chords, Bach is never far. Keyboards, guitars and rhythms. He plays with Fred Bigot (Electronicat) in Melt Famas, with Marie Germinal in a rock-post punk style, he has organised events and works with artists and dancers (Nicolas Moulin, Marie Reinert, Olivier Dohin, Grégoire & Elise Charbey, Clémentine Roy). His most recent Release „ Growing Ideas Of Falling Generations“ is a Double Vinyl on Nicolas Moulin Label „Grautag Records“.
„Growing Ideas Of Falling Generations, as the first double LP of Nicolas Metall, has to be heard as the psychoanalysis of the Space Odyssey computer HAL 9000. Electronic-wave music to dance on a russianÕs suburb discotheque dancefloor or to listen to by staring at the sunset , The 2nd release of the berlin-based label Grautag records“ (Grautag Records)" [label info]
www.musikzimmeraarau.ch
|
2011 |
€12.00 |
|
| MENACE RUINE |
Alight in Ashes |
CD |
"The Canadian duo Menace Ruine began in 2006 by S. De La Moth and Genevieve. The Montreal entity create music of a very harsh and hypnotizing blend of martial ambient and neo-folk mixed with elements of experimental music and black metal.
The music would then be laced with the enchanting and mesmerizing vocals of Genevieve which would make Menace Ruine a band unlike anything in the genre.
Alight In Ashes is MENACE RUINEs fourth album. Having already worked with such labels as the respected Canadian experimental label Alien8 and experimental UK label Aurora Borealis, and having played live with such artists as Nadja, Daniel Menche, Wolf Eyes, Watain, along with doing a European tour with Frances Aluk Todolo which led MENACE RUINE in playing the prestigious Roadburn Festival where they were personally invited by Sunn 0))) to play on said bands curated day, the duo decided it was time to take it to the next level by working with Profound Lore Records.
With Alight In Ashes, MENACE RUINE have returned to their more melodic side that was found on their second album The Die Is Cast, and in turn have delivered their most intriguing, unnerving, and most beautifully crafted album to date.
With the constructed and meticulously crafted music (think Burzums Filosofem meets Merzbow, Nico, and The Moon Lay Hidden Beneath A Cloud) that compliments Genevieves powerful vocals, Alight In Ashes is a trance-like masterpiece that will ultimately cast a spell that grabs you by the throat while at the same time envelopes you.
The band also have touring plans in the works, by doing some U.S. touring with their now label-mates ASH BORER and planning tour jaunts with MAMIFFER likewise ++ MENACE RUINE are known as one of the more respected dark ambient/experimental bands today.
The duo combine a mesmerizing trance-enducing mix of martial ambient, industrial, noise, neo folk, and black metal into their entrancing mix.
For fans of Nico, Merzbow, Death In June, The Moon Lay Hidden Beneath A Cloud, and Burzum.
MENACE RUINE plan on hitting the live circuit in support of Alight In Ashes, first off with label-mates ASH BORER and plan on touring Europe with MAMIFFER likewise.
The duo of MENACE RUINE have had some notable live experiences throughout the course of their career, most notably the band being invited by Sunn 0))) to play their curated day of 2011s Roadburn Festival." [label info]
www.profoundlorerecords.com
"Dass wir MENACE RUINE hier schon vorgestellt haben, ist untertrieben. 'Gefeiert' wäre treffender. Nur wenige Projekte haben einen so einzigartigen, sofort wieder erkennbaren Sound, der zugleich so schwer zu definieren ist. Black Metal-Wurzeln sind spürbar, allerdings mehr atmosphärisch denn klanglich. Das Zerren erinnert an Noise, die Stimme (mich) an eine weniger ätherische Version von DEAD CAN DANCE und und und. Mit "Alight In Ashes" ist nun das vierte offizielle Album des seit 2007 bestehenden Duos erschienen, wie auch alle anderen Werke der beiden Frankokanadier in ihrer Heimat Montreal komponiert und eingespielt. GENEVIÈVE ist die Stimme, SERPENT DE LA MOTH der Mann an den Tasten. Diese 'Tasten' sind umso erstaunlicher, weil die Klangwand sehr stark nach E-Gitarren tönt, aber angeblich ohne eine einzige echte Gitarre entsteht.
Für mich persönlich kamen die Alben nach "The Die Is Cast" (2008, Besprechung) nie ganz an diesen großen, riesigen Wurf heran, was aber sicher auch mit der Wucht des Erstkontaktes zu tun hat. "Alight In Ashes" ist allerdings nah dran. Generell scheint das neue Album nicht ganz so wütend zu sein wie die Vorgänger, (noch) mehr nach innen gerichtet, dabei auch weniger verzerrt und sehr melodiös.
Sofort ist er da, dieser sägende, in der Luft stehende, vibrierende Sound, der dieses Mal tatsächlich etwas weniger nach Gitarre klingt. Eine an- und absteigende, orgelnde Melodie bestimmt "Set Water To Flames" (01), die Percussion ist überraschend deutlich vernehmbar. Dann setzt die einzigartige, einschneidende Stimme von GENEVIÈVE ein, entrückt, nicht von dieser Welt. Sie offenbart ihr Innenleben, singt ihre eigene Beschwörung. Im Einklang mit der sich immer wiederholenden Hintergrundmelodie tönt die Stimme ungeheuer hypnotisch. Der Gesang ist klarer als früher, deutlicher und wesentlich ausgereifter. Zwischendrin stehen krachende, wühlende Instrumentalpassagen, und wirklich auffällig bleiben die Drums, teilweise fast militärisch getaktet. Ein Mahlstrom aus Emotionen und Sound.
Auch "Salamandra" (02) weist sehr differenzierte Klänge auf, wirklich nah an DEAD CAN DANCE. Wie die Strukturen aller Songs setzt auch dieser auf die Wiederholung von wenigen Tönen, was besonders beschwörend wirkt. Die Vocals kommen auf diesem Album eindeutig am besten zur Geltung, wirken sicher und umfassen mehrere Oktaven, wie klassisch ausgebildet. Eine sägende, kurbelnde Melodie, darin perfekt eingebettet die Stimme, begleitet von einer dunklen Trommel.
"Burnt Offerings" (03) klingt nach mehreren verzerrten Gitarren, die versuchen, in Einklang zu kommen und eine Bestattungshymne zu spielen. Verschiedene Lagen mischen sich dazu, das Stück bleibt rein instrumental.
Im Verlauf von "Arsenikon" (04) bekommt die Stimme Hall, wird spaciger, die Musik dazu noch 'gitarriger' und verzerrter. Sehr reduziert, ein Anschlagen von einzelnen Tönen, so dass erneut GENEVIÈVE im Vordergrund steht, gedoppelt mit sich selbst. Ein sakrales, persönliches Duett, berührend und verzweifelt, weil (für MENACE RUINE-Verhältnisse) zurückhaltend. Ab der Mitte scheint das Stück durch Verzerrung und schräge Töne, durch industrielles Scheppern aus dem Ruder zu laufen, bleibt aber immer noch melodisch.
"Disease Of Fear" (05) beginnt wie die "Toccata" von BACH, gespielt auf einer singenden Säge. Wiederum eine sehr einfache, sich wiederholende Melodie, zu der spät und überraschend das klare Organ einsetzt, welches die Lücken dieser ineinander walzenden Zahnräder ausfüllt, dabei die Töne mit einem Vibrato versieht und unglaublich lange hält. Auf einem Scheiterhaufen aus Klängen singt die Frankokanadierin unbeeindruckt um ihr Leben. Aufgrund der Intensität ist die Länge der Songs übrigens trotz der sich wiederholenden Strukturen nie spürbar.
"Cup Of Oblivion" (06) erweckt ganz besonders den Eindruck eines Kirchenliedes, unterstützt von mahlenden, schweren Trommeln. Sehr majestätisch und der mächtigste der sechs Songs, der lange ohne Vocals auskommt, bis diese nach vier Minuten dann doch hymnisch, schmetternd dazustoßen und bis an die Grenze zur Verzerrung gehen.
MENACE RUINE ruhen sich auf ihrem Sound nicht aus, sondern entwickeln ihn weiter. Sie bleiben erdig, dröhnen etwas dezenter als früher, wirken häufig sehr andächtig und sakral; rituelle Lieder zu einer virtuellen Beerdigung. Viele Melodien scheinen aus klassischen Epochen abgeleitet zu sein. Überraschend ist die Varianz der Percussion, aber überstrahlt wird ohnehin alles vom gewaltigen und kosmischen Gesang. Mit Abstand das vielfältigste und kompletteste Album der beiden Kanadier, die übrigens momentan auf Tour durch Europa sind. Termine siehe News und Konzertdatenbank. CD kaufen, Konzert besuchen!" [Michael We. /NON-POP]
|
2012 |
€14.50 |
|
| |
Venus Armata |
CD |
“Soften evil in our hearts, oh mother of kindness…”
The duo that comprise MENACE RUINE (S. De La Moth and Genevieve) have been known to create some of the most alluring and mesmerizing music within the experimental/ambient/noise scene by seamlessly mixing elements from industrial music, classic goth and darkwave, martial ambient, noise, black metal, and neo-folk into a wondrous sonic amalgam that puts them within a realm all unto their own.
With “Venus Armata”, MENACE RUINE continue to expand their sonic canvas even further by creating their most intriguing and stunning album to date. With Genevieve’s spellbinding voice becoming even more of a focus this time, “Venus Armata” focuses more on a sense of melancholy and longing through its overbearing wall of pulsating layers of sound and synth heavy noise. It is through said blueprint that is forged that helps the duo to create their sense of song structure and movement.
www.profoundlorerecords.com |
2014 |
€15.00 |
|
| MENCHE, DANIEL |
Field of Skin |
CD |
"Eine weitere, 74 minütige Geräuschirrfahrt: wieder wurden alle Geräusche von somatischen Quellen abgeleitet, hier aber überwiegen düstere, isolationistische Stücke (das Label spricht von "ERASERHEAD-like"), die trotzdem noch extreme Kraft ausstrahlen. Aber es gibt auch wieder konkretere Soundausbrüche auf dieser CD....great power!" [old Drone Rec. info]
“Quieter, more subtle statement than "Screaming Caress", his previous CD. The smoothering atmosphere produced is all the more intense for the restrained power that underlays the dark sound sculptures” [Soleilmoon]
www.soleilmoon.com |
1997 |
€13.00 |
|
|
Radiant Blood (SOLD OUT) |
10inch |
SUBSTANTIA INNOMINATA ist eine neue 10”-Vinyl-Serie von Drone Records mit neuem Konzept. Mit “Unbenannter Substanz” ist das “Unbekannte, Un-erkennbare, Unergründliche, Un-Identifizierbare“ gemeint, das hier als Inspiration und Themenfokus für die Künstler (akustisch wie visuell) dienen soll. Das, was über unsere Wahrnehmung hinausgeht oder vielleicht nur unbewusst wahrgenommen werden kann. Das was man nicht denken kann. Das Unbekannte in uns und ausserhalb unser erkennbaren, gewohnten Welt.
DANIEL MENCHE macht den Anfang mit zwei Stücken: Komprimierte Energie. Dichte. Antreibende Kraft. Spannung. Pulsierendes Blut. Das Unbekannte als Teil einer grossen Energie, die auch in der Musik steckt?
Die grossartige ARTWORK für die SUB-01 stammt von ROBERT SCHALINSKI (COLUMN ONE). Braun-schwarz marmoriertes Vinyl in einer Erstauflage von 500 Stück.
“Substantia Innominata” is the brand new release-series from Drone Records. We are proud to present this as a 10” VINYL series along with subsequent re-releases on CD.
This new series doesn’t focus on a special concept or ideology regarding the music, but on a certain theme. The theme for this 10” series is based on “The Un-known, The Un-nameable, The Un-speakable, The Un-thinkable, etc.: Various aspects related to “The Unknown”. Basically the grey matter (psychic or physical, which are bound to result the same) surrounding us / within us, but can’t be understood or recognized through the normal senses (though some may perceive it on a subconscious level). We could name it “The Unconscious”. The chosen name for this series, “Substantia Innominata”, was inspired to the fact that this Latin name represents a certain region of the brain which has unknown functions and remains a mystery for its role and existence. Therefore this name reflects well the intense fascination for this impalpable concept of “the unknown”.
The invited artists for this series were asked to work around this theme, to let themselves be inspired by its abstraction. The artwork for this series will be created by the various visual & graphic artists. All in full-colour or silkscreen covers. The 10” vinyl pressings will come in an edition of 500 copies for each title.” [Basic Concept]
DANIEL MENCHE begins the series with two pieces: Compressed energy. Density. Driving force. Tension. Pulsating Blood. The Unknown as part of a bigger energy, that is also part of the music?
The great artwork for SUB-01 was made by ROBERT SCHALINSK (COLUMN ONE). Brown-black marmorized vinyl in a first ed. of 500 copies.
OUT 15. DECEMBER 2005 !
Note: this 10" plays on 45 rpm !
|
2005 |
€12.00 |
|
| |
Primal Fictions |
LP |
\" “Primal Fictions” may sound like the early work of a literary novelist, but words are not Daniel Menche’s chosen form of expression – instead, sound and noise form the foundation of his 30 year dedication to abstract sonic exploration. “Primal Fictions” (LP) released by Ferns Recordings is a prime display of Menche’s unique approach to field recordings and electronic manipulation. An earthly marriage of the acoustic and electronic worlds, “Primal Fictions” is a stunning example of Menche’s immersive and overwhelming music, one that invites the listener to become lost inside a vast sound forest. 200 copies.\"
https://fernsrecords.bandcamp.com/album/primal-fictions
|
2020 |
€20.00 |
|
| MENS, RADBOUD & MATTHIJS KOUW |
2 |
LP |
February 2017 Moving Furniture Records released “1”, the first LP by Radboud Mens and Matthijs Kouw. The album consists of two long drone tracks that make you forget music is a time-based art. Music that immerses you in a warm bath of frequencies that are evolving slowly around you, revealing you all sides and details of a sonic sculpture.
With this second release, which is simply titled “2”, Mens and Kouw continue their exploration of long-form drone. By using precisely tuned analogue synthesis, Mens and Kouw create a rich tapestry of drones and slowly changing environments. To the careless listener, nothing much seems to happen. However, an attentive ear will reveal a rich variety of resonances and sonic artefacts. Starting as deep and warm drone music both pieces gradually develop into a collage of textures and frequencies that are carefully moving in and out of the drone. This record is the second of a two-part album that was recorded live in the studio in December 2014, released in an edition of 300 LPs that are packaged in reversed sleeves and are provided with a digital download.
credits
released March 15, 2019
Music by Radboud Mens & Matthijs Kouw
Mastering by Jos Smolders at EARlabs
Artwork by Aldje van Meer
https://movingfurniturerecords.bandcamp.com/album/2
|
2019 |
€16.50 |
|
| MENUCK, EFRIM MANUEL |
High Gospel |
LP + CD |
180g Vinyl inklusive CD + limited edition Poster! EFRIM MANUEL MENUCK ist am besten als Mitbegründer von GODSPEED YOU! BLACK EMPEROR, als Mastermind der Kammerpunk Gruppe THEE SILVER MT. ZION und als Mitglied der VIC CHESNUTT BAND bekannt. Mit dieser Band hat er insgesamt 13 Alben aufgenommen. Dazu hat er das Montrealer Hotel2Tango Studio mitgegründet und mit so verschiedenen Künstlern wie BRITISH SEA POWER, CARLA BOZULICH'S EVANGELISTA, WOLF PARADE und GRANT HART gearbeitet. Fans von MENUCK kennen sich mit seinem höchst eigenständigen und ständig weiter entwickelnden Zugang zur elektrischen Gitarre aus - eine einzigartige Kombination aus kurzen und langen Analogdelays, krasser Kompression und Wolken aus Pink Noise Verzerrung. Entstanden sind die Songs in den letzten anderthalb Jahren und lassen einen tiefen Blick zu in die Seele des Mannes, der nie versucht hat, persönliches, privates Leben von künstlerischer Äußerung zu trennen. Tief beeinflusst von den Emotionen, die ihn während und nach der Geburt seines Sohnes Ezra begleitet haben und geprägt von seiner Liebe zu Jessica Moss (die bei ASMZ auch Violine spielt) pendeln die Stücke zwischen experimenteller Klangentdeckung und Verneigung vor Melodien hin und her. Ein wunderbares Album! 180g Vinyl includes limited edition poster + CD Efrim
Manuel Menuck is best known as co-founder of Godspeed You! Black Emperor, leader of agit-chamber-punk group Thee Silver Mt. Zion, and member of the Vic Chesnutt Band (2007-2009); he has a combined thirteen albums under his belt with these three groups. He is also co-founder of Montreal's Hotel2Tango recording studio, with dozens of recording, arranging and guest playing credits to his name, for a list of artists as diverse as British Sea Power, Carla Bozulich's Evangelista, Wolf Parade and Grant Hart. Fans of Menuck will be well versed in his highly original and constantly evolving approach to the sound of the electric guitar - a unique combination of short and long analog delays, biting compression and blown-out clouds of pink noise distortion. His recasting of various folkways through the lens of uncompromising punk-rock is also well-documented in the discography of Thee Silver Mt. Zion, with that band's use of poetically political group singing set against a hybrid of damaged blues, waltz, klezmer and folk instrumental tropes. Perhaps less appreciated is Menuck's work as an inventive signal-bender and soundsculptor, with an overriding commitment to analog processing, tape manipulations, reamping and other iterative strategies. Efrim's aesthetic and techniques remain about as diametrically opposite to the dominant Pro-Tools and DSP culture as it gets for someone working in contemporary multi-tracked rock composition and production.
https://efrimmanuelmenuck.bandcamp.com/album/plays-high-gospel
|
2011 |
€23.50 |
|
| MENUCK, EFRIM MANUEL & KEVIN DORIA |
Are Sing Sinck, Sing |
LP |
Efrim Manuel Menuck – founding member of Godspeed You! Black Emperor and Thee Silver Mt. Zion – and Kevin Doria from Growing and Total Life, are now officially a duo. Menuck recruited Doria to help him translate his acclaimed 2018 album Pissing Stars from the studio to the stage, and the pair have been touring under the Efrim Manuel Menuck moniker for the past year (often with Doria’s latest solo project KGD opening the proceedings). They’ve also been co-writing piles of new material, diving deeper into whirling maximalist electronics, still shot through with Menuck’s incantatory singing awash in plaintive distortion and hope.
Efrim Manuel Menuck & Kevin Doria are “SING SINCK, SING” presents the first volume of songs forged from this febrile and fertile merger: an antifascist poetics of sound that unspools across five crushing, keening tracks driven by thick sweeping drones and ostinatos, battered by inscrutably searching, ricocheting vocals. Anguish, yearning, and desperate conviction combine in these saturated survivalist electro-hymns, for as long as the power stays on to overload the amplifiers.
WE STARTED PLAYING TOGETHER IN THE DARK WINTER OF 2017. 6 OSCILLATORS AND 3 LARGE AMPLIFIERS. DROVE THRU HELLA BLIZZARDS AND/OR HEATWAVES JUST TO LAND IN SMALL ROOMS, VIBRATING. A SERIES OF SHORT TOURS, A PROCESS OF FIGURING OUT WHILE EXHAUSTED WHILE HURTLING WHILE WORRIED. EVERYTHING ILLUMINATED EVERYTHING DESTROYED. WE LANDED IN MEXICO CITY LAST FALL, WROTE THIS RECORD QUICKLY WHILE THE POLICE DROVE ROUND AND ROUND. FIRST SONG IS SELF-EXPLANATORY. 2ND SONG A STATEMENT OF INTENT. THIRD SONG IS AN EMPTY SPACE BETWEEN TWO HIGHWAYS. FOURTH SONG IS ABOUT A MURDERED FOREST. FIFTH SONG INSISTS THAT WE WILL WIN. HOLD ON. THO THESE TIMES ARE DARK TIMES. HOLD ON. – E.M.M./K.G.D (SING, SINCK SING)
As the title suggests this is also an interstitial album of sorts, an identity-bridge that leads away from Menuck as ‘solo’ artist and towards SING, SINCK SING which will be the new band name for future work by the duo. Thanks for listening.
Recorded in Mexico City and in Montréal, autumn 2018.
Mastered by Harris Newman at Greymarket, Montréal.
Intro vocals on “Do The Police Embrace?” sung by Johanna and Ezra.
Additional vocals on “Do The Police Embrace?” and “Joy Is On Her Mount And Death Is At Her Side” by Robin Wattie.
“Fight The Good Fight” lyrics by Michele Fiedler-Fuentes & E.M.M.
Dedicated to Dirk Hugsam, last of the sad german outlaws
https://singsincksing.bandcamp.com/album/are-sing-sinck-sing
############################
180 g Vinyl inklusiver kunstvoller Innenhülle + 4" Farbaufkleber + MP3-Download. Efrim Manuel Menuck (Godspeed You! Black Emperor, Thee Silver Mt. Zion) und Kevin Doria (Growing, Total Life) sind nun offiziell ein Duo und präsentieren dieses neue Set von wirbelnder, maximalistischer Antifa-Elektronik-Noise, durchdrungen von Menucks markantem Beschwörungsgesang, der in klagende Verzerrung und Hoffnung taucht. WIR BEGANNEN IM DUNKLEN WINTER 2017 ZUSAMMEN ZU SPIELEN. 6 OSZILLATOREN UND 3 GROßE VERSTÄRKER. FUHREN DURCH HÖLLISCHE BLIZZARDS UND/ODER HITZEWELLEN, NUR UM IN KLEINEN VIBRIERENDEN RÄUMEN ZU LANDEN. EINE REIHE VON KURZEN TOURNEEN, EIN FINDUNGSPROZESS, WÄHREND MAN ERSCHÖPFT IST, WÄHREND MAN SICH BEEILT, WÄHREND MAN SICH SORGEN MACHT. ALLES ERHELLTE ALLES ZERSTÖRTE. WIR SIND IM LETZTEN HERBST IN MEXIKO CITY GELANDET, HABEN DIESE PLATTE SCHNELL GESCHRIEBEN, WÄHREND DIE POLIZEI IMMER WIEDER RUNDHERUMFUHR. DER ERSTE SONG IST SELBSTERKLÄREND. DER ZWEITE SONG EINE ABSICHTSERKLÄRUNG. DER DRITTE SONG IST EIN LEERER RAUM ZWISCHEN ZWEI AUTOBAHNEN. DER VIERTE SONG HANDELT VON EINEM ERMORDETEN WALD. DER FÜNFTE SONG BESTEHT DARAUF, DASS WIR GEWINNEN WERDEN. HALTET DURCH. DENN DIESE ZEITEN SIND DUNKLE ZEITEN. HALTET DURCH. - E.M.M./K.G.D. (SING, SINCK, SING)
|
2019 |
€21.00 |
|
| MERZBOW |
Zara |
10inch |
"... Its been some time since I last heard Merzbow too actually, and perhaps for the very same reason as I didn't hear post rock or ambient house: maybe after a while you heard it. And believe me, I heard a lot of Merzbow. Now that hear this 10", I realize I missed that too, but perhaps that is due to the fact that there is something about this record which reminded me of some older Merzbow, the 'SCUM' double LP. On that LP Masami Akita cuts up his own old work and re-assembles it. The a-side starts out with similar cut-ups, before going into what seems to be an improvised guitar recording, filtered through the EMS Synthi-A. On the b-side drumming pops up, reminding the listener of the fact that Akita started out as a drummer, and did also play the drums on his 'Live In Khabarovsk' LP. Akita is on both sides in a totally free improvisation mode, and his tools of the trade - noise - is apparent, but not the main driving force of this record. It appears here, in the middle of his free play of improvised playing. Here too its a call out to play more, old, Merzbow. Said records for instance, and then 'Zara' again." [FdW/Vital Weekly]
www.licht-ung.de
|
2010 |
€15.00 |
|
|
Camouflage |
CD |
"The elemental excitement for each new Merzbow album remains intact among us here and, after four long years, the undisputable master returns to Essence Music with a new installment of his unique brand of harsh psychedelic noise assault.
A bit distant from Sha Mo 3000’s pulsing, often rhythmic strategies or the recent albums featuring freestyle drums by Masami Akita himself, Camouflage plays by the more straight MERZBOW rules, going back to his comfort zone of audio barbarism.
We salute the ferocious torrents of abused, imploding and exploding electronics, the sharp, pulverizing and abrasive high frequencies and the unrelenting punishment of frenzied throbbing machine-screams witnessed in the controlled cacophonic environment of Camouflage!
Presented in our deluxe, sturdy gatefold mini-LP packaging featuring intriguing psychedelic collages by Mr. Akita. Limited to 800 copies." [label info]
www.essence-music.com
|
2009 |
€14.00 |
|
|
Noisembryo /Noise Matrix |
do-CD |
Noisembryo definitively presented here with bonus disc titled Noise Matrix including unreleased material from the same sessions as Noisembryo and counterpart Hole and selected recording from the time period. The bonus disc alone makes this essential for any Merzbow fanatic as well as new listeners. When people ask where to start with Merzbow, this is the answer. The holy grail, not only of Merzbow's obsessive discography, but of the entire '90s noise movement. You've heard the stories surrounding the infamy of this release, but beyond that stands the depth and wild energy over two decades later that Noisembryo encapsulates. Velocity loops, roving automotive bass, and cacophonic drum machine gel together with the surprising inclusion of a sound rarely heard within Merzbow's many years... Masami Akita's own voice. Akita's surrealism of the past stands prominently relevant to this day. The original Noisembryo on disc one; disc two, Noise Matrix, includes: Track 1 - taken from original DAT tape which including Noisembryo recording on 1994; Track 2-5 - taken from original DAT tape which including Noise Matrix (in Hole) on 1994; Track 6 - a track recorded on 1995 for releasing Eskimo compilation; Track 7 - taken from original cassette tape which recorded on 1994 and remixed on 2019. Remastered in 2020 at Munemihouse, Tokyo. Deluxe foil stamped gatefold tip-on CD wallet cover with mini poster; includes art images from unseen classic paintings and collages of Masami from the original Noisembryo session; includes digital download code.
https://hospitalproductions.bandcamp.com/album/noisembryo-noise-matrix
|
2022 |
€22.00 |
|
| |
Cloud Cock OO Grand |
do-LP |
"Merzbow came roaring onto the Tokyo scene in 1979. To this day, the project remains one of the most prolific and aggressively forward-thinking acts in experimental music. Initially a duo of Masami Akita and Kiyoshi Mizutani, before settling as the moniker of Akita alone, the project took its name from German artist Kurt Schwitters' pre-war architectural assemblage, The Cathedral of Erotic Misery or Merzbau, and quickly set out to challenge entrenched notions of what music could be. Embracing technology and the machine, even in its earliest iterations, Merzbow broke boundaries and pushed toward new territories of the extreme, arriving at an unadulterated manifestation of sonic expression that has continued across the last 40 years, setting the pace for the entire genre of noise along the way. Few projects have pushed boundaries, risen to a more iconic status, or been as influential over the same period of time.
Recorded in Holland during the autumn of 1989 and originally issued as an highly limited edition CD by ZSF Produkt in 1990, “Cloud Cock OO Grand” was the first of a series of albums to indicate a change in creative direction that Merzbow would following over the coming decade. During the European tour during which these recordings were laid to tape, Akita was only able to transport simple, portable gear. Rising to the challenge, these limitations led to the development of a signature form of harsh noise, heavily influenced by death metal and grindcore, that would come to define much of his early '90s sound. “Cloud Cock OO Grand” was the first of this shift to be sent into a wider realm.
Comprising five individual compositions - three being side-long - “Cloud Cock OO Grand” was composed and performed by Akita on synthesizers, metal devices, noise electronics, and string instruments, all recorded at the extreme volumes for which Merzbow has always gained a unique sense of distinction. Despite being enthralling sonic assault, driven by the frenetic presence of electronic sounds, across the length of the album’s four sides it is hard not to be captivated by a greater sense of dynamics and space within the artist’s work, resulting from sparse acoustic interjections played against Akita’s heavily processed strings. The result, while no less intense of demanding than anything before or since, reveals a surprising sense of intimacy and consideration that’s often not easily observed within the field of noise.
Easily among the most captivating gestures within Merbow’s sprawling catalog, pushing endlessly forward while subtly nodding toward historical gestures from the early years of the avant-garde, Urashima beautiful double LP edition of “Cloud Cock OO Grand” marks this seminal and long unavailable album’s first time over on vinyl.
Issued in a very limited pressing of 299 copies, with cover that faithfully reproduces the original CD artwork and an A2 poster with an original 1990 draw by Masami Akita, it’s hard to recommend enough."
https://urashima.bandcamp.com/album/cloud-cock-oo-grand
|
2023 |
€34.00 |
|
| MERZBOW & LAWRENCE ENGLISH |
Eternal Stalker |
LP |
"On their first official collaboration, Japanese noise pioneer Masami Akita aka Merzbow and Australian sound sculptor Lawrence English present a harrowing, surrealist portrait of nocturnal industrial activity, spawned by field recordings made in a sprawling factory complex seven hours north of English’s home in Brisbane. He characterizes the area as “uneasy and unsettling,” awash in the sickly glow of smelters and refinement machinery, somehow not of this world – a liminal quality vividly captured in Andrei Tarkovsky’s sprawling purgatorial opus, Stalker, to which the title alludes. Akita, too, described early drafts of Eternal Stalker as feeling “like the soundtrack to a dystopian science fiction opera.” A mood of mechanical dread and ruined futures permeates each of the album’s seven potent compositions.
Opener “The Long Dream” sets the stage with steady rain on sheet metal, punctured by thunder and metallic echoes, reverberating to the rafters in a collapsing warehouse. Quickly the tempest rises. “A Gate Of Light” and “Magnetic Traps” both convulse in churning furies of electric demolition and rattling chains, roaring and relentless. “The Visit” and “Black Thicket” operate more at a distance, surveying the topography of steam, rust, and liquid metal from above, their flickers of violence like gunfire swallowed by blankets of darkness. This is noise at its most elemental and unknowable: brooding, bristling, and opaque, stalking forbidden peripheries of chaos and creation.
Discussing Akita’s music, English refers to its “intense substrata that is purely psychedelic; it consumes and confounds.” The seasick swells of friction and fracture subsume the listener, forcing an auditory surrender: “this saturation of the senses can be a euphoria.” Proof comes halfway through “The Golden Sphere,” when the howling mayhem subtly recedes, revealing an eerie siren drone hovering in the void, like the resonance of a dead star galaxies away. Slowly a seething, venomous wall of volume returns, shredding the signal until its frequencies fray, whipping away into the eye of the storm. The combined effect merges obliteration and liberation, rapture and ravagement; it’s the sound of dissolution as resolution, uprooted and unmoored, finally freed from form."
https://lawrenceenglish.bandcamp.com/album/eternal-stalker |
2022 |
€24.00 |
|
| MERZBOW + HEXA |
Achromatic |
LP |
The esoteric noise duo known as HEXA is the sonic union of Xiu Xiu’s focal point Jamie Stewart and sonic provocateur Lawrence English. Forged out of a mutual interest in exotic birds and the decaying charms of the post-industrial age, their collaboration explores the physicality of sound and its abilities to infiltrate and occupy the body. Their collaborative work has been described as being possessed by cascading low frequency pulses and tectonic plates of sound, suspended in cavernous cathedral-like spaces.
Legendary noise artist Merzbow needs no introduction, given his prolific output and notorious experiments within the realm of human endurance and audible extremes. While Merzbow has remained a solemn figure within the canon of noise, and he is no stranger to the members of HEXA. Jamie Stewart and Merzbow worked together as a duet on a collaborative Merzxiu LP in 2015. On the other side of the spectrum, Lawrence English has curated numerous concerts for Merzbow across his native Australia.
A partnership of these three artists was born out of the collective goal of framing their work against particular sonic and visual architectures. HEXA’s initial utilization of this idea, Factory Photographs, was a commissioned piece to soundtrack the photography of film maker David Lynch. HEXA approached Merzbow with the idea of a collaboration that sought to collide their particular approach to physical sonics against Merzbow’s resoundingly ontological noise practice.
The result of this collision turned into a full length album, aptly titled Achromatic. Focus laid on the severe reverberation of relative noises, brandishing extreme frequencies familiar only to Merzbow and coupled by HEXA’s brutalist pulsation. Each side of the album is produced and mixed by the other, making their audio interpretation of Achromatic a sort of reverse exquisite corpse. A true snapshot afterthought from the decay of the modern age.
Mastered by Lawrence English and cut by engineer Josh Bonati, the vinyl release is packaged in a minimalist styled 24pt stock reverse matte LP jacket designed by Joe Stewart.
|
2018 |
€23.00 |
|
| MERZBOW + KAORU SATO |
Kyoto Oct. 21 2018 |
LP |
First collaboration ever between noise legend Merzbow and visionary/provocateur Kaoru Sato of R.N.A. Organism (Vanity Records) and EP-4.
Side A: live recording of Merzbow and Kaoru Sato’s first live collaboration ever. Recorded October 21st 2018 at Metro club in Kyoto for a three-label showcase with avant-garde imprints Slowdown, Phonon and Kyoh Records.
Side B: Solo sessions by each artist that took place after the joint performance on the same night. Edited and mixed in their respective studios.
https://wrwtfww.com/album/kyoto-oct-21-2018-lp-version
|
2019 |
€22.00 |
|
| MERZBOW / M.B |
Merzbow meets M.B. |
LP + 7inch |
First ever collaboration album between the two most important noise artists on the planet!
7" is a noisy split.
Xeroxed cover with numbered insert.
Lp is green/blue/yellow splatter vinyl and 7" is fuchsia.
www.menstrualrecordings.org
"Masami Akita and Maurizio Bianchi are without question amongst the pioneers of harsh, abrasive electronic music. Both of their careers began quite prolifically around the same time, and since Bianchi's return in the late 1990s have continued as such, with both producing a massive number of albums each year. These two albums act nicely as reference points on their long careers, with the 10" capturing pieces each submitted for the Mail Music Project compilation, here appearing unedited for the first time, and the LP being a recent collaborative work that stands amongst both artists' best material as of late.
The material on Merzbow Meets M.B. is recent work from both acts as a true collaboration, and the bonus included 7" makes for a nice split release to compare to the 10" as far as the individual artists' work goes. "Dissonant Abstraction" initially is all roaring, cavernous Merzbow noise, but kept restrained and under control. Low register swells and patterns make for an ersatz rhythm, with haunting passages of synthesizer clearly marking Bianchi's contributions. His work here has shades of his more recent new age material, but it works, balancing out the harsher end of Akita’s harsh noise. In some ways it sounds like each artist’s solo work mixed together, and it is rather effective.
The other half, "Surreal Distortions," is overall more in the noise spectrum of things, with muffled, bassy noises and thin analog electronics. There is not the same hints at melody as on the other side, and instead focuses on harsher textures. Bent oscillators and electronic chirps mark this a clearly analog piece, and with the occasional use of phasing and flanging it calls to mind some of CCCC and Astro's best work. Here it feels more like a collaboration between the two, with Akita’s use of chaotic mixing and Bianchi’s use of synthesizer sounds.
The 7" single included with the LP features each artist contributing their own recent solo works as well, and while both are excellent, neither are surprising. Merzbow's "Fragment B" is all scraping metal and bleeping electronics, so in some regards is a throwback to his early 1990s junk noise sound without the overly loud electronics. An occasional rhythm sneaks in here and there, but for the most part it is pure chaos. Bianchi's "28th Flux" has the bleakness of his early works, but a more modern, higher fidelity sheen covering the pained electronics and darkness.
(...)
As both artists are ridiculously prolific, and I personally have a fondness for their earliest work in both cases, I tend to only occasionally dabble in either of their new releases. In this case, the recent collaboration work is exactly what I hoped it would be, mixing the best sounds of both artists together splendidly. Coupled with the vintage material on the 10", and it makes for a pair of releases that demonstrates the best facets of these two long respected artists."
[Creaig Dunton]
"Masami Akita from Japan and Maurizio Bianchi from Italy are both active inside experimental music since roughly the same time, the late 70s. They both came from the world of cassettes and have a legendary status by now. Merzbow is probably the more well-known musician, due to the fact that he plays many concerts all over the world, and both have a ton of releases under their belt. The difference is, perhaps, that Bianchi has moved more over the musical spectrum and Akita is more a man of strict noise. There has been a split release by them on the same label earlier this, but as far as I recall not a joint release. Here we have a LP of collaborative music with a bonus 7" of solo pieces. It seems to me Merzbow is taking the lead here, as this is all more in his territory than in that of Bianchi. You can figure out what Bianchi does here, as sometimes his chilly electronics leap out of the noisy hot bed that Merzbow created. When this is less apparent, it seems like a fine Merzbow record, and not like a Merzbow plus someone else record. That perhaps is the odd thing about this record, but says nothing about the quality. If we turn to the 7", then we'll see that Bianchi can be noisy too. His solo piece is quite loud, like a power drone stuck in a high voltage charger. Organic? Organ-like! This is a fine reminder of the old M.B. from the early 80s when this sort of violence was common ground for M.B. and he was the unquestioned master of the genre. For his solo piece, Merzbow also goes back to his earlier days and comes up with something that reminded me of his days, circa S.C.U.M.: various unrelated tapes and electronic sounds are stuck together and make up a fine musique concrete tres brut. Heavily cut up and chopped up into a fine pieces, grinded together. Excellent noise music throughout." [FdW/Vital Weekly]
|
2013 |
€26.50 |
|
| MICO NONET |
The Marmalade Balloon |
CD |
Das fünfköpfige Ensemble um JOSHUA LEE KRAMER verbindet Kammer-Musik-artigen Wohlklang (Viola, Cello, Horn, Oboe) mit vorsichtig eingesetzten elektronischen Sounds - rein instrumental, Filmmusik-mäßig, athmosphärisch, luftig, melancholisch, aber nicht düster oder aufdringlich. Auf den 13 Stücken bewegen sich vor allen Dingen Streicher im Vordergrund, es sind nicht die "grossen" Melodien die hier im Zentrum stehen, sondern eher die allgemeine Stimmung die erzeugt wird, zeitlos und irgendwie "zwischen den Welten"....
Anklänge an JOHANN JOHANNSSON, RACHELS, OPION SOMNIUM.
"The five musicians at work here all have day jobs with symphony orchestra's, all over the world: from Berlin, Richmond, Baltimore to Philadelphia. Only their leader, one Joshua Lee Kramer (who is a member of Matt Pond PA) is not, and he's also the only one who plays synthesizer. He describes Mico Nonet as 'ambient chamber music' and quite right it seems to me. French horn, oboe, cello and viola are the other instruments and they play quiet chamber music that you could easily define as ambient. 'The Marmalade Balloon' is their debut album with thirteen relatively short pieces that glide by like a cold winter, sun-covered day. It's cold outside, warm inside, and this music is the perfect soundtrack for such a day. Sustained tones, glissando and pianissimo
with the synthesizer very much pushed to the background, producing an overall color, rather than adding sound. Highly atmospheric music that could come straight out of the Cold Blue Music catalogue. Peaceful music, without being a cliche or new age...[FdW, Vital Weekly]
"The Marmalade Balloon is the year's ultimate flirtation with subtlety and seductiveness. Existing somewhere between the neo-classical and the ambient, Mico Nonet fashion a world that is hazy and succinct, at times dark and haunting and others playful and inspiring, but always open to personal interpretation. The balance between musicians is gracefully maintained, where neither the electronics nor the strings are ever overly pronounced as to withdraw the listener from the intoxicating, spellbinding trance which The Marmalade Balloon invokes. The future will certainly take this musical act on a variety of different presentations, but with their strong understanding of musical space and development, we're confident that they'll be a favorite for years to come. " [Jordan Volz, The Silent Ballet]
www.micononet.com
|
2007 |
€12.00 |
|
| MICRO_PENIS |
La Maison de la Justice |
LP |
"Micro_Penis (Alexandre Kittel, Claude Spenlehauer, François Heyer, Sébastien Borgo) started in 2006. It can be described as follows: gross improv, illiterate, savagery amongst civilization, collective strain, drool and spit, mental deficiency, foul breath from brass instruments, exploiting human idiocy, musical pornography, sound rubbish chute that does not have respect for anything nor anyone.
After the publication of 3 LPs by Doubtful Sounds and one CD by Chocolate Monk, they have decided to explore new sound directions. Their fifth album “Maison De La Justice” closes a first cycle. 199 copies, silkscreen cover."
AUDIO:
https://soundcloud.com/ogrob/micro_penis-la-fonctionnaire-en-charge-de-laccueil-juridique-from-maison-de-la-justice-lp |
2019 |
€18.00 |
|
| MIEVILLE, EMMANUEL |
Magnetic fields and shrouded flux |
mCD-R |
Harsh field recording ambience? All sounds here seem to be derived from field recordings, but were then processed heavily.. this resulted into two quite intense pieces, with lots of details & great effects...rarely water sounded that harsh!
"french composer/phonographer mixing musique concrete, field recordings and drones for two haunting pieces. full-colour printed 3"
cd-r with artwork by delphine ancelle-b." [label info]
www.taalem.com
|
2007 |
€5.00 |
|
| |
Jin Gang Jing |
mCD-R |
emmanuel mieville is a french sound artist dealing with musique concrète (he studied at the famous GRM in paris) and more recently field recordings. his past works include several cds on baskaru, obs, cronica, xing-wu (with éric cordier) and a 3"cd-r ten years ago on taâlem ("magnetic fields and shroud flux", still available!).
the two tracks composing "jin gang jing (le sutra du diamant)" are based upon field recordings made in buddhist temples in china.
reviews:
Vital Weekly 1150
Emmanuel Mieville closes this trilogy and his work has been reviewed before (Vital Weekly 1071 for instance) and these days his work is extensively about the use of field recordings. In the two pieces on this 3"CDR he uses sounds recorded at Buddhist temples in China. In ‘Shao Yeu Temple' voices play an important role. Whatever text is recited I have no idea, not being a Buddhist myself nor particularly interested I must admit in any form of religion organised or otherwise, but I like the rhythmic flow to the piece. It's hooky and comes with some great 'other' sounds, insects chirping and something that sounds like stick being rubbed over a floor. Should I know not any better than I would think the opening sounds of 'Chengdu' has a dark synthesizer, but it's probably something else. Here too we have the same hooky reciting of a text. I was wondering what electrical machinery sparked off that drone like sound, as it sounded deep and menacing. I liked both pieces, with a slight preference for the first one, which at times sounded like it could be an outtake of the first Dome LP. This is all a very musical form of field recordings. (FdW)
https://taalem.bandcamp.com/album/jin-gang-jing-le-sutra-du-diamant-alm-125 |
2018 |
€5.00 |
|
| MIEVILLE, EMMANUEL & ERIC CORDIER |
Dispositif: Canal Saint-Martin |
CD |
Ähnlich wie auf der "INSCAPE" CD von ERIC LA CASA und J.-L-GUIONNET werden auf DISPOSITIF "Orts-spezifische Aufnahmen" von den akustischen "Aktivitäten" eines grossen Gebäudes in Echtzeit zusammengeführt (mit 30 Mikrophonen, die an verschiedenen Plätzen eines Kulturzentrums in Paris befestigt waren). Daraus entstehen unglaublich komplexe und vielschichtige Field Recordings, vom reinen Objektknirschen bis hin zu menschlichen Lautäusserungen und herüberwallenden Proberaum-Klängen, das ganze wird zudem auch noch bearbeitet & effektiert...
"Many individuals are unable to properly listen. Dissecting noise until harmonic components are found and deployed, detecting a logic in whatsuperficially amounts to sheer din, elaborating contrasting messages and different impulses until their core is reached. Sound artists Mieville and Cordier tend a helping hand to those who want to learn a bit about the process of active listening with this project, a real-time composition that took its form in 2005 at the Centre d'animation Jemmapes in Paris' City Hall. Placing thirty microphones all over the place, which comprises various halls and offices plus "several floors of rehearsal rooms for dance, music, theatre", the two authors originated a sketchy yet efficient acousmatic pieceinterspersed with laptop-triggered "sonic objects" and movements from the surrounding life and activities, with emphasis on the urban landscape and a pretty evident human participation. To this, a few sounds captured in Normandy were also added. We hear people chatting, singing and whistling. In the background, a marching band or the wheezing currents of familiar hullabaloo filtered by a ventilation duct appear, rendering the whole as a flanged reproduction of the buzzing bustle of a large amount of beings whom we can't distinguish singularly but all contribute to the final patchwork. The work is a valid example of what can be achieved through the exploitation of subjective approaches to perception and, although a tad predictable in some of its parts, deserves careful consideration." [Massimo Ricci]
www.xingwurecs.com
|
2007 |
€13.00 |
|
| MILTON, ANTONY & ANLA COURTIS |
Bronze Age Subway |
LP |
"Recorded at Anla's apartment in Buenos Aires in December 2009 'Bronze Age Subway' is a mystic dreamy trip submerged in a warm bath of tape hiss. Listening to this sort of music makes your thoughts run sideways. Presented very much as it happened in the room with minimal editing it is full of surprises, chugging guitars and droning melodic organs work against each other to be finally married in some bright blaze of mystic glory; tin can violin and pounding drums attain odd tidal epiphanies. Released as a sweet vinyl LP by Ikuisuus and Gold Soundz.
Recorded in Buenos Aires, Argentina at unidentified studios, December 2009.
edition of 260 copies in lush silkscreened printed jackets." [label info]
www.ikuisuus.net
|
2011 |
€15.00 |
|
| MIMETIC |
Where we will never go |
CD |
with 'where we will never go', mimetic presents his latest full length album, which is, apart from a 3-track vinyl lp released in 2011, his first major work since 'one more than nine'. supported by many guests like vorph, singer of the metal band samael, contra-alto singer agnes martin-sollien and scalper, former vocalist of fun da mental, the 15 tracks are focusing on a large scale of electronic music styles, from crystal clear electronica, bass music, experimental with complex rhythms to techno. this album showcases a multitude of tempers where jerome soudan finds the perfect balance between soothing, spectral and impulsive moods, embedded in a breathtaking wide range of dynamics. also featured are three remixes by mira calix (warp records), mika vainio (pan sonic, mute) and niveau zero, where mimetic's original tracks are transformed into unorthodox abstraction, pulsing ultrasonic minimalism and distorted six-string dubstep rage. on this release mimetic will take you to places where you will never go - here is the invitation to follow.
https://hymen-records.bandcamp.com/album/where-we-will-never-go |
2013 |
€8.50 |
|
| MINADEO, JOSEPH & CURT BROWN |
Wood Land |
CD+ booklet |
Wood Land is a story of a nameless worker caught in the mundanity of placid bureaucracy. Wood Land is a story of buried towers and subtle rebellion. Wood Land is a story of unsubtle rebellion and totalitarian overthrow. Wood Land is a story of deep space awakening and astronaut spiders. Wood Land is a story of return and reconciliation. Wood Land is a story.
Scored by Joseph Minadeo and written by Curt Brown with imagery by both.
Sonically, 'Wood Land' was an extension of Joseph Minadeo's first foray into
ambient - 'sounds from a photograph', a 'Pearl'-esque LP of Lanois affected piano and placid
drones. 'Wood Land' extends that premise and gives a hazy nod towards Noto and Sakamoto's
collaborative soft digital clicks and sustained piano.
Airy atmospheres are constructed with multiple piano layering plus guitars dissolving into despondant
organ, synth sequencing and minimal drum padding. Slow cadences of hope and light
are countered with ominous sonatas. Indescernible Vocals, courtesy of Gabriela Kropf,
are mixed into the mellotron choirs.
'Wood Land' features deluxe packaging with a perfect bound booklet of 28 pages, matte digipak, housed
in a slipcase.
Joseph Minadeo is a composer behind the former Akron, Ohio (now Los Angeles) based Patternbased label.
He is also a member of the post-rock outfit Low in the Sky. He recently moved to California
to dig deeper into art and music.
Curt Brown is an Akron, Ohio based artist and is a co-founder of Rubber City Noise, a collective
that runs a record label and arts space in Akron. Current projects include Black Unicorn and
Cane Swords among others.
Several tracks from 'Wood Land' were used in the global collaborative documentary film 'One Day on Earth' (along w/ Sigur Ros, Beirut, Cut Chemist and Mum).
Design by Kevin Carr and Charlie Wagers.
https://infraction.bandcamp.com/album/wood-land |
2012 |
€14.00 |
|
| MIRT |
Heading South |
LP |
"Backwards proudly presents the new album of great Polish artist MIRT!
Heading South is the eighth Mirts' album. The record was created with great help of TER between 2011 and 2012. Like its predecessors it is to some extent a concept album. This time, derived from exotic vision of class B old adventure films and cheap comic stories. As usual this inspirations are barely visible and immersed in typical for Mirt hazy and dark mood. This are only some hints and whole album leaves a much wider scope for interpretation.
After instrumental Artificial Field Recordings Mirt intended to record album with songs and after several earlier attempts he fail again, leaving only two track with voice. Don't miss this superb gem! Available in two editions: 100 copies as yellow vinyl and 200 copies as black vinyl." [label info]
www.backwards.it
|
2013 |
€15.00 |
|
| MLEHST |
An old broom knows all the dirty corners |
CD |
Das MLEHST-Comeback nun auch auf CD; diese Klänge sind wirklich unangenehm und regen auf, ohne harsch noisig zu sein, ein schräger Tanz von Radiosinustönen, low-fi-Geräuschen und Rauschen, fast jegliche musikalische Grundkonzepte und Bestimmungsparameter sind hier ausser Kraft gesetzt!
"Mlehst returns after years of silence, along with his unique (and prolific) experimental noise. As a bonus this digipak album has some alternate mixes of material from two recent LPs, but they fit well here and will seem like part of the whole work to most listeners. Commencing with noisy drones and reverberating percussive noises, the album takes a really varied journey through all kinds of noisy experimental, weird electronic, feedback, and droney sounds. There is a really unsettling and disturbing element to the music throughout the CD, which seems more controlled and natural than I had remembered in previous works. As intense as the sounds on CD can get, it is by no means a typical static harsh noise release. Everything has it's place and is totally under control, being precisely manipulated. Just how I like my noise... An incredibly solid and enjoyable release, through and through." [Diophantine Discs Top Releases of 2006]
"Whether or not its because I am in the process of giving up smoking I don't know, but this album leaves me anxious and on-edge. Fantastic! So many recordings just leave you cold. An emotional conduit!" [METAMORPHIC JOURNEYMAN]
|
2006 |
€12.00 |
|
| |
Vilification of the english peasant class |
LP |
Eigentlich müsste MLEHST Preise gewinnen für die ausser-gewöhnlichste & einfallsreichste Titelgebung. Der Titel dieser LP heisst übersetzt etwa "die Herabwürdigung der englischen Bauernklasse".... klanglich ist das wieder äusserst herausfordernde, zermürbende Musik, mit eher hochfrequenten, Sinuston-artigen Drones, Cut-Ups, Feedbacks, insgesamt weniger krachig und "auskomponierter" als auf den Tapes der 90er, obgleich es auf der B-Seite harsche Rauschfelder gibt . Exzellent !
"Diophantine Discs is pleased to announce the release of a new LP... Mlehst - Vilification of the English Peasant Class.
After an extremely active period of recording between 1992 and 1998, Mlehst returned in 2005 to bring back his unique experimental noise music in a fashion as focused and intriguing as ever. "Vilification of the English Peasant Class" is a 3-track LP composed of invigorating and often unsettling music replete with drones, feedback, and cut-ups. The first side is very structured and precise, whereas the second side presents a more improvised and intense variation on the themes presented in the former. This is sure to appeal to fans of noise, drone, and experimental music in general.
Releasing an extensive number of recordings since 1992, England's Mlehst has always managed to capture the more experimental regions of noise music. His own Bandaged Hand Produce label was rather prolific in this realm as well. With his return in 2005 (and the establishment of Belief Recordings) we can only hope this trend will continue. Mlehst has released on a variety of labels over the years, including Self Abuse, Mother Savage, Absurd, Drahtfunk, Nihilist, and The Locus Of Assemblage. Additionally he has collaborated with or been released on splits with Runzelsturn & Gurgelstock, Brume, Smell & Quim, Crack Fierce, and Macronympha.
Pressed on clear vinyl and housed in a clear sleeve with sticker affixed to the front. Limited to 300 copies." [label info]
http://discs.diophantine.net
|
2007 |
€15.00 |
|
| MNEM |
Hegonon |
LP |
"Judging by the name of one of the two members of Mnem, Juri Kaprov, Mnem is Russian or from
the Ukraine. The other member calls himself 1W, so that's not really helpful. Sentimental is a label run by Edward Sol, who for his other enterprise Quasipop is usually forthcoming with information, but for whatever reasons not this other label, so it's all a bit mysterious and perhaps that’s the point of course. From Discogs I learned that at the core of Mnem's sound there are old reel-to-reel recorders and 'analogue gadgets'. The sound they arrive at it is best called 'old school industrial', with a strong influence of Maurizio Bianchi, or rather his Sacher Pelz moniker from before that.
Quite some disturbing sound, full of hissy distortion and the sound is pretty crumbled and loop based. It rotates and rots away; one could almost hear the magnetic particles falling of those old tapes. The analogue gadgets might be a bunch of monotron synthesizers, the slowed down
percussive sounds from some pots (the reel-to-reel is particularly useful for slowing down sounds) and all of this comes in a loop based way. Mnem add a bit of sound effects along the way, just like MB did, creating dense clouds of sounds from the nuclear fall-out zone. It is by all means an old sound, but not something I for one hear a lot these days (perhaps not keeping up with all the M.B. re-issues), so I quite enjoyed this crude set of pieces; all six of them. And just like them oldie days it comes with a mysterious cover collage, but no concentration camps or pornography this time, so
we've moved forward by now in that department." (FdW/Vital Weekly) |
2018 |
€20.00 |
|
| MODELL, ROD & TAKA NODA |
Glow World |
do-LP |
2LP black vinyl, ltd. 192 copies // 2LP coloured vinyl ltd. 108 copies // CD, 6-panel digisleeve, ltd. 300 copies // Tape, ltd. 100 copies
GLOW WORLD is Rod Modell's new project resulting from his collaboration with Taka Noda. The duo delivers what could be an example of perfect elegance and musical refinement, but the resulting sounds are once again dirtied, ruined and ravaged by a noise capable of deafening us, sounds that come from afar, that seem to fade away but suddenly illuminate the world around us, which lands on us and which no longer belongs to us, leaving us lost in an infinite melancholy.
GLOW WORLD is a work characterized by buoyant ambient sounds from which delicate rhythmic textures emerge, and never speeding up they run along the routes of an electronic music that surely knows how to be as minimal and suffused as it is distressing. Touches of piano, slow pulsations of bass lines and constantly disturbed sounds that nevertheless almost lull the listener into listening to this timeless music, perfect for letting go, observing time inexorably slipping out of our hands forever.
Sounds that are timeless, it was said. Rod Modell and Taka Noda are visionaries, and GLOW WORLD is a rare gem. Simply another masterpiece.
13.silentes.it/private_sounds/sps2360.htm
|
2023 |
€36.00 |
|
| MODERN WITCH |
Babylon |
LP |
“Babylon” is the twin-LP to last year’s “Hollywood”, the second and last part of the MODERN WITCH retrospective on TuT/RuR.
The story of MODERN WITCH began 7 years ago in Denver, Colorado, when graphic artist Mario Zoots, singer Kristy Fenton and house veteran Kamran Khan started recording experimental music together on an old VHS camera. In the space of a few years, a couple of very limited tape and CD/R releases on labels such as Disaro and Clan Destine Records, and a series of spooky performances both in Europe and on the American continent, the trio has become a true underground reference for creepy, ritualistic dance music, in the muddy but oh so fascinating waters between Witchhouse and Minimal Synth. Drunk on 80s cold wave, bathed in suburbian occult decadence and haunted by dead celebrities, “Hollywood” and “Babylon” are a feast of thaumaturgic synth lines, nonchalant but captivating mpc 1000 – sequences, drugged-out spoken words and ghostly voices. American Angst or Minimal Doom electronics at their best!
www.tutrur.com/tutrur_html/tut026.html
|
2014 |
€9.00 |
|
| MOGARD, ABUL / MAURIZIO BIANCHI |
Nervous Hydra / All this has passed forever |
LP |
"MAURIZIO BIANCHI / ABUL MOGARD
NERVOUS HYDRA / ALL THIS HAS PASSED FOREVER
• Abrasive/enchanting split LP between Italian noise god MB and mystic Serbian synthesist AM
• Both artists at the peak of their respective powers • Cut @ D&M
• Limited edition of 500 copies
Ecstatic’s stunning split release between Maurizio Bianchi, godfather of the Italian industrial noise scene, and Abul Mogard, the much loved and hyperstitious synthesist, conjures a spellbinding testament to the transcendent and transportive energies of electronic music.
Although appearing to starkly contrast on the surface, both artist’s work patently shares a lust for the suggestive abstraction of raw current and its pareidolia-like capacity to generate rich and uncanny emotional responses from the end user.
On the A-side, Maurizio Bianchi serves the obfuscated, coruscating atmosphere of Nervous Hydra; a 17 minute piece of sunken, desiccated harmonic structures and warped greyscale tones rinsed with ET radio signals and distant percussion that recall the sound of embers landing on tinfoil or snow. It evokes the experience of being caught in a quietly raging whiteout with only a dying fire for company, or equally a sense of subaquatic, amniotic serenity prior to being evacuated into a much colder world.
Listeners can trust that the Italian artist’s first new work in several years is faithful to his ever- uncompromising oeuvre, but there’s also a tantalisingly elusive sense of redemption buried deep in there which marks it out from the rest of his canon and close to the work of his antecedents such as Kevin Drumm and Jim Haynes.
In that piece’s tempestuous wake, Abul Mogard brings a sense of soothing, glacial calm with All This Has Passed Forever on the B-side.
For 16 blissed minutes, Mogard spells out a nostalgic fantasy in creamy strokes of Farfisa organ and Serge modular recorded at EMS studios, Stockholm, and later combined with field recordings to elicit a wistfully widescreen paean to his days on the workshop floor accompanied by the harmonious drones and cacophony of heavy machinery.
No matter the piece’s provenance, though; it’s simply a sublime example of Abul Mogard’s gift for illusive, suspenseful ambient music which has seen his previous releases sky-rocket in 2nd hand value since their earliest, sold-out editions.
Over 30 minutes of ostensibly contrasting yet subtly, similarly spirited pieces that speak to the mystery and enigma of electronic music’s tortured, searching and romantic soul in equal measure."
www.ecstaticrecordings.com
|
2017 |
€22.00 |
|
| MOHAMMAD (MMMD) |
Segondè Saleco - 34ºN-42ºN/19ºE-29ºE Study Vol. 3 |
LP |
"34°N - 42°N / 19°E - 29°E study vol.3.
Mohammad proudly present Segondè Saleco, the third and final installment of a trilogy that explores the sounds of the geographical area between 34° - 42° & 19° - 29°. Segondè Saleco is the final catharsis which signals a dramatic change of atmosphere in the trio's signature sound. It includes 'Sagaraki' featuring Erifili Giannakopoulou on vocals. The first and second volumes, Zo Rèl Do (Lp/Cd) and Lamnè Gastama (Lp/Cd) were released in spring and fall 2014 respectively.
Chamber doom, Sonic rape, Religious, Extremely Dark, Harrowing, Monolithic, Born in Heaven, Electrocution, The opposite of a nightmare: Words used to describe Mohammad's music. Mohammad produce their sound through custom made instruments, bringing together low frequencies, inter-modulations, dark textures, and distant folk nuances. Mohammad are Nikos Veliotis, Coti k & ILIOS. They operate as Mohammad since 2009."
www.antifrost.gr |
2015 |
€18.00 |
|
| |
Segondè Saleco - 34ºN-42ºN/19ºE-29ºE Study Vol. 3 |
CD |
"Mohammad proudly present Segondè Saleco, the third and final installment of a trilogy that explores the sounds of the geographical area between 34° - 42° & 19° - 29°. Segondè Saleco is the final catharsis which signals a dramatic change of atmosphere in the trio's signature sound. It includes 'Sagaraki' featuring Erifili Giannakopoulou on vocals. The first and second volumes, Zo Rèl Do (Lp/Cd) and Lamnè Gastama (Lp/Cd) were released in spring and fall 2014 respectively.
Chamber doom, Sonic rape, Religious, Extremely Dark, Harrowing, Monolithic, Born in Heaven, Electrocution, The opposite of a nightmare: Words used to describe Mohammad's music. Mohammad produce their sound through custom made instruments, bringing together low frequencies, inter-modulations, dark textures, and distant folk nuances. Mohammad are Nikos Veliotis, Coti k & ILIOS. They operate as Mohammad since 2009." [label info]
www.antifrost.gr
|
2015 |
€12.50 |
|
| MOHANNA, NICKOLAS |
Phase Line |
CD |
"Commissioned for the sound exhibition FOAM, this piece oscillates through a variety of media saturated sources. From electronic billboards, kiosk stations and traffic control devices, these sharp reductions are knotted into sculptural arpeggiation, to stretch the mood and spatial impressions. Within this sonic territory, the shifting range of layers solidifies the piece, manifesting a vivid panoramic sensibility. In juxtaposing these concrete sounds, the piece sections into a detailed expanse with a rough interplay of rhythmic and yet muted fractal designs. These two tracks continue to show the working palette of Mohanna, relying on the intersection of deconstructed found sound and hypnotic processing. Also working as a visual artist, producing drawings and videos as accompaniments to sound pieces, Mohanna continues to draw upon the chance interactions within city environments as the source material for his textured forms. The recording was exhibited at a number of spaces which included: Wysing Arts Centre, Project Number Gallery, ANDOR. Limited edition of 200 copies in a full color custom gatefold." [label info]
www.runoffeditions.com
"Following another lengthy gap, here's a new work by Nickolas Mohanna. The previous work we'd reviewed was 'Parallax View' (see Vital Weekly 873) and looking at his discography there was only a cassette in between that release and this new one. His CV shows continuous activity, mainly in galleries in Japan, France, UK and the USA. The two pieces here were commissioned for the sound exhibition 'Foam' and 'this piece oscillates through a variety of media saturated sources. From electronic billboards, kiosk stations and traffic control devices, these sharp reductions are knotted into sculptural arpeggiation, to stretch the mood and spatial impressions'. There's more text, which I won't quote in full, but it seems to me that much of this was recorded using Mohanna's modular synthesizer set-up, but unlike 'Parallax View' the two pieces here, total length just under thirty-four minutes, seem to be less cosmic/krauty/space-like, but perhaps all a bit more experimental and less easy to access
.
The other day I was playing a whole bunch of old Conrad Schnitzler records and I recognize his 'non-keyboard synthesizer' work in the two pieces by Mohanna. Lots of knob fiddling in order to create dense patterns of synthesizer sounds. I am not sure if these synthesizer sounds are being triggered by any kind of external sources, but me thinks it is. Maybe (or perhaps most likely?) the busy sounds of the big city? It's hard to say what it is actually, but it's perhaps not really necessary to know either; it's a great work of busy electronic systems, buzzing around like bees. Like big city traffic." [FdW/Vital Weekly] |
2014 |
€13.00 |
|
| MOHR (aka MØHR) |
How to make darkness visible (SOLD OUT) |
7 |
released in August 1993 in an edition of 200 copies (clear yellow vinyl), in a handmade leather-wax-sleeve
second edition of 200 copies in December 1994 (green vinyl).
press-information (first ed.):
"MOHR is a well-known project in the international Industrial-Cassette-Underground. After the Split-LP with IGNORE ALIEN ORDERS and several tapes this is the very first MOHR-EP. On this EP MOHR presents two fantastic pieces of droning, pulsating and vibrating low Industrial-Nosise. Created with a sensible and subtle feel for brilliant effects, this music evokes a dense and dark atmosphere for a deep mind-imprinting. Too surreal for words! For the RIGHT SIDE OF THE BRAIN"
|
1993 |
€ |
|
| MOLJEBKA PVLSE |
The Distant Past Resound |
CD |
https://zoharum.bandcamp.com/album/the-distant-past-resounds
About a year after the release of the great album "Borrowed Scenery", MOLJEBKA PVLSE is back with another, even better material. Four musicians were involved in its recording; Mathias Josefson, handling all the electronics, was joined in turn by Isabel Fogelklou, who rejoined the ranks of the Scandinavian project, recording her harp parts, as well as Hara Alonso on piano and Kris Kuldkepp on double bass. The contribution of each of these artists left its mark on the final shape of "The Distant Past Resounds", which to some extent is a continuation of the previously chosen direction. However, thanks to the use of richer instruments, the involvement of each of the participants of the recording session, whose input translated into richer arrangements, even bolder stylistic journeys and the diversity of the entire composition. All this makes the latest material of MOLJEBKA PVLSE an extremely interesting story, outlined in a very expressive way so as to release a whole palette of colors, moods and emotions from the sound matter, allowing you to lose yourself even deeper with each subsequent listening. We can still talk here about the stylistic convention, which can be defined as drone / ambient, but here they were treated as a base on which one of the most interesting, if not the most interesting album in the Swedish artist's discography was based.
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"The first notable difference with many previous releases from Mathias Josefson's project Moljebka Pvlse is that it is now a real group. I don't know if this is a temporary thing, but next to Josefson on electronics, we have Hara Alsonso (piano), Isabel Fogelkou (harp) and Kris Kuldkepp (double bass). It is not a surprise that these instruments are well suited to play long-form drone sounds, perhaps with some help (a bow, an e-bow), and get those strings resonating along with whatever Josefson does on the electronic side. It starts with a more abstract approach in which many overtones are ringing, which, at times, reminded me of early Organum, which is always a good thing. The CD has one long track, but on Bandcamp, there is a division into three tracks, each about twenty-five minutes. I am unsure if that has to do with the upload capacity of Bandcamp or if these are natural breaks in the piece. I don't register anything as being a separate section. As the music progresses, the instruments somewhat drift apart and become more apparent. The piano plays sparse notes, the double bass singling out notes, and from there on, the music becomes a most curious combination of what I perceive as long-form acoustic improvisation, colliding with the more composed droning of electronics. There is something orchestral about this piece at several points, certainly towards the end, which bumps with the feedback that is also, at times, part of this piece. A fascinating
release, which, for all I know, is quite a departure for Moljebka Pvlse and opening interesting new paths into the future." [FdW /Vital Weekly] |
2023 |
€13.00 |
|
| MONTGOMERY, GEN KEN |
Drilling Holes in the Wall |
CD |
"Archive materials from one of the most mysterious musicians in electronic underground, dating from 1988 to 1991. Each piece composed by Gen Ken Montgomery is the result of domestic alchemy, transforming some ugliest environmental sounds into artistic images
of impressive beauty. His instruments are just prepared toy synth, but also from time to time laminator, icebreaker, radiator, film projector and so on. These recordings were made in Conrad Schnizler studio in West Berlin, and also live on stage there, in time of Germany reunion.
Gen Ken Montgomery has been active in the experimental, electronic and noise scenes since the early 80s. Montgomery was the founder of Generations Unlimited and an original co-founder of Pogus Productions, respected experimental music labels. In 1989, he founded Generator, the first sound art gallery in New York City, where he created a home for sound artists and noise makers who were part of the thriving international cassette culture of the 80s. Since 1996 he has published recordings by sound artists in collaboration with Scott Konzelmann (Chop Shop) releasing them through Generator Sound Art." [label info]
"Gen Ken Montgomery’s ‘Drilling Holes in the Wall’ is less an ambient record than it is an opus among the work of an experimental sound artist – being two divergent concepts – the latter more among artists of the ilk of Daniel Menche, who choose to create using a circus of instrumentation to perform certain plays before moving on to not just new locale, but new tools for performance sculpting. This retrospective of work is a troupe of electronic pulses, glitches, groans, explosions, susurrations, and endless other sonic perturbations.
Suppurating at first, “Drilling Holes in the Wall” bloats with unhealthy ichors pressing the sores with throbbing ululations that are lanced with synaptic lacerations of noise, using sound to sonically cut and carve away tumorous flesh. Every digital strike is never the same with each collop dissected bringing new electronic whimpers unexpected; the infinitesimal filigree of surgical strikes of sound is like the marginalia of some robotic surgeon. Sound fuses, splatters, roars, and blazes contorted shapes in a linear-spatial sculpture. There is no empathy here, nothing to relate to human experience. Gen Ken Montgomery’s first track is more Opus No. 1, a matrix of half an hour of disassembly, reassembly and alien interdiction upon frequencies we recognise. It comes as great surprise to find the liner notes disclose a recording date of 1990 as it could easily sit in this milieu.
Two years prior to that and the next two tracks – the latter of which and its two succeeding ones being unreleased - divulge more montage of digitally modelled scintilla, though here in more unified form, if only by sinewy electrical strands of frazzled computer nightmares of the surreal kind. Unidentifiable and humanly unpronounceable vespers are strobed and shuffled to the pulpit for recitation but there is no quantifiable bourn to address, only to witness and wonder.
The last two tracks are the shortest but of the familiar distortive and displacing concurrence sound forms previously expressed. They scurry and quiver across the mottled surface of Gen Ken Montgomery’s odd musical conglomerate. The incision of human vocals in the last track is a bizarre feeding of radio station into tesla coils that seems a poor accompaniment to the unearthly welding going about it, and before it.
Nonetheless, if you enjoy chewed electronics unlike anything you have previously heard, Gen Ken Montgomery is for you." [Heathen Harvest]
www.monochromevision.ru
|
2007 |
€13.00 |
|
| |
Postcards 1981-1986 |
do-LP |
Gen Ken Montgomery, a New York-based Visual Artist and Sound Composer is absolutely genuine; he has no training in traditional music or art. He was never a follower of any direction or school. Instead he founded his own school of off-beat DIY-electronics, driven by irresistible curiosity and ingenuous enthusiasm for sound experimentation and process-oriented performance.
His music is dense and full of polyrhythms and counter harmonies with singular control over layers of randomly pulsing, bleeping synthesizers and drum boxes. As a composer in the early eighties Ken was creating multi-channel sound works often performed in total darkness.
He began his sound explorations with electronic toys, cheap synthesizers and household gadgetry for which he had a special fascination. His ever present objects of affection are electric machines including an ice crusher (ICEBREAKER), aquarium pump, refrigerator, shoe shine machine, hand massager and a laminator (The Sound of Lamination).
Postcards has 41 (!!) tracks; 22 tracks on LP 1 compiled from his first tape Gen Ken & Equipment (1981), his second tape Collaborations (1982), his third official tape Kalkreuth Keks (1986), recorded at Conrad Schnitzler’s Studio, and several live recordings under the name KMZ with Michael Zodorozny of Crash Course in Science. Postcards LP2 includes 19 songs from the 4th official tape Beatmusik 1981-84 (SoP186) released by Sound of Pig, New York, songs from 1984 on his 5th release Room to Roam on Out Of The Blue, Berlin, plus 3 previously unreleased tracks from the same time period, one also as KMZ.
Gen Ken & Equipment was self-produced in an edition of 150 tapes in 1981 and led Montgomery to corresponding and trading tapes in the international Cassette Culture and Mail Art network, leading to relationships and collaborations with such luminaries in the underground music scene as Conrad Schnitzler, Giancarlo Tonuitti, CHOP SHOP, David Lee Myers (Arcane Device), Al Margolis, John Hudak, Francisco Lopez, AMK, Istvan Kantor (Monty Cantsin), G.X. Jupiter-Larsen (The Haters), Rod Summers (VEC), Maurizio Bianchi, Masami Akita alias Merzbow, CM von Hausswolff and Leif Elggren among others.
“Cassettes were an inexpensive and practical way of getting feedback from the developing international community of sound/noise/music experimenters. Cassettes allowed for spontaneous freedom and experimentation without the burden and commitment of releasing vinyl which was expensive to mail and costly to press in editions of less than 500”- gkm
Montgomery used the earliest Casio keyboards, self made electronic gadgets, cheap drum boxes and his favorite instrument, the Korg MS-20 synthesizer. The mixture of noise/pop/rock/electronic and soundscapes all on one cassette show how musical genres hadn’t become entrenched in the Cassette Culture scene yet. “Do it!”, “Small World” and “Treat The Hell Out of It” (released as a flexi-disc included with Onslaught Magazine (Artwerk) in 1982 are examples of the songs he composed at this time.
In the early 80s in New York City there were still small record shops such as Venus Records, Bleecker Bob’s, Soho Music Gallery and 99 Records that sold artist produced cassettes and fanzines. Independent mail order distributors like Rough Trade and Aeon Records carried Montgomery’s cassettes and On-Slaught Magazine, Option Magazine, Factsheet Five and other small DIY zines listed them or reviewed them.
Montgomery’s interest in structured improvisation and avante-garde theater theatre led to the formation of KMZ with his friend Michael Zodorozny from Crash Course in Science. KMZ performed regularly at the legendary Pyramid-Club in NYC. Tracks from KMZ and collaborations with other artists such as Stephen Spera and Stefan Tischler of Port Said can be found on his 2nd tape Collaborations.
Between 1982 and 85 Montgomery spent time in Berlin combining performance art and electronic music where he had the fortune to meet and develop a relationship with Conrad Schnitzler who has had a major impact on his life and work.
His third official Tape Kalkreuth Keks was recorded in Conrad Schnitzler’s studio during a 2-week stint in the dead of winter 1986. These 8-track recordings incorporated the violin, guitar, and keyboards with analog synthesizers, processing, voice and the “new” sounds of the Yamaha CX5M music computer. Three of the tracks on Postcards are from these sessions.
A 4th cassette Beatmusik, released on Al Margolis Sound-of-Pig-Label (SOP186) in 1988 featured a selection of tracks recorded between 1981 and 86. In 1989 Lord Litter from Berlin also released a fifth Gen Ken-tape called Room To Roam, also with recordings from 1984. A selection from these two tapes can be found on the additional accompanying 7”inch.
In 1987 Montgomery, along with David Prescott and Conrad Schnitzler started the label Generations Unlimited. Two cassettes of cassettes of minimal electronic music, Stepping Through Rooms and The One Sided Triangle were released on Generations Unlimited and in1988, GENCON, a collaboration with Conrad Schnitzler was released on vinyl.
His involvement in the late 70’s and 80’s Cassette-Culture and the Mail-Art movements led to his creation of the first and arguably still the most important Sound Art gallery in New York City in 1989: Generator. Located in the East Village, then in Chelsea, Generator’s wide scope and novel approach toward audio art made it a vector-point for some of the most interesting and important artists from around the world. Gen Ken also founded A.T.M.O.T.W.— Art is Throwing Money Out The Window — and Generator Sound Art Inc., and he co-founded the seminal experimental label Pogus Productions.
The past three decades many of Montgomery’s cassettes, records and CDs have been released in limited editions on small labels outside of mainstream distribution on such respected labels as De Fabriek (Holland), Staalplaat (Holland), Tellus, Mark Lane’s Artwerk, Banned Productions, XI Records (all USA), Firework Edition (Sweden), Old Europa Café (Italy) and Discos Esplendor Geometrico (Spain). Other recorded works are available on his own A.T.M.O.T.W. label, Generator Sound Art and on Touch Radio.
Montgomery continues to produce music and soundworks while also producing visual art, collage, bookmaking, and international correspondence art. As The Minister of Lamination (a.k.a. Egnekn) he is the world’s foremost practitioner of sonic Lamination Art and he continues to mail postcards to friends and collaborators throughout the world.
www.vinyl-on-demand.com
|
2012 |
€27.50 |
|
| MOORE, ANTHONY & THE MISSING PRESENT BAND |
The Present is missing |
LP |
a-musik is honoured to present a new album by one of our all-time favourites, anthony moore. we've been faszinated by his work, both with slapp happy and solo, since quite a long time now, and are happy to release this lp with wonderful live recordings he did with the missing present band in cologne in late 2015.
https://a-musik-official.bandcamp.com/album/the-present-is-missing |
2016 |
€20.00 |
|
| MOORE, ANTHONY / THERAPEUTISCHE HÖRGRUPPE KÖLN |
Ore Talks |
do-LP |
" 'ore talks' limited edition release, gatefold sleeve with booklet. a double lp of essentially electronic and noise-based pieces paired with astonishing texts spoken by anthony moore. the concept is that objects of value, artifacts or minerals, buried deep in the ground send strange signals through the earth up to the planet's surface. they are detected by the ears and instruments of miners, explorers and archaeologists who are tuned-in to the subterranean frequencies. the album contains a large booklet explaining this idea and featuring many pages of eccentric writing about sound." [label info]
Four sides of vinyl: this has served as a time constraint from the very outset of the project. With around 18 minutes per side giving an overall run time of 72 minutes, these time slots are designed to offer recordings of four sets of historical, technical processes and their devices. Each of the four chapters is conceived in two parts and realised in a number of actual compositions.
A. VALVES / ROEHRE:
1. Their Electrons. The developement of De Forest‘s Audion.
2. Noise as signal and the power of redundancy.
B. PIEZOS:
1. Reversibility; Loudspeakers as Microphones and The Transmitting Ear.
2. Mercury Acoustic Delays Lines.
C. RECORDERS:
1. Wax Cylinders, Hill ’n Dale, Voices of the Dead.
2. Magnetic Oxide and Memory Machines, Storing Time.
D. CRYSTAL SETS:
1. Waves; The Air as One Vast (negentropic) Library.
2. Farewell to AM, Fades to Infinity.
A voice is transmitted through various materials; early microphones, the reproducer of an Edison phonograph, glass phials filled with mercury, piezo crystals, transducers, and piezo discs attached to polystyrene spheres, shortwave radios, old russian valves and the self-built circuitry of condensers and switches. What emerges are speech-driven patterns of noise, electronic music and occasional passages where the voice can be plainly heard in 14 separate pieces of widely differing durations.
ORE THOUGHTS
Galena to Stibnite, starting with lead, ending with lead; the history of soldering, cementing connections for currents of information and noise alike. In the undigital realm, noise is a context for the signal and can be information in itself. For example rotating surface noise is useful for finding the original speed at which early shellacs may have been cut. Redundancy is vital for a proper understanding of the world. So Ore Talks celebrates lead and soldering and making connections and, endotically, noise; noises at the outer ear but also of the inner ear. Perec and the Oulipians employ the term ‚endotic‘ as an antonym to ‚exotic‘ in order to focus attention on the everyday, on what might be dismissed as mere noise. The infraordinaire, as Perec calls it, is very much the subject of a historiographical approach that prefers to explore the lives and times of the distinctly unfamous; a more vivid, sensory history that concerns itself with sights and smells and sounds.
In addition, Ore Talks posits a strange attraction between the discoverer and the yet-to-be discovered; between buried artefacts and the archeologist seeking to disinter them; between prospector and rich, subterranean lodes. The ‚ground‘ in the electrical field is a conductor that reaches into the earth. Simultaneously, metalliferous ores and objects alike call out to be uncovered in an equivalent act of active perception. The only prerequisite? Keep an ear to the ground; the telluric source for chthonic voices.
Murmurings from below the surface: the call of buried things that seek to be disinterred. Anthropomorphism notwithstanding, there is something to be said for giving a voice to inanimate minerals. After all, their constituent elements come from the stars and have also given rise to us humans. Furthermore, when those same elements are alchemically transformed into compounds of metal and fillers of plastics, of quicksilver and piezo crystals, of the very air, water or copper that play host to sound in its various forms, transporting speech, then ORE TALKS emerges as a title with some resonance.
And text too can be a ground from beneath which conceptual objects stem (voices in the grey matter). Here is a list of such objects that have been disinterred in no particular order from the paragraphs above. “Active perception; superluminality in the collapse of the sender/receiver paradigm”
“A History of Simultaneity; how far back does same-timedness go?”
“Noise in History, noise as history”
“The importance of redundancy in human communication”
“Sound and the continuum are products of each other”
“What holds true for time also applies to sound; they both depend on disappearing as they come into existence.”
“The speed of sound is a good rate at which to think about a speed of time” These and related topics are expanded over the following pages. They contain the sources for all readings recorded and subsequently transformed in the ORE TALKS experiments on this double LP.
www.therapeutischehoergruppekoeln.de/ore.html
"Antimonit Bleiglanz Coelestin... Ein erzernes ABC bis hin zu Zinnober.
Verbunden mit 72 Minuten Text + Klang in vier Kapiteln / Vinyl-Seiten: a. Valves / Röhren b. Piezos c. Recorders d. Crystal Sets. Kreisend um Ore [Erz] =
Mineralgemenge, die wegen ihres Metallgehaltes abgebaut werden, um es für Werkzeuge und Ähnliches weiterzuverarbeiten.
Kreisend um L/ore, dt. Lehre -> Folklore = the knowledge and traditions, frequently passed along by word of
mouth. Merke: Transmission is a vital part of the folklore process -> 1. Orality =
Mündlichkeit -> 2. Literacy = Reeling and Writhing / Lesen & Schreiben -> 3.
Technical Devices = Aufschreibesysteme. Es geht um Medientechniken: Alphabet - Grammophon... (Friedrich Kittler), um Recording Angels' Mysteries (Klaus Theweleit), um Dead Letters (Gregory Whitehead). Bevor Moore 1996 (bis 2015) Professor an der KHM wurde, hatte er mit Slapp Happy den Mond vom Himmel gepflückt, mit Pink Floyd gearbeitet und Soundtracks für Werner Nekes kreiert.
Akademisch forschte er dann synchron mit Kittler über die Geschichte und Gesetzmäßigkeiten von Sound, über phonetische und klingende Techniken des Daseins und der Erinnerung. 2004 nahm er teil an Kittlers Sirenenexperiment, das vor Amalfi Odysseus' Affäre mit den Sirenen nachstellte. Zwischen '...and the Gods made love' und Moores 'Dogs of War' spielt sich alles ab, was es zu singen und sagen gibt. Polyphone Erkenntnis über Sound und Zeit, Noise und Information, gefiltert aus den Lebenserfahrungen von der Bronzezeit her. Darüber schreibt und spricht Moore mit medienarchäologischem Knowhow und einem Ohr für die chthonischen Stimmen. Innere Stimmen, wie sie zuerst noch bikameral fluktuierten (Julian Jaynes), dann akusmatisch, mimetisch, alphabetisch, speicherbar, decodierbar, repetierbar wurden. Die Namen Zeiss, Chladni, Tyndell und Helmholtz oszillieren steampunkabenteuerlich an den pythagoräischen Küsten wie Töne und Zahlen zwischen Rauschen und Offenbarung. Schwingquarze geben den Takt an.
Memory Machines verflüssigen Vergangenes und Kommendes, um es zu fixieren, so wie Moores Sätze zu Science Fiction verschwimmen. Er raunt von The Etherial Skin of Interference, er wird poetisch, fasziniert von den Ur-Geräuschen, die Scott de Martinvilles Schweinsborsten-Phonautograph einfing oder Rilke der Kronen- Naht des Schädels zu entlocken gedachte. Klang wurde das mit Hilfe der Therapeuten Beck, Grewenig & Hennes (von The Knob, The Finger & The It), Langguth und Specht (einst bei 40 Sekunden Ohne Gewicht und Kunstkopf). Moores Stimme wispert und fitzelt subliminal unter löchrig-perkussiver Bruitistik,
er reiht Zahlen oder verschwindet hinter sirrenden Spuren, taktilen Geräuschen,
spurenelementaren Impulsen. Silben und Satzfetzen mischen sich mit Hilfe der
Hörgruppe zu Kratzern, Partikelkollisionen, Radiowellen, Zeitrost, Reibung von
Entropie und Negentropie, sprachmelodischem Blaseton, Frequenzpingpong.
Umso überraschender daher die klaren, wenn auch für den Laien kryptischen
Sätze über Interferenz, Simultanität, die Unschärfe des Now-Space, von Senden und Empfangen. Moore meditiert über Turings ACE und die Alchemie von Quecksilber-Laufzeitspeichern, aber die Sprache wird wieder verzerrt, der Noise dafür prickelig und wohltönend. Doch dann umfängt einen wieder im ursuppig, uhrsuppig brodelnden, radiowellenberauschten Äther protologisch wummernde Sonic Fiction, die zuletzt endlosrillenstottrig ausgroovt." [Bad Alchemy] |
2017 |
€25.00 |
|
| MOORE, ANTHONY / TOBIAS GREWENIG / DIRK SPECHT |
The April Sessions |
LP |
This journey, this slowly drifting sonic meditation, is an 'inner soundscape', a dialogue between the senses, the conscience and the world, inside / outside, interconnected. Like waking up from a long dream, and being stuck into its echo. The April Sessions immerges the listener into a drone-ish universe, full of random acousmatic events, inner monologues and a vast and unwritten subjective map to be drawn. The April Sessions has been living in a seedy hotel in Brussels
for a few months. She listens to the sparse traffic outside her window, locked in and locked down. 'Everything is constructed', she says to herself, 'even the sound of a solitary aircraft at 25,000 feet traverses the sky no further out than the inside of my skull'. Other weird sonic phenomena criss-cross the inner cosmos of her brain and streak across her private sky like comets. And then there is the unshakeable presence of that inner monologue, known to her variously as the Tacit Dictator, the Subvocaliser and, nightmarishly enough, the voice of the Merlucid Hake. (Anthony Moore, St Leonards, 10th of March 2021).
Anthony Moore, Dirk Specht and Tobias Grewenig have known each
other and worked together since the early 2000s. They have collectively participated in a number of projects including live performances and
recordings. In 2016, as part of The Missing Present Band, they released
the live LP 'The Present Is Missing' on A-Musik. The following year they
released 'Ore Talks', a double LP, realised in collaboration with
Therapeutische Hörgruppe Köln.
Anthony Moore
born in 1948, founded the band Slapp Happy (circa 1972) with
Peter Blegvad and Dagmar Krause, then worked alongside a.o. Fred Frith and Tim Hodgkinson in the unclassifiable band Henry Cow. He released several solo albums, composed soundtracks for experimental movies. His path also crossed Kevin Ayers's, Pink Floyd's, Richard Wright's… He was appointed professor for research into sound and music in the context of new media at the Academy of Media Arts in Cologne, Germany. He still continues to write and perform.
Dirk Specht
sound artist, musician and curator. He studied architecture and media
art and is active in the fields of sound works for choreography, radio
drama, sound art, film and video art soundtracks… He published
releases with several bands and projects. He has been an assistant
for research into sound from 2011 to 2016 at the Academy of Media Arts in Cologne, and is a founding member of Therapeutische
Hörgruppe Köln.
Tobias Grewenig
studied at the Academy of Media Arts in Cologne. He primarily deals
with non-linearity in his audiovisual installative works and performances, including projects with the artist group 'Therapeutische Hörgruppe Köln', the ensemble 'The Knob, The Finger & The It' and the improvisation collective "Frequenzwechsel". The conception and development of electronic instruments and code is a key component of his artistic work. He lives and works in Cologne.
https://subrosalabel.bandcamp.com/album/the-april-sessions |
2021 |
€16.00 |
|
| MOTHRA |
Doom Engine |
LP |
"First time on vinyl for this cult album from Japanese Noise / Death Industrial / junk noise group MOTHRA: Jun-ichi Takahashi (Screloma), Masahiko Okubo (Linekraft / Oozepus), Fumihiro Kojima, and Masahito Nozu.
Harsh noise, rhythmic death industrial and full of Industrial junk percussion, "Doom Engine" was created using gas tanks, iron plates, junk metal, heavy bass, distorted / screamed vocals, and psychedelic sound imagery.
For fans of: early Einsturzende Neubauten / early Test Dept, Kollaps, classic German Death Industrial, but with a distinct Japanese edge.
New artwork by RSJS. Ltd x 400 copies on 180gm vinyl in a 350gsm sleeve.
Jun-Ichi Takahashi: Metal Junks
Masahito Nozu: Drums, Metal Junks
Fumihiro Kojima: Electronics
Masahiko Okubo: Voice, Bass
Mastered by Martin Bowes
Graphic Design: Abby Helasdottir
Cover Photography: RSJS (Insta: @Rsforkingjs)
https://coldspring.bandcamp.com/album/doom-engine-csr284lp
|
2020 |
€20.00 |
|
| MOUCHOIR ETANCHE (=BLACK TO COMM) |
Une Fille Petrifiee |
LP |
"I am sitting in a garden, I haven't left the property in weeks, someone is dropping off food once a week. I haven't seen a human being in ages, I feel like a reverse Schroedinger cat -- do I exist when nobody sees me? I must be somewhere in France but I don't remember. I have lost my consciousness again. When I wake up I hear a broken record looping somewhere in the mansion. A washed-out opera. Behind the trees I see the dilapidated hermaphrodite sculpture in a field of verdant nettles and fern. I hear gunshots far afield, aeroplanes in the sky, sirens on the main road. When unconscious I dreamt of sitting on the Concorde observing the scarab blue ocean and iridescent clouds from above, an erstwhile receding memory. Sometimes I hear the organ of the nearby Renaissance Cathedral merging with the Russian Church bells. I am hallucinating again. Someone's humming in the kitchen? Singing? A radio? I overhear two young women talking about art galleries in the neighbour's garden. Bees attack, again? Again and again. The hairspray finally intoxicates them. An amphoric Japanese voice is whispering in my head saying I will die soon. Someone (something?) bangs on the vases. The fountain's water turns dark red. Fleur calls and says mum died. The funeral will be televised on Tuesday. We opt for the synthetic choir for the service. The call is suddenly interrupted. Mold is slowly taking over the house. I go back inside."
Une Fille Pétrifiée is the debut album of new Black To Comm related entity Mouchoir Ètanche. Combining real and fake acoustic instrumentation, sampling, field recordings, and excessive yet inaudible post production this is another sublime and ethereal statement. Influences are ranging from (French) classical and opera to the anecdotical compositions of Luc Ferrari, Chinese opera, chanson, sacred music/church music, JG Ballard, and surrealism. Marc Richter records as Black To Comm for Thrill Jockey, Type, and Dekorder and as Jemh Circs for his own Cellule 75 imprint. He also produces soundtracks and acousmatic multichannel installations for institutions such as INA GRM Paris, ZKM Karlsruhe, and Kunstverein Hamburg. Mouchoir Étanche is a new project by Marc Richter, aka Black To Comm (Thrill Jockey, Type Rec). Includes download code; edition of 300.
https://blacktocomm.bandcamp.com/album/une-fille-p-trifi-e
"Une Fille Pétrifiée is a more unified recording, but it’s just as diverse. We’re not sure if that’s a real cat on the cover or a photoshopped mutant, but we hope it’s the latter. Poor kitty. This image, along with the first two titles (“Enter Mirror Hotel,” “Satyre et Hermaphrodite”) hint at a tug of war between genres and ideas. As the album begins, classical, jazz and opera loops trade places. A surreal piece of shock fiction connects the dots, but its very nature defies categorization. Field recordings add texture, but little context; this is a fever dream. Why is the girl petrified? Mouchoir Ètanche isn’t that scary. Even “Music in the Dark” has a guiding light: sounding brass in the middle of gas and drone. In “Sécheresse” (“Drought”), children play over the sound of church bells, while in “Le temps isolé” (“The isolated time”), birds and organ drown out the sound of sirens, rather than the other way around. The organ returns throughout the album, offering a sense of safety that reverberates in opposition to the agitation of A C of M; and the final track includes a soloist and choir. Seldom has an artist been so impossible to predict, a huge part of Richter’s appeal. At this point, we have no idea what to expect from the artist’s third autumn album: holy or harrowing?" [A Closer Listen]
|
2020 |
€18.00 |
|
| |
Kommunique Zero |
pic-12inch |
"An end and a new beginning. Kommuniqué Zéro is the debut outing of new Black To Comm related entity Mouchoir Ètanche. And it is the final release in Dekorder's 10-Year Anniversary hybrid-vinyl series (a mere seven years too late). Combining real and fake acoustic instrumentation, sampling, field recordings, and excessive yet inaudible post production this is a powerful statement of intent. Influences are ranging from (French) classical and opera to the anecdotical compositions of Luc Ferrari, Chinese opera, sacred music, collage, and free improvisation. Marc Richter records as Black To Comm for Thrill Jockey, Type, and Dekorder and as Jemh Circs for his own Cellule 75 imprint. He also produced soundtracks and acousmatic multichannel installations for institutions such as INA GRM Paris, ZKM Karlsruhe, and Kunstverein Hamburg. The Dekorder 10-Year Anniversary hybrid-vinyl series so far included LPs by Pye Corner Audio, Excepter, Experimental Audio Research, Vindicatrix, Kemiallysät Ystävät, Ensemble Economique, Alien Radio, Black To Comm, and Le Révélateur. Music and artwork by Marc Richter. Richard Youngs: counting. Mastering by Rashad Becker Hybrid-vinyl: picture-disc on one side (no music), black vinyl on the other (music); edition of 165."
https://blacktocomm.bandcamp.com/album/kommuniqu-z-ro
|
2020 |
€16.50 |
|
| MSBR |
Structured Suicide |
LP |
MSBR (Molten Salt Breeder Reactor), aka Koji Tano, was one of the most respected noise artists to arise from Japan's exciting noise/experimental music scene of the 1990s. Much of his material was self-released on his own label, the astounding MSBR Records, which was dedicated to the production of limited-edition releases with incredible artwork. MSBR present a music elaborated with previously chosen source of sounds, whose origins are either naturel or artificial, with use of Korg guitar synthesizer and some effects, working in analog sounds. Oscillating between grappling electro noise (as he describes his musical style) and pure noise, the really surprising quality of the sound research leads to a tremendous kind of noise-texture.
After his debut LP and a lathe cut seven-inch, Structured Suicide is third MSBR release and first on tape in amazing package as everything other release by artist. The long track that occupies the entire A side of the cassette and the first track of the B side of over a quarter of an hour, are filled with excellent harsh noise with strong influences of concrete and electroacoustic music, deep and calmer rumble and ambient effluence. Structured Suicide is a terrific undertaking into the wickedness of mechanized clatter as a foreboding, consuming pollution, the unrelenting and ever-building storm of machines slowly lulling the living into bleak states of masochistic artificiality. This is the classic sound of MSBR, which envelops you with its texture of noise scales, suffocating and enthralling, without an immediate impact, but which then, at its harshest, hits you with devastating force! The other two quite short tracks that close the album are less conventional and show how much the artist wants to experiment, without closing himself in a pre-packaged genre.
Vinyl comes in only 199 copies with cover that faithfully reproduces the style of original art work, with vinyl labels that replicates inlay tape card. An awesome artefact of early 1990s Japan noise music, resting at the borders of electroacoustic, Urashima’s long awaited, first ever vinyl reissue of Koji Tano’s epoch-making album, 'Structured Suicide', emerges 28 years later as a stunning testament to the importance of the creative expansion to which it belongs. Absolutely essential on every count!
https://urashima.bandcamp.com/album/structured-suicide
|
2021 |
€21.50 |
|
| MUELLER, JON |
Death Blues |
LP |
"Find Yourself. Impatience. Death Blues. Acceptance. Impermanence. Iron String. The six songs that comprise Jon Mueller's Death Blues are each their own doorway to both a bold new musical statement from the renowned drummer percussionist and an unprecedented journey into a conscious contemplation of death -- and the life that surrounds it. Released in tandem with a multi-part manifesto, Death Blues transcends its own existence as 34-minute, earth-cracking rock album. Much like Mueller, whose landmark solo work stands alongside his role in notable bands Volcano Choir (and previously, Collections of Colonies of Bees), Death Blues embodies the acknowledgement that there's more to experiencing music than simply just listening. Conceived and largely executed in its recorded form by Mueller himself -- adding hammered acoustic guitar and bold vocal patterning to his ever-evolving mastery of percussion -- Death Blues is audibly (and intensely) personal. However, the very act of recording was the first step in a discourse that Mueller began over a year ago, forming a band of brilliant performers from his Milwaukee, WI hometown that would go on to perform Death Blues at Hopscotch Music Festival in Raleigh, NC and at two sold-out Death Blues events in Milwaukee, where a labyrinth led the audience into a multi-sensory and participatory experience culminating in a climactic performance of the album. It was as close as one could get to being next to Mueller at that moment of discovery: of the inevitability of death as the impetus to become more present in each moment and of the necessity of building his own path to sharing that idea. Death Blues is being collaboratively released by Taiga and Hometapes and is available as a limited edition LP packaged in a deluxe litho-wrapped jacket that includes the Death Blues manifesto; 500 hand-numbered copies of the highest fidelity pressed on 200g virgin vinyl." [label info]
www.taigarecords.com
|
2013 |
€20.00 |
|
| MUELLER, JON & JAMES PLOTKIN |
Terminal Velocity |
do-LP |
"Jon Mueller and James Plotkin first combined forces on Physical Changes, scorching the leading LP side of Mueller's 2009 multi-format collaborative investigation. Forging Mueller's blistering percussion and rolling hills of drums with Plotkin's searing guitar and melting electronics, a sturdy alloy was formed. When both musicians were asked to perform at the Utech Records Music Festival in June 2011, at which they appeared as a duo, the pair spent the proceeding days spontaneously unfurling Terminal Velocity. Recorded in rural Wisconsin just outside of Mueller's native Milwaukee, Terminal Velocity is an effort of concentration. On the brink of implosion, the duo reduces dense washes of percussion and guitar to thick crusts, at times deceivingly with a whispered intensity. Sizzling drums meet electronic warbles as two great forces restrain each other to a constant speed. Mastered by Plotkin, cut direct to metal and pressed on 200g virgin vinyl, Terminal Velocity is presented in an edition of 500 copies. Packaged in a heavy Stoughton tip-on gatefold, the jacket is hand-numbered on the spine and features a textured paper to enhance Karlynn Holland's graphite drawings the album accompanies." [label info]
www.taigarecords.com
|
2012 |
€31.00 |
|
| MULTER |
Basisrealität/Armutsgewöhnungszuschlag/Wolkenkuckucksheim |
3 x LP |
"The three part LP set is the first new studio material by [MULTER] in 10 years and it can be easily seen as the culmination of their artistic approach and search to date. Over six sides of black vinyl, attentively mastered by Fear Falls Burning, the group employ their strategies. a great sense of place is embedded into the sound thorugh carefully placed field recordings. a common-sense lyrical aspect becomes part of the scenery. heavy guitar drone-layers form a dense and almost overwhelming wall of sound. Distorted rhythms drive onwards and electronics counteract the seqeunce of events in the next instance. a beautiful, mature and very personal work." [label info]
https://aufabwegen.bandcamp.com/album/basisrealit-t-armutsgew-hnungszuschlag-wolkenkuckucksheim
|
2021 |
€46.50 |
|
| MURCOF |
The Versailles Sessions |
do-LP |
"Vom Barock zur Elektronik: Wassermusik des mexikanischen Elektronikers:
Seinen Titel verdankt das Album dem Ort, wo alljährlich "Les Grandes Eaux Nocturnes" stattfindet: das Sound-, Licht- und Wasser-Festival im wohl berühmtesten Schloss der Welt, dem Château de Versailles bei Paris. Der mexikanische Elektroniker Fernando Corona alias Murcof hat für den großen Fontänenabend im Jardin de Roi extra eine Suite geschrieben, "The Versailles Sessions" dokumentiert das Ereignis. Die sechs Kompositionen für das Projekt stammen alle aus dem 17. Jahrhundert (u. a. von Jean-Baptiste Lully, François Couperin) und wurden für das Projekt von Barockmusikern auf Originalinstrumenten eingespielt. Was wie eine Verabschiedung von elektronischer Musik klingt, ist in Wahrheit eine Fortführung von Techniken, die Corona über die Jahre entwickelt hat: die Verarbeitung bestehenden Materials - nur, dass dies jetzt aus dem 17. Jahrhundert stammt. "The Versailles Sessions" sollen dennoch nicht als Nachfolger des Albums "Cosmos" (2007) gesehen werden, eher als Zwischenprojekt zum 2009er-Werk "Océano". Das Album erscheint auf CD sowie als Doppel-LP in limitierter Edition." [label info / Indigo]
"In the summer of 2007, Fernando Corona completed a site-specific commission for Les Grandes Eaux Nocturnes, an annual festival of sound, light and water at Château de Versailles in France. A suite of music was composed specifically for the grand evening fountain display in the Jardin du Roi. The Versailles Sessions is an aural document of the event, to be released this winter on specially priced CD and limited edition double vinyl.
The six compositions prepared for the project derive entirely from recordings of 17th century baroque instruments (including harpsichord, viola da gamba, flute and violin) and a mezzo soprano. GetSound, who commissioned the project, hired musicians specialized in baroque music in Paris.
“We recorded pieces by Lully, Couperin and others,” says Corona of the sessions. “They were played traditionally, but we also experimented quite a bit with the music and instruments. It was a great learning experience - the musicians were amazing - very open minded and willing to have fun.”
The recording process may appear to be a departure for an artist known primarily as an electronic musician, but in fact it’s a continuation of techniques Corona has perfected over a number of years.
“It’s more or less done in the same fashion as my previous work: processing of previously recorded acoustic material. The only difference is the actual source material being so specific to 17th century baroque music and instruments. And since the recordings are the starting point of the composition process it naturally took me to a different place.”
Corona’s initial interpretations of the source material didn’t quite go according to plan.
“When we did a rehearsal about two weeks before the actual opening, it was pouring with rain so I wasn’t able to make the necessary tests. But being there and seeing the space and the installations (big disco balls and video projections on water fountains), I realised I was going in the wrong direction musically.
“The location demanded a different approach: more openness, more time for the sounds to develop and for them to resonate in that big space, so I went back home and during those remaining two weeks I reworked the whole commission into what it is now.
“The recordings I used as source material are very rich and cover a wide range of timbres, so I had lots of options as to how to approach the music making process.”
The Versailles Sessions should not be considered as the successor to 2007’s monumental Cosmos, rather as a special project while we await Murcof’s next album proper." [label info]
www.theleaflabel.com
|
2008 |
€18.50 |
|
| |
The Versailles Sessions |
CD |
"Vom Barock zur Elektronik: Wassermusik des mexikanischen Elektronikers:
Seinen Titel verdankt das Album dem Ort, wo alljährlich "Les Grandes Eaux Nocturnes" stattfindet: das Sound-, Licht- und Wasser-Festival im wohl berühmtesten Schloss der Welt, dem Château de Versailles bei Paris. Der mexikanische Elektroniker Fernando Corona alias Murcof hat für den großen Fontänenabend im Jardin de Roi extra eine Suite geschrieben, "The Versailles Sessions" dokumentiert das Ereignis. Die sechs Kompositionen für das Projekt stammen alle aus dem 17. Jahrhundert (u. a. von Jean-Baptiste Lully, François Couperin) und wurden für das Projekt von Barockmusikern auf Originalinstrumenten eingespielt. Was wie eine Verabschiedung von elektronischer Musik klingt, ist in Wahrheit eine Fortführung von Techniken, die Corona über die Jahre entwickelt hat: die Verarbeitung bestehenden Materials - nur, dass dies jetzt aus dem 17. Jahrhundert stammt. "The Versailles Sessions" sollen dennoch nicht als Nachfolger des Albums "Cosmos" (2007) gesehen werden, eher als Zwischenprojekt zum 2009er-Werk "Océano". Das Album erscheint auf CD sowie als Doppel-LP in limitierter Edition." [label info / Indigo]
"In the summer of 2007, Fernando Corona completed a site-specific commission for Les Grandes Eaux Nocturnes, an annual festival of sound, light and water at Château de Versailles in France. A suite of music was composed specifically for the grand evening fountain display in the Jardin du Roi. The Versailles Sessions is an aural document of the event, to be released this winter on specially priced CD and limited edition double vinyl.
The six compositions prepared for the project derive entirely from recordings of 17th century baroque instruments (including harpsichord, viola da gamba, flute and violin) and a mezzo soprano. GetSound, who commissioned the project, hired musicians specialized in baroque music in Paris.
“We recorded pieces by Lully, Couperin and others,” says Corona of the sessions. “They were played traditionally, but we also experimented quite a bit with the music and instruments. It was a great learning experience - the musicians were amazing - very open minded and willing to have fun.”
The recording process may appear to be a departure for an artist known primarily as an electronic musician, but in fact it’s a continuation of techniques Corona has perfected over a number of years.
“It’s more or less done in the same fashion as my previous work: processing of previously recorded acoustic material. The only difference is the actual source material being so specific to 17th century baroque music and instruments. And since the recordings are the starting point of the composition process it naturally took me to a different place.”
Corona’s initial interpretations of the source material didn’t quite go according to plan.
“When we did a rehearsal about two weeks before the actual opening, it was pouring with rain so I wasn’t able to make the necessary tests. But being there and seeing the space and the installations (big disco balls and video projections on water fountains), I realised I was going in the wrong direction musically.
“The location demanded a different approach: more openness, more time for the sounds to develop and for them to resonate in that big space, so I went back home and during those remaining two weeks I reworked the whole commission into what it is now.
“The recordings I used as source material are very rich and cover a wide range of timbres, so I had lots of options as to how to approach the music making process.”
The Versailles Sessions should not be considered as the successor to 2007’s monumental Cosmos, rather as a special project while we await Murcof’s next album proper." [label info]
www.theleaflabel.com
|
2008 |
€12.00 |
|
| MURMER |
Songs for Forgetting |
LP |
"I work very slowly, hence songs for forgetting has been in development for a very long time. The first element, a large sand timer, was recorded in Cologne, Germany in August, 2007. Further field recordings were made of rain dripping through Soviet-era gutter spouts in the small Estonian village of Tõravere (which happens to be home to northern Europe’s largest optical telescope) later that same month; daytime fireworks (mascleta, set off for sound rather than light) in Valencia, Spain (March, 2008); a pebble beach in Étretat, France (June, 2008); underwater life in a branch of the Andelle River in Perruel, France (May, 2009); and, more recently, the rain gutters at my current home in Põlgaste, Estonia (September, 2013) and the stridulation and footfalls of an inadvertently disturbed ant colony on Kemiö Island, Finland (July, 2014).
But the force that brought all these recordings together was an inadvertent tendency towards instrumental recordings, which feature in each of these ’songs‘. These instruments were all unfamiliar, and in some cases they were not ‚instruments‘ at all, in the literal sense of the word, but objects or spaces that nonetheless lent themselves to being played. I encountered them around the same time as the recordings mentioned above were being made, and recorded my explorations and improvisations, sometimes alone, sometimes with other players.
The first of these instruments was small and zither-like. It was, I learned only recently, a miniature Ukrainian bandura, and it was in an apartment in Berlin where I stayed during a visit in August, 2007. The apartment was the home of another sound artist whose name, Jeff Gburek, I’d known for years, but whom I had never (and still have not) met in person. He was out of town at the time; he didn’t know for years that I played and recorded his instrument (although, thanks to this release, he does now).
The next instrument was an old radio antenna, on the roof of the aforementioned observatory telescope in Tõravere, which sang a predetermined melody when you bowed it, which I did together with a native of that village, Piibe Kolka, in August, 2007 (Piibe’s bowing can be heard in ‘the third song for forgetting’). And in December of that year, in Vienna, Austria, I recorded an improvisation with the debris and trash under a small pedestrian bridge with Lasse-Marc Riek, who coincidentally co-curates the Gruenrekorder label, and visual artist Elffriede (this action can be heard in ‘a fourth song for forgetting’).
In February of the next year, while staying with Maksims Šentelevs in Riga, Latvia, I experimented with one of the many instruments in his collection, a small kora. And a year later in February, 2009 I recorded another tabletop zither, given to me by an old housemate from my time in London, the singer-songwriter Sam Semple, playing it with a small motor also given to me by Max from Riga.
With all the elements collected, the songs began to come together, very slowly, beginning in that summer of 2007, and finishing only now as this release is being prepared. They were built often in response to specific emotional situations, situations that demanded some forgetting themselves, so the title can be read two ways: what you forget is up to you.
A brief word about some elements of the design of the physical version of this release, which is the work of Vahram Muradyan, using elements from my own collection of found objects and detritus, which are printed and embossed on sleeves made for us by the Räpina Paper Factory, here in southeast Estonia, using 100% additive-free recycled fibre: the front image is a reproduction of a leaf skeleton that I have had for some years – I can’t remember exactly where or when I found it, but I believe it is an aspen leaf from an Estonian forest. I have fond memories of recording aspen leaves in these forests, as they tremble in the wind. The maple and grape leaves that denote sides A and B of the vinyl were collected for their colors while traveling in France one autumn. The writing on the inner sleeve comes from one of several old school notebooks found in a mill ruin near my home, water-damaged and sun-faded, and mostly illegible. These notebooks make me think of memory and its loss, the fading away of the past. Included with the physical version is an original fragment of one of these notebooks.
Without the following people (along with those mentioned above) this release would not have been possible: Tuuli Tubin McGinley, Oliivia Tubin McGinley, Lasse-Marc Riek, Roland Etzin, Joshua Kunisch, Vahram Muradyan, Felicity Ford, Helmut Erler (who mastered the album at Dubplates & Mastering in Berlin), and Mihkel Peedimaa (from the Räpina Paper Factory, who made and donated the sleeves). Furthermore, this release has been produced with the help of a number of supporters, to whom I express my sincerest gratitude: Ariel Vitello, Bob Maier, Carole Kojo, Daniel McGinley, Eckhard Kuchenbecker, Greg Burrell, Hao-Tsun Kuo, Hitoshi Kojo, Irvic D’Olivier, James Bailey, Jonathan Coleclough, Julia Kümmel, Lauri Laanisto, Maren Möhring, Mark Stanley, Martin Clarke, Mike DePolo, Paul Fay, Udo Noll, and my colleagues at Resonance FM."
[Patrick Tubin McGinley, April/October 2016]
"The American ex-pat Patrick McGinley (aka Murmer) has now taken up residence in a rural village in Estonia after many years of wanderings and explorations. To this day, he continues to roam any and all environments, collecting field recordings and his own interventions with a particular place. It has been almost five years since his last solo work, but McGinley remains a steadfast champion the field recording within composition through his weekly Framework radio series, broadcast on Resonance FM and beyond through numerous radio and online outlets. Songs For Forgetting highlights McGinley's talents in molding and shaping tone and subtle melody from deep within the fundamental sounds of a particular environmental sound. At the same time, he'll interject actual instrumentation. The playful clatter of McGinley tinkering with a zither ringing in the vein of Harry Partch set in motion against a humid chorus of cicadas and spellbinding dronescaping. Witness the psalter-like halo blossoms on the second half of the record, where we find McGinley bowing a Soviet era antenna mounted at the top of an near-space observational telescope. The resulting harmonics and pastorally minimalist drones are drop-dead gorgeous, as richly sonorous as anything Pauline Oliveros and Charlemagne Palestine would compose through more conventional means. Songs For Forgetting manifests into a beautiful record, packaged in an suitably rough-hewn, embossed sleeve that was fabricated at the Rapina Paper Factory in southeast Estonia. McGinley has included considerable notes and ephemera, turning this into an wondrous objet d'art." [Stranded Rec.]
|
2016 |
€20.00 |
|
| MURRAY, BRENDAN |
Wonders never cease |
CD |
"Four years in the making, the music of Brendan Murray’s latest/greatest album of cinematic drone anthems, Wonders Never Cease, was honed during live concerts around New York and New England. Recorded in situ, each track was painstakingly (re)assembled and embellished back at Murray’s studio. While it cannot accurately be called a ‘live album’, the adrenaline thrill of live performance is palpable as soon as the opening howl charges out from the speakers. From the laminal scorch of the opening track, through an electric fizz storm and a breathy hymn for what sounds like harmonica and folding chairs (?), the eyes-wide-open bliss of Wonders is exhilarating. Soulful, melodic and intimate, this is electro-acoustic music as gloriously life-affirming and natural as a sunrise." [label info]
"The very last concert I saw in 2006, was on new year's eve, and by Brendan Murray, the unknown hero of experimental music. Due to some technical problems, it wasn't the grand finale of a great night, but he worked himself cleverly around the problems and did a more than suitable ending. Murray has a new CD to present, 'Wonders Never Cease' and I lost count a little bit, but it's perhaps his fourth or fifth solo release, and hopefully this will put him on the map for good, as he is ready for it (well, actually since his first CD, but that label disappeared all too quick). Murray plays around with the notion of drones in a clever way. The opening piece 'Hymn One' starts out as a loud beast, almost in a violent way, but when Murray pulls back the volume, things develop in a beautiful way. Heavily layered, with throughout changing patterns, which especially in 'Seas' works quite well, almost in a Steve Reich like manner, it is hard to believe that this actually a live album, even when its and pieces were reworked in the studio. It's a clever drone album, since it by-passes the Mirror et al as Murray's music is much more upfront and present, and that very same quality makes it also anything far from ambient music. 'Wonders Never Cease' is Murray's finest album to date and hopefully puts him on the map of great experimental composers." [FdW / Vital Weekly]
www.intransitiverecordings.com |
2006 |
€13.00 |
|
| |
Commonwealth |
CD |
Dröhnminimalismus pur! Poly-Drones die sich in endlosen Wellen umeinander legen, regelrecht anfangen zu schlingern. Aufs "erste Hören": Statik. Beim genaueren Hinhören: Eine unendliche Klangfülle, tänzelnde Obertöne, schwingende Frequenzen in multiplen Schichten, stetige Veränderungen und Verschiebungen. Der Drone-Gott steckt in den Details! Eine sehr feine Aufnahme des Bostoner Klangkünstlers BRENDAN MURRAY!
"Nie wurden Sehnen mehr gedehnt als über Murrays 49 Minuten Commonwealth. Nur Phill Niblock, Eliane Radigue oder Jean-Francois Laporte erzeugen solch sture Dronegebilde, in denen schüchterne Obertöne zu gigantischen Kolossen mutieren und Langatmigkeit den klaren Ton angibt. Harmonieansätze tauchen in diesem Wall aus Gitarre und analogen/digitalen Soundmanipulationen nur ganz spärlich auf und entblößen sich rasch als hilflose Wegweiser vergangener Genres. Nostalgie spielt allerdings keine Rolle, Commonnwealth schabt nach vorne, dezentriert Zeit und vermag sogar den Bewegungsapparat zu blockieren. Liest sich eventuell zu statisch, wirkt unter der Oberfläche aber äußerst drastisch. " [Ed Benndorf / DE BUG]
"Brendan Murray has become a central figure in Boston’s sound art vanguard through a reputation of exceptional live performances and a growing catalogue of slow-shifting compositions for rarified drones. A single crescendo terminating at the end of 49 minutes, Commonwealth is an epic investigation into subtle harmonics and overtones expressed through layered slippages of pure sound. Conceived through guitar, analog synthesis, and plenty of digital manipulation, Commonwealth expresses a rare confidence in Murray's finely tuned detailing of sinewy tonalities and sculpted megalithic surfaces. Murray himself has qualified this album as a "sincere bow to 'classic' minimalism," and Commonwealth is a worthy parallel to the work of Phill Niblock, Eliane Radigue, and Iannis Xenakis." [label info]
"We've ballyhooed Brendan Murray's exceptional, yet perennially overlooked drone & din work in the past; but nothing could have prepared us for Commonwealth. Damn, this guy is good. No, wait; he's fucking great! After a handful of cd-r productions, a Twonicorn cassette, and a fine cd release on Intransitive of processed shimmer, shifting frequencies, and some low-end girth rumblings for our bligatory SUNNO))) reference, Brendan Murray has produced his best work to date with Commonwealth. Compositionally, it's incredibly simple: a drone goes up, and it goes down. It lasts a little under 50 minutes. But buried with this single minded composition, there are thick spun rumbles, reflective vibrations, sympathetic sub-harmonics, and rich tonal frequencies. Out of the constant tectonic whir that introduces Commonwealth, shimmering clusters sound like a battery of reed organs or hurdy-gurdies, slowly modulating into heavier, deeper drones. We've been told that the source material for these sounds is guitar, although you'd be hard pressed to hear anything guitar-shaped anywhere on the disc. It's far more like the hallowed minimalist sound of Charlemagne Palestine and La Monte Young. Dare we say, it's better? Yes, Murray's drone hums like a perfectly tuned machine, with multiple pistons purring in a steady progress along Commonwealth's compositional arc. When Murray shifts the focus of the album downward, which begins not even halfway through the piece, the descent is noticeable; but it actually becomes Murray's most fertile work within Commonwealth. Here, low rhythmic thrumbs crawl beneath
the surface of the slowly collapsing drone, precluding its inevitable terminus. Perfect trance-enducing dronemuzik. Fans of Aidan Baker, Andrew Chalk, and Phill Niblock should definitely take note!" [Aquarius Records ]
"... Much louder and less subtle, this is loud drone music, one of the kind that Niblock plays live. Although playing music on headphones is not something I usually recommend, this piece sounds pretty fine on headphones, pressing air against your ears, making a thunderous storm, which shoots right in your brain. Towards the end the volume drops a bit in favor of more heavy weight bass sounds, forming the natural ending to a heavy work. Murray delivers, once again, a mighty fine album that will be another step forward in recognizing him as a true master of the genre. Fans of classical drone music be aware - this is the classic of the future." [FdW / Vital Weekly]
www.23five.org
|
2008 |
€13.00 |
|
| MURRAY, BRENDAN / PERISPIRIT |
split |
LP |
"Semata Productions & Razors and Medicine are pleased to announce the first long playing record release of both Brendan Murray and Perispirit. Murray has been making waves around Boston, the USA, and the world since 1999. Perispirit, the collaborative project of Ricardo Donoso and Luke Moldof formed in late 2007, is known by their dynamic live performances and two cassette releases.
Brendan Murray's "Birches and Marksman's Graves (Voice and Computer #1)" is a clear summation of his interest in controlled drones and gestural improvisation with a step into the unknown. Murray is always keen to transform and manipulate an instrument sound color to the point of non-recognition, utilizing a single source for this piece: the voice of Noell Dorsey. The piece opens with dissonant clusters, moving up and down generating momentum, keeping the music physical while still highly controlled. Vague hints of melody lie underneath the cracks trying to seep through but are swallowed up by the turbulence. It gradually gives way to extended technique vocalisms that call to mind sound poetry and at times even the Sprechstimme of Schoenberg. Later the swirling tones return with a combination of both the higher and lower pitch clusters. It sounds like falling infinitely downward.
Perispirit's side offers a statement that is equally focused but bares little if any resemblance to Murray's piece. It can be described as more active than their previous material, utilizing quick sectional transitions, relying on three key components: harsh noise, delicate melodic work, and degraded lo-fi manipulations. The piece begins with dynamic harsh cutups that pay attention to sound spacialization and stereo field manipulations inspired by the likes of Sickness and Pain Jerk. The momentum grows and is quickly brought down to almost nothing creating a feeling of aural blue balls. The process is resumed and then the piece breaks into looping guitar passages with a subtle electronic underpinning. The layers build than disappear. The noise returns building to a heightened peak of frustration until it drops off and we are left with the sound of lifeless monotony. Gradually a wall of drone begins to creep in and eventually overtakes all else.
Edition of 250 pressed on 160 gram off white vinyl featuring full color LP jackets & labels; mastered by Kris Lapke." [label info]
www.semataproductions.com
|
2010 |
€21.50 |
|
| MUSLIMGAUZE |
Speaking with Hamas |
CD |
Das Original erschien 1999, dies ist ein re-pressing im digipack von rarem Material... “A collection of limited edition series of 1996, selected by Muslimgauze. This is to be permanently available to people who don't deserve it. A tourist asked Ali Muhamad, a second-hand camel salesman, why camels look so dam supercilious. The Arabs know 99 names for God but only the camel knows the 100th.” [sleeve note]
www.staalplaat.com
|
1999 |
€15.00 |
|
|
Uzi Mahmood |
do-CD |
"Bryn Jones died January 14, 1999. The man best known as Muslimgauze was 37 years old, and at the peak of his career. During his short life he recorded an astonishing number of albums, some 200 at last count, a great many of them in years immediately preceding his death. Indeed, his output was so great that his labels couldn’t keep up with the virtual flood of music he produced. It’s no wonder new material continues to surface so long after his passing.
“Uzi Mahmood” was recorded to satisfy a specific request. Soleilmoon wanted a 12 inch single that DJs could play in nightclubs. The idea was to introduce Muslimgauze to a potentially enormous new audience. The request was made in the autumn of 1999, in a phone call lasting less than five minutes; Bryn was never one for small talk. He was all business, and he could record a complete album in three or four days, sometimes faster. Two weeks after agreeing to record a disco album for Soleilmoon, “Uzi Mahmood” was delivered to the label. But instead of the agreed on two or three tracks, he sent an eleven song compact disc, followed a week later by a 90 minute digital audio tape containing the entire CD plus two more pieces. Four songs were eventually selected for the experiment, and in the spring of 1998 a dirty-and-dubby 12" EP was released. Two more songs were later used to replace a pair of corrupted tracks on the master tape for “Hussein Mahmood Jeeb Tehar Gass”, released on CD in 1999. The music was well received by fans, but the hoped-for dance floor revolution never happened, and the little record with the unconventional beats went out of print a few years later.
Fast forward to the present: The year is 2010 and the four song EP has been out of print for more than five years, seven more songs lie waiting in the vault, still unreleased, and the two tracks tacked onto “Hussein Mahmood Jeeb Tehar Gass” are the only ones in wide circulation. Which is why Soleilmoon is so very pleased to finally be releasing all thirteen songs together on one record. “Uzi Mahmood” is 90 minutes of the sexiest, most booty-shakin’ Muslimgauze music ever heard. We released a limited edition gatefold triple LP in November. Now it’s available as a two CD set. Disc one has the eleven tracks from the original master, disc two has the two extra songs that came on the DAT. The cover art is by plazm design (plazm.com)." [label info]
www.soleilmoon.com
|
2010 |
€18.00 |
|
|
Turkish Berlina |
CD |
"The recently unearthed 'Turkish Berlina' dates back to 1997, shortly after Muslimgauze played Berlin; the master was labeled, simply, remixes. As with many of Bryn Jones' remixes of his own work, these ten untitled tracks range from hauntingly familiar to strikingly new versions of already extant Muslimgauze material. Surely we've heard some form of the haunting vocal loop on the first track before? The dense, busy, distorted break that takes over the second track, that's
new, isn't it? Or maybe we have it backwards, maybe what feels new here should be familiar and vice versa. Even for dedicated Muslimgauze fans these ten remixes hover tantalizingly on the border between the known and the unknown. Here the balance between Jones' source material, the music of the Middle East and elsewhere, and his own electronic, sometimes abrasive additions and distortions slides over much closer to techno than much of Muslimgauze's output, whether on the extended dubby pulse of the third track or the headspinning broken beats of the eighth and ninth. Jones had mentioned in the past being uneasy trying to represent the breadth of Muslimgauze's music live, preferring to emphasize percussion and backing tracks. These versions, then, coming on the heels of live performance, might just offer a glimpse at what Muslimgauze was like live. 500 copies." [label info]
www.staalplaat.com
|
2013 |
€15.50 |
|
|
Zilver / Feel the Hiss |
CD |
"Some of the tracks on Feel the Hiss, a release Bryn Jones recorded live to cassette in early 1995 but never had the chance to remix and polish before he died, use the same kinds of devotional voices found on much of Minaret Speaker, but here other voices are present too. Conversational or angry, male or female, English or French or Arabic, almost inaudible or forcing their way to the front of the music, these “Zilver Tracks” (the name based on a note Jones wrote on the tape) engage more directly with the world Jones was so fascinated with and tried to represent over and over again in his work as Muslimgauze.
If, like most listeners, you only speak one or two languages, the content on Feel the Hiss can be just as inscrutable as anything Jones has put out. But the music, luckily, is also just as wonderful; for a set of demos recorded live to tape the Feel the Hiss material certainly comes across as fully-formed, if a bit more reflective and synthesizer-heavy than much of his oeuvre. The lengthy “Zilver Track 4” especially, seems at times like a tour around the embattled regions of the world Jones was so passionate about, complete with echoing percussion, voices in various languages, even train sounds.
Not that this is Muslimgauze’s answer to the KLF’s Chill Out, by any stretch of the imagination; the dark, shimmering “Zilver Track 1” is as compellingly propulsive as any of his songs. It’s possible if Jones had gone back to this tape his changes would have brought it more in line with other Muslimgauze releases but as it is Feel the Hiss is a chance to experience the more contemplative side of his work." [label info]
www.staalplaat.com
|
2015 |
€15.50 |
|
|
Minaret Speaker |
CD |
"While the human voice has often been an element in Bryn Jones’ work as Muslimgauze, rarely did he highlight it as much as he does in these two newest releases from the Muslimgauze Archive Series. While elements of Minaret Speaker appeared on the 7” of the same name released by Staalplaat in 1996, much of the strongest material here is previously unheard. Jones’ normal practice was to send in tapes to the label with only a title for each tape as a whole, then provide individual track titles before each release. Sadly, with his passing in 1999 we are left with many projects where he provided album titles but, barring a séance, the tracks themselves will always remain untitled.
The material on Minaret Speaker can be broken into two groups; the first, the ten tracks that make up the bulk of this release, make clear immediately why Jones picked that title for the album, with the ten-minute “Minaret Speaker Track 1” serving as a duo for his trademark digitally distorted percussion loops and what certainly sounds like a recording of a call to prayer, or adhan. The voices on the tracks here are ones that may well have come out of an actual minaret speaker at some point. One these tracks, as the musical backing gets harsher and more distorted, the voices reach towards deliverance; the results, even on wordless interludes like the string-based “Bamboo Bound” is something that can seem more approachable than some of Jones’ work as Muslimgauze.
The four Rest tracks that make up the end of this release form a brief bonus EP of even lower-fidelity-than-normal works in progress from Jones, with “Rest Track 1” immediately sounding like Jones putting his own work through some new contortions. At times this material gets and fuzzed- and dubbed-out as anything in the Muslimgauze discography, a perfect accompaniment to the mix of soaring and pulverizing music found on the rest of the album." [label info]
www.staalplaat.com
|
2015 |
€16.50 |
|
|
Abyssinia Selasie |
CD |
\"Although Bryn Jones’ work as Muslimgauze certainly numbers dub within its influence, rarely is that influence treated as directly or centrally as it is on many of the tracks found on Abyssinia Selasie. A rarity among the material Jones left behind after his death in 1999, this release features unreleased material Jones had titled, unlike many of the tapes he had submitted but hadn’t gotten around to preparing for release.
The opening title track alone, with its steady bassline and dopplering, insistent beeps, is as close to an unadulterated dub track as Jones ever came, even as the separate coda “Benzedrine Wallah” starts cranking up the outbursts of percussion. Not every song on this trim, focused collection goes in that same direction, but even elements like “Arab”’s wobbling percussion and female vocals share a similar sensibility. Even the stark “Mind of a Suicide Bomber” is more coolly menacing than overtly hostile, although as always with Jones’ work and his positioning of that work it’s hard to know how seriously, or sympathetically, we should take him.
Unfortunately Jones isn’t around to ask, either to take to task or to praise, but he has left us with such a depth of material (and was so generally taciturn in life), that we are left with only that to evaluate. The last track here is titled “Mea Culpa,” and while it starts out as a fine example of the warmer, more head-nodding sound of Abyssinia Selasie before metamorphosing into a truly out-there echo chamber, after a brief break in the middle it surges back to life with the dubbiest bassline of the album, bathed in somehow welcoming static. Jones’ work as Muslimgauze remains as enigmatic and rewarding as ever.\" [label info]
www.staalplaat.com
|
2015 |
€16.00 |
|
|
Farouk Enjineer |
do-LP |
2021 Remastered reissue with new artwork
Originally released in 1997 through Soleilmoon Recordings – sol 61 cd
Extremely intense Arabic dub noise music, designed to blow minds and loudspeakers.
All Tracks Written and Played by Muslimgauze
Artwork by Oleg Galay 2021
An Other Voices Records / Kontakt Audio co-operation release 2021
Cat.No. VOX 66 LP / AKT05
|
2021 |
€30.00 |
|
|
Khan Younis |
pic-LP |
• Brilliantly remastered picture LP/CD with new stunning artwork!
• Unique tribal dub-trance music influenced by arabic culture with a touch of post-industrial.
• Hypnotic rhythms mixed with with eastern vibes.
• Muslimgauze at it's best!
• Released as picture LP in gimmix cover limited to 500 copies
• Also available as black vinyl and CD
A1 taken from VA - 110 Below - No Sleeve Notes Required (110 Below, 1995)
A2 taken from VA - Assemblage Volume Two (Extreme, 1996)
A3 taken from Nonplace Urban Field – Golden Star (Incoming!, 1996)
B1 taken from VA - Le Sacre Du Printemps (Gonzo Circus, 1994)
B2 taken from VA - X-X Section (Extreme, 1991)
B3 taken from VA - Directions 2 (Direction Music, 1989)
https://othervoicesrecords.bandcamp.com/album/khan-younis-vox-58-mc |
2022 |
€29.50 |
|
|
Veiled Sisters (GOLD) |
3 x LP |
It's by some strange inversion that since his untimely death in 1999 Bryn Jones' Muslimgauze project has become evermore enigmatic as his publicly available recordings have become evermore vast. The Mancunian artist's sudden passing at the age of 37 prematurely resolved a body of work that remains as experimental as it is diffuse, with an informal archive that was left spread between favoured labels and confidantes. And though this monadic project never abided by genre specifications, it all feels as if it is taking the critical pulses of its time and rendering them into something other than the sum of its obscure compulsions. Jones' double album 'Veiled Sisters' from 1993 is no exception, and it persists as a magnificent outlier in his singular and bewildering discography.
Originally released by the label Soleilmoon, an early and lifelong supporter of Jones' work along with Staalplaat, the album is a notable example of the uniquely recombinant fragility and fervour of Jones' work. This 3LP edition marks the album's first appearance on vinyl. Like much of the Muslimgauze catalogue, 'Veiled Sisters' is dedicated to the Palestine Liberation Organization, with its two halves—Sister One and Sister Two—calling on the history and conflicts of the modern Islamic world through opaque titles and snatches of musical oration.
Forgoing the raucous timbre and abrasion that Jones could occasionally employ, this album balances a medley of shrill instrumental bursts with a complex patterning of ambient atmospheres. 'Veiled Sisters' moves with a hypnotic gait across its extended runtime with a dynamic ensemble of electronics grounded in a pulsing yet evasive combination of low-slung kicks and dub-soaked bass. The hissy wash of drums, both played and machined, decorate a restless patina all over, and the cacophony of samples send impressions scattershot into Jones' idiosyncratic yet readymade psychedelia. With a quiet intensity that is not often captured this succinctly in the Muslimgauze catalogue, this new edition of 'Veiled Sisters' is a reminder of the haunting wonder that Jones was capable of manifesting.
https://alter.bandcamp.com/album/veiled-sisters |
2022 |
€55.00 |
|
|
Lo-Fi India Abuse |
pic-LP |
12" Picture Disc LP
• Remastered
• Special Die-Cut Sleeve
• Limited to 500 copies
India Lo-Fi Abuse was recorded in 1998, some tracks are "pure" Muslimgauze and some are re-mixs of tracks from Systemwide's "Sirius" CD (see also Systemwide meets Muslimgauze "at the City of the Dead" 12"). Nearly all of the tracks have hand percussion in varying tempos and intensities and at least 1/2 make use of electronic noise surges. The sound is very crisp and clean, extremely well produced, recorded and nicely varied throughout the length of the disc. Some track by track comments: "Antalya" is obviously from the same sessions as "Fakir Sind" seeing as it shares the same hand percussion sound, whistles, vocal wailing, cut-ups and delays. "Valencia Flames" sounds like a Systemwide remix. A dub bass line, hi-hat and background vocal of some sort are all obliterated by numerous delays, starts, stops and re-starts with an unpredictable nature in these cut-up tracks. "Al Souk Dub" injects background voices, market sounds and drones into the cut-up mix of slow hand percussion playing. "Catacomb Dub" and the final two tracks make use of twinkling synth waves, presumably a Systemwide sound source. "Dust of Saqqara" has a heavy pulsating electronic sound wave over an old beat box rhythm. "Android Cleaver" is brutal (as is "Nommos' Afterburn") hand percussion, jabs of noise and an oft repeated, unintelligible vocal sample. Yes, India Lo-Fi Abuse is yet another great Muslimgauze release, grab it! - Brainwashed.com
All tracks recorded by Muslimgauze 1998
Some tracks are re-mixes from Systemwide’s “Sirius” album
Re-mastered by Višeslav Laboš
Sleeve by Oleg Galay
Originally released in 1999 via BSI Records (BSI 1999-3).
An Other Voices Records / Kontakt Audio Co-operation Release
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2023 |
€29.00 |
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Turn on Arabic American Radio |
do-LP |
The relationship between Bryn Jones’ music as Muslimgauze and the track/abum titles he would provide (sometimes right on the tapes he would send in for release, but often determined later, sometimes even giving two different pieces months apart the same title, accidentally or not) has always been a little mysterious. Jones himself can no longer be asked, and as we continue to investigate the swathes of material he provided, you hit sources like the DAT or DATs that make up the contents of the new double LP »Turn On Arab American Radio«. Nine tracks, the first LP/four tracks titled »Turn On Arabic American Radio,« and the other LP/five tracks labelled only »Arabic American Radio.« None of them sound particularly radio-esque, although given the simultaneous vastness and ornate focus of Jones’ Muslimgauze work that gap between name and sound is far from atypical.
Instead here the de rigeur percussion loops that underpin this particular set of tracks, while occasionally clipping into the fierce distortion that Jones either loved to use or couldn’t get away from, steer away from both the more consistent application of that distortion as well as the Middle Eastern and Asian influences he often used. It’d be a stretch to call anything here basic boom-bap production but they come closer to it than a lot of Muslimgauze production. And while those loops are, as always prominent, they’re not actually the focus; settling into steady vamps as structures for Jones to pursue an extended and often more gentle exploration of the other sample sources he has here. There are stringed instruments, the sound of water, but most prominently or strikingly the human voice. Nothing is in English but tone and the occasional word ('familia', 'passport') still provide guides. There are ululations, snatches of melody; but most often speech, dialogue, often tense and harried sounding. Is this what Jones was thinking of or referring to with his Arabic American Radio?
As with so many other questions about Muslimgauze, we’ll never know the answer to that one. (Most pertinently in this case we might wonder who appears here, and what the context of these recordings is. But Jones never provided that with his submissions.) Here, even though those inexorable loops pound on, indefatigable, that emphasis on some of the people Jones chooses lends a measured gentleness to much of »Turn On Arabic American Radio«, at least within the context of his body of work. The last thing you hear at the end of the second LP is one last question from one of the many speakers on this peculiar Muslimgauze radio, echoed away into infinity. We may never have answers, but those questions continue to resonate.
https://www.discogs.com/release/25889791-Muslimgauze-Turn-On-Arabic-American-Radio
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2023 |
€33.00 |
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Veiled Sisters |
do-CD |
It's by some strange inversion that since his untimely death in 1999 Bryn Jones' Muslimgauze project has become evermore enigmatic as his publicly available recordings have become evermore vast. The Mancunian artist's sudden passing at the age of 37 prematurely resolved a body of work that remains as experimental as it is diffuse, with an informal archive that was left spread between favoured labels and confidantes. And though this monadic project never abided by genre specifications, it all feels as if it is taking the critical pulses of its time and rendering them into something other than the sum of its obscure compulsions. Jones' double album 'Veiled Sisters' from 1993 is no exception, and it persists as a magnificent outlier in his singular and bewildering discography.
Originally released by the label Soleilmoon, an early and lifelong supporter of Jones' work along with Staalplaat, the album is a notable example of the uniquely recombinant fragility and fervour of Jones' work. This 3LP edition marks the album's first appearance on vinyl. Like much of the Muslimgauze catalogue, 'Veiled Sisters' is dedicated to the Palestine Liberation Organization, with its two halves—Sister One and Sister Two—calling on the history and conflicts of the modern Islamic world through opaque titles and snatches of musical oration.
Forgoing the raucous timbre and abrasion that Jones could occasionally employ, this album balances a medley of shrill instrumental bursts with a complex patterning of ambient atmospheres. 'Veiled Sisters' moves with a hypnotic gait across its extended runtime with a dynamic ensemble of electronics grounded in a pulsing yet evasive combination of low-slung kicks and dub-soaked bass. The hissy wash of drums, both played and machined, decorate a restless patina all over, and the cacophony of samples send impressions scattershot into Jones' idiosyncratic yet readymade psychedelia. With a quiet intensity that is not often captured this succinctly in the Muslimgauze catalogue, this new edition of 'Veiled Sisters' is a reminder of the haunting wonder that Jones was capable of manifesting.
https://alter.bandcamp.com/album/veiled-sisters |
2022 |
€24.00 |
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Martyr Shrapnel |
do-LP |
Double LP version. 180 gram vinyl. Written, played. and recorded by Muslimgauze. Mastering by Yuriy Bulychev. Design by Zavoloka. Photography and production by Dmytro Fedorenko. Grad shrapnel and destroyed machine-gun cartridge were kindly provided by Maryna Fedorenko and Georgiy Potopalsky. Martyr Shrapnel was originally released by The Muslimgauze Preservation Society in 2012.
https://ishallsinguntilmylandisfree.bandcamp.com/album/martyr-shrapnel
*2012’s ‘Martyr Shrapnel’ was released by The Muslimgauze Preservation Society as part of their mission to bring unreleased material from Bryn Jones’s vaults to light in the wake of his death at the end of the Nineties. Consisting of material recorded between 1996 and 1998 (including six tracks that appeared on 2012’s ‘Analog Zikr’ cassette) it’s characterised by deep, liquid bass and inventively arranged vocal snippets that show Muslimgauze to have been an early progenitor of dubstep.* [Norman Rec.]
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2023 |
€32.00 |
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The Extreme Years 1990-1994 |
9 x LP BOX |
first time ever on vinyl
* with bonus songs
* unique sleeves with special spot UV and inside print
* wooden deluxe boxset with 9 vinyls, booklet, hand numbered certificate card
The English musician Bryn Jones, who preferred to call himself the band Muslimgauze during his artistic lifetime, was one of the most original and productive artists of the post-industrial scene. He has released an incredible amount of music in just 16 years. According to current estimates, there are at least 200 releases with a total of more than 1900 songs in circulation.
The Extreme Years 1990-1994 is a compilation of all Muslimgauze music, released on the Australian label Extreme Music between 1990 and 1994.
According to many critics and fans, this was a uniue and very special period in Bryn’s work, during which he grew from an amateur musician into an experienced sound sculptor.
Sadly, Bryn passed away in early 1999, aged just 38 years.
The box set is limited to 100 copies in golden vinyl and 222 copies in black vinyl.
It includes 9 vinyls in expanded 2LP versions with bonus songs of the 4 Extreme albums, as well as the Infidel LP with remixes done by another electronic music genious David Thrussell (Snog, Soma, Black Lung).
The Infidel LP will be exclusively available with the box set edition, where the 4 double albums will be available also as separate releases, beeing published one after the other during the first half of 2024, starting with Intifaxa 2LP.
The original tracks were perfectly remastered for this first time ever vinyl release and the new masters received high praise from the Extreme Music owner Roger Richards.
New sleeve designs were created by Oleg Galay, who is famous for his artworks for many Muslimgauze reissues.
The boxset contains the albums:
Intifaxa 2LP (AKT16)
United States of Islam 2LP (AKT17)
Zul’m 2LP (AKT18)
Citadel 2LP (AKT19)
Infidel LP (AKT20) – not available outside the box
as well as a LP sized 8 page booklet, a pro DJ slipmat and a hand numbered certificate card, all housed in a highest quality, heavy wooden box.
All album covers are made from extra heavy cardboard with deluxe spot UV finish and inside print.
The release date for the complete Extreme Years 1990-1994 boxset with all vinyls included is 1.01.2024
The separate double LPs will be released on these dates:
Intifaxa 2LP – 10.01.2024
United States of Islam 2LP – 1.03.2024
Zul’m 2LP – 1.05.2024
Citadel 2LP – 1.07.2024
https://kontaktaudio.bandcamp.com/merch/muslimgauze-the-extreme-years-9-lp-box-set-black-vinyl
https://www.kontaktaudio.com/shop/muslimgauze-the-extreme-years-1990-1994-deluxe-boxset |
2024 |
€199.00 |
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| MV&EE MEDICINE SHOW |
The Uranian Ray |
LP |
"This beautiful vinyl LP edition MV & EE MEDICINE SHOW's 'URANIAN RAY', originally released on the legendary CHILD OF MICROTONES label in 2004, is a stunning 'get-hi-fidelity' remastered reissue prepared on the spirited channels of the SPECTRASOUND mastering system developed by MATT VALENTINE himself. Therefore a fresh take on a previous favorite, the lunar brother to 'MOON JOOK" hand picked from their catalog by SPIRIT OF ORR, capable of achieving a glorious exit velocity, and slightly rearranged for the time limits & opportunities vinyl provides. Limited single pressing on black vinyl." [label info]
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2007 |
€15.00 |
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| MY CAT IS AN ALIEN / STEVE RODEN |
Cosmic Debris Volume 2 |
CD |
Interesting collab of two artists / projects that work in totally differents fields of sound-art creation...
"CD re-issue of the second installment in the "Cosmic Debris" split ART-LP series set up by Maurizio and Roberto Opalio, aka My Cat Is An Alien, on their own Opax Records. The Vol.II sees the two space brothers from Torino, Italy, alongside Californian visual and sound artist Steve Roden. What makes this collaborative release so peculiar is the natural interactive exchange occurred between the artists, and that came out from the concept behind the experience itself. Roden's contribution thus represents the unique experience of hearing him literally 'playing' guitar chords. His first track, "E-bows and Rainbows", developes through the minimal and reiterated sound architecture of Roden's so-called 'possible landscapes', where singular source materials such as objects and field recordings are abstracted through electronic processes to generate new audio spaces, characterizing the artist's aesthetic in sound works; the following "My dog is a Yufo" is so far a pretty unheard aspect of Roden's ability to shape a fascinating intimate piece only with an old electric guitar and his own fingers, and it also demonstrates how a true artist can re-create his own personal universe, no matter what kind of source utilized. On their side, MCIAA deliver another piece of 'cosmic debris', centered on multilayered echoes of voice, toy piano, space drones raising from a distant horizon, and their own physical gestures performed during the recording, which reproduce themselves through the air, re-play and give birth to echoes of real time that overcomes its own essence, becoming field recording itself, mirror and spectre of its immutability. Their track entitled "Everything waves like cosmic debris" also features Ramona Ponzini's Japanese bells contribution." [label info]
www.asilentplace.it
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2007 |
€6.66 |
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| MYERS, DAVID LEE |
Superpositions |
MC |
"Witness the common phenomenon of feedback such as produced inadvertently through poorly configured microphones and loudspeakers in public amplification situations: the sound coming from the speakers finds its way back into the microphones and produces an uncomfortable squealing sound. The component elements are electronic and acoustic, the latter involving air movement and vibration of physical objects. But internal electronic feedback is quite a curious animal, something distinct from electroacoustic feedback. It can operate – feed back – eternally, but make no sound; vibrate no air, reach no ears. It is this silent marching of electrons, antlike, about some elaborate roadway perhaps only known to themselves which is so fascinating to an artist.
The introduction of the early guitar effects devices was the real opening of an interest in sound and music for me. The initial impression of an Echoplex tape-delay (ca. 1966) still reverberates, as it were – I put down my guitar and focused on this thing itself; who needed a guitar now? A sound goes in one end and comes out the other, somehow transformed into a modified clone of itself; partially the same, but evolved. And it is significant that this transformation is a manipulation of the sound’s time-path. Most audio effects boxes – and all of those which interest me most – are based on manipulations of time, that strange entity which even the most advanced scientific analyses have yet to explain convincingly. Since childhood this inexplicable thing called time has puzzled and excited me, and in the effects device the question comes forth along with a satisfying aesthetic pleasure. Further, the concepts of time manipulation and feedback come together in the ancient ourobouros symbol which was intended to speak of several things at once: self-referral (consciousness), recurrence, and eternity. Feedback is far more than a public address system in misalignment; it is a core principle of universal importance.
DLM
David Lee Myers (aka Arcane Device) releases his latest album of Feedback Music, titled Superpositions. These pieces have been created through the use of specially configured electronic components, none of which are designed to produce sounds on their own. Rather, audio processors are wired so that their inputs are fed their own outputs, as well as the outputs of other processors, via a series of matrix mixers. The whole assemblage is played as a real-time instrument, producing tones and patterns ranging from subtle sound washes to cacophonous deluges. Superpositions is a meditation upon the unseen forces and energies inhabiting the subatomic world.
“David Lee Myers finds his sounds in the off-screen space of feedback networks. By patching the output of an electronic audio device, such as a mixing board, back into its input, Myers is able to conjure and navigate within this space… He takes snapshots of the sonic entities populating these spaces then arranges them into etheric photo-mosaics.” (Kim Cascone)
David Lee Myers is a sound and visual artist living in New York City. Since 1987 he has produced electronic music via his custom ”Feedback Machines“ under his own name, as well as Arcane Device. Myers has had dozens of recordings released by Starkland, ReR, Generator, Line, Silent, Pogus, RRRecords, Staalplaat, Monochrome Vision, and many other labels. Collaborations have been produced with Gen Ken Montgomery, Thomas Dimuzio, Ellen Band, guitarist Marco Oppedisano, Dirk Serries, and noise maestro Merzbow. Two Albums were created with legendary electronic pioneer Tod Dockstader, and four others with Hamburg’s master sound manipulator Asmus Tietchens, with a fifth in progress. Myers has performed his sounds and visuals at New York’s Generator, The Kitchen, Roulette, Experimental Media Foundation, the Knitting Factory, Clocktower, MoMA/PS1, Outpost Artists Resources, Trans Pecos and Silent Barn, as well as the San Francisco Electronic Music Festival, and the Boston Museum of Modern art, among others.
All tracks produced by David Lee Myers 2016-17 on original electronic feedback systems.
Created live-to-recording with no overdubs.
Cover photo by DLM.
https://cronica.bandcamp.com/album/superpositions
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2017 |
€9.00 |
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| MYRNINEREST |
Jhonn, Uttered Babylon |
LP |
"MYRNINEREST ist der neue halluzinogene Cartoon aus der Feder von David Tibet, der gern außerhalb von CURRENT 93, mit den Künstlern und Freunden arbeiten wollte, die er am meisten bewunderte.
' "Jhonn," Uttered Babylon', ihr eindringliches Debüt mit James Blackshaw und David Tibet, handelt von Davids Freundschaft mit dem verstorbenen Jhonn Balance von COIL, seinem Tod und wie er den Freundeskreis um Jhonn in Mitleidenschaft zog.
Sämtliche Lyrics stammen von David; die Musik von James. Das Album wurde im Februar 2012 mit James Blackshaw an der klassischen Gitarre und am Harmonium und mit David als Sänger aufgenommen.
Beide Formate, LP und CD, beinhalten die gleichen Songs, doch mit verschiedenen Mixen von verschiedenen Künstlern.
Die Tracks haben auf beiden Formaten verschiedene Titel. Die Vinyl-Version wurde von The Bricoleur gemischt und kommt in einem Vollfarb-, Reverse-Board Hülle mit einem 4-seitige Booklet mit den Songtexten und zwei Reproduktionen von Kohlezeichnungen von Jhonn Balance.
Das Gemälde auf dem LP-Cover ist ebenfalls von Jhonn Balance." [label info]
www.myrninerest.com
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2012 |
€17.50 |
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| MZ.412 |
Svartmyrkr |
LP |
Swedish behemoths MZ. 412 return with their first full-length album in 13 years, once again asserting their dominion as the true Kings of Black Industrial. "Svartmyrkr" is a massive tour de force that reinvents the classic sound of MZ. 412 whilst retaining their trademark malevolent harshness.
This album is dedicated to the true hell of the north - Helheim - and the giant goddess that rules it, Hel. From blackened ritual incantations, to bleak yet beautiful dark ambient arrangements, to harsh bombastic orchestrations, this album exceeds all expectations.
MZ. 412 blur the lines between music, magick and reality. The earth trembles... the mountains quake... all light is vanquished. The Swedish overlords darken the hearts and extinguish the souls of all who bear witness to "Svartmyrkr".
Album Teaser: youtu.be/wT7FEsoRzE4
Album Previews: youtu.be/yKppBrwe0UE
https://coldspring.bandcamp.com/album/svartmyrkr-csr257cd-lp
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2019 |
€22.00 |
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| |
Svartmyrkr |
CD |
Swedish behemoths MZ. 412 return with their first full-length album in 13 years, once again asserting their dominion as the true Kings of Black Industrial. "Svartmyrkr" is a massive tour de force that reinvents the classic sound of MZ. 412 whilst retaining their trademark malevolent harshness.
This album is dedicated to the true hell of the north - Helheim - and the giant goddess that rules it, Hel. From blackened ritual incantations, to bleak yet beautiful dark ambient arrangements, to harsh bombastic orchestrations, this album exceeds all expectations.
MZ. 412 blur the lines between music, magick and reality. The earth trembles... the mountains quake... all light is vanquished. The Swedish overlords darken the hearts and extinguish the souls of all who bear witness to "Svartmyrkr".
Album Teaser: youtu.be/wT7FEsoRzE4
Album Previews: youtu.be/yKppBrwe0UE
https://coldspring.bandcamp.com/album/svartmyrkr-csr257cd-lp
|
2019 |
€13.00 |
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| MØHR & MAEROR TRI |
Hafenstadt |
CD |
" On “Hafenstadt”: This music was originally planned to form a part of the third tape box in the MØHR interpretation series of ZNS TAPES. In this series different artists got an individual 30-minutes-piece of basic material by MØHR to be interpreted it in any way: Using it as a backing tape and adding some more tracks, getting inspired and doing something unique in the spirit of the basic material, deconstruct and arrange it anew. The invited artists had any opportunity to re-work the source material. For the actual release the basic material was placed on side A and the interpretation on side B, enabling the listener to compare the basic and the final sound. Three tapes were compiled as one tape box linked by a loose theme. The first box, Bürokratie, contained works by DAS KONZENTRAT, BESTATTUNGSINSTITUT and SUICIDE COMMANDO (released in 1990), the second, Kulturschock, contained works by ANDREW CHALK/DARREN TATE, ECTOPLASMIC EMBRYO EXPERIENCE and FLAGRANTs D’ELI (released in 1991). The third one, which was to contain Hafenstadt by MAEROR TRI (as well as material of PBK and THE HATERS), has never been released due to the sudden end of ZNS TAPES. We’re convinced that this combination of basic stuff plus musical reworking is still an interesting and exciting experience for the audience, maybe especially after more than 20 years in the archives. (Andreaz Vogel)
MØHR biography
MØHR existed between 1986 and 1994 as the solo project of Andreaz Vogel. Previously he had been active as a bass player and drummer in various post punk and noise rock groups.Since its inception the main aim with MØHR was to create a dense and energetic sound without the use of conventional instruemnts. With this wall of sound the listeners were almost under attack and forced into a dark and brooding listening environment, both on the recordings and in the live situation. Andreaz also ran the important tape label ZNS TAPES.
MAEROR TRI biography
MAEROR TRI existed from April 1988 to the end of 1996, coming from the very north-western part of Germany. The three members were influenced by (post) industrial, noise rock and experimental ambient and found a way to establish their very own drone based style, using often guitars but also other instruments plus all kinds of (self build) objects and masses of sound effects. Their symbol, the triangle “Wheel” stood for ‘consciousness’, moving & shining in different colours and speed. The sound was meant as a tool for the listener to open the mind for transcension & sensitization: ‘We want to transmit a total openness, the bursting and overcoming of all mental barriers, the breaking out of the enforced subject “Tunnel-Reality” of modern society. ‘ Out of MAEROR TRI evolved the projects TROUM and 1000SCHOEN that are still very active." [label info]
www.aufabwegen.com
www.aufabwegen.com
"Mohr was the work of German avant tape-machinist Andreaz Vogel who ran the ZNS Tapes label in the late '80s and early '90s; and our introduction to this work dates way back to the very second Drone Records single, released in 1993. This was about the time when Vogel pretty much called it quits on sound construction; but given how many great artists had been introduced through the Drone Records series of singles, Mohr's work had always been intriguing even as it had been quite elusive in the global cassette underground at that time. By the end of Mohr's tenure, Vogel had embarked on three mail-art pieces in which various audio sculptors and sound destroyers would rework / deconstruct a 30 minute track from Mohr. The second in this trilogy was notable to those Andrew Chalk enthusiasts as an unknowable Ora cassette from 1992. The third - and never released - cassette was to include Maeror Tri, The Haters, and PBK. With Hafenstadt, we now have a glimpse back into the gristled, contorted, and mangled tape construction that Mohr had been producing in conjunction with a pretty stellar set of black hole implosion of x-ray drone courtesy of Maeror Tri. Vogel took something of a Fluxus approach to his industrially bent constructions, purposely avoiding musical instruments in favor of the found sound that got flung into orbit in a spiraling descent of his tape loop dub and squeaky wheel rhythmic errata. These are deliberately raw and malformed cyclical patterns for a DIY musique concrete. Maeror Tri's brain-crush of sustained reverb and backwards masked flares of dark energy bury much of the insistent hypnosis from Mohr well beneath their grim wall of leaden noise and nuclear winter drone. It's always a wonder to behold the early works from Maeror Tri, and here it's nicely paired with Mohr's mangled hypnogogia." (Aquarius Rec)
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2015 |
€13.00 |
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| N + BALTZER |
Gaunerzinken |
do-LP |
This improvisation was recorded live in one afternoon with a one-track recorder in the order of the tracklist. Nothing was cut or added.
GAUNERZINKEN
For us humans, the world consists of signs that we continually create and interpret ourselves. As cultural beings, we work partly consciously and more often unconsciously every day to produce signs of meaning. Through language, ritual, habit or deliberate planning. In this way we appropriate the world. The so-called GAUNERZINKEN have the same function. Signs painted on houses that give clues to their material value and inhabitants. The signs are planned. The inhabitants do not know their meaning. They are excluded from their interpretation.
Thus, GAUNERZINKEN form signs of meaning, created by marginalised groups who desire, in secret language, a double act of appropriation: The creation of a secret, self-concealing sign, for the appropriation of a part of the material world, the property. Through the production of signs, those excluded from material privileges gain a first access, a first symbolic occupation, a small boundary shift of the exclusionary in the world. Crime is therefore necessarily immoderate, immoderateness necessarily criminal. The music of N and Baltzer is in this immoderate, alluding to signs / playing signs, that remain ambiguous. The signs are diffuse, blurred, diffuse into atmosphere, no meaning is given, the implications are to be filled individually, subjective crooks are to emerge while listening. But no one gets excluded.
This is how we can appropriate the world. This world, flooded with signs, brushed over and dressed up, the world obscured by property. Through the production of secret meaning, through our signs, which first form in us as emotion and which we then paint on the facades of the world when we have located ourselves anew, which we should always covet, so that it may someday be ours again.
Here is your sound.
Double-Vinyl LP in a DIY linoleum print cover. Edition: Black printing on grey paper.
https://n-baltzer.bandcamp.com/releases
"Auf „Gaunerzinken“ entwickeln sich fünf, dem Wesen und der Erscheinung nach einander fremde Live-Improvisationen, die dennoch darin vereint sind, eine durch Gitarren vermittelte Unruhe zu erschaffen. Die Stücke variieren ungewöhnlich stark. Und das, obwohl nur ein Nachmittag benötigt wurde und obwohl das instrumentale Fundament während der gesamten Aufnahme hinweg identisch bleibt: „Guitars, amps and effects“ – einfach live, ohne nachträgliche Zusätze, pur. Hellmut Neidhardt, kurz N, hat es mit dieser unmittelbar bedrohlichen Musikform auf Dutzenden von Tonträgern und in einer Vielzahl von Projekten zu einer außergewöhnlichen Klasse gebracht. Und auch in Zusammenarbeit mit Sebastian Baltzer (ORANGE SWAN) gelingt ein vielschichtiges, behutsam sich entwickelndes Album von unerhörter Präzision. Gemastert von Dirk Serries, einem anderen Gitarren-Drone-Virtuosen, ist „Gaunerzinken“ ein herausragendes und atmosphärisches Werk geworden, dessen Improvisationen ein bebendes Leben innewohnt." [Ox Fanzine]
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2022 |
€26.00 |
|
| NADJA |
Trembled |
CD |
"Trembled has returned, triumphantly. Released by Utech Records [046] in the summer of 2006 on limited cdr. The principal live recordings from Toronto have been remixed/remastered and include a rare performance of Swans "No Cure for the Lonely." The core of the release, though, is “Tremble”, a cascading improvisation of drift and atmospherics revealed to audiences on an occasional basis. The track is telling of the fluidity with which Nadja create and why the band has become so highly regarded. “Breakpoint” and “Corrasion” complete the set. Exclusive material has been added in "Stays Demons" and a second version of "Tremble" recorded by Scott Slimm in Philadelphia. Illustration by Justin Bartlett. The ultimate document of Nadja at their most electric and empyreal." [label info]
|
2008 |
€13.00 |
|
| |
The Stone is not hit by the Sun, nor carved with a Knife |
CD |
"Nadja return with The Stone Is Not Hit By The Sun, Nor Carved With A Knife, their first release for Gizeh Records. The Canadian/Berlin-based ambient doom duo of Aidan Baker and Leah Buckareff continue their ultra-prolific output with a monolithic record which explores the depths of heavy noisescape-related music. Encompassing distorted riffs and hypnotic rhythms the album sonically attempts to continue on from the more structured elements of the duo's recent Queller album (2014), coupling that approach with Nadja's more traditional sprawling, dense and challenging sounds. The relentless fuzzed-out textures repeat and build into a blissful and cathartic whole - a place to be completely immersed. In the deep, glacial and all-consuming world that Baker and Buckareff provide the listener with here, there is a will to dissolve, to let the record wash right over you or perhaps even through you. At times crushingly beautiful, The Stone Is Not Hit By The Sun, Nor Carved With A Knife is brought to life by its clever restraints with quieter interludes serving a perfect purpose against its more intense, heavier moments. The album's intriguing title comes from a runic inscription on an Icelandic burial stone but the phrase also appears on the Eggja Stone which provided some of the lyrical content on the record. Nadja have a habit of transcending genres and indeed throughout their career, they have been incredibly difficult to pin down. The Stone Is Not Hit By The Sun, Nor Carved With A Knife is a welcome addition to that hefty catalogue and stands up tall against their most impressive work. Aidan Baker - guitars, vocals, drum machine; Leah Buckareff - bass guitar Recorded in the autumn of 2015 at Broken Spine Studios, Berlin. Mastered by James Plotkin. Artwork by
Aidan Baker and Richard Knox." [label info]
www.gizehrecords.com
"The CD was mistakenly manufactured with only 3 track markers when there should be four. So, the correct tracklisting should be 4 tracks, as it appears on our Bandcamp page:
https://nadja.bandcamp.com/album/the-stone-is-not-hit-by-the-sun-nor-carved-with-a-knife
The fourth track is a bonus track exclusive to the CD and not on the LP at all." [Aidan Baker]
|
2016 |
€15.00 |
|
| NADJA & VAMPILLIA |
The perfect World |
CD |
"Staggering collaboration between Nadja and Vampillia. LP is pressed in an edition of 500 with the first 100 copies on color vinyl.
This collaborative album combines Nadja's wall of guitars with Vampillia's operatic vocals and classical instrumentation to make a hybrid of doom and neo-classical music. This version of the release for Important Records features a new song, Avalanche, and brand new mixes of the original tracks from the rare Japanese tour edition." [label info]
www.importantrecords.com
|
2013 |
€13.00 |
|
| |
The perfect World |
LP |
"Staggering collaboration between Nadja and Vampillia. LP is pressed in an edition of 500 with the first 100 copies on color vinyl.
This collaborative album combines Nadja's wall of guitars with Vampillia's operatic vocals and classical instrumentation to make a hybrid of doom and neo-classical music. This version of the release for Important Records features a new song, Avalanche, and brand new mixes of the original tracks from the rare Japanese tour edition." [label info]
www.importantrecords.com
|
2013 |
€22.50 |
|
| NAKATANI, TATSUYA |
Confirmation |
LP |
"Nomadic percussionist Tatsuya Nakatani travels worldwide, his performances blooming with ceaseless expanse. Although Nakatani is a valiant collaborator, joining with other musicians, dancers, filmmakers and beyond, solo percussion is the root of it all. Simply stated in Nakatani's own words, this album is "Confirmation of all of my acoustic solo percussion performance since 1998. Recorded live at Nakatani-kobo in Easton Pennsylvania USA during snow season of beginning of 2015. No overdubbing and used the fewest effects possible on this LP."
Confirmation is Nakatani's third release on Taiga. We initially saw the vibrant color of his collaboration with Mary Halvorson and Reuben Radding on MAP Fever Dream. Followed by Nakatani Gong Orchestra, a woven blend of heavy vibrations from his one-off group experiments on the road. Now we have number three, solo percussion, the foundation of his practice, charged with thunders, screams, sparks and countless other ineffable sonic textures.
Mastered by James Plotkin, cut direct to copper & pressed on 200g virgin compound, Confirmation is Nakatani's first solo percussion album to be released on LP. Housed in a custom heavyweight yellow paper jacket with silver & metallic black foil stamping made at Studio on Fire in Minneapolis." [label info]
www.taigarecords.com
|
2015 |
€23.50 |
|
| NAM-KHAR & SIELWOLF |
Oppressfield |
CD |
"Ebenfalls mit Sielwolf sind Nam Khar vor etwa zwei Jahren mit „Atavist Craft“ an meinem akustischen Horizont erschienen, an dem sie sich auch mit der Kollaboration mit „Alone in the Hollow Garden“ problemlos halten konnten und an dem sie nun mit „Oppressfield“ erneut erklingen. Mit „Platinum insert“ beginnt das Album zunächst sehr leise, doch etwa in der zweiten Hälfte des Track drängt sich der unbarmherzige Maschinenrhythmus, der zunächst wie entfernt zu hören war, in den Vordergrund, bis er gegen Ende wieder verebbt. Die nun folgenden „Cron tabs“ erinnern mich an einen Dialog zweier Maschinen über eine Klangebene hinweg, die voller elektrischer Spannung zu sein scheint und stellenweise nach den grandiosen „Elph“ klingt. Etwas mehr als sechs Minuten sorgen hier abwechslungsreiche Sounds dafür, dass keine Langeweile, sondern vielmehr fantastische Bilder vor dem vielbeschworenen Auge aufkommen. Der Titeltrack des Albums beginnt wieder leiser und erneut kommt es einen so vor, als geschehe etwas in der Entfernung und womöglich in einer Art Nebel. Dann schneidet sich ein irgendwie ‘nagelnder’, recht schneller Rhythmus durch das Ganze: Weiterhin erklingen klagende (?) Töne in der Entfernung, doch – meditative (?) – Ruhe kann sich beim Hörer hier nur einstellen, wenn er die komplexen werdenden und immer noisigeren Geräusche integrieren kann. Auch diese indes verklingen und der Hörer wird in in die „Failed states“ entlassen: Hier schlagen harte Töne durch eine rauschende, wehende Hintergrundfläche und ich meine sogar, gegen Ende etwas wie Schreie zu hören. Der Titel tut ein Übriges, angenehme wie beunruhigende (Klang-)Landschaften zu evozieren. Der sich langsam entwickelnde und längste Track „Crypt trap“ führt diese Atmosphäre gewissermaßen fort: Es gibt zunächst genug Stille, um auch die leisen Töne zu hören, doch wird man auch immer wieder mit Maschinenklängen konfrontiert: Rituale? Attacken? Irgendetwas scheint sich auch bei „Exorial“ durch eine dystopische Landschaft zu bewegen, Genaueres mag sich jeder selbst vorstellen oder sich auch ganz auf die Musik einlassen. Dazu fordert einen Sielwolf & Nam Khar hier immer wieder auf: Quasi mitzugestalten, wenn sich die Stücke zusammensetzen, hinzuhören, versuchen zu verstehen und sich sicher auch immer wieder auf seine Assoziationen zu verlassen. Kein „easy“, sondern irgendwie „analytical“ listening, dabei nicht nur „oppressive“, sondern „impressive“ und daher Freunden des nicht einlullenden, sondern ansprechenden und aufweckenden „(Industrial) Ambient“ zu empfehlen." [Flake777, Black Mag]
|
2017 |
€12.00 |
|
| NAUGHTIEST GIRL WAS A MONITOR |
untitled |
LP |
"VOD is very honored to present one of Sheffield's finest wave bands of the early '80s. The LP contains their first three songs plus 6 unreleased early '80s tracks. Just pure feelings and moods for the summertime." Numbered edition of 600.
www.vinyl-on-demand.com
|
2007 |
€15.50 |
|
| NECKS, THE |
Mindset |
CD |
"Now in their 24th year, the Necks’ release Mindset, their 16th album - and first LP, featuring two starkly contrasting tracks: the pulsating, raw, Rum Jungle and the slower building, rather hypnotic Daylights.
Polyrhythms imbue both pieces with powerful forward motion, embroiled with which ethereal piano patterns interweave with bass, drums, electronics, churning Hammonds and noise-guitars.
Drummer and percussionist Tony Buck writes: “Mindset shares some elements in common with our previous album Silverwater [2009], mostly in some mixing approaches and rhythmic devices - a reflection of our ongoing fascination with polymetric material and varying simultaneous pulses... but it's a whole other thing again, and the two tracks are very different from one another - Rum Jungle captures the live approach of the piano, bass, and drum trio a lot more, while Daylights features a bed of electronics and little sounds that slowly converge, coalescing into a multi-layered, multi-tempo, swirling soundscape.”
This release is supported by tours over the next three months in North America, Australia and Europe..." [label info]
www.rermegacorp.com
|
2011 |
€13.00 |
|
| NEHIL, SETH |
Furl |
CD |
" 'Furl is the sequel to Seth Nehil's critically acclaimed 2009 release Flock & Tumble, also on Sonoris. Continuing his exploration of physically charged, acousmatic sound, these compositions whip, crash, swoop, glide and burble. Clusters of bell-like tones pierce hazy, corroded atmospheres. Animalistic yelps, distant pings, percussive bursts and glassy swells all merge in this unique sound-world. These five pieces are both rigorously-assembled and gracefully sparse. Furl will be a welcome addition to the expanding catalogue in Nehil's futuristic organic paradox. What others had to say about Flock & Tumble : Extraordinary a wonderful sense of confidence in the material, an ability to go somewhere quite new.' - Richard Pinnell (The Watchful Ear). 'Not too often you come across something that just sounds like little else.' - Brian Olewnick (Just Outside). 'An important demonstration of Nehil's abilities, this is a classic sleeper which deserves immediate exposure, well beyond the small circle of experts to which music like this is usually addressed.' - Massimo Ricci (Touching Extremes). Biography : Seth Nehil is an artist, performance-maker, and composer with a practice that crosses between sound, performance-events and the visual arts. In recent years he has created large-scale sound performances, collaborated with choreographers including Liz Gerring (NYC) and Linda Austin (Portland, Ore), and has published music on various international labels, including Sonoris (France) and Senufo Editions (Italy). Seth Nehil has also been an editor of arts publications, an organizer of performance festivals and a curator of exhibitions. He currently teaches sound, video and art theory at WSU Vancouver and the Pacific Northwest College of Art." [label press release]
www.sonoris.org
" 'Furl' is already the follow-up to last years 'Flock & Tumble' (see Vital Weekly 684) and continues his shift away from the field of drone music. Like it says on the press release 'these compositions whip, crash, swoop, glide and burble'. The music of Seth Nehil has moved into the field of acousmatica. More than on the previous it seems to me that Nehil is working with real instruments (played by himself or others), which are transformed, thanks to the computer no doubt, but he cleverly stays away from the regular type processing that the schooled composers use. Instead he creates quite vibrant pieces of music that bounces off into various directions and moods. Even a quiet piece like 'Hiss' has this vibrancy, with slow changes in sound and volume. As said its not easy to recognize the instruments he uses (piano? guitar? percussion?), but he works with them in a great way. He's now entirely away from the field recordings and drones and works in a modern classical approach. A piece
like 'Swarm' sounds a stage piece with various voices from behind and slaps and bangs on the piano and percussion, with the addition of electronics making glissandi. Yet he has sprinkled the thing with his own magic - the sort of obscuring the sounds and that gives his music something of its own. Its hard to say what that is exactly, but it doesn't sound like anything else, which is the best compliment a composer can get, I guess. Its by far the best Nehil CD I heard and a fine career move." [FdW/Vital Weekly]
|
2010 |
€12.00 |
|
| NEPTUNE |
Gong Lake |
CD |
Kraftvoller und mit experimentellen Überflügen ausgestattete Noise-Rock einer Combo die an THE EX, alte SONIC YOUTH oder COP SHOOT COP erinnern, nur ist alles noch irgendwie verdrehter und verrückter, ohne dass sie jemals den Drive verlieren oder ins totale Chaos abdriften..
"Behold: Neptune, the most harrowingly original band on this planet -- or the next. Its three members are, in turn, musicians, sculptors, scientists, blacksmiths, electricians, and industrial machinists; relentlessly inventive, possibly sane. Together, they construct all of their instruments, forging guitars and drums out of circular saw blades, gas tanks, oil drums, bike parts, VCR casings, and miscellany from the trash. Electronics, and even cords, are homemade as well. The combined effect is a bizarre, post-apocalyptic mélange of steel, iron, wire, rust, rivet, knob and cable; it's lunacy, arc-welded for maximum destruction. Concerts are seizures of motion. Wearing 40-pound guitars assembled entirely from scrap metal, the members don't play their instruments -- they battle them, like mechanized Golems. But make no mistake, this is not simply art with sharp edges and serious customs issues. Neptune rocks. Hard. Recalling the slapdash angularity of The Fall, the rhythmic ack-ack blasts of This Heat, and the sheer proto-clangor of Einstürzende Neubauten, they count as one of the best experimental rock bands of any era. Their dynamic, expertly wrought songs and skilled improvisations don't start; they explode. Gong Lake is the band's first unlimited CD release, and with it the world will discover what fans of their live shows have known for years: Neptune is otherworldly." [label info]
www.tableoftheelements.com
|
2008 |
€14.50 |
|
| NERATERRAE |
Scenes from the Sublime |
CD |
"Consisting of ten tracks, each one inspired by a different painting, “Scenes From the Sublime” is an ode to beauty, the unfathomable and the minds capable of channeling the sublime. A captivating yet unsettling contemplative aural experience that guides the listener through dense dystopian atmospheres granting oneiric visions of delicate grandeur and otherworldly scenarios transcending time and space. This journey features collaborations by Alphaxone, Dødsmaskin, Leila Abdul-Rauf, Mount Shrine, Phelios, Phragments, Shrine, Xerxes The Dark, George Zafiriadis from Martyria and Yann Hagimont from Cober Ord."
https://cycliclaw.bandcamp.com/album/scenes-from-the-sublime
https://neraterrae.bandcamp.com/album/scenes-from-the-sublime
|
2020 |
€13.00 |
|
| NETHERWORLD |
Kall. The Abyss where Dreams fall |
CD |
".... In a tradition that is anchored, at the same time, in avant-garde, ritual soundz and dark-ambient, with a typically Italian touch, NETHERWORLD gives a peculiarly and elegantly organic and palpable feel to sounds that, in the hands of others, would maybe fall flat …and it is as if the sound universe conjured by the magic of NETHERWORLD was strangely…how could one say? OCCUPIED. Each moment, each twist and turn of this sound adventure bears infinite richness and elasticity, at all times …those are rather ‘busy’ sound layers but each of the elements has sufficient breathing space and can differentiate itself from the other surrounding components. This antagonism represents one of NETHERWORLD’s greatest strengths. Another noteworthy antagonism: this tendency to propose us ambiences that are excessively introspective, subdued, withdrawn into themselves, but which, at the same time, expand, subtly dilate to occupy an incommensurable space. Upon the first notes (or pulses??) of the opening track, ‘’KALL’’, this infinite abyss, envelops us and our dreams sink, dissolve, reinvent themselves…The sound propositions found on’’KALL’’ have enough movement and density to please the ones fond of depth in their music, but the overall ‘purified’ feel will please the most discerning purist. For the occasion, MONDES ELLIPTIQUES once again used the mastering talents of JOHN SELLEKAERS @ METARC and it is CHRISTIAN SA LETTE who put his savoir-faire in our service for the design of the sleeve and images. Limited to 441 copies! Deluxe cardboard sleeve." [label description]
"Netherworld is Alessandro Tedeschi and on the album 'Kall - the abyss where dreams fall' he shows his interest in cool ambient and drone related kind of music, that slowly and patiently unfolds in the space. The music is presented in four tracks that are called 'Kall', from part one to part four. What's most present in the 14 minutes of the first piece is the pulsating drone atmosphere, that sounds very gentle and is put in the front, while from time to time there are other sounds too that are appearing in the background and are adding a specific and slightly tribal sounding sense to the track. The sense of tribal ambient music is even more present in the second piece, while in the third longer piece of 21 minutes, there are motives similar to those in the first track - slowly unfolding layers of sounds that are coming from the cooler corners of the ambient spectrum, a kind of atmosphere that is present through the whole album. 'Kall - part 4' is no exception in the sounds that Netherworld uses in the music on this album. The fourth part is as smooth ambient music as the previous parts, it is the smoothest track, with almost 8 minutes of few slowly shifting layers of a kind of sustained, unusual, calm and sometimes linear sounding and spreading ambient music, a kind of aesthetic and approach to the music that is mostly present on the whole album, that is not a typical ambient aesthetic, but it crossovers the border-lines between the ambient and drone kinds of music." [BR / Vital Weekly]
www.angle-rec.net
|
2008 |
€13.00 |
|
| NEUFELD, SARAH |
Hero Brother |
CD |
"Sarah Neufeld is a violinist and composer based in Montréal, Canada. Best known as a member of Arcade Fire, she is also a founding member of the acclaimed contemporary instrumental ensemble Bell Orchestre and has performed and recorded with many other groups, including The Luyas, Esmerine and Little Scream.
Neufeld began developing pieces for solo violin in a more formal and focused sense in 2011, though she has made improvisation and solo composition part of her process and practice since first picking up the instrument at a young age. Neufeld counts Bela Bartok, Steve Reich, Iva Bittova and Arthur Russell among the formative influences for her solo work, in tandem with an ear for the textures and sensibilities of contemporary electro-acoustic, avant-folk and indie rock music.
Neufeld's debut solo album Hero Brother indeed channels all of the above, flowing through shifting atmospheres and oscillating between restrained, stately ambience, emotive études, and raw kinetic energy. Small touches of wordless vocalisation, harmonium and piano supplant the violin in a few places. The album was recorded in Berlin by pianist and producer Nils Frahm, with Neufeld's performances captured in a number of locations with site-specific acoustics, including an abandoned geodesic dome, an underground parking garage, and the legendary Studio P4 orchestral recording hall at the broadcast complex of the former GDR. Hero Brother will be released on Constellation Records in August 2013.
Sarah has recently premiered her solo music at BAM (Brooklyn), the WSO New Music Festival (Winnipeg) and Wavelength Festival (Toronto), of which Exclaim magazine wrote "the highlight of the night was most certainly Sarah Neufeld, whose compositions range from Reichian to folksy without skipping a beat; she uses violin squeals, growls, scrapes and slides to express varying emotions and stomps the stage beneath her for percussion.
Packaging notes
CD comes in a custom gatefold jacket printed on thick 24pt. paperboard with a printed CD dust sleeve. LP is pressed on 180 gram virgin vinyl at Optimal (Germany) and comes in a heavyweight jacket with black poly-lined audiophile dust sleeve, credit insert, pull-out art poster and download code for 320 kbps MP3 copy of the album. Artwork by Tracy Maurice." [label info] |
2013 |
€14.00 |
|
| NEUROBIT |
Moira |
LP |
Some years ago Neurobit released a 7” on Enfant Terrible with minimal music very much in the style of Terry Riley. Now Neurobit return with a very different sound… much less electronic in orientation. This mini LP “Moira” sounds like some obscure Asian ensemble playing contemporary ambient and drone music… music also somewhat reminiscent of some of the stuff Philip Glass did and in the distant you hear sounds and moods related to the music of Sarah Davachi and Antii Tolvi… but in the end it is just the perfect music to have a mellow and relaxed trip on…
www.vrystaete.nl
|
2016 |
€19.50 |
|
| NEW BLOCKADERS & INCAPACITANTS |
As Anti As Possible |
CD |
"Two pioneering and prominent extreme harsh noise stalwarts, both of whom have been active since the early ’80s, come head-to-head in a much-anticipated collaboration where the mastery of both artists are skillfully woven into a chaotic symphony. The pairs (Rupenus & Gillham and Mikawa & Kosakai) worked with each other’s material producing two collaborations (appropriately titled ‘Blockading Of Incapacitants’ / ‘Incapacitation Of TNB’) comprising relentless metal abuse, screaming feedback, gut-churning rumbles and deranged vocals. As the title suggests, ‘As Anti As Possible’ is certainly no easy listen and will be a challenge for all but the most die-hard of Noise fans.
TNB and Incapacitants have been mutual admirers of each other’s work since the mid-‘80s and have since that time occasionally discussed the possibility of a collaboration. However, no such collaboration has occurred until now.
’As Anti As Possible’ was originally intended to be issued on LP but, due to the extreme nature of the music, vinyl format wasn’t possible. Therefore, ‘As Anti As Possible’ has been presented on CD format. Includes new artworks by Rupenus (TNB)
https://4ibrecords.com/2019/04/06/the-new-blockaders-incapacitants-as-anti-as-possible-cd-out-now/ |
2019 |
€13.00 |
|
| NEW BLOCKADERS & VARIOUS ARTISTS |
Viva Negativa! A Tribute to the New Blockaders Vol. II - Europe |
do-CD |
"Volume II in a series of UK / European / US and Japanese artists’ tributes
to the pioneering UK Noise group The New Blockaders including exclusive
tracks by: Asmus Tietchens, RLW, Achim Wollscheid, Runzelstirn & Gurgelstock, Sudden
Infant, Dave Philips, Das Synthetische Mischgewebe, Kommissar Hjuler, Mama
Baer, Freiband, Vortex Campaign, Grunt, Lasse Marhaug, Jerome Noetinger,
Christian Renou, Pita, Giancarlo Toniutti, Zbigniew Karkowski, Alexei
Borisov, Cisfinitum, etc.
Artwork by Richard Rupenus (TNB)
The New Blockaders are a group who, more than any other, define the essence of true Noise music both in art and in act. Their influence on the current crop of popular crossover Noise artists such as Prurient and Wolf Eyes is
immeasurable. Emerging at the beginning of the 1980s alongside the Industrial grind of Throbbing Gristle and the harsh, abrasive Power
Electronics of Whitehouse, TNB stood out through a purity of vision. Their first record, 1982’s Changez Les Blockeurs, is noise in its most rudimentary form: metallic grating sounds and analogue feedback redefined what could be
classified as music. Its abstract form and Dadaist construction challenged all that had appeared before. It’s anti-music approach presented a recording closer to the theory-driven work of Einsturzende Neubauten than their
supposed contemporaries. They would appear rarely and when they did it would be in anonymity. The records would emerge even more infrequently with little information and in tiny runs. Collaborations in recent years with artists such as Sonic Youth’s Thurston Moore and Merzbow have bough their anti-sound
to a younger and diverse audience. The metal-bashing of K2, the awkwardness of Runzelstirn & Gurgelstock, the density of Macronympha and the
abrasiveness of Merzbow all owe something to the anti-music of TNB. They can truly be credited as pioneers of Noise music as we know it today." [label info]
www.aufabwegen.com
Reissue of parts of the LP box on VoD, with some extra tracks by Jerome
Noetinger, Kommissar Hjuler and more.
"The New Blockaders, Noiseinfanterietrupp und frühe Vordenkerform bruitistischer Lärmcollagierung bekommt auf dieser Compilation ein frühes Denkmal neu aufgesetzt. Die vorliegende Kompilation, 2006 in ähnlicher Form auf dem VOD-Label veröffentlicht, bekommt hier eine gänzlich neue Formung mittels exklusiver Bearbeitungen und Widmungen und einem Mastering von Asmus Tietchens. Die versammelten Werke, allesamt bezogen auf die Tributisierung der NB reichen dabei von archaischer Klangformung bis hin zu penetrierenden Digitalschwaden kurzgeschnittener, fingernagelgroßer Klangpailetten. Achim Wollscheid, RLW, Tietchens selbst, Runzelstirn & Gurgelstøck in einer Paradestellung dafür was analog gegen digital bedeutet und Giancarlo Toniutti sind nur einige wenige, deren Beiträge sich sattsam an der Tatsache weiden, die frühen Ausläufe des Industrial in ihrer Glanzzeit als Musiker der selben Kunstgattung miterlebt zu haben. Wenngleich einige wenige Durchläufer überbleiben (wie z.B. Achim Wollscheids geradezu unhörbare Symphonie für geschredderte Samplebänke, die in ihrer Konsequenz zwar mutig genug ist, aber zu sehr hinter den anderen Beiträgen zurückkbleibt sowie Freiband’s programmatisch betiteltes »Nichts«, das geradezu unverschämt mager die Möglichkeiten gecrushter Feldaufnahmen untersucht und geradezu hingeworfen wirkt), sind die Beiträge von RLW (mit Einbindung der kompletten Familie in den Prozess der Manifestierung), Mama Bär (welche ihre kongenial platzierten Schreie gegenüber einer Metallbastonade tapestriert, um auf die Kontraste von Vokal und Bruit aufmerksam zu machen), Kommissar Hjuler (dessen Beitrag das Sujet allzu sehr ad absurdum führt, aber in seiner vehementen Konsequenz auch nicht davor zurückschreckt, Kinderlieder einzubinden) sowie die musique concréte-Arien von Jérôme Noetinger und Das Synthetische Mischgewebe (die mit ihrer Collage aus atonalen Kracherzeugern einen ähnlich bewegenden Ablauf schaffen wie seinerzeit Ruttmanns »Weekend«) in ihrer Klangwerdung geradezu vorbildlich beschaffen. Ein insgesamt sehr überzeugender Re-Release für all jene, denen die 10 Platten der VOD-Ausgabe zu teuer waren. 5/5 " [Thorsten Soltau / AEMAG]
|
2010 |
€17.50 |
|
| NEW BLOCKADERS / THURSTON MOORE / JIM O'ROURKE |
The Voloptulist |
maxi-CD |
"Some sick, cold atmospherics on this first time colaboration between The New Blockaders, Thurston Moore, Jim O'Rourke and guest Chris Corsano. Track one - TNB with Thurston Moore - is a brooding death tone overlaid with grinding, scraping noises that become increasingly beast-like as the track progresses. Track two - TNB with Jim O'Rourke - is more subtle but equally as menacing. Manipulated white noise and radio waves collide head on at the two minute mark with some muffled, claustrophobic percussion, courtesey of Corsano. Short, sweet and tense as f**k. Recommended." [label info]
"...The disc is divided into two pieces, the first being the collaboration with Thurston, which turns out to be a particularly obscure drone piece, constituted from hissing feedback tones, tape crackle and some sort of chaotic, mechanical sound sources. The piece evolves infinitesimally over the course of its fourteen minutes, rendering an uncompromising, though highly textured vision of analogue sound sculpting. The other, shorter piece '840 Seconds Over' continues in its predecessor's campaign of high frequency feedback manipulations this time with the addition of some caterwhauling noise oscillator free jazz and typically virtuosic improv drumming from Corsano. It's a real force to be reckoned with, and the crispness of Corsano's kit works perfectly against the hiss and fizz from the tape-heavy, droning elements. It's all over rather too soon (the whole thing clocks in at just over twenty-one minutes), but you can hardly expect anyone to keep up these levels of intensity for prolonged periods, can you? Superb, top-flight noise." [Boomkat]
|
2007 |
€10.00 |
|
| NEW HUMANS |
AKA NEW HUMANS / VITO ACCONCI / C.SPENCER YEH |
Semishigure semi011 |
"Noise surrounds and permeates us, and no one is more responsible than the New Humans from that loudest and noisiest of metropolises: New York. From installation art to ear splitting live concerts, this infernal power trio lead by artist Mika Tajima eschews no collaboration, no matter how insane. Guitarist and artistic leader Tajimi is supported by electronics specialist and voice acrobat Howie Chen, drummer Eric Tsai, as well as a large number of guest musicians. The New Humans like nothing more than to drag friend and foe with them into their noise avalanches.
Semishigure proudly presents the fourth release, a unique live collaboration with artist Vito Acconci, a pioneer of body/conceptual art, and vintage experimentalist C. Spencer Yeh. This album consists of two concerts that took place during an exposition of the collective at the Elizabeth Dee Gallery in New York. Two electrifying, memorable performances that just had to be registered on CD.
The last time American performance legend Vito Acconci collaborated with a band was more than ten years ago, when he worked with punk rock brigade the Mekons. A similarly untainted, classically grim punk attitude shines through in his spoken word performance with the New Humans. “You in the Background” is the name of their jointly raised middle finger to the world. Floating on the ominously swelling waves of noise created by the New Humans, Acconci throws all frustrations overboard. Captive to a feverish, shamanic trip, Acconci speaks of each and everyone’s search for their own identity. Acconci has made a special selection from his audio works for the occasion. Texts such as “Now do you believe the dirty dogs are dead” (1978) and “Cry, baby!” (1977) still sound like screams for enlightenment and liberation. C. Spencer Yeh’s plaintive violin careens into the impenetrable wailing wall of feedback. The New Humans not just voice, but scream their anger of life under the Bush regime, and in Acconci they have found a worthy ally.
C. Spencer Yeh and the New Humans go the whole hog on the second live concert, an immensely loud drone séance lasting half an hour. Like no other, radical violinist Yeh manages to infiltrate any collective, be it Dream/Aktion Unit, Comets of Fire or Smegma. Through his trademark exorcising Velvets violin sound Yeh manages to create unbearable tension with the New Humans’ sound avalanches in hot pursuit. During the performance, a glass sculpture is destroyed and the noise of its breaking amplified. At any moment the waves of noise terror threaten to submerge Yeh, but he stands firm. Thank God this all-engulfing live experience has been registered for posterity!" [label info]
www.bottrop-boy.com
|
2009 |
€13.00 |
|
| NEWMAN, COLIN |
Bastard |
do-CD |
WIREs COLIN NEWMAN reissued auf seinem SWIM Label das Soloalbum "Bastard" aus dem Jahr 1997. Damals von der Presse als richtungsweisendes und bahnbrechendes Album im Elektro/TripHop/Techno-Bereich hoch gelobt, klingt es über 25 Jahre später immer noch grandios und aktuell. Erstmals auf LP (eco vinyl) überhaupt, CD-Version jetzt mit zusätzlicher Disc expanded mit vielen Bonustracks. - Obwohl das Album (das den Titel Bastard trägt) eine große Bandbreite an Stilen aufweist - Deep, Techno, funky Beats, Drum'n'Bass - ist es auch, wenn überhaupt, eine Rückkehr zu Newmans "Rock"-Wurzeln, da mehrere der Tracks Schwaden von E-Gitarren enthalten, die die Rhythmen untermalen. Die Platte fasst Newmans Hör- (und Aufnahme-) Gewohnheiten in den letzten Jahren vor der Veröffentlichung und die eklektische Natur des Swim-Labels zusammen, das er mit seiner Frau Malka Spigel betreibt. Alle Stücke auf Bastard wurden von Colin Newman und Malka Spigel geschrieben und von Immersion produziert. - "The language of Bastard is house, techno, breakbeat, drum and bass, and doubtless post-rock." - Colin Newman 2023 * "A fascinating trip across the musical barriers!" (Modern Dance) *"Scattercore breaks with swathes of electric fuzz... spiritualised infected with the dance virus... droning, blissed out mantras..." (MixMag) - CD2 info: Tracks 1-4 taken from 1995 EP Voice. tracks 5-8 originally appeared on swim team #1 and swim team #2, tracks 9-12 previously unreleased and exclusive to this edition. |
2024 |
€18.50 |
|
| NIBLOCK, PHILL |
Exploratory II |
LP |
We have the honor to present to you the new masterful work of Phill Niblock: EXPLORATORY.
One of the most beautiful and powerful works that Phill Niblock has ever offered to us! Phill reinvents and probes the oceans of drone music possibilities deeper than ever.
This piece has been performed and recorded for over a year by many great musicians around the world, under the supervision and direction of Phill.
Arditti String Quartet, David Watson, Lucy Railton, Phoenix Ensemble Basel, David Maranha, Ben Richter, David First, Andre Goncalves, and many more.
Matière Mémoire is now bringing the first two volumes to you By Arditti String Quartet, David Watson & Phoenix Ensemble Basel.
Each Vinyl is limited to 300 copies in transparent (Vol I) and transparent red (Vol II) vinyl. Also available on CD
Recording engineer and Mixing : Christof Stürchler
Mastering : Alex Buess
Recorded live at Restaurant Schmatz/City Studios BASEL on June 2nd 2019.
Final Mastering & cut by Frédéric Alstadt
Photography by Phill Niblock
Graphics & layout by Cedric D’hondt
MATME008LP ©Matière Mémoire Éditions - Art Sonore Sprl
www.matiere-memoire.com
EXPORATORY was commissioned and played in June, 2019, by the Ensemble Phoenix Basel and recorded, in a 32 minute version
https://phillniblock-mm.bandcamp.com/album/exploratory-ii
|
2021 |
€26.00 |
|
| |
Boston/Tenor/Index |
LP |
Boston/Tenor/Index, presents for the first time some of the earliest works by the American composer Phill Niblock, including three never before released pieces: "Index" (1969), "Tenor," and "Boston III" (both from 1972). Until now, it's been impossible to encounter Niblock's compositions from earlier than the 1960s, a reality thankfully rectified by the long overdue publication of this Boston/Tenor/Index LP on Alga Marghen. "Tenor" (1972) represents the first evolution of Niblock's musical thought towards the aesthetics of microtones, overtones, and drones which the composer would develop in following decades. The piece was recorded by the photographer Martin Bough on tenor saxophone and gradually dubbed back and forth by the composer in his New York studio. "Boston III" (1972) was recorded at the Intermedia Sound studio in Boston with Rhys Chatham (flute, voice), Martin Bough (tenor saxophone), and Gregory Reeve (viola, voice); the composer himself also contributed with his voice. The LP also includes "Index" (1969), an improvised sound performance by the composer himself. Guitar (both its body and strings), fingers and fingering fuse in a vehement action around which barely listenable sounds and resonances vibrate. Considering the extended pulsation as an organic blend of impulse, rhythm, drive, strength, vitality and passion, the end of this sole solo in Niblock's complete oeuvre is not defined by the fixed duration of the piece but as the consequence of the tiredness of the performer. The music changes according to the loudness of playback. The interaction of the upper harmonics changes especially, with much richer overtone patterns being produced at louder levels. Edition of 450 copies, including an insert with liner notes and photo.
[press release]
#########
"Alga Marghen returns with what might just be their most historically significant release to date, “Boston Tenor Index”, comprising three, never before released compositions - “Index”, from 1969; and “Tenor” and “Boston III”, both from 1972 - by Phill Niblock, that represent some the earliest works in his catalogue to have ever appeared.
Truly stunning in audio terms, and an absolute revelation toward understanding how Niblock arrived where he did a few short years down the road, it’s easily one of the best things we’ve heard all year.
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 the 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, Eliane Radigue, and numerous others. While surprising to think, until now they have yet to touch upon the towering legacy of Phill Niblock. Their latest LP, “Boston Tenor Index”, takes a deep dive into some of the earliest work ever released by the American composer, comprising never before released works three works in his catalogue, “Index”, from 1969; and “Tenor” and “Boston III”, both from 1972. Creatively striking, while casting crucial light on Niblock’s beginnings as a composer, it’s a truly remarkable body of sound and easily among the most important archival releases that we’ve encountered so far this year.
After roughly a decade of working as a filmmaker and photographer, during the late 1960s, while collaborating with the Judson Dance Theater in New York, Phill Niblock embarked upon a new career as a composer. Over the coming decade, he would begin to slowly assemble a singular body of works that layered microtonal drones - meticulously recorded from acoustic instrument - that culminated as some of the most remarkable gestures of tape collage and musical minimalism to appear during the second half of the 20th century. With a small number of exceptions, the earliest of these to appear as albums - “A Trombone Piece”, “A Third Trombone” (“Nothin To Look At Just A Record”, 1982); “Second Two Octaves And A Fifth”, “First Performance” (“Niblock For Celli / Celli Plays Niblock”, 1984), "P K", "S L S", "P K & S L S", "Winterbloom Too" (Four Full Flutes, 1990) - were composed and recorded during the late 1970s. Until now, it’s been almost impossible to encounter Niblock’s compositions from earlier than that period, a reality thankfully rectified by the long overdue appearance of the works that comprise “Boston Tenor Index”.
We jumped for joy when we saw this one announced, and are still overjoyed, numerous listens in. Alga Marghen has done us a great service with this one, bringing some of the earliest known pieces by Phill Niblock to our ears. As far as archival releases go, "Boston Tenor Index” is as good as it gets and as essential as they come. A revelation of the highest order." [Soundohm]
|
2023 |
€22.50 |
|
| NICCHIARELLI, SUSANNA |
NICO, 1988 (Movie) |
DVD |
"Glücklich war diese Frau wahrscheinlich nie. So zumindest erzählt es das atmosphärische Psychogramm "Nico" der italienischen Regisseurin Susanna Nicchiarelli. Das Biopic über die letzten Jahre im Leben der in Köln geborenen deutschen Sängerin und Modelikone Christa Päffgen, besser bekannt unter ihrem Künstlernamen Nico. Sie wurde auch Priesterin der Finsternis genannt, galt als eine Muse Andy Warhols, schauspielerte für die Regielegende Federico Fellini und sang unter anderem auf dem Debütalbum der legendären Band The Velvet Underground. Im Mittelpunkt des Films stehen die finalen Auftritte Nicos, die die von ihrer Heroinsucht gezeichnete Musikerin in den 1980er-Jahren über die Bühnen der Welt nach Paris, Manchester, Prag und Nürnberg führten. Außerdem beleuchtet Nicchiarelli die Beziehung zu ihrem entfremdeten Sohn, der aus einem Verhältnis mit Schauspieler Alain Delon entstand. Alle Songs im Film werden von der dänischen Schauspielerin und Sängerin Trine Dyrholm selbst gesungen. Ein mitreißender Soundtrack und die elektrisierende Kamera machen diesen Film zu einer intensiven Erfahrung auch für diejenigen, die noch nie etwas von Nico oder Velvet Underground gehört haben."
https://www.goodmovies.de/nico-1988.html
|
2018 |
€10.00 |
|
| NIEDOWIERZANIE |
same |
LP |
Debut-Album dieses 1-Mann Projekts aus Marseille (currently residing, like everyone else, in Berlin), ein sehr eigener Stil aus harmonischen Instrumental / Drone / Neo-Klassik Elementen, schleppend-rhythmischer Elektronik, Field Recordings und Effektbearbeitungen. Hier kommt etwas zusammen was eigentlich nicht zusammengehört, aber es funktioniert & klingt wie aus einem Guss! Mal ist der Sound schneidend wie Glas, dann verflüssigt sich alles wieder, durchtränkt von einem subtilen melancholischen Fluidum...
Edition: 200 Stück auf weissem Vinyl.
"In spite of all their growing differences, there are still hidden places, elusive dimensions where East and West meet… For instance in the highly introspective music of the Marseille/Berlin based solo project NIEDOWIERZANIE, presenting here its first official album in the shape of five long instrumental pieces of neo-classical sound sculptures. Flirting both with IDM and contemporary music, mixing organic compositions (using a wide range of string, wind and self-made instruments) with electronic cut-ups and field recordings from the artist’s native Marseille and his extensive journeys through India, these intense, complex and luminous crescendos evoke the works of artists as diverse as COIL, MIRROR, MIASTO NIE SPALO and ARVO PÄRT. 12" LP - white vinyl - lim. edition of 200 hand-numbered copies." [label info]
www.tutrur.com
|
2008 |
€16.00 |
|
| NILSEN, BJ [BJ NILSEN] |
Focus Intensity Power |
LP |
For his inaugural LP for Moving Furniture Records the Amsterdam based Swedish sound artist BJ Nilsen turns his intense aural focus and compelling narrative power away from his well-known and much lauded predilection for field recordings of organic nature or the urban built environment. The five pieces presented on this record capture Nilsen during a short residency he did in the Fall of 2017 at Willem Twee Electronic Music Studio in Den Bosch, The Netherlands – five documents these are of improvised sessions using modular synthesizers, tone generators and test and measurement instruments.
Nilsen, ever the exploratory sound experimenter, de facto exchanged his wax rain coat for the white laboratory mantle. On Focus Intensity Power he lets the machines rule supreme. Although BJ says there's no underlying major concept to the record, the quintet of recordings is tied together to form a sturdy sonic package, tied with a red thread of analog pulse, droning waves and subtle and surprising noise interventions. Washes of natural wind or condensed bustle of London traffic as we have come to know and highly appreciate from his previous works have found their machine-counterparts in sessions that retain the flâneur's touch of slowly moving, roaming open ears with keen interest in texture and timbre. And at the same time these indoor improvisations yield a tremendous poetic freedom for both artist and listener; boundless walking through layers of pure sound – freed from time and place and space.
Sven Schlijper-Karssenberg, July 2018
credits
released August 24, 2018
Music by BJNilsen recorded at Toonzaal, 's-Hertogenbosch, NL. engineerd at Odd Phasting and Echoes, Amsterdam, NL.
Mastered by Jos Smolders at EARLabs.
Published by Touch Fairwood Music.
Artwork by Zeno van den Broek.
https://movingfurniturerecords.bandcamp.com/album/focus-intensity-power
"From his first dark ambient project Morthound which had releases on Cold Meat Industry during the early 1990s, BJNilsen moved over to the Hazard moniker in the late 1990s, and from around 2004 onwards opted to record under his own name. Generally speaking, over the last 15 years BJ’s approach has been characterized by an experimental approach to sonically processing various natural and urban-based field recordings. However with Focus Intensity Power being the solo new album, it marks a decided shift away from the use of field recordings as it is a purely studio-based album, which according to the promo notes provides: ‘documents of improvised sessions using modular synthesizers, tone generators and test and measurement instruments’. Sonically this album has greater alignment with early Hazard albums than recent solo output and is certainly welcomed from these quarters. The 15-minute album opener Beam Finder is an elongated exploration of minimalist unceasing mid to lower range bass tones, coupled with micro-tonal static and machine idling drones which appear late in the track. This approach continues with The Sound Of Two Hands, although this is slightly more forceful and varied with the introduction of a ‘ticking clock’ element and other minimalist scattered electronics. The relatively short Flattened Space embodies a muted sub-orchestral tone blended with mechanical menace, while Table of Hours fits cleanly within a dark ambient drone frame of reference. The final of the five tracks, The Limits of Function, starts slow but gradually elevates with layered machine drones, and the second half of the track is driven forwards by a central rhythmic loop. In essence Focus Intensity Power is an effective celebration of sustained tonal atmospheres, which amounts to evocative sounds in their purest form. Sublime." [Noise Receptor] |
2018 |
€16.50 |
|
| NILSEN, BJ & STILLUPPSTEYPA |
Passing Out |
CD |
Dritter Teil der nordischen "Drone & Alkohol-Intoxikation"-Trilogie, die den Zustand des Wegtretens zwischen Wachheit und Dämmerzustand klanglich adäquat wiederspiegelt; im tiefen Drone-Morast erscheinen Traumbilder, -gedanken & akustische Sequenzen der Realität auf. In paradoxer Weise ist man dann in der Lage, sowohl unbewusste wie bewusste Geistes-Inhalte zur gleichen Zeit wahrzunehmen...(sagen die Erzeuger dieses Albums). PASSING OUT ist ein One-Tracker von fast 70 Minuten, tiefgrummelnd-bassig und sonor und von mysteriösen, atmend-ächzenden Sounds durchzogen....
"The first chapter found the drink. The second came after a night of intoxicated shouting. The third chapter is inevitable: Passing Out.
The Nordic sound artists BJ Nilsen & Stilluppsteypa have authored the last component to a trilogy of isolationist compositions for barren field recordings and lumbering electric drones, thematically linked in the psychotropic effects of alcohol. In doing so, they have issued a brief statement in defense of their research: "It's been four years and three studies, Passing Out being the final. Even in its most general, colloquial usage, Passing Out indicates the occurrence of a state that is incompatible with active behavior. It is possible that the individual could experience both consciousness and unconsciousness at the same time while encountering Passing Out."
Yes, Passing Out is a crepuscular recording, with the flickering of twilight further dimmed by the distant Arctic sun in wintertime and the blackened numbness of too much drink. With one singular track that spans 60 minutes, a nearly constant thrum and rumble of monochromatic low frequencies casts a grim pall upon the precisely dialed-in modulations and vibrations. Spectral guitars, maudlin tunes from haunted radios, angrily growling voices, and field recordings of wind-whipped snow and ice bury themselves deep amidst these subharmonic drones. All of these tease at the edge of perception, sculpting the narrative of the drone into a vehicle for unhinged expressionism of varying degrees of horror, melancholy, beauty, and oblivion.
The Swedish born BJ Nilsen defines his work as "focused upon the sound of nature and its effects on humans, and the perception of time and space as experienced through sound." He has numerous recordings on Touch and has collaborated with the likes of Chris Watson, Christian Fennesz, and Z'ev. The Icelandic citizens Sigtryggur Berg Sigmarsson and Helgi Thorsson are Stilluppsteypa, whose electronic abstractions engage absurd theatrics that mar the pristine surface of minimalism..." [label info]
"....The complete and total isolation of the music, the long passages of seemingly no action (there is just one piece, clocking it at 68 minutes), with then a sudden break, a melody filters in, the radio starts humming and field recordings - that backbone of so much in Vital Weekly and certainly here - make this an album of not just pure drones or just processed field recordings, but the strange elements thrown in, give this album a stranger, almost alien feel to it. If it's the equivalent of passing out is a bit hard to say: the act of passing out on alcohol prevents you from remembering anything. This is however their best album to date and makes a strong trilogy." [FdW / Vital Weekly]
"...Deep resonant vibrations abound, with some creepy breathing in your ear whisperings that may be those Leif Elggren vocals that Benny
was talking about. Gradually, all of these deep drones and shadowy overtures glide into a slumbering descent. But the Icelandic weirdoes
in Stilluppsteypa couldn't just let the album drift away without their absurdism forcing through the door, as they blurt with a clinical repetition of blooping electronics smashed and grabbed from Raymond Scott circa Manhattan Research. It's an unsettling climax to the album, but one that works brilliantly through Stilluppsteypa's expert use of electro-acoustic black humor. But it's drone that dominates the album, as angelic wash and devilish rumble collude to end this magnificent album. Oblivion never sounded so good. Passing Out is beautifully packaged with letterpressed and silkscreened artwork. Very nice." [Aquarius Records review]
www.helenscarsdale.com
|
2008 |
€13.00 |
|
| NIMH |
This crying Era |
LP |
"Synästhesie Schallplatten proudly presents Giuseppe Verticchio aka Nimh for the first release, attending for March, 2012. First time vinyl release for Nimh, this guy has a solid experience and has collaborated with some genius of dark ambient / done, like Maurizio Bianchi, Mathausen Orchestra, Andrea Freschi... This Lp compiles some New material, and some material released on Silentes on K7 or cd-r released in the past 10 years. Hand-numbered edition of 100 copies, 180 gram black vinyl + insert. Nimh's biography : Born in Rome in 1965, Nimh, computer programmer, starts to play electronic music in 1994. In 1996 he moves in Koh Samui, Thailand, where he lives about one year. During this period he starts to know and love oriental traditional music, so he begins to collect various ethnic instruments and to use them in his CDs. Starting from 2001 he realized many CDs under the name of ?Nimh?. His music combines a wide spectrum of influences, he has recorded and released many works of different nature containing elements of experimental music, ambient, dark-ambient, industrial, electronic, isolationism, ritual-ethnic music. After some CD-Rs available only in limited edition, since 2004 Nimh published a lot of official CDs released by labels such as Amplexus, Silentes and Eibon, alternating solo works with side projects (Hall of Mirrors, Maribor?) and collaborations with other artists. The most important collaborations include Maurizio Bianchi/M.B., Mauthausen Orchestra/Pierpaolo Zoppo, Andrea Marutti/Amon, Nefelheim, Amir Baghiri. In these years of activity Nimh collaborated in various way open projects, partecipation to CDs and compilations, live performances, audio editing and mastering works?) with other artists/projects in ambient-electronic-industrial-experimental-ethnic musical scene, such as Aube, Eidulon, K11/Pietro Riparbelli, New Risen Throne, Vestigial, Hue, Raffaele Serra, Andrea Ferroni, Stefano Scala, Andrea Ferraris, Andrea Freschi/Subinterior, Claudio Ricciardi (ex member with Roberto Laneri of the historical harmonic chant ensemble Prima Materia?)." [label info]
|
2012 |
€18.50 |
|
| |
Beyond the Crying Era |
CD |
Brand new label release 22nd February 2019. NIMH - Beyond The Crying Era CD.
Nimh is an avant-garde ,deep ambient, industrial electronic project formed by the multi- instrumentalist and sound designer Giuseppe Verticchio. Nimh has evolved on the territories of truly ecstatic-drone ambient music since the 90s with a vast catalogue of releases published on various independent labels such as Afe, Silentes, Eibon Records.
On 'Beyond The Crying Era', NIMH has brought together a selection of dark/ambient/experimental tracks.
This album is rich with darkened ambient music, created by the use of a cinematic collage of rumbling drone pieces, heavily layered melodic textures, field recordings, voices, sustained sounds and doom-laden guitar.
Haunting, melancholic, intriguing and engaging, 'Beyond The Crying Era' is an incredibly atmospheric release which will capture the imagination of many sound travellers. It's an extended edition of a much shorter version, which was originally released as a vinyl LP limited to 100 copies. The tracks have been recorded over a 10 year period. All tracks compiled for 'Beyond The Crying Era' have been carefully re-edited and remastered for this CD release, on the Winter-Light label.
https://winter-light.bandcamp.com/album/beyond-the-crying-era
|
2019 |
€13.00 |
|
| NINE DAYS WONDER |
same |
LP |
Grünes Vinyl, 180g. Das erste Nine Days Wonder Album wurde im Dierks Studio im Jahre 1971 aufgenommen. Produzent war damals Peter Hauke von bacillus Records. Zu jener Zeit war dies wohl eine der bizarrsten Produktionen, die man aus deutschen Landen hören konnte. Inspiriert von Zappa, King Crimson, Van der Graaf Generator, Soft Machine sowie dem Free Jazz, wurden komplexe, straff arrangierte Stücke mit unerhörten und abrupten Tempowechseln geboten. Dennoch blieb genügend Raum für ausgedehnte Improvisationen. Diese LP war definitiv ein Kind ihrer Zeit und ein musikalisches Spiegelbild der "Bayrisch Zell-Wohngemeinschaft" in Mannheim, die bis auf den heutigen Tag nicht nur musikalisch gesehen, Legende geblieben ist. Der tägliche kleine, komplette Wahnsinn einer Kommune und ihrer Maxime: "Wer immer vor der Tür steht, ist willkommen!" |
2018 |
€22.50 |
|
| NOBLE, LEE |
Darker Half |
LP |
"An album composed of four long ritualistic drone lullabies, "Darker Half" sounds like the music in the mind of a feverish 13 year-old kid who fell asleep with the TV on, transmitting horror movies and national geographic documentaries about remote tribal ceremonies. First Lee Noble album originally released on cassette on Bathetic Records in 2010. Limited to 300 copies one sided LP." [label info]
www.blackmoss.tk
|
2012 |
€15.00 |
|
| NOETINGER, JEROME AND ANTHONY PATERAS |
A Sunset for Walter |
LP |
"Penultimate Press present A Sunset for Walter, the first duo release from long-time collaborators Jérôme Noetinger and Anthony Pateras. “Having worked together in a number of different collaborative contexts over the years, the pair used Pateras’ 2018 residency at Schloss Solitude in Stuttgart as an opportunity to develop a major durational work for Steinway piano and multiple Revox tape machines. Presenting four excerpts from a three-hour concert, the LP’s opening moments immediately establish its distinctive sound-world: an austere sequence of octaves slowly sounded by the piano gradually develops into passages of fragmentary lyricism as Noetinger’s tape manipulations dilate the sonic space with rumbling sub-bass, distant echoes, and hints of uncanny backmasking. A Sunset for Walter was conceived as a loose tribute to the piano works of Walter Marchetti, particularly the slowed-down subaquatic expanse of Nel Mari Del Sud. As Marchetti described his own work, A Sunset for Walter is ‘music without beginning, or end, or development’, where the lack of obvious structural divisions creates something like an endless present. But where the monochrome surface of Marchetti’s work — in its willingness to descend, in his own words to the ‘pits of aesthetic poverty’ — often approaches total stasis, A Sunset for Walter is calmly immovable in its overall texture but perpetually changing in detail, as the performers respond intuitively to each other, their instruments, and the environment. Noetinger’s tape manipulations range from nearly imperceptible shadowing of the live piano to anarchic bursts of rewinding tape, floating wisps of feedback, and dreamlike concrète interjections of children’s voices and splashing water. Pateras’ piano performance moves from single pitches left hanging over a backdrop of silence to almost Messiaen-esque sequences of complex chords and arpeggios, all sounded within a temporal framework that seems to follow internal rhythms of breath and bodily movements. Caught in this hall of mirrors, the listener is often unable to distinguish the live piano from its tape-manipulated reflection. Like the sunset of the title, here outlines blur into a crepuscular haze, as fleeting effects of light and shade catch our attention just as they disappear." [Francis Plagne]
https://soundcloud.com/quockenzocker/jerome-noetinger-and-anthony-pateras-19h39-19h46
https://penultimatepress.bandcamp.com/album/j-r-me-noetinger-and-anthony-pateras-a-sunset-for-walter-lp
|
2019 |
€21.00 |
|
| NOISE CLUSTER / STIGMATE |
Extreme Sleepwalking |
MC |
"Extreme Sleepwalking" by Noise Cluster (der bekannte postindustrielle Trompeter & Xxena) and Stigmate from Italy are ready.
Nightmareish Sounds and Rhythms on black c40 Tapes in hand dyed, blue cotton bags with cover art by Fabian Blobel and a card with more pictures inside. Lim. to 50 copies
https://grubenwehrfreiburg.bandcamp.com/album/extreme-sleepwalking
Die beiden Projekte, die sich auf dem vorliegenden Tape zusammen dem Phänomen des Schlafwandelns widmen, sind schon länger in der elektronischen Musik Italiens aktiv und lernten sich doch erst vor kurzem kennen. Sowohl die Römer Flavio Derbekannte und Arianna Degni Lombardo (Noise Cluster) als auch der Sardinier Nicola Locci (Stigmate) sind Hörer und gelegentlich Mitwirkende einer bekannten Radiosendung für experimentellen Lärm (Elettrodo auf Radio Onda Rossa) und wurden so aufeinander aufmerksam.
Trotz ihrer unterschiedlichen Arbeitsweise – Noise Cluster kombinieren gerne Digitales mit akustischen Sounds wie denen der Trompete, Stigmate ist leidenschaftlicher Bastler an analogem Gerät – entdeckten sie schnell die Gemeinsamkeiten, die für eine spontane Kollaboration sprechen. Diese hat mit dem auf 50 Tapes und digital erhältlichen “Extreme Sleepwalking” nun ihr erstes Resultat herausgebracht, und dieses klingt in der Tat so, als wären die drei schon immer eine feste Band gewesen.
Schlafwandel wird gerne metaphorisch für einen apathischen Zustand verwendet, und eine solche Bedeutung klingt durchaus an, wenn das Label in Anspielung an die immer noch aktuelle Pandemie von “the nightmares, bad dreams, and gloomy and depressive feelings this particular historical moment has brought about” spricht. Die Musik selbst – und das von dieser inspirierte Artwork von Fablian Blobel – hat allerdings einiges von echten heftigen Alpträumen – schon gleich zu Beginn, wenn Schreie und andere angstinflößende Elemente über einem schmissigen, kratzigen Loop aus den Boxen dringen.
Auf “Extreme Sleepwalking” herrschen die Mächte des Grauens, und das kehrt auch der straighte Takt des Openers “Mindbender” nicht unter den Teppich, vielmehr hat man den Eindruck, dass die schleifenden und prasselnden Industrialsounds erst auf ihren endgültigen Ausbruch warten. In “Sleep (Mutation)” erzeugen schrille Sounds eine futuristische (oder paläontologische) Klanglandschaft, die droht, in Elektroclash umzukippen, was aber – auch dank elektrifizierter Noiselawinen und Flavios wie meist recht smoothen Trompete – nicht passiert. “Moving Target” startet spannungsvoll pulsierend, doch die vielen Soundideen und Melodiefragmente führen all das noch mal in eine andere Richtung. Die hier spürbare Nervosität kehrt später in “Dim Light” wieder, das eher an die grellen Scheinwerfer schweren Kriegsgerätes erinnert.
Alle Tracks offenbaren einen komplett eigenen Charakter und bleiben in ihrem Verlauf selten unverändert: Die beiden mit Knacken und Knistern beginnenden Teile von “Death Vision”, die irgendwann zu einem monumentalen Inferno an brachialem Pauken und Ariannas gehauchter Stimme anwachsen, finden später ihre (nur scheinbar friedliche) Erdung, bis sich der kratzige Kreis wieder schließt – diese Stücke, bei denen riesige Metallandroiden durch die Landschaft marschieren, würden in großen Hallen funktionieren und müssten, im Unterschied zu etwas subtileren, zurückgenommeneren Stücken wie “Where Am I?” oder “The Fall”, nicht einmal durch ihren ausgeklügelten Detailreichtum überzeugen.
Der “Brain Damage” im abschließend so betitelten Track entpuppt sich als starker Sog, der einen mit Pauken und (buchstäblichen) Trompeten in eine traumhafte Parallelwelt zieht, die an die pathologischen Visionen am Ende von Hoffmanns Der Goldene Topf denken lässt. Dies gelingt wohl v.a. deshalb, weil der Track ein wirklich kraftvolles und mitreißendes Album abschließt. (U.S.)
|
2021 |
€9.50 |
|
| NOISE-MAKER'S FIFES |
Monomania of Instinct (live June 1998) |
CD-R |
"Endlich was neues vom Brüsseler Geräuschmusikkollektiv um GEERT FEYTONS. D.h. leider keine neuen Studioaufnahmen, sondern ein Mitschnitt einer theatralischen Multimedia/Sound-Performance von 1998 aus Stockholm. Zu hören gibt es knirschend-dronige Klänge kreiert auf ihrer selbstgemachten Instrumenten und Soundsculptures, theatralisch-verzerrte Rezitationen, das ganze klingt sehr dynamisch & bedrohlich. One track, > 65 minutes." [Drone Records info 2004]
"Bachelard's animalistic aggression theory and what not - some scary shit going on here - one long throughly indigestible and stomach-churning track (65 minutes), but this is all the better for its uncompromising and unnerving severity. Noise-Maker's Fifes were unique and its founder Geert Feytons (RIP) will be sadly missed. Edition of 250 copies in fold-out slipcase cover. Co-released with Gold Soundz label." [label info]
"..a frightening miasma of non-musical elements. A succession of shrieks, shouts and
screamed words appear and disappear as clouds of rampant drones, electronic and concrete
sounds make their surreptitious appearance?." - Jose Marmeleira, Foxy Digitalis
|
2004 |
€10.00 |
|
| |
Zona Incerta |
10inch |
Die Nummer 3 der S.I.-Serie kommt von der Brüsseler Performance-Gruppe NOISE-MAKER’S FIFES! Verschiedene Aufnahmen der Choreographie „Dyonisos’ Last Day“ und Feldaufnahmen afrikanischer Insekten dienten als Basis für zwei komplexe Geräuschsoundscapes. Höre mit neuen Ohren, mit anderen Hirnzellen als bisher !
“NOISE-MAKER’S FIFES is an experimental performance group from Brussels who do impressive shows with many selfbuild instruments and surrealistic sound-theatre-choreographies. The first side on “Zona Incerta” is based on the choreography “Dyonisos’ Last Day” from 2003 and uses various live-material from this and other different performances. The second side is created from insects field recordings made in Kenya. ZONA INCERTA builds a very dimension of its own, totally hazy and foggy sounds ebb and flow in and out...water and metal-sounds are recognizable in the sound-field, high insect-frequencies intertwine with all kinds of strange noises and animal sounds... The Unknown is also the world of other creatures who perceive a totally different world. Listen with new ears, with different neurons.” [press release]
RELEASE DATE: 28. APRIL 2006 !!
GENERAL LABEL CONEPT: “Substantia Innominata” is the brand new release-series from Drone Records. We are proud to present this as a 10” VINYL series along with subsequent re-releases on CD. This new series doesn’t focus on a special concept or ideology regarding the music, but on a certain theme. The theme for this 10” series is based on “The Un-known, The Un-nameable, The Un-speakable, The Un-thinkable, etc.: Various aspects related to “The Unknown”. Basically the grey matter (psychic or physical, which are bound to result the same) surrounding us / within us, but can’t be understood or recognized through the normal senses (though some may perceive it on a subconscious level). We could name it “The Unconscious”. The chosen name for this series, “Substantia Innominata”, was inspired to the fact that this Latin name represents a certain region of the brain which has unknown functions and remains a mystery for its role and existence. Therefore this name reflects well the intense fascination for this impalpable concept of “the unknown”.
The invited artists for this series were asked to work around this theme, to let themselves be inspired by its abstraction. The artwork for this series will be created by the various visual & graphic artists. All in full-colour or silkscreen covers. The 10” vinyl pressings will come in an edition of 500 copies for each title.
“...now the Belgian collective has developed a totally unique style where the successions of electroacoustic events are organized according to a logic which fuses a highly skilled compositional ability and the exploration of psychic dimensions where anguish and fear dominate.” [Massimo Richi / Touching Extremes]
"Ähnlich einer Kette von Plunderphonictrickserei und schamanistischem Tranceinschlag bereiten NMF auf der 10“ sorgfältig zwei Stücke naturalem Ambientes und Feldaufnahme vor dem Hörer aus. Beide Seiten beginnen relativ leise und zögernd, ehe eine Mischung aus synthetischer Grundbetonung und relativ uneffektierter Klangmaterie auf dem Stereofeld erscheint.
Die A-Seite geht dabei stärker in die dunklere Seite des Releases ein, vereinigen sich hier Synthesizerspuren und dekonstruierte Feldaufnahmen zu einer Klangmasse, die den Hörer unerwartet einlullt und dabei ein Gefühl erzeugt, den einzig wahren State Of Trance zu erreichen. Der Klang wirkt weder schwer noch betont Räucherstäbchenambiente-betont, sondern wirkt wie eine intelligente Schnittmenge aus Felddokumentation und improvisatorischer Klangkaskade. Die ganzseitige B-Seite (tatsächlich finden sich auf der 10“ zwei lange Stücke) erzeugt ein ähnliches Szenario, allerdings tritt die vormals vornehm zurückgehaltene Effektierung der Klänge stärker zutage. Ab der Plattenmitte entstehen seltsam mantrische Muster, dem Klang einer Orgel nicht unähnlich, ergänzt um zahllose weitere Elemente, die sich aus Feldaufnahme, Drones und leicht angezerrten Obertönen zusammensetzen.
Eine sehr schöne Platte, die ohne den nötigen Pomp einer überschminkten Musikerwartung daherkommt. Neben der RLW von Substantia Innominata mein derzeit favorisiertes Release." [Thorsten Soltau / AEMAG]
|
2006 |
€10.00 |
|
| NOIT, HATIS |
Illogical Dance |
LP |
"Japanische Vokalkünstlerin mit ergreifenden Klangskulpturen, die ohne Worte auskommen.
Bislang war "Illogical Dance" exklusiv in Japan erhältlich, im März 2018 erscheint die EP der japanischen Sängerin international und erstmals auch als Vinyl. In vier unvorhersehbaren, geheimnisvollen und wunderschönen Tracks präsentiert Hatis Noit ungekannte, die Geräusche der Natur nachahmende Klangwelten, die ganz ohne Worte auskommen. Für ihre komplexen und komplett improvisierten Skulpturen greift sie auf so unterschiedliche Elemente wie westliche Klassik, japanischen Folk und natürliche Töne zurück. Der immense Stimmumfang von Hatis Noit basiert auf einem vollkommen autodidaktischen Ansatz, der erstaunliche Einflüsse verbindet: Gagaku, der höfische Musikstil Japans, und verschiedene Operntraditionen zählen ebenso dazu wie bulgarische und gregorianische Gesänge oder Pop- und Avantgarde-Sänger. Bemerkenswert: Es ist kein einziges Sample zu hören - selbst wenn es so klingt, als ob herabgefallene Blätter zerdrückt werden, es ist Hatis Noits Stimme, die dieses Geräusch imitiert. Die von Haruhisa Tanaka und Matmos koproduzierten Vokalwelten erinnern an den experimentellen Ansatz Meredith Monks, der mit der ausgefeilten Produktionsweise einer Holly Herndon vereint wird.
Japanese vocal performer Hatis Noit will release her enigmatic EP Illogical Dance via Erased Tapes worldwide on 23rd March 2018. The arresting 4-track record creates unique song-worlds with transcendent vocal interpretations that at once deconstruct and recombine Western Classical, Japanese folk and nature’s own ambience atmosphere. Illogical Dance also features Björk-collaborators Matmos, who were so impressed with Hatis Noit’s recordings, they volunteered to edit the lead track Illogical Lullaby.
Hailing from the distant Shiretoko, a small town in Hokkaido, which is the largest island in north Japan, Hatis Noit’s accomplished range is astonishingly self-taught, inspired by everything she could find from Gagaku — Japanese classical music — and operatic styles, Bulgarian and Gregorian chanting, to avant-garde and pop vocalists. The sounds she created on Illogical Dance, co-produced by Haruhisa Tanaka and Matmos, bring to mind the experimental vocal patterns of Meredith Monk with the attentive production of Holly Herndon.
It was at the age of 16, during a trek in Nepal to the Buddha’s birthplace, when she realised singing was her calling. While staying at a women’s temple in Lumbini, one morning on a walk Hatis Noit heard someone singing. On further investigation it was a female monk singing Buddhist chants, alone. The sound moved her so intensely she was instantly aware of the visceral power of the human voice; a primal and instinctive instrument that connects us to the very essence of humanity, nature and our universe.
The name Hatis Noit itself is taken from Japanese folklore, meaning the stem of the lotus flower. The lotus represents the living world, while its root the spirit world, therefore Hatis Noit is what connects the two. For Hatis Noit, music represents the same netherworld with its ability to move and transport us to the other side; the past, a memory, our subconscious. It is the same for Illogical Dance, a set of transformative songs that taps into our most primal instincts.
“The human voice is our oldest, most primal yet most powerful instrument. I use it to describe nature’s many sounds, a language that isn’t logical. Yet it forms a beautiful conversation that isn’t restricted to words like the human language is. I want my music to remind us of that.”
Wanting to interpret and mimic the sounds Hatis Noit hears in nature, Illogical Dance is as unpredictable, beautiful and mysterious as the world around us. Each track is made up from multi layers of vocals, all improvised and without words, before being carefully pieced together. Astonishingly no samples are used throughout, even the sound of crushing leaves came from Hatis Noit’s own vocal chords. The result is a stunning array of sound sculptures that see her switching between multiple styles with great ease. From the sweet operatics on Illogical Lullaby, the manipulated vocal loops duplicating electronic production on Anagram c.i.y. to the primordial chanting call to arms of Angelus Novus, a 10-minute odyssey that features whispering and leaves crunching, it showcases Hatis Noit’s full range and introduces a truly original artist.
Previously only available in Japan, Illogical Dance will receive a worldwide release on 23rd March 2018 including a first edition on 12” vinyl.
https://hatisnoit.bandcamp.com/album/illogical-dance
|
2018 |
€16.00 |
|
| NON TOXIQUE LOST (NTL) |
OGRE-SSE |
LP |
Sehr authentischer, gesellschaftskritischer deutscher 80er Jahre-Industrial dieser vergessenen Band (vor kurzem gab es jedoch schon eine LP auf Wachsender Prozess), zwingende elektronische Rhythmen und Pulsationen, Schreigesang mit zynisch-verzweifelten Texten, Noises & Effekte am richtigen Fleck, eingespielt als richtige „Band“... die Stücke sind meist unveröffentlichte Tracks aus den Jahren 1983 bis 1985 und zeigen die Vielfalt der Band, unser Lieblings-Release bisher auf V.O.D. !
If you like classic 80“s Industrial this is a true must-have !!!
„13 Songs aus dem Zeitstrom herausgerissen (1983-1985). Sie waren bisher nicht auf Schallplatte und wurden auch noch nie im Radio gespielt (einige davon waren jedoch schon auf internationalen "cassetten-samplern" in den 80er Jahren veröffentlicht worden !) Diese "style ist irrelevant" Kompositionen sind jetzt zu einem deutschen (damals noch: "die BRD") Film zusammengeschweisst. Man wird mit wilden Schreien konfrontiert und es gibt heftige Sound-Angriffe, die in den Zustand von "...keine Lösung" einmünden. Man nannte das damals "ursprünglichen industrial Punk". Und das ist NON TOXIQUE LOST. Und es ist auch Musik um einen Traumzustand zu erreichen..“ [label info]
“13 songs pulled out of the stream of time (1983-1985). they have never been on record or on air (nevertheless, some have been released on international. cassette-compilations in the '80s !). these "style is irrelevant" compositions are now molded together into a german (at that time "the frg") movie. you will be confronted with strong shouts and there will be violent (sound) charges, which run into the state of "...no solution". back then they called it "primal industrial-punk". and that's non toxique lost. it's music that will put you into a dream state as well....”
[press release]
“....The most unknown one is possibly the band Non Toxique Lost, even when Achim Wollscheid was a band member. Non Toxique Lost existed in the earlier parts of the 80s and in recent days (having released a 7" on Klangalerie as-well as some CDs on Dossier Records). Back in the old days, they released a now sought after LP, aswell as tracks on compilations, but never gained the fame of Die Tödliche Doris or P16.D4. The line up is pretty 'normal', with Sea Wanton (vocals, electronics, effects), S. Schütze (violin, bass), A. Wollscheid (electronics, guitar, effects), H. Wöhler (live effects) and Jammin' Unit ( live effects). Rhythm-machines play an important role, over which the band-members semi-improvise their sounds. Semi, because I think some of this stuff was pre-planned, and that in some way or the other they rehearsed their songs. Especially when the lyrics can be heard through all the noise and effects, Non Toxique Lost sound like the lost brother of Throbbing Gristle. Quite nice, these orgasmic explosions of rhythm and noise. Definitely one of the nicer bands that got lost, and certainly in demand for more re-issueing.” [Fdw / Vital weekly]
|
2005 |
€15.00 |
|
| NONO, LUIGI |
Intolleranza 1960 |
CD |
"Intolleranza 1960 is the awakening of human awareness in a man who has rebelled against the demands of neccesity - an emigrant miner - and searches for a reason and a 'human' basis for life. After several experiences of intollerance and domination, he is beginning to rediscover human relations, between himself and others, when he is swept away in a flood with other people. There remains his certainty in 'a time when man will be a help to man'. Symbol? Reportage? Fantasy? All three, in a story of our time." [Luigi Nono]
|
2010 |
€13.00 |
|
| NORDHEIM, ARNE |
Electric |
do-LP |
"Among the most stunning and musical electronic works ever produced, these five compositions represent the complete electronic works of Norwegian composer Arne Nordheim (1931-2010). They have stood the test of time remarkably well and have been embraced by new generations of influential musicians. This audiophile 2LP comes in an edition of only 500 copies in a beautiful gatefold sleeve with updated credits and liner notes. The sound has been mastered by Helge Sten (Deathprod) specifically for this vinyl edition, sourced from the original analogue master tapes and painstakingly restored before being transferred to 24bit/96kHz for the best possible audio results."
www.runegrammofon.com
|
2017 |
€45.00 |
|
| NORTHAM, MICHAEL |
Memory of A |
mCD-R |
Ungefähr zur gleichen Zeit wie die SUHINA 10" in unserer SUBSTANTIA INNOMINATA-Reihe erschien diese mini-CDR bei TAALEM. Enthalten ist ein ca. 21minütiger one-tracker mit röhrenden, fast mechanischen Drones, die er auf einem "tubular zylophone" einspielt; die Statik des Beginns ist aber nur eine scheinbare, wenn sehr schön schwingende metallische Obertöne dazukommen, wallende organ-drones und sich fast auflösende rauschender Regenklänge... ein sehr feines Stück!!
"Micheal Northam travels a lot and presents here a work that was recorded in India in december 2007, with his microtuned tubular zylophone along with winter rain. Its unclear what (or if at all) he has done with the recordings, but its a pretty neat work. Maybe a bit more rougher than usual, but the various shifting tones of the metallic object he is playing, along with the processed field recordings make this a slow yet always evolving piece of work. A classic Northam piece of drone like acoustic sounds and field recordings. " [FdW / Vital Weekly]
"artwork: delphine ancelle-b. based on cassette recordings on a microtuned tubular zylophone while under an unusual winter rain at the adishakti center, vazhakulam, pondicherry, india (december 2007). mixed at the hobbit hole, kreuzberg, berlin (july/aug 2008.
michael northam could be considered as much as a sound artist as a world traveller... his work is the continuation of more than fifteen years of visiting, working with and learning from over ninety artists (jgrzinich, yannick dauby, loren chasse, martin franklin, francisco lopez or hitoshi kojo/spiracle to name a few) over fifty locations in twenty-five countries!
a perfect example is this piece recorded in india then mixed in germany, probably rawer and rougher than some of his other works..." [label info]
www.taalem.com
|
2009 |
€5.00 |
|
| NORTHAM, MICHAEL & JATIN VIDYARTHI |
Golden Shadow |
CD |
"A document of the Khoj residency, Jatin and myself took a bit of time (with the help of the Khoj crew) to make a short edition of a collection of our sessions and recordings we did together... Strange mix of improvisation, minimal acousmatics and field recordings (perhaps the first project of its kind from India)." [label info]
www.semperflorens.net
|
2009 |
€13.00 |
|
| NOVI_SAD |
Jailbirds |
CD |
Das zweite Album für dieses griechische Minimal / Drone-Projekt, der gerade auch in der MORT AUX VACHES-Reihe zu Ehren kam; verschiedenste hyper-minimale Drone-Felder und Field Recording-Sprengsel formen, teils sehr wuchtig & bassig wummernd. Anklänge an ILIOS, FRANCISCO LOPEZ, etc..
"Limited to 500 copies and housed in our plastic-free gatefold sleeves with spine. art design by cs08. Novi_Sad's work came to our attention via our good friend Susanna Bolle (Non-Event and Rare Frequency) in Boston. A superbly keen ear, Bolle felt that his work and our label should connect. Though Nov-Sad's has only a few years of practice behind him, the quality and maturity of all of his efforts is striking. The proposed Jailbirds material for Sedimental was totally complete and not only of the highest quality but also of a truly unique vision. What is significant in his work is the multiplicity of its action on the listener. It is a density of sound, acting in three-dimensions, not as auditory 'sound effect' but as music with depth both physically and in functionality. Its intensity and purposefulness based in specific conceptual foundations and enhanced by a mastery (and transcendence) of technical means collapses amplified environmental recordings, drone manipulations, structured ambient soundscapes, microtones and overtones into unified whole. Sedimental is truly excited to be an early anchor of this young composer and sound artist's serious oeuvre. Novi_Sad (Thanasis Kaproulias, b. 1980) is a graduate student from the Economic University of Piraues. He lives and works in Athens, Greece where he began generating sounds in 2005. His debut album Misguided heart pulses, a hammer, she and the clock received worldwide critical acclaim. Recently, Novi_Sad did a recording session at the prestigious VPRO studios in Amsterdam, for the Dutch National Radio which will be released by Staalplaat [NL] in the Mort Aux Vaches series. A recent piece called Dramazon is available on TouchRadio from the publishing house Touch [U.K]. He is currently working on a project based on various methods of audio analysis called Sirens in which he explores the aesthetics of information on sound by using quantitative data from major stock market crashes in history." [label info]
www.sedimental.com
"...The attraction of his music lies, I think, in the combination of microsound and dark ambient music. There are the cracks and hisses of micro world, but also the thunderous deep ambient drones which can be top heavy, like in the opening ‘Komdu! Hvert?’. Field recordings, the call of the birds, leak through here, as the deep bass dies out very slowly for the rest of duration of the song. ‘Torched Estates’ starts out with some nasty high pitched sounds, but throughout the pieces moves into various heights and depths, and it strikes me that this is the more complex piece of the two on this release. Many heavily processed field recordings are present, but then also sometimes naked and pure.
Whereas the first is built around one theme, is the second piece more a collage of various moods and textures. Quite loud microsound altogether, and thus a strong break with tradition. Great one." [FdW, Vital Weekly]
|
2009 |
€13.00 |
|
| NOX |
Opus Unending |
CD |
Croatian artist Jurica Santek joins the Winter-Light label with his project 'Nox' and the release of his 'Opus Unending' album.
'Opus Unending' is traditional dark ambient, focused on low, sub tones with touches of industrial and horror recordings. Downtune and lo-fi, the feel shifts more towards that of the original dark ambient and death industrial artists from the early period of these genres.
The project was born in 2019 as a collection of previously recorded experimental and field sounds. The album is composed as a randomisation of those sounds that were carefully collected for that specific purpose; later to be used for the construction of an entire album.
The main focus is on dark, isolationist soundscapes but also as music without distraction, that can be used as a background meditative for various purposes. The aim is to reach a fluid dark atmosphere that is pleasant and meditational to listen to, but that is also having dark and unnerving moments.
Lovers of dark ambient, will be familiar with Jurica's 'Aegri Somnia' project, having released two albums on the Cryo Chamber label. He has also recently released a pure dark ambient album 'Dead Pact', on the much respected Kalpamantra label, under his Efil project.
The album was recorded between 2019/2020 in Zagreb/Čakovec, Croatia.
All tracks written, produced and recorded by Jurica Santek.
https://winter-light.bandcamp.com/album/opus-unending
|
2020 |
€13.00 |
|
| NU & APA NEAGRA |
Descantecul Apei negre |
CD |
"As if it were taken from a story which has not been written yet, this new album of NU & APA NEAGRĂ remains true to its original influences - the Romanian & Turkish folklore and the electroacoustic madness of the 20th Century. With field recordings, pseudo sampling and instruments such as caval, divan saz, prepared cymbalom, synthesizers and vintage sound effects, to name just a few, the group offers a vertical approach towards the sound, one that explores the cultural and primary layers of Balkan & Carpathian spaces which are put into an occidental equation. A sort of amorphous sound psychism, whose depths reveal all of a sudden some recognizable fragments, which could help reconstruct an archaeology of all four musicians' trajectories." [label info]
www.myspace.com/projectnu
"Mich wundert es nicht, dass die Banater Heide beste Schwarzerde bietet für weirde Folklore. Alexandru Hegyesi, Călin Torsan, Vlad Sturdza & Sașa-Livio Stoianovici, in Temeswar zuhause, machen mit Cimbalon & Bassgitarre, Klarinette & Pfeifen, Zither, Gitarre, Ebow, Glocken & Percussion bzw. Saz, Cobza, Gusle, also Lauten von den türkischen Crossroads auf dem Balkan, aber auch mit Korg, Moog, Harmophon und noch mehr Percussion und Effekten eine Pilgerfahrt. Zum Schwarzen Meer? Es scheint eher so, als wäre das Ziel kein Ort auf dieser Welt, sondern ein mystischer Ort, oder eine Anomalität in der Zeit. Da kreuzt sich spacewärts orientierte Sonic Fiction mit klanglichen Phantomen der Vergangenheit. Einer verleugneten Vergangenheit, denn warum sonst sollte der Hahn dreimal krähen ('Al treilea Cântat al cocoșilor')? Im Vorwärtsdrang wirbeln in einer halluzinatorischen Gleichzeitigkeit des Ungleichzeitigen alte Klänge auf. Uraltes Saitenspiel, Pfeifen, Schellen und Getrommel, auch raunende Gesänge, die, sich überlappend, durch die Erinnerung wabern, durch die Zeit kaskadieren, mit Echos von den Karpatenwänden und Klangfetzen, die sich in den transsylvanischen Wäldern verfangen haben, oder an den Mauern von Piteşti verstummt sind.
Lautengeschrammel und Hackbrettgedengel bringen das Blut in Wallung, Stimmfetzen werden zu einem Krähenschwarm, die Zeit kreist in sich selbst. Beim anfänglich orientalisch anmutenden 'Alt Pelerin' (Noch ein Pilger) schält sich wehmütiger Gesang von Maria Balabaș aus dem Dröhnfluss. Ich denke, schwarzes Wasser meint nicht das Marea Neagrä, sondern ein Wasser, das die Vergangenheit löscht. Doch vielleicht ist es, wie bei Telephos und Amfortas die Lanze, als das, was verwundete, auch das Heilmittel. Daher die Wiedertaufe mit schwarzem Wasser. 'The Black Water' badet lang in harmonisch rauschenden Spacewellen, mit Bassklarinette, Kaval und Pfeifen als bukolischem Widerhall, mit zartem Zither- oder Gitarrenklang, knurrigem Moog, jaulenden Synthies. Ist das jetzt Ruderschlag? Oder lappt die Zeit rückwärts? Man wird mitgerissen in dieser psychedelischen Odyssee (wie Dave Bowman beyond the infinite). Bei 18:50 reißt das Band.
[Schluck]" [Bad Alchemy]
|
2012 |
€13.00 |
|
| NULL, K.K. / Z'EV |
Brombron 17: Extra Space, Extra Time |
CD |
"Korm Plastics is proud to present the seventeenth release in the Brombron series. Originally a co-production between Staalplaat and Extrapool, it is now hosted by co-curator Frans de Waard. In the year 2000 Frans de Waard and Extrapool started the Brombron project. Two or more musicians become artists in residence in Extrapool, an arts initiative in Nijmegen, The Netherlands, with a fully equipped sound recording studio. These artists can work in a certain amount of time on a collaborative project; a project they always wished to do, but didn't have the time or the equipment to realize.
Since almost forty years Z'ev belongs to the absolute fore front of experimental music. Playing percussive music he gained a lot of attention, but in more recent years he returned to working with electronic tape manipulation. One aspect is working with other people, such as Francisco Lopez or Kasper Toeplitz. In his collaboration with KK Null he plays electronic drums.
KK Null (born Kazuyuki Kishino in Tokyo) is a Japanese experimental multi-instrumentalist. He began as a guitarist, but soon added composer, singer, electronic musician and drummer to his list of talents, and also studied with the Butoh workshop.
Null joined the noise/progressive rock band Ybo2 in 1984, issuing several albums and EPs throughout the remainder of the decade. Later he founded more bands, such as Absolute Null Punkt (aka ANP) and his most well known one, the self-described "progressive hardcore trio" Zeni Geva. From that point he also produced albums for other artists, created his own record label (Nux Organization), played live and collaborated on albums with many other musicians, including John Zorn, Yona-Kit, Steve Albini, Boredoms, Seiichi Yamamoto, Jim O'Rourke, Merzbow, Fred Frith, James Plotkin, Keiji Haino, Otomo Yoshihide, Jon Rose, Atau Tanaka, Zbigniew Karkowski, Z'EV, Alexei Borisov, Earth. Noisegate and Philip Samartzis, as well as supporting such artists as Sonic Youth and Mike Patton on tour." [label info]
www.kormplastics.nl
"Next and 17th album in the Brombron-series is an interesting collaboration between two legends of the noise and industrial-scene. Z'EV (aka Stefan Joel Weisser) has been around in the experimental music scene for a long time already. His brand of scrap-metal and found object percussion originates back to the early seventies. Creating his own instruments from various metals and plastics, he has placed himself at the forefront of the movement that became known as "industrial". He was among others one of the described forefront industrial pioneers in the legendary "Industrial Culture Handbook" (1983). In the more recent years, he has returned to working with electro-acoustic manipulations. Fellow artist at the extrapool studios is one of the top composer's of Japanese noise scene. Starting his career in the early 80's by performing guitar improvisations in the clubs and streets of Tokyo, Kazuyuki Kishino a.k.a. K.K. Null continued by collaborating with among others Merzbow and others from the extreme noise scene of Tokyo. The two quite different noise artists has come out with a very interesting album as the result of their studio-days at the Extrapool. The expression on the album "Extra space, extra time" seems like a very nice combination of the style of both artists. Percussion patterns derived from metal materials and other sorts of acoustic banging circulates hand in hand with rumbling noises changing between full throttle and subtle. What makes this release certainly interesting is the way that the twosome manage to blend noisy textures with handmade percussive patterns. Hordes of noise drones and pulses moves alongside the intense tribal drum patterns of Z'EV. The main parts of the six works of the album carrying the title "Extra space, extra time", opens slowly with distant sounds that builds over time until powerful drum patterns set in to create a trancelike atmosphere. Thus despite the abrasive nature of the album, the works has a great appeal thanks to the excellent rhythm textures created by one of Industrial music most steady-going percussion artists, Z'EV. A masterful collaboration on this one!" [NM/Vital Weekly]
|
2010 |
€12.00 |
|
| NURSE WITH WOUND |
Lumb's Sister |
CD |
"Newly remastered from the original analogue tapes by Denis Blackham. "This music was originally conceived as raw material for the film project 'Lumb's Sister' by Chris Wallis. During the long evolution of his movie, Chris decided to use alternative source sounds and subsequently none of these pieces ever made it onto the completed film." [label info]
"Back in 1990, Nurse With Wound, Current 93, and Sol Invictus issued a 3lp set of their works, all of which was suitably occult and suitably dark. By the middle of the decade, both C93 and Sol Invictus had reissued their own material on individual discs, but Steven Stapleton / Nurse With Wound never did until some 25 years later. As such, that boxset became quite a prize possession for NWW aficionados; and it was originally composed to be the soundtrack to a film by Chris Wallis, an occasional contributor to Nurse With Wound and Current 93 in the late '80s. The film itself had been notoriously unfinished for decades, with cans of film getting lost over the years; and when Wallis finally got around to completing a cut of the film, the original soundtrack was unused, instead Wallis picked over various bits from the Nurse With Wound catalog as the score. So, Lumb's Sister the Nurse With Wound album has nothing anymore to do with Lumb's Sister the film by Chris Wallis. Stapleton's response? "Aw, shucks." A quintessentially obscurant recording of quintessential Nurse With Wound strategies, Lumb's Sister laces eerie vocalizations that are often sped up conversations on tape machines amongst distended drones from various bowed metals, elongated vocal utterances, and stringed instruments that all amass into a bellowing darkly illumined thrum. Its closest companion in the Nurse With Wound catalogue would be the elegant piece of minimalism found on Soliloquy For Lilith and the Tibet / Stapleton drone-chant epic The Sadness Of Things. This cd version contains much more material than the original lp, also including Nurse With Wound's subtle variation of Coil's "How To Destroy Angels." As with anything that Stapleton touches, this is a work of genius." [Aquarius Records]
|
2015 |
€19.00 |
|
|
Homotopy to Marie |
BOOK / 2 x CD |
Double-CD version includes 30-page metallic hardcover book (15 x 20 x 2cm) containing color and black-and-white art by Babs Santini (Steven Stapleton). Rotorelief present a reissue of Homotopy To Marie. the fifth album by Nurse With Wound, originally released in 1982. Music and sleeve created by Steven Stapleton. The album is "a step on from the Dadaist rock of Merzbild Schwet, with much use of tape manipulation and classical avant-garde techniques". The album, which combines tape edits with resonating gong tones and disembodied children's voices to create a sonic collage, is far removed from the harsh improvisations of the group's early albums. The title of the brief closing track derives from a passage from "Les Chants de Maldoror" (1869), a surreal poetic novel written by Le Comte de Lautréamont. This appropriation of a phrase from Maldoror is shared in common with the title of Nurse With Wound's debut album, Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella (1979); both phrases appear in Lautréamont's work. The album was first issued on Stapleton's own United Dairies label on vinyl, cassette, and later in remastered compact disc including an extra track "Astral Dustbin Dirge". This masterpiece reissue is the official full, double album from the original recording sessions. The four tracks from the original LP are accompanied by additional recordings from the same period.
|
2018 |
€27.50 |
|
|
Homotopy to Marie |
do-LP |
Vinyl silver & black + deluxe metallic gatefold limited to 700 copies.
Homotopy To Marie is the fifth album by Nurse With Wound, released in 1982, created by Steven Stapleton, music and sleeve.
The album is “a step on from the Dadaist rock of Merzbild Schwet, with much use of tape manipulation and classical avant-garde techniques”. The album which combined tape edits with resonating gong tones and disembodied children’s voices to create a sonic collage far removed from the harsh improvisations of the group’s early albums.
The title of the brief closing track derives from a passage from Les Chants de Maldoror, a surreal poetic novel written by Le Comte de Lautréamont. This appropriation of a phrase from Maldoror is shared in common with the title of Nurse With Wound’s debut album Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella; both phrases appear in Lautréamont’s work.
The album was first issued on Stapleton’s own United Dairies label on vinyl, cassette and later in remastered compact disc including an extra track “Astral Dustbin Dirge”.
This masterpiece reissue, is the official full double album from the original recording sessions. The 4 tracks from the original LP plus additional recordings from the same period.
This second, double album masterpiece in the Silver Collection of Nurse With Wound albums, is a technically better, crystal clear performance, in comparison to the original 1982 cut.
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2018 |
€38.50 |
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The Sylvie and Babs High-Thigh Companion |
pic-LP |
Ok, here it is – Sylvie & Babs as a picture disc LP, with new Babs Santini artwork. Was it always supposed to be this way? Who knows? But it won’t be around for long. One pressing and that’s it, buy or die – you know the drill.
“Sylvie and Babs is one of the most memorable, playful, and fascinating albums in the NWW oeuvre (though a decidedly unrepresentative one)…few (if any) other artists could’ve woven capricious contrarianism, low humor, bad puns, endless non-sequiturs, and chaos into such a satisfying whole“ – Anthony D’Amico
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2021 |
€33.00 |
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Chance Meeting of a Defective Tape Machine and Migraine |
CD |
Chance Meeting of a Defective Tape Machine and Migraine, housed in a hand made sleeve with new artwork.
Remastered by Matt Waldron
When Matt Waldron attempted to make a tape to tape copy of Nurse With Wound's 'Chance meeting on a dissecting table of a sewing machine and umbrella' he didn't expect the machines to do their own remix. The music on this disc was performed by two slightly defective disobedient tape recorders.
https://icrdistribution.bandcamp.com/merch/chance-meeting-of-a-defective-tape-machine-and-migraine-nurse-with-wound-cd
"Made on the occasional of Steven Stapleton's first visit to the United States, this album revisits NWW's landmark debut LP "Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella" from 1979, with a twist. In a way, it is a version of that LP. Certainly it starts off with the familiar outsider free music, but before too long the music mutates into something totally different. The sound warble and stretch and bend out of recognition creating a new and more disturbing sound environment. This destroyed version was provided to Steve by his American friend Matt Waldron, and fascinated him so much that he felt it needed to be published. It is the first NWW CD to be released in the U.S. Packaged in a stark black digipak." [press release on the first edition / Anomalous Records ] |
2021 |
€16.00 |
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Little Dipper Minus Two Plus (Echo Poeme Sequences) |
LP |
Back in 2005 3 special performances took place featuring Steve Stapleton, Colin Potter, Andrew Liles, Matt Waldron and Diana Rogerson. The gigs were held on 6 & 7 May at The Anatomical Museum / Narrenturm, Vienna (Austria). Each concert was limited to 50 seats. Fun was had. Lab coats optional. To commemorate the event, a limited edition of 200 CDRs was released by ICR and Klanggalerie, only available at the Vienna live shows.
In 2023, ICR re-issued this on CD expanded to include 2 new tracks, adding an extra 54minutes. These 2 tracks were constructed from the original source material with some extra sounds & they have been editied to form the 2 sides of this record.
Voices - Amantine, Isabelle & Doris. Recorded at IC Studio, Preston & London, 2005 & 2023 by Steven Stapleton & Colin Potter.
Mastered by Colin Potter at IC Studio.
Photography & graphic alterations by Sarah Redpath
Cover by Santini
https://icrdistribution.bandcamp.com/album/the-little-dipper-minus-two-plus-echo-poeme-sequences-lp-version
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2023 |
€32.50 |
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Thunder Perfect Mind (special ed.) |
3 x pic-LP |
One of the most essential works from Nurse With Wound, coming in an extended luxury 3x picture LP and 2CD edition, with many unreleased, alternative versions and songs.
This album is the sister album to Current 93’s same titled album and it’s a crownjewel for collectors of avantgarde and experimental music.
The original release of Nurse with Wound’s gargantuan “Thunder Perfect Mind” in 1992 coincided with that of Current 93’s homonymous genre-defining album. Legend has it that the gnostic name initially appeared to Steven Stapleton in a dream as the title of Tibet’s then still nameless upcoming album. Both records feature contributions from David Tibet, Colin Potter, Rose McDowall, John Balance of Coil, Alan Trench of Orchis and Joolie Wood amongst others. The title and the partial overlap of the personnel on both albums isn’t quite where the similarities end, both albums have since become undisputed milestones in their respective artists’ oeuvre. At the core of the definitive 2023 Infinite Fog re-release fully overseen by Steven Stapleton are the two original tracks “Cold” – a classic unsettling rhythmic Nurse collage-fest, significantly closer to jittery psychelia than the oft-cited “industrial feel” and the epic “Colder Still”, easily one of the most mind-bending breathtaking NWW compositions up to this point and well beyond. The track soothes ghostly atmosphere and reveals new surprises with every listen, not least of which is a direct link to its sister release from c93 as well as the first appearance of the signature rhythm loop that would mutate and re-emerge on several later tracks. The album also is the first full-length collaboration with genius sound wizard Colin Potter who has since become a ubiquitous sidekick both on Nurse albums as well as in live performances. As a follow-up to what is widely acknowledged as one of the best-loved exercises in drone of the 20th century “Soliloquy for Lilith”, TPM is a much more varied but at least equally rewarding experience. Infinite Fog are beyond pleased to be able to offer a significantly enhanced, remastered and extended 3 LP version for old and new fans alike.
Songs:
1. Cold
2. Colder Still
3. Zero Neither No (Andrew Liles mix)
4. Crank
5. Steel Dream March Of The Metal Men
6. The Dadda’s Intoxication
7. Dead Cold
8. Cold (Miss Ticker Mix)
9. Spooky Loop
10. Alien
11. Colder Than
12. Colder Than
13. Bad Trip In Berlin
https://infinitefog.bandcamp.com/album/thunder-perfect-mind |
2024 |
€88.00 |
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| NURSE WITH WOUND / OCTAVE MIRBEAU |
Alienation / Un Homme Sensible |
mCD + book |
"Je ne crois pas avoir jamais été méchant. Non, en vérité, je ne le crois pas. Tout enfant, j’étais même doué d’une sensibilité excessivement, exagérément douloureuse qui me portait à plaindre, – jusqu’à en être malade – les souffrances des autres… pourvu – cela va de soi, car je suis un artiste – qu’elles ne se compliquassent point de laideurs anormales ou de monstruosités physiologiques. Ah ! ce n’est pas moi – vous pouvez m’en croire – qui admettrai jamais l’esthétique de M. Rodin. Et, je puis me vanter que j’en ai jeté des pommes cuites à son Balzac !…
Écrivain et critique, Octave Mirbeau (1848-1917) est notamment l'auteur de L'Abbé Jules, Le jardin des supplices et Journal d'une femme de chambre. Dans Un homme sensible, il conte l'histoire d'un assassin bien décidé, au nom de l'harmonie du monde, à débarrasser celui-ci de « tous les organismes inaptes à une vie harmonieuse et forte ». De quoi inspirer Nurse With Wound, qui, en guise d'illustration, nous livre ici Alienation (The Devil's Interval), une nouvelle pièce de musique inédite."
www.lenkalente.com/product/un-homme-sensible-d-octave-mirbeau-nurse-with-wound
"Let me finish where it all started. With Nurse With Wound whose music I have been listening to for the last ooooh thirty five years or so. Late eighties maybe? Mid eighties? Memories lost in the fog of time. You listen to so much you lose track. What was my first Nurse With Wound album? Probably ‘A Sucked Orange’, maybe that collaboration with Hafler Trio that came out on Staaltape. ‘A Sucked Orange’ I found hilarious; I’m A Frayed Knot, Pleasant Banjo Intro With Irritating Squeak, Scrambled Egg Rebellion In The Smegma Department. I listened and thought to myself but aren’t Nurse With Wound supposed to be dark and scary? Somewhere lodged in the back of my brain was the cover art for ‘Chance Meeting ...’ and that leather clad dominatrix and the thought that only weirdos listened to Nurse With Wound and here was ‘Raymonde Fluffs It’ in which Raymonde fluffs his opening lines. Laugh? I nearly bought myself one. The split with Hafler Trio meanwhile, that truly fried my brain. I had no idea what was going on but I knew that I liked it.
Shortly afterwards I availed myself of twenty nine United Dairies cassettes via Ron Lessard and have proudly walked stride by stride with Nurse With Wound ever since, diving in to the back catalogue and buying new stuff when the chance arose. Until recently when the thought struck me that barring what Lenka Lente have released I haven’t listened to a new Nurse With Wound release for what must be over ten years. How did that happen? How did I manage to overlook what one of my favourite bands have been doing for the last ten years?
I decided to make up for lost time by drawing up a list of every Nurse With Wound release catalogued on Discogs and ticked off all those that I had physical copies of. I discounted the two Nurse With Wound MP3 discs I bought in St Petersburg in 2003 because a] I dislike the Russian and Chinese attitude towards copyright and b] MP3’s are a bit shit. I now realise that far from having everything Nurse With Wound had recorded from inception to the year 2000 and bits beyond I was the proud owner of quite a bit of it with several gaps that needed filling. To fill these gaps I need time and money so for the foreseeable the blog is being put to bed as I venture forth on the good ship Nurse With Wound proudly captained by Steve Stapleton and his crew. Whether I shall ever rouse it from its slumbers we shall have to wait and see.
In the meantime I’m going to find out what Nurse With Wound have been up to these last ten years. I need to hear what awaits me within that decade and the gaps that lie beyond. I shall also paint and draw, read, listen to the radio, go for walks around Scholes, see out this sodding lockdown, survive the virus and hopefully emerge like a vaccinated butterfly sometime during the spring months. By then I will have listened to lots of Nurse With Wound. Lots. Masses. Hopefully I’ll have bought quite a bit too. Maybe I’ll sell off some stuff to make room for it. My very own dedicated Nurse With Wound shelf with a vinyl copy of ‘A Sucked Orange’ forever proudly on display.
My Lenka Lente/Nurse With Wound CD’s will also go there though the shelf will have to be a tad smaller to accommodate them. These three inch/five centimeter discs have been virtually my only portal to what Nurse With Wound have been up to recently. The last one that came through the door piquing my interest enough to having me seek out their Tusk set from 2017, which by the way in case you are interested and why shouldn’t you be is quite stunning and well worth your time. If only I was there. Woe is me etc.
‘Alienations [The Devil’s Interval]’ is a fifteen minute slice of a ‘sleep concert’ Nurse With Wound gave in Ireland also during 2017. Sleep concerts being eight hour long overnight shows where Stapleton DJ’s his back catalogue while mixing in live sounds [I’m guessing] as the audience chills out for the night on airbeds and sleeping bags. Somnolence and hypnogogia being the perfect state of mind in which to receive the slowly moving drones of say Soliloquy For Lilith. Whether Stapleton played ‘Chance Meeting …’ in its entirety at four a.m. isn’t recorded. You can achieve the same state of mind at home by smoking a big bifter and playing Soliloquy For Lilith on repeat while rubbing the rim of a glass bowl with a wet finger. Just don’t try it with ‘A Sucked Orange’ ... unless you’re an insomniac. The results will be very different. Fifteen minutes culled from eight hours of DJ’ing will have to suffice for now then and beautiful it is too with the merest hint of Aurelie Lierman’s vocals helping to lull you safely in to the droning arms of morpheus.
As for Octave Mirbeau, I vaguely remember buying a copy of his ‘The Torture Garden’ when I was going through a very expensive and steep transgressive reading curve. If I had all the money returned to me that I spent on books of a transgressive nature I’d have enough to buy a good chunk of the Nurse With Wound back catalogue on original vinyl, in mint condition. Needless to say I was wholly unprepared and underwhelmed by Mirbeau’s satire on the brutality of humankind wanting and expecting something of a far more base nature for my money. I left Mirbeau and much of transgressive literature behind around the same time. Maybe I should go back now that I am older and wiser? Now that I have more time on my hands. Now that I’m reacquainting myself with Nurse With Wound. The perfect partners perhaps? I could translate all of ‘Un Homme Sensible’ while listening to ‘Automating Volume Three’. I’m sure that it would be time well spent." [Idwal Fisher]
https://idwalfisher.blogspot.com/2021/02/octave-mirbeau-and-nurse-with-wound.html
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2021 |
€16.00 |
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| N[27] / TZESNE |
theBelt |
LP |
"N is the moniker of Dortmund-based German experimental guitarist Hellmut Neidhardt. June marks the release of two new records, including a second collaboration with Tzesne (ES). After a first very fruitful collaboration with Basque sound artist Txesus Garate alias TZESNE for the album CARRISSALS, released in 2011 by Denovali Records, the artistic vital necessity to exchange and work together carried on. In contradistinction to their collaborational debut Carrissals, where warm and dark qualities of drone interweaved – blended with Tzesne’s distinctive field recordings – they left the bright nature of that imaginary sundried place in Spain behind to take a leap into the harsh environment of the post-industrial landscape, being the inspiration of their upcoming release named THE BELT. Both artists share the interest of reflecting the conditions of a chosen location. Usually a an existing place gives inspiration for N’s sound research as distinguished from Tzesne, who collects field recordings from a wider area and manipulates them in the phase of post-production to a rather diffuse imprint. Way more heavy and dark is the impression, which THE BELT causes, right after giving a listen to its first minutes. The smell of bygone plants is synaesthetically floating within the soundscape, though trails to the dawn of a new era are roughly outlined. The four-track album features the tracks “Weaving A Wall”, “Beton”, “Bold Backwards” and “IkKky”. Limited to 100 LPs." [label info]
www.denovali.com
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2014 |
€28.00 |
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| O YUKI CONJUGATE |
Sleepwalker |
CD |
First new album for over a decade Sleepwalker (auf abwegen aatp69) documents O Yuki Conjugate's recent live shows, doubling as a soundtrack to a film of the same name by founder member Andrew Hulme. Comprising 10 new tracks taken from 24 live shows in nine countries across Europe, Sleepwalker captures OYC's current musical direction, a blend of plangent keyboards, abstract guitars and electronic rhythms, presented in OYC's inimical style.
About O Yuki Conjugate
OYC were formed in Nottingham in 1982 on the wave of experimental music that emerged out of Post Punk. Quickly moving on from their early industrial and electronic influences, OYC began exploring the then-unfashionable 'ambient' genre, a lonely furrow they've ploughed ever since.
Today OYC are in their 38th year and fourth incarnation based around core members Andrew Hulme and Roger Horberry. Over the years they've released nine albums of wilfully obscure ambient-influenced music that together have earned them literally hundreds of pounds - from Scene in Mirage (1984), Into Dark Water (1987) and Peyote (1990) through to Tropic (2017). Largely ignored in the UK, they've consistently found audiences in the US and Europe more receptive to their work.
OYC have a somewhat relaxed work ethic and have frequently gone into hibernation for years at a time without ever going so far as splitting up.
In 2017 they discovered they enjoyed touring and have played more gigs in the last two years than in the previous 20. They've also overseen a series of reissues on Emotional Rescue, as well as a remix 12" of their 1995 album track 'Insect-Talk'. attracting a new barmey army of listeners to their unique sound. Further reissues are planned.
OYC have also found time to create their own alter ego Ocean Youth Club who have just released their first 12" on Barcelona's Hivern Discs. Produced by Colin Potter it's entitled 'Divided Self' and is a conceptual entity based around OYC's desire to explore their own alternate history. In other words, what they would have sounded like if, in 1984, they'd opted to take an electronic route instead of an ambient one.
"Basierte das 2018 veröffentlichte Album „Tropic“ auf ursprünglich Mitte der 90er Jahre komponiertem Material, das später be- und überarbeitet wurde, handelt es sich bei „Sleepwalker“ um eine komplett neue Veröffentlichung. Aufgenommen während einiger Auftritte in den Jahren 2017 bis 2019, sind die auf „Sleepwalker“ enthaltenen Stücke Soundtrack des gleichnamigen Films (von Gründungsmitglied Andrew Hulme), über den es heißt, er habe eine „loose dream-like narrative“.
Im umfangreichen Booklet (was – so profan es auch klingen mag – in Zeiten sinkender Verkaufszahlen leider keine Selbtsverständlichkeit mehr ist) finden sich neben Bildern aus dem Film Textpassagen, die verschiedene (Alp-)Traumszenarien zu beschreiben scheinen: „There is a building under water/As you look down into the water it rises up in front of you“. An anderer Stelle liest man: „Suddenly you’re very afraid“.
Das Album beginnt mit „Clockish“, das mit seinen flächigen Sounds durchaus einen somnambulen Charakter hat.„In Flux“ integriert schleppende Beats in das Klangbild, „The Air Is Alive“ ist von flirrenden, flächigen Passagen geprägt. Auf „Eyelids Burn“ taucht eine Frauenstimme aus dem Äther auf; den Linernotes ist zu entnehmen, dass ein Stück von Keeley Forsyth integriert wurde, die demnächst ihr Debütalbum veröffentlicht und für die Hulme auch schon Videos gedreht hat. „Beyond Control 4“ beginnt mit einem Sprachsample, auf denen die Selbstverbrennung von Thích Quảng Đức thematisiert wird. Man hört dezente Pianotupfer und melancholische Flächen. Sehr schön ist „Forgotten Summer“ mit entrückten Gitarrenpassagen, Beats und Flöte (?). Auf „Black Magic Box“ dagegen sind die Geräusche fast nicht mehr wahrnehmbar: In der Ferne knirschst es, Wasser plätschert. Das abschließende „The Madness Below“ lässt irgendwo eine Trompete erahnen.
Der letzte Satz aus dem Film, der im Booklet zu lesen ist, lautet “You are in motion”. Das ist vielleicht nicht die schlechteste Beschreibung der auf “Sleepalker” zu hörenden Musik, denn insgesamt sind die zehn Stücke so variantenreich, dass man fortwährend den Eindruck von Bewegung hat." [MG, African Paper]
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2019 |
€14.00 |
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| O'MALLEY / PATERAS |
Sept Duos pour Guitare Acoustique & Piano prepare |
do-LP |
Sept duos pour guitar acoustique et piano préparé is the second duo recording from Stephen O'Malley and Anthony Pateras. Their first together, Rêve Noir (2018), took an electro-acoustic scalpel to a 2011 duo concert for electric guitar and piano, using Revox and digital treatments to twist and smear gig documentation into ghostly echoes and fractured drones. Here, in contrast, the music is entirely acoustic and presented as it was performed, without overdubs. Both players’ choices of instruments are notable: this is O'Malley’s most extensive recording on steel string acoustic guitar (playing an instrument whose previous owners include Marissa Nadler and Glenn Jones) and Pateras return to the prepared piano, which he has rarely employed in recent years, after spending much of the first decade of the 21st century exploring its possibilities.
Recorded during O'Malley’s residency at La Becque on Lake Geneva in the summer of 2021, from the first moments of the opening ‘déjà revé’ the music immediately establishes the distinctive landscape of chiming tones and hovering clouds of resonance explored throughout its one-hour running time. Pateras’ preparations create tolling bell-like tones alive with complex overtones, alongside which O'Malley’s open strings and natural harmonics add a sparkling clarity. While Pateras’ music often uses a densely chromatic harmonic language, these duos are remarkable for their modal simplicity. However, the interaction between the pure intervals of O'Malley’s just-intoned strings and the unstable harmonies created by the piano preparations suspends the music in an oneiric state of hazy ambiguity. Without obvious reference to tempo or meter, the music floats in what the composer Ernstalbrecht Stiebler has called a ‘bottomless sound space’, the temporal placement of events determined by bodily rhythms and the performers’ own listening to (and enjoyment of) the sounds being made.
Heard one way, this music can seem striking in its consistency, almost environmental. Attending more carefully, the listener hears the pitch sets and tunings changing throughout the album’s length. Each piece has its own character, subtly distinguished from the others through mood, pacing, and timbre. On ‘déjà voulu’, for instance, O'Malley makes prominent use of slide, the woozy, bending pitches weaving through a series of lush arpeggiated chords from the piano. ‘Déjà senti’, on the other hand, is particularly spare, the gestures spaced out to the extent that they often float in isolation against the background of fading resonance. Much of ‘déjà su’ is built around a slowly pulsing single prepared piano tone, creating an almost ominous tension, whereas the sparkling guitar harmonics and arpeggios of the closing ‘déjà raconté’ have a gently triumphal air. While the music’s calm, rippling surface is immediately entrancing, these seven duos – in the tradition of the best improvised music – also reward close listening, which reveals sonic details and focuses the listener’s attention on how the music unfolds spontaneously from decision to decision, from gesture to gesture.
Recorded during a period when O'Malley and Pateras were grieving the loss of recently departed friends and collaborators, these seven duos possess a reflective, at times almost mournful quality. More importantly, though, they are imbued with other qualities that can arise from personal loss: a clarity that allows one to clear away the inessential, to begin again, to renew one’s faith in friendship and music.
https://shelterpress.bandcamp.com/album/sept-duos-pour-guitare-acoustique-piano-pr-par
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2023 |
€30.50 |
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| O'ROURKE, JIM |
To Magnetize Money and Catch a Roving Eye |
4 x CD BOX |
"A four-hour work, recorded at Jim O'Rourke's studio, Steamroom, between 2017 and 2018. Detailed and delicate electronic layers, processed instruments, and ambiguous field recordings come together in a slow-moving, fascinating kaleidoscope with multiple reflections and wrong turns, always in a constant state of flux. The finely crafted art of subterfuge. The four-CD set To Magnetize Money and Catch a Roving Eye is a hypnotic, multi-faceted, labyrinthine piece which flows as slowly as a river while speeding back through memory. Composer, performer, and multi-instrumentalist Jim O'Rourke was born in Chicago in 1969. He is a veritable chameleon working at the frontiers of very diverse musical genres." [label info]
"O’Rourke’s latest drone project, running to over four hours, is darker and more dreamlike than his Steamroom series, and one of his most meditative releases yet.
For more than a quarter century now, Jim O’Rourke has been sculpting shadows. For some, the American musician is best known for the lush, psychedelic Americana of albums like Bad Timing, or his production work for bands like Wilco, Stereolab, and Sonic Youth. (He was also a member of the latter for a spell, during the Murray Street and Sonic Nurse years.) But since the early 1990s, beginning with albums like Scend and Disengage, the secret heart of O’Rourke’s music has been dedicated to pure electronic abstraction. To call this minimalist output “ambient” or even “drone” doesn’t capture the subtleties of his broad expanses of shimmer and hum. Listen carefully to these pieces, and it sometimes seems that he is molding feedback into storm clouds, or milking frequencies out of thin air.
In recent years, O’Rourke’s drone activities have begun to assume center stage. His practice appears intense, even monastic: He typically devotes five or six hours a day to recording on the Serge, an arcane modular synthesizer from the 1970s; he might spend weeks editing a given session down, mixing it with homemade field recordings, and massaging it all into the desired shape. (“I wish the days were longer,” he has said.) Since 2013, the fruits of his labor have been trickling out under the Steamroom imprint, the digital-only Bandcamp series named after his Tokyo studio. It’s an evocative name, and not so far off from the sounds he achieves. That there are currently 46 releases after just six years—some of them reissues, but most of it new and previously unreleased—says something about his dedication.
To Magnetize Money and Catch a Roving Eye is a kindred spirit to that series. Even by O’Rourke’s standards, it is a mammoth undertaking. Steamroom releases typically consist of a single track that’s somewhere between 30 and 45 minutes in length, but the new album, a four-disc affair, totals nearly four and a quarter hours. The sounds within can be just as daunting. These are not the soft, consonant tones of Streamroom 40, a fan favorite; this music is woven together from ominous rustling noises, glowering low-end throb, and white-hot waves of piercing feedback. The dividing line between musical tone and pure atmosphere is porous: O’Rourke’s synthesizers are more gestural than melodic, and at their edges they dissolve into a vivid, four-dimensional soundscape.
There is an unmistakably dreamlike quality to the music, with hints of birdsong and distant traffic, old trains creaking to life and spaceships powering up, boots in snow and high-voltage power lines overhead. It sounds not just haunting but haunted—not malevolent, necessarily, but terrifying nonetheless. In places, it sounds like O’Rourke came across Grouper’s Dragging a Dead Deer Up a Hill and decided to take the title literally, coaxing from his matrix of tapes and circuitry a sound equal to that of blood drying on matted pine needles.
There are few repeated motifs, but for the most part, elements rise into the mix, spread out like inkblots, and are subsumed back into the murk, never to appear again. Some nine minutes into “Part II,” there is an unexpected eruption of feedback, a sustained explosion of surprising force, as though O’Rourke had set fire to Sunn O)))’s backline, but otherwise, recognizable events are few and far between. Seismic rumble melts into glassy shimmer, and vice versa; the music is constantly shape-shifting, yet it all converges into a low, sustained hum.
City-dwellers may recognize this as the standard frequency of the modern metropolis. It is as though O’Rourke had captured and amplified the sounds of everyday life, from the inaudible (magnetic fields, cell-phone signals) to the visceral (rainfall, rumbling subways), rendering them almost womblike. Despite the album’s intimidating scale, it is a strangely welcoming, even enveloping listen. “It’s not a question of patience,” O’Rourke has said, when asked why he likes longform composition so much. “It’s just my taste. I like longer music. It all really comes down to breathing.” In its controlled pacing and deep interiority, To Magnetize Money and Catch a Roving Eye also resembles a kind of breathwork. It is one of his most meditative pieces yet." [Pitchfork]
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2019 |
€32.00 |
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Hands That Bind |
LP |
"In addition to his day job transforming pop music with his own records, as well as those of Gastr del Sol, Loose Fur and Sonic Youth over the past few decades, Jim O'Rourke has been contracted for several dozen film scores over the years as well. It makes sense -- his abilities as an improviser, composer and producer allow him to interpret cinematic moments with a unique understanding for their construction and how they work. It doesn't hurt that Jim's a well-versed cineaste, a complete and total fan of watching films, which has given him a preternatural understanding of the role of music in movies. What doesn't make sense is how Hands That Bind is the first film soundtrack of Jim's to ever receive worldwide release! He's worked with filmmakers of international repute, like Olivier Assayas, Allison Anders, Werner Herzog and Kôji Wakamatsu! He served as music consultant on Richard Linklater's 2003 laff-fest, School of Rock! He's played in ensembles of award-winning documentaries and films alike! ... Made for an indie film that's been seen by festival audiences and not enough others, the soundtrack for Hands That Bind is a moody, atmospheric delight. Jim's roots in composition via tape-editing have evolved into a sophisticated assembly of found-and-processed sounds that achieve highly musical, near-orchestral majesty as they hang in the very air of the drama that unfolds in Kyle Armstrong's Hands That Bind. Described as a 'slow-burn prairie gothic drama' set in the farmland of Canada's Alberta province, and starring Paul Sparks, Susan Kent, Landon Liboiron, Nicholas Campbell, Will Oldham, and Bruce Dern, Hands That Bind is a spellbinding trip to the existential bone of rural working life in North America. As conflict rises over the hard-worked patches of land that provide a mere and mean existence, a desperate air settles in, as a series of mysterious, often supernatural occurrences rock the small community. O'Rourke's vaporous, serpentine musical backdrops and atmospheres reflect the obsessions and distractions of the film's principles; moods of all sorts seen or otherwise implied. Additionally, the music highlights cinematographer Mike McLaughlin's closely observed accounting of the farmers' environment, as well as the striking widescreen images of the big sky country with unnerving flair. For fans of Jim's ongoing steamroom series as well as collectors of soundtracks, Hands That Bind will provide hours of engrossing listening..." [press release]
https://jimorourke.bandcamp.com/album/hands-that-bind-original-motion-picture-soundtrack
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"The experimental producer and composer’s score for the prairie gothic film is luminous, faintly menacing, and clouded with uncertainty.
In Kyle Armstrong’s Hands That Bind, horror is hiding in plain sight. The film, which premiered in 2021 and is due for theatrical release this fall, is set amid desolate Alberta farmlands—a space whose relentless flatness you might assume allows for few mysteries. Straight roads stretch endlessly toward the horizon; barns outnumber trees by a wide margin. Any approaching threat ought to be visible from miles away. But in the world of this carefully paced prairie gothic, unsettling events arrive from out of nowhere, leading to more questions than answers. Who, or what, is mutilating the farmers’ cattle? Who’s in the black sedan making ominous drive-bys? And what are those lights swirling in the sky?
The crucial question, which drives the film’s grippingly human drama as well as its more cryptic events, is philosophical in nature: whether we can ever truly be certain about anything. “My opinion isn’t going to solve anything for you, because my opinion is that I don’t know,” remarks a bartender played by a scene-stealing Will Oldham, as he turns off a Scratch Acid song on the stereo. “Certainty is the rare exception to the rules of life. Whatever’s easiest to swallow is what most folks gravitate towards. Even if you lie to yourself, as best as you can, and look for something you call true, well, whatever your theory is, it’s probably wrong.”
Jim O’Rourke’s soundtrack is perfectly calibrated to this unforgiving space squashed between parched fields and blown-out sky. His palette—detuned piano, watery vibraphone, and a muted, amorphous shimmer that might be harmonium or synthesizer—matches the film’s dusty tones of beige and pewter and mobile-home brown. A high-end fizz resembles the incessant whine of crickets; the occasional spritz of static mimics the strange electrical phenomena on screen. Closer in spirit to the longform drone works of his Steamroom series than the fingerpicked Americana of Bad Timing or the mischievous classic rock of Simple Songs, O’Rourke’s instrumental score is, much like the landscape of the film, flat, faintly menacing, and miserly with its details. (Another comparison point might be the Boxhead Ensemble’s 1997 soundtrack to the film Dutch Harbor: Where the Sea Breaks Its Back, featuring O’Rourke alongside Chicago luminaries like Ken Vandermark and Douglas McCombs.)
It begins gently enough, with a high, lonesome harmony reminiscent of a freight train’s distant whistle. An acoustic bass plucks out a tentative melody. These opening passages move with pastoral ease. But the music quickly sours, clouded with uncertainty, as dark, shapeless figures clamber up from the lower register to disturb the tranquil upper reaches. Light is one of the film’s unspoken subjects—the implacable sun beating down on sere crops, the bokeh-like orbs cutting curlicues in the night sky—and O’Rourke’s soundtrack has similarly luminous properties. He favors soft attacks that come on like a backlist mist, and streaks of dissonance that flash out and disappear, swallowed up in the dull radiance.
The 38-minute score cycles through just a handful of themes and motifs, stirring them occasionally, as though to keep them from sticking. Halfway through, with “A Man’s Mind Will Play Tricks Upon Him,” brushed cymbals and plucked bass kick up a groove beneath a chiming piano melody; it’s one of few places where the record approaches anything resembling a song. But the moment is fleeting. In the concluding “One Way or Another I’m Gone,” the drumbeat returns, but this time there’s no lightness to it. It plods sullenly as jabbing tritones, a constant throughout the album, hint at a nameless evil. The soundtrack ends as it began, hovering in a nebulous interzone, neither major nor minor—ambiguous, ambivalent, unresolved.\\\" [Pitchfork]
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Eight years after “Simple Songs”, his last solo outing with the label, the towering talent of Jim O’Rourke returns to Drag City with “Hands That Bind”, the first LP in his long career to offer a proper release to his soundtrack work.
Composed for the director Kyle Armstrong’s 2021 film of the same name, the album\'s eight sublime musical complements interweave subtle melodic elements, bristling electroacoustic structures, and moody ambiences, collectively bridging the distance between O’Rourke\'s experimental work and his deft hand in the realms of pop. As absolutely brilliant as they come.
On the occasion of the release of “Hands That Bind” we are glad to announce a promotional sale with 15% off for members and 10% off for everybody on all available Drag CIty items, valid until Sunday at midnight or while stocks last.
The endlessly fruitful relationship between Jim O’Rourke and the Chicago based imprint, Drag City, traverses the better part of the last thirty years, with the label providing platform and support for one the great musical voices of our age. Beginning with his band Gastr del Sol\'s seminal second LP, “Crookt, Crackt, or Fly”, and running through his legendary suite of pop masterstrokes, - “Bad Timing”, “Eureka”, “Halfway to a Threeway”, and “Insignificance” - his involvement with projects like Loose Fur, The Red Krayola, and Mimidokodesuka, and a great deal more, his output with Drag City is a truly remarkable thing to behold, providing a snapshot into a restless creative mind within a collective body of intoxicating sounds. His last, 2015\'s “Simple Songs” build on the instrumental trajectory established by its predecessor, “The Visitor” (2009), but his latest, “Hands That Bind”, however, charts a new, surprising path. Composed as the soundtrack for the director Kyle Armstrong’s 2021 film of the same name, the album’s subtle melodic elements, played against bristling electroacoustic structures, bridge the distance between his more experimental work, largely housed in recent years on his own Steamroom imprint, and the pop-oriented work historically located on Drag City. Absolutely stunning from its first sounding to the last, “Hands That Bind” is yet another creative milestone from Jim O’Rourke that’s impossible to get off the turntable once the needle drops. Ten out of ten and not to be missed!
Jim O’Rourke is among the great voices of his generation. He is a true musical polymath, whose diverse efforts, since his emergence within the Chicago scene during the late 1980s, have continuously altered the creative landscape. Across more than a hundred albums, he has carved a relentless path, refusing conceptual stasis and the boundaries of genre and idiom, producing a body of work with such a profound impact and influence, that is so striking, forward-thinking, and important - while displaying a consistently unparalleled bar of quality - that it transcends the basic notions of art; becoming a network of sound, mirroring the pathways of an endlessly curious and uninhibited mind. O’Rourke’s music is thought unfolding in real time. Unbridled creativity in pursuit of the unknown.
Since his move to Japan during the late 2000s, O’Rourke’s recorded works have generally veered toward two polarities - direct, jointly billed, conversant collaborations with peers like Haino Keiji, Peter Brötzmann, Oren Ambarchi, Giovanni Di Domenico, Mats Gustafsson, Akira Sakata, Kassel Jaeger, and Fennesz, among numerous other, and privately created solo efforts falling under the banner of Steamroom - increasingly only issued as direct digital downloads. There has, however, been another body of work rumbling below the surface that has yet to receive a single proper release. Over the last few decades, O’Rourke has been composing several dozen film soundtracks for widely celebrated filmmakers like Olivier Assayas, Allison Anders, Werner Herzog and Kôji Wakamatsu. At long last, this mysterious area of the artist’s creative explorations begins to be more accessible with the release of “Hands That Bind”, composed for the director Kyle Armstrong’s 2021 film of the same name and his first film soundtrack to receive a proper release.
Anyone who knows much about O’Rourke is aware of his deep passion for film. Since his teens on the outskirts of Chicago, he has remained a devoted cinephile, which naturally, being the person and artist that he is, has cultivated an intimate understanding of the place and operation of music within the idiom. Any doubts to this end will be quickly laid to rest by the profound beauty and subtlety of “Hands That Bind”, composed for a “slow-burn prairie gothic drama” set in the farm-land of Canada’s Alberta province, that stars Paul Sparks, Susan Kent, Landon Liboiron, Nicholas Campbell, Will Oldham, and Bruce Dern, within which a series of mysterious, often supernatural occurrences, rock the small community.
Into these narratives and happening, O’Rourke composed eight sublime musical complements ranging from moody and atmospheric electroacoustic marvels that interweave long-tones and textural elements, drawn from diverse resonant sources, to more explicitly musically melodic and percussive pieces like “A Man\'s Mind Will Play Tricks On Him” and “One Way or Another I\'m Gone”, that return the ear to O’Rourke’s roots in post-rock and jazz. Joined collectively, these works evolve at glacial pace into a freestanding journey of startling proportions, building bridges within a single structure across the versatility and range that the artist has historically reserved for more discreetly located works, notably his poppier efforts for Drag City, and his more experimental works released on Steemroom.
Immersive and intoxicating, while displaying an understated elegance that only O’Rourke is capable of, whether regarded as a complement to moving image or a freestanding musical gesture, “Hands That Bind” is an absolute musical masterstroke of unparalleled brilliance, building on his long history of tape collage to construct a profoundly sophisticated assembly of found-and-processed sounds into orchestral majesty. Issued by Drag City as a beautifully produced LP, this is O’Rourke at his best. Ten out of ten and impossible to recommend enough. [Soundohm + press release ]
|
2023 |
€27.50 |
|
| OBLIVION ENSEMBLE |
Seraphim Hallucino |
CD |
Nach langer Wartezeit endlich ein neues Album für das US-amerikanische Projekt um BRANNON HUNGNESS und JOHN BERGSTROM, die vor Jahren auch eine EP für Drone Records eingespielt haben. SERAPHIM HALLUCINO ist ein erdrückend intensives, dunkles Werk basierend auf Instrumental-Improvisationen, die später im Studio ausufernd bearbeitet wurden... mit elektro-akustischer Finesse ausgestatteten Dronescapes, die geheimnisvoll & geräuschhaft tönen, man scheint wie in einem surrealen (Alp?)-Traum gefangen zu sein, immer wieder schlittern diese Sounds am Bewusstsein vorbei, um dann in überraschenden Arrangements wiederzuerstarken... eine einzigartige, filmische Atmosphäre wird erschaffen. Grossartiges Album!
"The music of Oblivion Ensemble remains as elusive and surreal as the ever-shifting cast of musicians and performerswho participate, knowingly, or unknowingly in their work. Founding members are John Bergstrom and Brannon Hungness (aka Figure). Hungness is a virtuoso experimentalguitarist and composer and a former member of the Glenn Branca Ensemble. Bergstrom is a computer-musicgearhead and a film composer with a classical music pedigree, and mastermind behind the industrial-noise assembly Torse. Seraphim Hallucino is Oblivion Ensemble’s fifth full-length release, the first since the virtual opera “Nightmare:Sinistrotorse” (Complacency, 1995). At Seraphim Hallucino’s source are strange, electro-acoustic improvisations of percussion, trumpet, voice, synthesizers and guitar. These improvisations are sculpted and sampled, twisted and turned, shaped into building and diminishing moments, and, at times appearing alone, pure and unmodified. Deeply imbedded in the music and fragmented lyrics are secrets, intertwining themes, voices, and imprinted messages. All come together to create an enormously complex, mercurial mix of surreal, dynamic and dark sounds. To fully appreciate the scope and intricacies of Seraphim Hallucino, headphones in a darkened room are highly recommended.
"The band most likely to compose a fitting soundtrack for the end of the world. ” [Sorted magAZine]
“Visionary gothic psychedelia. [The Wire]
"the most undefinable gorgeous musical anything that I have ever witnessed ... a beyond great performance, chilling and anxious.
[Best of Times]. In superb digipak, with artwork by Matt Vickerstaff of darkwaveart.co.uk." [press release]
"... Eerie textures are easily combined with chaotic and hectic movements. I am not sure wether we should see all twenty-two pieces as part of the total, or wether they are all separate, I rather believe the first, since some parts do flow nicely into each other, thus making the greater picture. There is a darker undercurrent on this CD, which doesn't make it easy to grasp, but it unfolds great beauty when explored in depth (and in dark, I presume)." [FdW / Vital Weekly]
|
2007 |
€13.00 |
|
| OFFTHESKY / PLEQ |
A Thousand Fields |
do-LP & 7inch |
A Thousand Fields is the first collaboration between Denver, Colorado based artist offthesky (Jason Corder) and Warsaw, Poland based musician Pleq (Bartosz Dziadosz). From the opening restrained "Ashes of America" with intermittant ominous strings through the industrial landscape of "drown under..." with it's glittering glass and harmonious drones breaking through, this work of ambient tapestry sees each artist pulling the best work from one another. Both are veteran experimental and ambient recording
artists with dozens of recordings to their credit. Featured on a multitude of labels that read like a roster of contemporary ambient and soundscape recordings - Home Normal, Ephre, Taalem, Databloem, dataObscura, Basses Frequencies, Constellation Tatsu to name just a few.
This recording feels like a potential has been met. What has been hinted at in solo and prior collaborations meshed together with an influence of equal parts minimalism, fourth world ambience, field recordings, drone, and experimental composition to a stunning degree.
Composition is thrilling when notes are allowed to breathe, to vibrate. A single piano string, the circular slow melody of a violin, as on the nostalgic "Delicate Exit" or the delicate assembly of abstract beauty - distant harp, an interrupted string section, shuffling of feet, a ghostly echo as on "simulacromancer".
This is a 2xLP set, mastered by Carl Saff, cut at 45 rpm. It is housed in a tip-on style heavy gatefold sleeve with OBI strip featuring artwork from Pyhai. The first 300 copies will include a bonus 7" entitled "Still Your Bones" (INFX 062 S) with 2 exclusive tracks. The entire pressing is a 500 copy edition, available in white 180g vinyl (limited to 100 copies **White vinyl Sold Out**) and the remaining 400 copies will be on black 180g vinyl.
Includes unlimited streaming of A Thousand Fields via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
https://infraction.bandcamp.com/album/a-thousand-fields
|
2015 |
€32.00 |
|
| ON (SYLVAIN CHAUVEAU & STEVEN HESS) |
Something that has Form and Something that does not |
CD |
"Der US-Schlagzeuger Steven Hess und der französische Instrumentalmusiker Sylvain Chauveau bilden zusammen das Projekt On, "Something That Has Form And Something That Does Not" ist ihr drittes Album, auf dem sie ihren abstrakten, experimentellen Sound zu neuen Höhen verhelfen. Wie schon auf früheren Werken wurden die aufgenommenen Improvisationen einem Gastmusiker überantwortet, der mit ihnen machen konnte, was er wollte. Diesmal war es der Experimentalpionier Christian Fennesz, der das Gehörte überarbeitete, neu arrangierte und komponierte. Fennesz kennt das Duo seit 2004, und es war nur eine Frage der Zeit, bis auch er sich mal ans Werk machen durfte. Die Quellsounds behandelte er mit einer gewissen Leichtigkeit, die ihnen das Atmen ermöglichte. Teilweise hört man Raumgeräusche, die zum Rückgrat intensiver, sich langsam aufbauender Dronescapes werden. Nein, "Something That Has Form..." ist sicher kein Easy Listening, das Album erfordert Hingabe und Konzentration, die allerdings mit der Offenbarung reiner Schönheit belohnt werden." [label info / indigo]
" ‘Something That Has Form And Something That Does Not’ is the third album from Sylvain Chauveau and Steven Hess under their On moniker, and continues their excavation of abstracted experimental sounds. As with the previous records, improvisations were recorded in a studio in Chicago and then handed to a guest musician to rework in whichever way they saw fit, and this time around the guest musician is none other than experimental pioneer Christian Fennesz. Christian’s association with the band goes way back – he performed with them in 2004 as a trio so it seemed almost inevitable that a collaboration would emerge at some point, but this treatment truly takes the notion of collaboration to another place entirely.
Unlike ‘Your Naked Ghost Comes Back At Night’ (which was handled by dark-ambient master Deathprod), Fennesz has treated the source sounds with a distinct lightness, allowing them to creak and breathe. Occasionally you can hear the room itself ticking in the foreground – hands on drumsticks and feet on pedals. The sounds become the backbone of the intense, slow-building dronescapes that Fennesz pulls from the original recordings. We are treated to piercing noise as the album opens with a choir of feedback, but the cacophony gradually disperses to allow pulsing harmony and Steven Hess’s propulsive, metronomic drumming.
When we close on the blissful near 20-minute ‘The Sound Of White’, echoes of Fennesz’s best work drifts through the crackle and pulse of Sylvain Chauveau’s prepared guitar and Hess’s distant percussion. These hypnotic patterns slowly rise and fall, giving the listener time to truly hear each subtle shift. This is not an exercise in easy listening – rather here is an album that demands close attention, and one where the beauty truly is in the details." [label info]
www.typerecords.com
|
2010 |
€16.00 |
|
| |
Something that has Form and Something that does not |
LP |
"Der US-Schlagzeuger Steven Hess und der französische Instrumentalmusiker Sylvain Chauveau bilden zusammen das Projekt On, "Something That Has Form And Something That Does Not" ist ihr drittes Album, auf dem sie ihren abstrakten, experimentellen Sound zu neuen Höhen verhelfen. Wie schon auf früheren Werken wurden die aufgenommenen Improvisationen einem Gastmusiker überantwortet, der mit ihnen machen konnte, was er wollte. Diesmal war es der Experimentalpionier Christian Fennesz, der das Gehörte überarbeitete, neu arrangierte und komponierte. Fennesz kennt das Duo seit 2004, und es war nur eine Frage der Zeit, bis auch er sich mal ans Werk machen durfte. Die Quellsounds behandelte er mit einer gewissen Leichtigkeit, die ihnen das Atmen ermöglichte. Teilweise hört man Raumgeräusche, die zum Rückgrat intensiver, sich langsam aufbauender Dronescapes werden. Nein, "Something That Has Form..." ist sicher kein Easy Listening, das Album erfordert Hingabe und Konzentration, die allerdings mit der Offenbarung reiner Schönheit belohnt werden." [label info / indigo]
" ‘Something That Has Form And Something That Does Not’ is the third album from Sylvain Chauveau and Steven Hess under their On moniker, and continues their excavation of abstracted experimental sounds. As with the previous records, improvisations were recorded in a studio in Chicago and then handed to a guest musician to rework in whichever way they saw fit, and this time around the guest musician is none other than experimental pioneer Christian Fennesz. Christian’s association with the band goes way back – he performed with them in 2004 as a trio so it seemed almost inevitable that a collaboration would emerge at some point, but this treatment truly takes the notion of collaboration to another place entirely.
Unlike ‘Your Naked Ghost Comes Back At Night’ (which was handled by dark-ambient master Deathprod), Fennesz has treated the source sounds with a distinct lightness, allowing them to creak and breathe. Occasionally you can hear the room itself ticking in the foreground – hands on drumsticks and feet on pedals. The sounds become the backbone of the intense, slow-building dronescapes that Fennesz pulls from the original recordings. We are treated to piercing noise as the album opens with a choir of feedback, but the cacophony gradually disperses to allow pulsing harmony and Steven Hess’s propulsive, metronomic drumming.
When we close on the blissful near 20-minute ‘The Sound Of White’, echoes of Fennesz’s best work drifts through the crackle and pulse of Sylvain Chauveau’s prepared guitar and Hess’s distant percussion. These hypnotic patterns slowly rise and fall, giving the listener time to truly hear each subtle shift. This is not an exercise in easy listening – rather here is an album that demands close attention, and one where the beauty truly is in the details." [label info]
www.typerecords.com |
2010 |
€19.50 |
|
| ONODERA, YUI |
Too Ne |
CD |
Yui Onodera's work is patient. He invites a sense of dwelling with his pieces, an encouragement to pause and to allow sound to swell up around you. On Too Ne, he charts out a very specific sonic exploration. Across these five works he creates a lilting passage of sound, a liquidous flow that confirms the adage of ambient music existing as constant, but never solid. Too Ne also invites a sensing of the self, in that the works ask you to examine our own memories as a way to unlocking a deeper resonance within the work. Onodera has created an incredibly generous and open sound field here, one in which you might find yourself dwelling, deeply.
From Yui Onodera: "These pieces are what can be described as almost static ambient tracks. They are about a recognition of perceived stillness, even when there is change in the sounds' relationships with each other, and with the listener. 'Too Ne' is an old Japanese word that refers to a sound that is sounding from far away. It is about distance, and also perhaps about reaching out to those sounds that seem to exist far away from us. 'Too Ne' is a word that is not often used in modern Japan, but it has a long history, and can be found in the oldest extant collections of Japanese waka (poetry in Classical Japanese), such as 'Manyoshu'. It is sometimes understood that there are many sounds that appear in people's minds here, when they think of an imagined landscape. Sounds as memory markers, but also as devices to help us imagine more deeply the places we visit and recollect with our minds. Here, I recall in my mind the distance of static sounds like vague clouds, delicate sounds like a state where cherry blossoms whirl in the wind and resemble snow falling.
https://yuionodera.bandcamp.com/album/too-ne / https://room40.org/edition/too-ne/
|
2022 |
€14.00 |
|
| OPSVIK & JENNINGS |
Commuter Anthems |
CD |
" 'Commuter Anthems' ist das zweite Album von EIVIND OPSVIK und AARON JENNINGS; aber ihr erstes für Rune Grammofon. EIVIND OPSVIK stammt ursprünglich aus Oslo, lebt aber seit 1998 in New York. Er fing an, Schlagzeug zu spielen, als er noch sehr klein war, legte sich im Teenagealter auf den Bass fest und experimentierte mit einem Vierspur-Aufnahmegerät. AARON JENNINGS aus Tulsa, Oklahoma, ist mit Leib und Seele Gitarrist und Liebhaber von allerlei Computersoftware. Er zog nach Beendigung des Colleges nach New York, um dort in einer Vielzahl Musikprojekte mitzuwirken. Im Laufe seiner Karriere hat sich Aaron immer mehr auf Free Jazz und Electronica gestürzt, dieser Tage jedoch kennt man ihn mehr als einen Musiker, der sich im Reich der experimentellen Popmusik bestens auskennt. Wie mit vielen Rune Grammofon Releases ist es auch schwierig, ein passendes Genre-Etikett auf 'Commuter Anthems' zu kleben. Beide Musiker stammen aus einem Jazz-Background, aber das ist nur ein kleiner Teil des Gesamtkunstwerkes. Einflüsse aus Folk und Country machen ,Commuter Anthems" zu einem sehr relaxten Album, während Gitarren, Standbass, Concertina, Orgel, Steelgitarre, Banjo und verschiedenen Aufnahmetechniken und Softwarespielereien eine cineastische Geschichte erzählen, die von einem verträumten experimentellen Pop-Orchester umgesetzt wird." [label info]
"With "Commuter Anthems" Eivind Opsvik and Aaron Jennings present their second album. Their first one, "Floyel Files" (NCM East) dates from 2005. Mister Opsvik comes from Oslo, living in the States since 1998, and playing bass in too many groups and projects to mention here. To put it simply, he is deeply involved in the New York Downtown scene. Jennings is a guitarplayer who has his roots in Tulsa, Oklahoma. But who is also living nowadays in New York. To give a first hint for what they are up to on their new album, we can say it fits perfectly within the well-defined aesthetics of the Rune Grammophon label. "Commuter Anthems" is an interesting melting pot of a great many influences: easy listening, film music, muzak, jazz, pop, Bill Frisell, postrock, etc. It is evident that Jennings and Opvsik take their inspiration from almost everywhere. But nowhere the music sounds meaninglessly eclectic. No, they succeed from their various inspirations and experiences to create a very original musical universe, that result in a very satisfying musical experience. Opsvik plays double bass, electric bass, drums, percussion, piano, organ, theremin, vocals and software. Jennings: electric and acoustic guitars, lap steel, banjo, concertina, vocals, software and electronics. In some tracks they helped out by Ben Gernstein (trombone), Rich Johnson (trumpet) and Peter Opsvik (flute). So you understand this a real studio-product. But the music is very open and sounds loosely constructed, sometimes even in a collage-like way. The music they create is very accessible on the hand, and may pass by without noticing it like some ambient music, when listening superficially. The reward comes from listening with more concentration. As said above they use a great diversity of sounds and instruments, and they paint very colorful pieces with good feeling for style and a great sense for detail and finesse. Also their music is very well constructed in an inventive and original way, far from any cliché. Funny to find this sense for musical adventure within this friendly and comforting music. A great album. [DM / Vital Weekly]
www.runegrammofon.com |
2007 |
€13.00 |
|
| OPTICAL MUSICS |
The First Words. Recordings 1984-1987 |
do-CD & BOOK |
"Optical Musics is a pioneering Greek avant-experimental project, founded by Costis Drygianakis and a group of people, formed in Volos. They were early experimenting with musical forms like free improvisation and electroacoustic experimentation etc, creating a highly personal musical idiom. From 1984 to mid-1987 the group started to make their most absurd home recording. The line-up of the group changed several times acted like an open collective, with the line-up of the group, focused more on experimentation with custom instruments, child instruments, synthesisers, bass etc. The most sophisticated recordings was used for the the disc “Optical Musics Volume 1” LP, released in 1987. Some other recordings of that period was used / recycled in personal works by Kostis Drygianaki like “Post-visual landscapes” (EDO, CD, 1999) and “Eantaisglossaistonanthroponlalokaitonangelon” (EDO, CD, 1999).
The “First Words: recordings 1984 – 1987”, that is presented here, is including 27 unpublished works of the group, maybe their more rough material, which were then a work-in-progress or “unfinished” tracks, covering a wide range of musical experimentation (free improvisation, minimalism, avant gard). With this publication, we are very happy to bring to light recordings of Optical Musics, a group that at that period did not get the publicity they deserved, but in the future their music influenced a younger generation of people in Greece that involved in the Greek experimental music scene.
Optical Musics’s “First Words: recordings 1984 – 1987” is out as a 2x CD with a book (Greek + English version) of 64 pages, full with information and images of that period. The recordings include alphabetically the musicians: Takis Agrigiannis, Kostas Anestis, Giannis Argyropoulos, Eleni Barouksi, Costis Drygianakis, Christos Kaltis, Aleksis Karavergos, Kostas Kostopoulos, Nikos Ksirakis, Kostas Pantopoulos, Thanasis Chondros, Aleksandra Katsiani. This release is a collaboration of the labels moremars, Hxoi Kato Apo To Spiti and Noise Below."
www.moremars.org
"These two releases are very much connected. The double CD and booklet provides a proper
historical context for the Greek band Optical Musics, in their earliest years, 1984-1987, while on cassette main member Costis Drygianakis performs 'a reconstruction of underestimated and
mislaid recordings from the period 1984-1987', so perhaps something we would have called back
then 'recycled'; taking recordings apart and put them together in a totally different way. Best
turned to the two CDs first, and the highly informative book that comes with (64 pages, 7"x7" sized) this music. I reviewed their 'Volume 2' before, all the way in Vital Weekly 66, and it's is possible that I also did 'Volume 1' when Vital (without weekly) was printed on paper, but I guess we have to wait for the complete volume to re-appear (later this year!). Back then in VW 66 I had some problem with saying something sensible about the group, but now I learned that they started in 1984 as a fleeting membership group and that they were inspired by visual elements, scores, photos, to play their improvised music, or better taking their cue from John Zorn's 'I compose improvised music', and apparently using the studio as an extra instrument. I must admit that notion is a bit beyond me when hearing this. I gather I was expecting something along the lines of P16.D4 is that respect but that seems not to be the case. Much of what they do sound improvised, composed or otherwise, leaving space for non conventional instruments, such as 'pruning shears, ground connector, drawer, children's toys, next to bass, guitar, lots of drums and percussion and a variety of organ sounds (casio MT65 and PT 30) and synthesizer, the trusted Yamaha DX-7. As we progress through the recordings it becomes evident that the band learned to play and structures become more complex, layered together (as opposed to the two-track stereo recordings on the first disc), allowing a bit more (free-) jazz elements; sometimes it is all electronic and almost musique concrete, and at other times it is more like free rock, although Optical Musics never hammer away. It is, all in all, quite a diverse release, and while not
always something that I enjoyed (too random at times), it was a fine archival release."
|
2017 |
€16.00 |
|
| ORBIT SERVICE |
Twilight |
CD |
Über BETA-LACTAM wird diese (Debut?)-CD dieser vierköpfigen Band aus Denver, CO, vertrieben. ORBIT SERVICE machen verträumten, langsamen Songwriter-Folk/Pop mit hochmelancholischer Note und schönen Instrumentalparts, dunkel, gefühlvoll & warm.... leicht elektronisch / psychedelisch, gitarrig, mit getragenen Melodica- bzw. Akkordeon-Arrangements.... erinnert an RED HOUSE PAINTERS, IDAHO, oder SYD BARRET wenn er heute noch Musik machen würde...
“Twilight, mastered by Grammy-award-winning engineer Matt Sandoski, explores dark, brooding territory with near-telepathic interplay. Seamless from start to finish, this eleven-song cycle sustains an ominous, slow-loping ambience suitable for doomsday -- or at least a rainy-morning shag. Twilight is a journey through lavish, woeful soundscapes populated by jilted lovers, sleepless nights, and friends that are friends no more. Masterfully arranged and orchestrated, the album envelopes the listener in a seamless world of soaring peaks and dismal, barren wastelands. Hope is absent, and the anger of youth has been replaced by melancholic acceptance of the world's hastening plummet at the hands of man. The album's pristine production, handled by both the band members and Grammy Award-winning engineer Matt Sandoski, blurs the line between listener and performer. Around every bend are sonic explorations that create a moving and shared experience.” [press release]
"The best way I can describe the sound of this album is to think of what you would get if you mixed PORTISHEAD, a little PINK FLOYD, RADIOHEAD, and the slower side of PORCUPINE TREE." [Jettmandude, www.peacedogman.com, May 2005]
|
2005 |
€10.00 |
|
| ORCHESTRAMAXFIELDPARRISH PRESENTS AERA |
To the last man / Index of Dreaming |
do-CD |
"... The two halves of this album are individually named possibly as an indication of content or possibly as a thematic device for Mike’s overarching driving concept. Either way they encompass a sumptuous and engrossing set of ambient music. Utilising, slow snowfalls of drones, showers of micro-tones and some well chosen field recordings Mike has created a set that fills a room with a cushion of sound
It’s difficult to give you a straight and easy description of the music. It is, by turn, the purest of ambient - like Eno at his best - before morphing into the most uncomfortable of atmospheres - dripping with discomfort and trepidation. His music is as slow and stark as the winter months and as lush and vibrant as the summer ones. Always recommended." [Wonderfulwoodenreasons]
"Faith Strange Recordings has just issued it's first double cd as of January, 2009. This is a new electronic excursion filling two full cds of recordings from orchestramaxfieldparrish and issued under the project name of orchestramaxfieldparrish presents ÆRA.
A beautifully detailed and rich sonic palette exploring the fleeting aspects of memory and dreams. These recordings manage to strike an artistic balance between adventurousness and a neo-classical sensibility, combined with a keen perception of aural sculpture. In a genre that brims with derivations, To The Last Man / Index Of Dreaming is something way ahead of the curve.
Issued in a limited edition 2xCD package in a Japanese style double mini lp gatefold sleeve. Two hours of wide open vistas and introspective private rooms." [label info]
www.faithstrange.com
|
2009 |
€18.00 |
|
| ORIGAMI GALAKTIKA / I:WOUND / INDERST ELIA |
Monolake |
CD |
OOOOOOOMMMMMMMMMMMM.....ethnische Elemente & field recordings, sanfte harmonische drones, Glöckchen, Samples von alten weisen Frauen (so scheint es), ultra langsame dumpfe hypno-percussion... geisterhaft durch den Äther wehende softe Loops, dunkel aber nicht depressiv....eher eine „heilige“ Atmo ausstrahlend...
insgesamt eine sehr ansprechende dronige Landschaft, in die man vollständig versinken kann.....
Live-Collab. dieser drei Projekte in äusserst ansprechender Qualität auf dem vielversprechenden neuen Prager Label PURLPE SOIL....
“One very subtle long ambient track (clocking in at just under 70 minutes) resulting from a live collaboration between these three acts in Mir, Oslo, 2000. An excellent quality live document. Originally released on CDR by Amber Music For The Tattooed Frog, this CD edition is presented in a stunning 6-panel matt digipak with inserts.” [Cold Spring]
|
2005 |
€8.00 |
|
| ORPHANAGE COMMITTEE |
The Seven Sacraments |
CD |
The Orphanage Committee is an ever-changing sound art project. Has Orphan S.C. Wallace now become religious?
Not likely, but you have to admit that 'The Seven Sacraments' is a damn fine topic to expand your mind!
This wonderful soundwork collects two lengthy compositions interpreting the Sacraments and being powered by real organ sounds. A true easy/uneasy listening experience to reach your personal Eargasm! Hell yeah! (Reverend EE)
CD Limited to 100 cps in a jewel-case or DL
Tags: abstract, ambient, field recording, experimental, mental muzick
https://eetapes.bandcamp.com/album/the-seven-sacraments
"Holy cow - sorry - but when I ended my review of the previous release by The Orphanage Committee, only four weeks ago (!), with "made me curious about where the Committee is heading next; I can't wait", I didn't expect the answer so soon. Belgium's Orphan S.C. Wallace releases an album with "two interpretations of the Seven Sacraments, being baptism, confirmation, eucharist, penance, anointing of the sick, holy orders and matrimony". Of course, this is very Catholic, and I have no idea how seriously we should be looking at this. Maybe it's a parody, or perhaps it's all serious business. Also, on Catholicism, I wrote before; that, "as a good Catholic boy, I don't care [about prayers], repent on my last day and go straight to heaven". I hope that works out one day (not too soon). Each of the two interpretations consists of seven parts, distinctly different, yet each flowing in the next. Unlike the previous LP, The Orphanage Committee returns to his first work (VItal Weekly 1319) and offers some more moody, synthesizer-based music. Not part of the cosmic school, perhaps, but repeating sounds, a bass line here and there, a repeated melodic loop. To top it off, there are field recordings, ranging from the schoolyard, radio and television. It's unclear what the relationship is between the spoken word and the seven sacraments; as far I could see, not a lot, and they were used in a more ornamental way. Face value, the music has very little to do with anything remotely religious, so even for atheists (for people of other faith), this is the most enjoyable mood music. So, if the correct order of the releases is the one in Vital Weekly 1372 as the debut, and in 1319 the follow-up, and then this, we can say that working with the more atmospheric end of synth-based music has his preference. A most enjoyable route to take, and the result is quite good." [FdW / Vital Weekly]
|
2023 |
€13.00 |
|
| ORPHAX |
Saxophone Studies |
LP |
Side A/Track 1 of this record contains frequencies and effects (or as someone called it "non-harmonic multitones") that do not work over headphones or laptop speakers. It is recommended to listen on a good sound system on high volume.
Saxophone Studies is an album that took multiple years to form. Already in 2006 I asked friends and other musicians if they could send me audio files to make music out of this. This music never really happened, but one of the files I received was some saxophone recordings by James Fella (Soft Shoulder / Gilgongo Records). In 2017 while browsing my computer for audio files I came across this recording and finally took it up to create work from this.
Straight from diving in these recordings I had a clear goal for these recordings. The result is a 17 minute long piercing drone work where due to the use of multi-layering and rough cutting a psychedelic effect takes place. The "non-harmonic multitones" collide with each other in the room but also your ears to create a mesmerizing mind fuck.
After this track was finished I was eager to create a second piece for saxophone, and I was really happy for this to work with my father. So late December 2017 I brought my recording equipment to my parents where my father played his various saxophones for me.
In this work, which is very bass heavy, I worked with all different saxophone sounds but the focus lies on the baritone. Again with multi-layering and here also phasing of the sounds a slow evolving piece grows and grows. Other than the first piece here I wanted to create a more relaxed listening experience, though still when you dive into the details strange patterns appear with beating sounds, from which in the end the melodic parts of the saxophone slowly emerge.
For this album I want to thank James and Jozef for their contributions, Rutger Zuydervelt for the help with the artwork and Jos Smolders for the mastering and advice, and the dear people from Monotype Pressings for the help in making this happen.
It was a long journey with quite some hiccups, but we made it.
credits
released September 28, 2018
Saxophone by James Fella (JF) and Jozef van Erve (JvE)
Composition and music by Sietse van Erve / Orphax
Mastered by Jos Smolders at EARLabs
Design by Sietse van Erve with help from Rutger Zuydervelt
https://movingfurniturerecords.bandcamp.com/album/saxophone-studies |
2018 |
€16.50 |
|
| ORPHX |
Pitch Black Mirror |
CD |
Pitch Black Mirror is the new full length album from industrial techno veterans Orphx, copresented by Sonic Groove (2xLP + digital) and Hands (CD). Rich Oddie and Christina Sealey have created a diverse and distinctive body of work over the last 23 years and this album may be their most definitive statement yet.
Pitch Black Mirror foregrounds the duo’s unique fusion of techno and industrial but also demonstrates their ability to continually push their sound in new and challenging directions by drawing on elements of electro, post-punk, and EBM. The human voice is a central element here, ranging from subtle layers of samples and location recordings to the more prominent vocals of Rich Oddie and guest vocalist Marie Davidson. The album is also notable for its detailed sound design, courtesy of Sealey’s modular synthesizer systems, Oddie’s percussion and synth work, and software mutations from founding Orphx member Aron West. With its sonic and lyrical imagery of watery depths, lost love, and transmutations, Pitch Black Mirror offers a sonic landscape that is clearly inspired by personal and social turmoil but points towards the possibility of creative transformation.
www.handsproductions.com |
2016 |
€15.00 |
|
| ORSI, FABIO |
Find Electronica |
CD |
FABIO ORSI is another artist using long endless-delays / loops, like AIDAN BAKER or FEAR FALLS BURNING, but his drones are "lighter", more electronica-like so to say, the atmosphere evoked is less dark, more peaceful and calming. FIND ELECTRONICA presents 3 pieces that are maybe his most meditative & and sweet ones, perfect as background-ambience in the truest sense, using much more synth-elements as before..
"In only two years of work Fabio Orsi has achieved critique and fans, imposing his name as one of the most promising and representative of the entire Italian independent scene. A drift began with the excellent vinyl LP "Osci" (SmallVoices 2005), followed by the famous split CD "For Alan Lomax" (A Silent Place, 2006) together with Italian My Cat is an Alien and a couple of cooperations with Gianluca Becuzzi: "Muddy Speaking Ghosts Through My Machines" (A Silent Place 2006) e "The Stones Know Everything" (Digitalis Industries 2007). Today, as final confirmation of his talent, A Silent Place is proud to present this new Fabio Orsi solo. "Find Electronica" is a wonderful album finely full of lyric, structured as a long drone/ambient suite divided in two portions which are the frames of the articulated central track. A strictly personal exercise on the "Weird Folk" theme, hypnotic and seductive. The "found" electronica meets the humoral sonorities made by the six chords, projecting enchanted landscapes on a vibrant horizon, with an intimate sensibility. Abstract and emotional, deep and dreamy, "Find Electronica" is a great album: an essential step in the ascending Fabio's career. Another great/small gem from that "silent place" in the deep Italian South." [label info]
www.asilentplace.it
|
2007 |
€10.00 |
|
| |
Late Afternoon Tapes |
CD-R |
recorded, edited and mastered in my studio, Litoranea salentina, March 2022
fabioorsi.bandcamp.com
cover collage by Robert Kerber
“Für gewöhnlich versuchte er, einen winzigen Augenblick in der Zeit festzuhalten, aber manchmal fand er Vergnügen daran, kleine Geschichten zu erzählen”
robertkerberart.wordpress.com
With this album, the labels attenuation circuit, run by EMERGE, and Grubenwehr Freiburg, run by Grodock, launch a new series of co-releases, marked by their catalogue code with the label 'initials' ACGF, but especially by their over-sized artwork in the format of a 7'' vinyl single sleeve. The aim is to give artists a broader exposure across the various networks of the two labels.
Fabio Orsi, who divides his time between Berlin and his native Southern Italy, makes ambient music in the best possible sense of the term. Not in the sense that it is music that just textures the air as some kind of acoustic wallpaper or furniture and doesn't actually deserve attentive listening. But rather music that attunes itself to the slow changes in atmospheres, light and weather conditions, the ambience in the sense of the (natural) world that surrounds and in many ways (still) defines us. “Late Afternoon Tapes” with its slowly meandering guitar-based textures will not only appeal to fans of guitarists like Robert Fripp or Christian Fennesz, but also – and the “Tapes” in the title may be a conscious hint at that – to anyone who enjoyed William Basinski's “Disintegration Loops”. When it's late afternoon, the light fades into an eventual darkness. This is music to go gentle into that good night, to paraphrase Dylan Thomas, or at least Fabio Orsi's music “makes time pass a little less painfully” (Anne Clark).
File under: ambient
"Last week, I wrote about the Silentes label and Fabio Orsi, these are very active people. Here we have a CDR release. It marks the beginning of a collaboration between Attenuation Circuit and Grubenwehr Freiburg. As I commit these words to the screen, it is not yet late afternoon, but the idea behind the music is evident. Daylight fades, the day ends, and there is a soundtrack for that. 'Thursday Afternoon' from Brian Eno is such an appt title in this respect. Orsi's recent music is all about synthesizers, sequences and arpeggio. I am not sure if that is the case with this new release. Maybe he returned to his guitar and loops? Or perhaps it is a combination of both? I suspect the latter to be the case here. These five pieces sound not unlike Eno or Fripp, solo or together, and are something of a departure for Orsi; or a sidestep. The music is slow, with minimal changes. A few notes are hanging in the air thick of cloudy drones. The result is fuzzy and hazy music. I enjoyed this very much, but I guess Orsi can't do much wrong in my book. For me, this is not the soundtrack of the end of the day, but rather the start of the day, my favourite moment to play ambient music. In that sense, this is music for every day, all times of the day, depending on what the listener chooses." [FdW /Vital Weekly]
|
2022 |
€8.50 |
|
| ORSI, FABIO & CLAUDIO ROCCHETTI |
Cascando |
LP |
"The work of both Fabio Orsi and Claudio Rocchetti has long been a varied study in internal dynamics. Through an array of instruments and sound sources, Orsi and Rocchetti have made an album that both feels very internal, and yet firmly roots observation on the external; that which is indeed beyond view. The very 'falling' of Cascando is at play across the work. Typically, of course, one associates the act of falling as a negative; something which is accidental and brings pain. Yet as the album begins with its harsh insect-like frequencies, so it ends in a similar vein as the fall implied is complete. Quite beyond that which one would expect however, the end result of said fall is one that is considered, calm, and ultimately, biotic. The slowing down of everything gives us time to see beyond life's noise, with its diversions and tracts. It helps us to absorb but to also look deeper, further, and onward, to a place we can call our own, to a place we can call home." [Ian Hawgood]
www.backwards.it
"The psychedelic drone traveler Fabio Orsi has dotted the globe appearing on an impressive array of labels with his slippery dronescaping and nocturnal impressionism. Time Released Sound, Home Normal, Digitalis, Students Of Decay, and Korm Plastics have all released his recordings, and here; he finds himself on the Italian imprint Backwards working with fellow countryman Claudio Rocchetti, who both happen to be residing in Berlin. The twin guitars of these audio alchemists surface through dense layers of time-delay effects of shimmer and blur, resulting in some lovely overtones and harmonics washed amidst the field recordings of rural chimes and cathedral incantation. While it's hard to discern the exact division of labor, Rocchetti seems to be the one with more of the rough-hewn Tom Carter-styled bent to his guitar figures and drones, where Orsi might be the one who wraps his instrument in a deep cosmic hypnosis. Together, they are formidable pairing making a gauzy yet earthen mesmerism, in conjuring these mirage-like recordings. Think a more shambolic Stars Of The Lid or a less shoegazing doppleganger of Simon Scott, and you'll probably be pretty close to what this Cascando falls. Gorgeous stuff." [Aquarius Rec.] |
2014 |
€12.50 |
|
| OSSASERPIA |
Mvsic for Solve et Coagvla |
CD & book |
"Vladimir Igoshin (Ossaserpia) has created Opus alchymicum, spectacular account of the »work« of the musickal alchemists who developed a symbolic kind of psychochemistry, aimed at producing the gold of mystical illumination through celestial musick. See theories by Robert Fludd (Robertus Fluctibus) and Rosicrucian theories of the monochord. Very unique drone chamber musick with some strange industrial elements. Vladimir Igoshin is known for his contributions to HCD compilations such as Lust From The Underworld and/or AL: 100th Anniversary. Special art-work for an oversized hard-bound book (A5) designed by fantastic Madeline von Foerster! Special limited edition consists of 500 hand-numbered copies in hand-made box covered with rustish top-notch embossed Quilt 120g paper. The oversized embossed hard-bound book (A5) printed on Gmund Kaschmir cream 170g and embossed CD sleeve-jacket again on Quilt 120g paper. Very rare print for all fans of occult & alchemy! Special limited box on request only!" label notes]
"Genre: Dark Ambient / Drone / Neo-Classical (Chamber) / Industrial.
In today’s climate where record labels seem intent on cheaply mass produced releases to make a few quick bucks it comes as a relief to find a record label that actually cares about the presentation to match the music they release. Stepping into the, highly deserved, limelight is the Czech HORUS CyclicDaemon record label founded by Martin Mrskos. All their releases, well the ones I’ve been lucky enough to track down, have been impeccable in every respect. What went before though has been overshadowed by this latest release by the artist Vladimir Igoshin recording as Ossaserpia. I doubt many labels would have the balls to put out a recording housed in an actual hard bound book, A5 sized, in quality 120g paper and beautifully illustrated by the artwork of Madeline von Foerster. My eyes still can’t take it all in. I’m not by any means up on Art by any stretch of the imagination but I knows what I like and I like what I see set before me. The illustrations saying more than any amount of words can possibly describe. Which they need to as there are no words to accompany the pictures. A wise decision as it leaves the listener to use their own creative imaginations to make of it what they will as they listen to the music. For this book is best used in conjunction with the recording. Which I suspect was the way it was meant to be. Separated both are superb stand alone products. Together they open up undiscovered realms that feeds the senses. The touch, smell and sights of the book complimented by the aural grandeur that Vladimir has composed.
Based on the theories of Robert Fludd (Robertus Fluctibus), 1574-1637, a Kentish Anglican alchemist, mathematician, astronomer, cosmologist who wrote thirteen published works in his lifetime and the Rosicrucian theories of the monochord. Please Google these for I have not the time, nor the intellect required, to go into great detail here, the music expands on the theory that alchemists developed a symbolic kind of chemistry aimed at producing the gold of mystical illumination through celestial music. Clear as muck then. The concept may well be shrouded in unintelligible mystery to a Neanderthal knuckle scraper like myself but even I could see what the artist has tried to envision through his music. Featuring, what I can only call, a Medieval vibe mixed in with modern Industrial noise and drone sensibilities the twelve tracks are a treat for the ears. Though you will need to give it a couple of spins to really get inside every nuance that Vladimir has created.
From the off perceptions are challenged by the dirge drones and assorted muted ‘noise’ effects that spread like wildfire from the speakers. The bass tones are heavy duty and tinted with a dark apparel. Move past this introduction and the speckles of Neo-Classical / Chamber music begins to shine forth and suddenly the music takes the semblance of form as Vladimir throws all manner of different black musical combinations into the cauldron that bubbles with an intensity you never realised possible. You are treated to a music born of fire and brimstone from an age past brought to life in the present day. As your eyes scan and feast on the pictures of storm clouds, dragons and entwined couples the music conjures them in the minds eye. At its heart the music is surprisingly downbeat and steeped in dark oppressive moods where tranquillity appears smashed to a pulp. For all the unsettling swings the music takes, and it takes a lot, it ends on a note of triumph. A glimpse of fortitude winning against all odds.
Unlike many recordings that have tried to re-create the whole ‘magical’ dark ambient experience ‘Mvsic For Solve Et Coagvla’ is the only one I’ve encountered that has actually got under the skin of its subject matter. I’ll not pretend that it is by any means an easy recording to get into and many of you may be put off by the way Vladimir has tackled the subject in such an uncompromising way. This might have been the Achilles heal for a lesser experienced musician but Vladimir’s music is created in such a way that through repeated plays you become more accustomed to the sounds until finally the clouds break and the full visionary aspects opens up before your ears. If there was such a thing as a perfect 10 for both presentation and music working in harmony and tandem with each other then ‘Mvsic For Solve Et Coagvla’ would be it. I tell you now that it will be one of the most sought after recordings for music lovers and collectors alike this year. With only 500 numbered copies you’ll need to act fast…or live to regret it." [Alan Milne / Heathen Harvest]
label-website: www.horus.cz
|
2006 |
€26.00 |
|
| OSSO EXOTICO |
VII (SOLD OUT) |
7 |
"OSSO EXÓTICO hail from Lisboa, Portugal, and since their early releases (three LPs) they have developed a truly unique style – an atmospheric, meditative ambience created through the use of concrete classical instruments. Their last CD Church Organ Works (on Sonoris, France) was played entirely on church organs.... This EP could be considered a follow-up to the CD. The material presented here was likewise produced solely on church organs. OSSO EXÓTICO don't play the organ in the orthodox, classical manner; they instead create a minimal lull, both orchestral & droneful, using the natural reverberation of the church, thus evoking full, other-worldy atmospheres. This EP might make you listen attentively to a different kind of organic harmony. The "music of the spheres" can be found here!!
CLEAR VINYL, COVERS CONTAIN SPICES!
ALL 7"es APPEAR IN A LIMITED & NUMBERED EDITION OF 250 COPIES." [press release]
|
1999 |
€ |
|
| OUR LOVE WILL DESTROY THE WORLD |
Polished Glass Autobahn |
7 |
BIRCHVILLE CAT MOTEL gibt es nicht mehr. Es lebe OUR LOVE WILL DESTROY THE WORLD! Während wir noch über die Bedeutung des Bandnamens nachdenken, ertönen auf der ersten Single überraschend abgehackte Beats und eine Vibrato-Gitarre wird über Akustigitarren malträtiert (sehr seltsam das alles), während die B-Seite "Galactic Masada" mit herrlichen tänzelnden Backwards-Gitarren, Organ-Drones und Rauschwellen auftrumpft. Das ist wirklich mal ein starker Kontrast zwischen A-und B-Seite..
"Debut single of the new project by Campbell Kneale (Birchville Cat Motel / Black Boned Angel). Campbell says “Shoot. The goddamn funkiest noise record ever? Like a bop-off between Rudolph Grey and Terminator X. Grinding psychedirgecore plastered over ghastly electrosplatter and ambivalent fake-americana strummage. And that’s just side one! Side two grovels in halls of gravel, blurring the line between this world and the next... like Aldous Huxley writing a book about how he lost his marbles whilst listening to Hawkwind. Like, like, like...EVERYBODYDANCENOW!)” Sure to pack the dance floors in Hades." [label info]
www.myspace.com/dirtyknobbyindustries
|
2009 |
€6.50 |
|
| |
I hate even Numbers |
LP |
"Parallel universes mangle and mash into a superheated cloud of galactic debris and non-recyclable plastic. After a slew of genre-confounding 7" releases, Our Love Will Destroy The World unravels his own history of nearly everything in this, the mere third full length offering under his world destroying moniker. Smearing the already dotty line between twinkle-toed rave music and excoriating drone cacophony, "I Hate Even Numbers" weighs in like a three-legged gargantuan in a one-man morris dance. Blessed with a deep conviction that 'nowhere' is somewhere definitely worth going to, crippled, hobbling, clunkbeats and bubblepulses contest every frequency to the death underscored (overscored?) by mega-electrified guitar tuning exercises, shattering a passage to a brand new India. Everything louder than everything else, everything dissolving in the powerful acid of the sound next to it - a frybrained avalanche of audio M&Ms. Profound, elevating, and mercilessly, relentlessly UP!
Our Love Will Destroy The World is the new one-man project by New Zealander Campbell Kneale after disbanding BIRCHVILLE CAT MOTEL. In the past Kneale has released albums on Ecstatic Peace, Corpus Hermeticum, Last Visible Dog, Conspiracy and his own Celebrate Psi Phenomena label. He has colllaborated with Lee Ranaldo, Neil Campbell, Bruce Russel, John Olson (Wolf Eyes), Yellow Swans, has toured throughout Japan, Europe, America and Australia and also records und the names BLACK BONED ANGEL and Ming.
"I Hate Even Numbers" is the 2nd LP by this new project for the Dekorder label (his 4th altogether) after last year's monolithic "Stillborn Plague Angels" album.
Limited edition of 400 copies!" [label info]
www.dekorder.com
"A quartet of new releases on Dekorder display the label's nicer senses of finding interesting new names as well as keeping the old. The old is represented by Campbell Kneale, previously working as Birchville Cat Motel, now trading as Our Love Will Destroy The World. The music also saw some changes, which are even more apparent on this third album under the new guise. Kneale dances the vitus dance here. The five pieces are all evolving around revolving sounds. Hectic, nervous, jumpy, this hardly classifies as 'dance' music. There is a bit of drum computer in here, but not a 4/4 one and there is a total chaos in all these jumpy sounds which are looped together. Occasionally we hear some guitar noise underneath all of this bumping stuff, a vague reminder perhaps of the more droney and noisy days of Kneale. I thought this was a pretty nice record, a decisive step forward (or side-ward is perhaps a better word), and do something new and do that well. This album reminded me of the album Richard Youngs put out on Dekorder: that same wicked sense of rhythm." [label info]
|
2010 |
€13.00 |
|
| OUSTAD, KRISTOFFER |
Filth Haven |
CD |
"As one half of Swedish/Norwegian industrial duo K.N.O., Kristoffer Oustad is no stranger to the Malignant roster, and yet within the broader context of the K.N.O. sound, his exact contributions were never fully known, or at least immediately recognizable. Listening to his debut solo recording, it becomes evident that the more emotive and moody qualities within those recordings seemed to be his primary responsibility. The 7 tracks that comprise Filth Haven operate on a palpable psychological level and are perhaps some of the most personal and deeply emotional recordings Malignant has released. Oustad shows an innate ability to craft intricate and detailed pieces of grey hued, analog darkness that feel suspended in time… dreamlike and meditative, yet always hinting at something ominous on the horizon, as gradually shifting textures, drifting tones and haunting melodies intersect in a hazy, somnambulant procession. While the method for composition (analog synths, guitar, and field recordings) may have been the same, each track is uniquely different than the next, but in the end, feels tightly bound together by a cinematic framework that sinks deep into your consciousness. An absolutely astounding and rewarding work for those that appreciate all manner of dark music." [label info]
www.malignantrecords.com
"Filth Haven is the first full length release published by the Norwegian Kristoffer Oustad under his own name. In the past Oustad has offered several albums and compilation works under the moniker of Kristoffer Nyströms Orkester (a power industrial duet formed with Peter Nyström of Megaptera) and Plague Machinery and the post-metal, avant-garde industrial project V:28.
Filth Haven is an ultimate bleak, demonic and epic soundscaping inferno. Massive, absorbing and grimy, the dark instrumental music rituals offered here are made of brooding droney chords, treated found sources, ultra-sonic electronic assaults, micro signals, harsh noises, disembodied chants and treated hypnotic-like percussive elements. The whole orchestration is amazingly captivating and exceptionally turbulent, as if we enter in complete nightmare-ish hallucinations which send us back to primordial origins or to some forgotten cosmic events. ‘Filth Haven’ is a tremendously hell-ish narrative album, a sublime illustration of infernal scenes of extravagance and final desolation we can appreciate in terrifying painting visions of John Martin, John Charles Dollman or Adolf Hiremy-Hirschl, just to name a few. The apocalyptic mood is interrupted by rare field recordings as in the otherworldly Acheron-like droning sound tapestry of “Row me over.”
Mesmeric splendor, compelling musical procession and dark contemplative estates that will ravish addicted fans of isolationist ambient music and anything related to post-industrial experimentalism. With this album Malignant Records proves one more time that they figure among the most iconic producers of shimmering industrial ambient music. Filth Haven is definitely a recommended album for collectors as well as beginners in the genre." [Philippe Blache, IGLOO MAGAZINE]
|
2015 |
€12.00 |
|
| OVAL LANGUAGE, THE |
Waldkonzerte |
do-LP |
Second LP release by The Oval Language on Edition Telemark after "Hibernation" in 2017, this time showcaseing Klaus-Peter John's Waldkonzerte (woodland concerts), recorded in 2016. The Oval Language is an autonomous art project founded in 1987 in Leipzig, East Germany, by Klaus-Peter John and Frank Berendt. Since Berendt left in 1995, it has been continued by John, sometimes with collaborators, but recently mostly for solo activities. Its fields of activity have included sound-noise performances, conceptual works in open spaces, installations, land art projects, photography, and more.
From the beginning, the space or location itself has been a central aspect within many of their site-specific sound-noise performances. When working at a certain location, the performers tried to not bring in anything from outside, but exclusively use material already available at the space. This way, it becomes possible to thoroughly feel out and explore the site, allowing a distinct site-specific sound to emerge that is integrated into the performance. Throughout the 1990s, the sites used often were abandoned buildings in Leipzig, available in nearly unlimited quantity, from vacant factories to unused former public bathing facilities. During the recent years, Klaus-Peter John has focused on a minimisation of means and developed a unique vocal technique without amplification that he has used in a number of performances. In 2016, he attempted to integrate his voice into pure nature, in his own words the biggest challenge to date. His goal was not to perform any kind of singing or the like, but to use voice as a means similar to the site-specific tools used in previous performances by The Oval Language. He performed five concerts without audiences in a forest ravine in Döben, near Grimma, between June and November. The concerts parallel the course of the seasons and their related acoustic changes and conditions.
This double LP is presented in a die-cut single sleeve with two printed inner sleeves. The inner sleeves contain one photo made during a Waldkonzert on each side. By switching the order of the inner sleeves, four different front sleeves can be generated. Edition of 200.
www.edition-telemark.de/903.01.html
|
2021 |
€29.50 |
|
| OVRO |
Horizontal / Vertical (SOLD OUT) |
7inch |
"OVRO has already been called "the wondergirl of Finnish experimental music" and with this, her first ever vinyl-release, she really proves this! On HORIZONTAL / VERTICAL deep waving droning noises are set against vortexing echoes & swirling digital effects, derived from what could be instrumental sources or object recordings, moving the willing listener into a surrealistic subconscious dimension. Especially on the second side the contrasting conrete material can fill your imagination with "something" that "happens", so captivating & condensed!
This music spreads like an unconscious aural travelogue in different spatial directions (horizontal & vertical). What makes OVRO so special is her capability to create very "cinematographic" and "narrative" drone-atmospheres or landscapes, with great care for even tiniest details.
OVRO is also a part of the SOME PLACE ELSE-association, together with NIKO SKORPIO.
Filed under: Subsconscious Travel-Drones
more info: www.someplaceelse.net/artists/?id=ovro
WHITE VINYL. HANDMADE COVERS PASTED UP WITH NEWSPAPER-SHEETS & FILMSTRIPS" [label info]
www.dronerecords.de
"Auch OVRO, die mit Horizontal / Vertical (DR-93, white vinyl, red labels) erstmals auf Vinyl zu hören ist, bekennt sich zu einem ‚Anderswo‘, das als Label Some Place Else eine Adresse in Venäjänkangas hat, in den Hinterwäldern von Turku. Dort hat die junge Finnin Musik veröffentlicht - Malice in Underland (2003), Gegendurchgangenzeit (2005), Mosaick the Serpent / Vipera Aurea (2006) und Revisited (2008) und weiteres als Hæretici 7o74, einem Duo mit Niko Skorpio - , die jedem, der sie hörte, in die Zwielichtzone
zwischen Tag, Traum und Alptraum entrückte und Geheimnisse zuflüsterte, wie sie Dichter als Krikelkrakel einer anderen Macht zu Papier bringen. Schon das Video zu ‚Equation Impossible‘ macht eine Faszination durch Stummfilmhorror und Schwarzweißfilme von Polanski deutlich. Hier suggiert ein aufgeklebter Filmstreifen auf den handgefertigten EP-Hüllen eine cineastische Qualität der ominösen Klänge, die ins Bewusstsein einsickern wie nichts Gutes. Eine grummelnde Basswelle, wischende, fast krächzende und kaskadierende Loops, die rückwärts und linksherum gegen das Gebot
der Zeit verstoßen. ‚Undergrounded‘ und ‚Elevatored‘ steht auf den Auslaufrillen. Man steckt in einem Untergeschoss fest, und das leise Klopfen und Scharren vor der Tür lässt einen zittern, dass sie nicht aufgeht. Oder ist es nur der eigene Puls im Ohr, und schon zittert der furchtsamen Nachtwache in der Hirn-Morgue sprichwörtlich ‚jedes Blatt‘?" [Bad Alchemy]
|
2008 |
€7.00 |
|
| OÖPHOI / TAU CETI |
Subterranea |
CD |
Schon das zweite Album mit wahrhaft wallender Klang(a)morphologie – amorphe, tief-meditative hauchzarte Sounds die in der Unendlichkeit verschwinden... und wieder geht es um die Umsetzung mythischer Themen aus der unbewussten Vergangenheit des Menschen. Anklänge an GRASSOW, ALIO DIE,..
"After their acclaimed debut CD release "Celestial geometries" released in 2001 on Amplexus, considered as one of the best space albums ever, Italian sound sculptors Oöphoi and Tau Ceti are back with the long awaited second CD "Subterranea", inspired by a book about the myth of Agharti, the hidden realm located in central Asia. Vast sonic explorations with synths, flutes, stones and shells, ranging from subtle and mysterious atmospheres to highly
dynamic passages, describe this out of reach underworld. The last part of the long suite "The chamber of eternity" features the
unique sound of the tibetan singing bowls of Klaus Wiese. After the outer space adventures of their first CD, "Subterranea" deals with the inner space." [label info]
www.nextera.cz
|
2003 |
€13.00 |
|
| P-ORRIDGE, GENESIS & THE HAFLER TRIO |
Dream Less Suite |
do-LP |
Genesis P-Orridge and The Hafler Trio: do these 2 legends still need any introduction?
Genesis P-Orridge was the founding person of COUM Transmissions in 1969, Throbbing Gristle in 1975, Thee Temple ov Psychick Youth and Psychic TV in 1981.
Andrew McKenzie started The Hafler Trio (together with Cabaret Voltaire’s Chris Watson) in 1982 and since then released all his work under this moniker and collaborated with William
S. Burroughs, Autechre, Jóhann Jóhannsson, Nurse With Wound and Jónsi from Sigur Rós, to name a few. And he constructed the first kit Dreamachine in 1989 together with Brion Gysin.
The impact and influence of these pioneers of the industrial underground,visionary thinkers and open minds, anti heroes of the misfits and the outcasts is hard to underestimate.
On ‘Dream Less Suite’, the first new album by The Hafler Trio since 2016, Andrew McKenzie unearths, resurrects and completed recordings he made through the years with Genesis P-Orridge.
This 2LP features soundtracks to unfinished films, live performances and the real versions of tracks you know and love, released for the very first time and mastered from the original reelto reel tapes.
Expect the unexpected and be prepared for the unprepared.
Subliminal soul music for the very faint-hearted.
Demented disco for insecure insomniacs.
Asymmetric acid for hoovering hipsters.
Immersive polka for naughty night nurses.
Soothing sounds for crying babies.
Liberating latin for lesbians on xtc.
Transcending tribalism for jogging junkies.
Frenetic freakbeat for nihilistic numerologists.
Jiving jazz for tyrannic transgenders.
Hypnotic exotica for corrupt gymnastics.
Indescribable sounds for angry journalists.
Endless entertainment for everyone and the rest of the family.
All f#cks given 2.0. Masters at work.
|
2023 |
€29.50 |
|
| PACIFIC 231 |
Stif(f)le |
CD-R |
Drei Mitschnitte von den P231-Konzerten 2007 in Russland sind hier dokumentiert, wesentlich minimaler und droniger als man es gewohnt ist, frequenzmodulierte analog-synth drones in spiralenförmigen Drehungen erfüllen den Raum...
"Pierre Jolivet has been producing music since 1981. His most recent CD Palestine has been released in 2007 in collaboration with Rapoon. This album is based on the performances will take place in the Moscow, St.-Petersburg and Yaroslavl, during the russian tour organized by Monochrome Vision label. The concept of Stif(f)le is to encompass a space by creating a virtual world based on the use of digital technology. Since first performance, nearly 25 years ago, progress has been made in creating and controlling the performance in a real time environment. The equipment consists of a single laptop, connected through MIDI to an upper torso
exoskeleton and a data projector displaying the visual in sync with the sound feed. Abolishing the instrument liberates the performer as motion sensors on the body facilitate gesture found in dance or in sculpture. The minimalist aspect of the performance makes the spectator closer to an altered state of consciousness, a format used since the early sixties repetitive school of music to include the public as part of the event as a cerebral feedback loop." [label notes]
|
2008 |
€10.00 |
|
| |
1983-86 Compendium |
do-CD |
"Pacific 231 is active since 1981, starting with a limited edition Psychic Euthanasia tape recorded in total stereo, Pacific 231 was involved into VP 231 for a few years alongside Vox Populi!. His first LP "Unusual Perversions" was released in 1984. After some references, VP 231 was terminated following the double LP L'Enfer est Intime international compilation. Today, Pacific 231 is the co-producer on all his productions. From 1987 "Power Assume" second LP on Bunker Records in Canada to his most recent release ! This DCD Compendium* is a selective collection of early 80's Pacific 231 works. More than 48 hours of recordings coming from reel-to-reel tapes has been unveiled and carefully converted to recover two hours worth of material. The production has been split in two parts as the 1st CD is Studio and the 2nd is Live. As a matter of interest, for the "Unusual Perversions" fans out there, a good percentage of the archives are circa 1984 and unreleased. * A compendium is a concise, yet comprehensive compilation of a body of knowledge. A compendium may summarize a larger work." [label info]
www.tesco-germany.com
|
2011 |
€16.00 |
|
| PACIFIC 231 & RAPOON |
Palestine |
LP + CD |
“Palestine” was the first effect of collaboration between two titans of industrial and underground music Pierre “Pacific 231” Jolivet and Robin “Rapoon” Storey. Originally released as limited CD in 2007 by Old Europa Cafe and “Dedicated to the struggling Palestinian Nation and to the memory of Bryn Jones 1961-1999.” Zoharum is proud to present you a first time ever LP reissue of this important album.
Given that “Palestine” is dedicated to Muslimgauze and Israeli-Palestinian conflict it’s easy to predict what you’ll find here. Each side of the record presents artists' take on middle eastern rhythm and sound. Side A is raw. For over 20 minutes Jolivet focuses on subtle processing over hypnotic distorted drum loops. On side B Storey takes us on a long, a bit IDM-ish trip following what seems to be Muezzin call. CD contains additional 3 rare tracks that were taken from the limited Old Europa Cafe version of the album and Pacific’s “el-Arish” business card CD.
This album is as important due to the subject it touches as it’s true and uncompromising and is still relevant now as it was in the time of its creation.
Remastered by Robin Storey.
LP edition of 300 copies comes on red translucent 180 g vinyl with CD insert.
CD edition of 200 copies comes in a 6 panel ecopack.
https://zoharum.bandcamp.com/album/palestine-ext-edit
|
2021 |
€20.00 |
|
| |
Palestine (ext. edit.) |
CD |
“Palestine” was the first effect of collaboration between two titans of industrial and underground music Pierre “Pacific 231” Jolivet and Robin “Rapoon” Storey. Originally released as limited CD in 2007 by Old Europa Cafe and “Dedicated to the struggling Palestinian Nation and to the memory of Bryn Jones 1961-1999.” Zoharum is proud to present you a first time ever LP reissue of this important album.
Given that “Palestine” is dedicated to Muslimgauze and Israeli-Palestinian conflict it’s easy to predict what you’ll find here. Each side of the record presents artists' take on middle eastern rhythm and sound. Side A is raw. For over 20 minutes Jolivet focuses on subtle processing over hypnotic distorted drum loops. On side B Storey takes us on a long, a bit IDM-ish trip following what seems to be Muezzin call. CD contains additional 3 rare tracks that were taken from the limited Old Europa Cafe version of the album and Pacific’s “el-Arish” business card CD.
This album is as important due to the subject it touches as it’s true and uncompromising and is still relevant now as it was in the time of its creation.
Remastered by Robin Storey.
LP edition of 300 copies comes on red translucent 180 g vinyl with CD insert.
CD edition of 200 copies comes in a 6 panel ecopack.
https://zoharum.bandcamp.com/album/palestine-ext-edit |
2021 |
€13.00 |
|
| PACIONE, ADAM |
Dobranoc |
pic-LP |
"Dobranoc contains more than 40 minutes of new music utilizing field recordings, guitars, shortwave radio, analog keyboards & Moog filters. Haunting and yet serene, overflowing with contemplative and melodic tones, these are mostly long-form pieces: 'Always' builds slowly into a monolithic block of sound, while in the title track, layer after layer of warm atmosphere appears and then unravels into a sea of tranquility. This is three-dimensional music, strikingly elegant, from a modern master of the art. This picture disc LP is adorned with Pacione's lovely full-color macro photography circa 1995. The colorful sounds and images are bound together into a unified abstraction, dreamlike in its beauty. Adam Pacione has been a fixture in the upper echelon of ambient drone for the last five years with releases on Elevator Bath, Infraction, and his own Bee Eater Recordings imprint. Pacione is also a highly skilled photographer with solo exhibitions and nearly a lifetime of experience under his belt. He lives in Fort Worth, Texas. This picture disc LP has been released in an edition of 268 copies." [label info]
"Adam Pacione's blissed ambience has quietly enthralled us over many years now; and he continues his relationship with the exceptional Elevator Bath label, who has issued this wondrous album through an ongoing series of picture discs that previously included work by Rick Reed, our own Jim Haynes, and Dale Lloyd (reviewed elsewhere on this list). Pacione claims a bunch of sources for Dobranoc, including guitar, field recordings, analogue synth, Moog filters, and shortwave radio. He seems intent on extracting particular, harmonious colors from each of those materials and working them into a monochromatic blur of softened dronescaping and hushed ambience. The faintest of half-melodies work through Pacione's stately compositions; and it's
easy to become lost in these extended moments on Dobranoc. Throughout, Pacione streams a series of delicate textures that could be snow
coming through the radio, or it could be a light shower of rain that settles behind much of Pacione's sustained tonal flutterings. No
matter the source, the slight abrasions of these sounds act as a ghostly counterpoint to the purity that Pacione gets out of his drones. The resulting wanderings through his radiant soundfields have much of the sense of mystery that Zoviet France managed on Shadow Thief Of The Sun or that emerged from the more minimal explorations of Stars Of The Lid. The picture disc features two blurred macro-lens images sporting oversaturated colors abstracted through the lens; and these are suitable visuals to accompany Pacione's ethereal work.
Limited to 268 copies." [Aquarius Rec]
www.elevatorbath.com
|
2009 |
€17.50 |
|
| PAIK, NAM JUNE |
Works 58-79 |
CD |
“ this is a wide panorama of Nam June Paik work as musician - Hommage à John Cage (1958-1959), Étude for Pianoforte (1959-1960) and Simple (1961) are good exemple of neodada music and de-structuration in the late 50', this is basically irreverent audio-collages. Prepared Piano for Merce Cunningham (1977) captures an improvised performance by Paik on a de-tuned piano. while Prepared for Merce Cunningham was later mixed and edited for use by Cunningham, this raw, straight -to-tape version is favored by Paik. Duett: Paik/Takis (1979) this is the only piece already released (by 20 years ago on a limited vinyl edition) Paik improvises on piano and voice, while Takis performs on his metal sculptures.” [label info]
|
2001 |
€13.00 |
|
| PAINTING PETALS ON PLANET GHOST |
same |
LP |
"Debut recording from Italy's Opalio brothers (My Cat Is An Alien) and Ramona Ponzini. An esoteric and mesmerizing trip through space, minimalism, and emotion. Each track recorded at a different mystical location in the western Alps, and centered around Ramona's beautiful vocals, all of which are sung in traditional Japanese. Maurizio & Roberto add sparse accompaniment by means of toy piano, alien keyboard tones, antique accordion, percussion, tape effects, and some particularly evocative acoustic guitar. The whole thing comes off alternately as deeply meditative or chillingly haunted, depending on your attention & mood. Silence, space & ritual are hugely important here, with notes & words hovering frozen in time... while the My Cat Is An Alien moniker might leave some folks scratching their heads, here the Painting Petals On Planet Ghost name nails it : fragile, beautiful, cosmically isolationist, and totally spooked... pressed on 180 gram virgin vinyl, and lushly packaged with letterpress printed cover & insert. Printed with copper ink on exquisite & massively thick handmade ivory art paper, each sheet cast one at a time & air dried. Hand numbered edition of 560 copies." [label info]
www.time-lagrecords.com
|
2005 |
€29.50 |
|
| PALESTINE / COULTER / MATHOUL |
Maximin |
CD |
Diverse recordings of entrancing drone-scapes, enriched with electronic rhythms & plainchants, these are basically studio- & live-recordings by PALESTINE-pieces that were re-worked later by DAVID COULTER & JEAN MARIE MATHOUL... great stuff!
"Young God Records is proud to announce the release of the music of the seminal early Minimalist composer Charlemagne Palestine, as re-configured/re-iterated by David Coulter and Jean Marie Mathoul, in co-operation/ collaboration with Mr. Palestine. Coulter and Mathoul have taken previously recorded works of Mr. Palestine and - with the full respect due these often transcendent and sacred works - interwoven new sounds/found-sounds, drones, and unexpected textures into an ever-shifting flow that brings new light to these deeply soulful, sonic-sculptural emanations. Re-contextualizing the pure and spiritual force of nature that Mr. Palestine’s music represents could be a risky musical undertaking, but in my opinion Coulter and Mathoul have pulled it off beautifully, inspired solely by their love and respect of the original works themselves. The mixes have an authentic, hand made sensibility, and even when electronics are occasionally introduced, retain an organic feel. The music on this CD has given me hours of listening pleasure, and I hope it provides you with a similar experience. It’s also our hope that the release of this CD will serve as a portal to the work of Mr. Palestine for those who might not already be aware of his substantial catalog of music." [Michael Gira]
www.younggodrecords.com
|
2002 |
€14.50 |
|
| PALESTINE, CHARLEMAGNE |
Relationship Studies |
LP |
"Relationship Studies LP includes 2 seminal electronic music radical realizations by Charlemagne Palestine, or Relationship Study No. 1 (1967) and the generally titled Electronic from the same year. Sounds in motion like race cars, motor cycles, war planes, rocket ships excited Charlemagne sonic imagination when we was still a young teenager. Then came the experience of listening to the electronic music of Tod Dockstader, Alwyn Nikolais, Pierre Henry and Pierre Schaffer, Xenakis and Poème Electronique by Edgar Varese. Immediately fascinated Charlemagne Palestine bought a primitive electronic equipment and started to experiment, creating his original electronicesque language. The two previously unreleased 18 minute masterpieces presented here directly come from this early period of intense experimentations in a fluid ever-changing mix of adding and filtering white noise and simple sine tone generators. Both pieces are late night compositions created at the electronic music studio of the New York N.Y.U. Intermedia Center using Buchla 100 and Buchla 200 systems. Even if dating back from the mid-1960s these intense sonorities might very much recall the best early power electronic scene from the late 1970s, in particular to the first brut music works created by Maurizio Bianchi. For sure they represent a very unique and inspiring approach to electronic creation, sounding more and more actual and surprising nowadays. Edition limited to 350 copies." [label info] |
2010 |
€23.00 |
|
|
Bells Studies |
LP |
"High up in a tower, accessible only by a spiral staircase that led to a concrete platform above the whole city, for seven years Charlemagne Palestine's HellsBells became the sonic mainstay of NYC 53rd and 5th. This LP collects some of the most relevant recordings from those early days.
Side A presents 'Bells Studies', the complete reel-tape that gives the title to the whole LP, an intense pulsating work built in five movements starting with slow hypnotic large sonorities and accelerating into more dense and maximal explosions.
Side B collects some shorter Studies: 'Bells', the two parts of 'Confiscated Bell Tape' and an excerpt from 'Dumb Bell Tape'. each track recorded by the composer in one single take around 1965 and never heard again for the last 50 years!
In 1963 while attending the highschool of music and art in NYC, 15 years old Charlemagne Palestine was asked if he'd be interested in playing a carillon with 26 bells at Saint Thomas Episcopal Church down the street from the Museum Of Modern Art everyday of the week at 5pm to 5:30pm. Charlemagne decided that he loved these voluptuous Taylor bells that clanged all over 53rd Street and 5th Avenue everyday from 1963 to 1970 when he left NYC to study and teach at CAL Arts.
Charlemagne soon became known as the 'Quasimodo' of Midtown NYC, and his dissonant and ''klanggdedangggebannggg'' style of playing attracted a diverse group of fans from Moondog to John Cage to Tony Conrad among others. Charlemagne Palestine was able to continue to play his clanging bell soap operas for seven years dinggdonggingggg every late afternoon and sunday mornings!
Published in an edition of 350 copies only with original photos from the recording sessions." [label info]
|
2015 |
€20.00 |
|
|
STTT THOMASSS |
MC |
"In memory of the late polymath avant-garde artist Tony Conrad (1940-2016), longtime friend and coconspirator Charlemagne Palestine returned to the site of their first encounter for a tribute performance on what would have been Conrad's 77th birthday. Charlemagne Palestine is a composer, performer and visual artist born in Brooklyn in 1947. Often labeled as one of the founders of minimalism alongside Glass, Niblock, Reich, Riley, and Young, he prefers to call himself a "maximalist", eschewing the clinical stereotypes of the former term in favor of a full-blown erotics of possibility that in its ritualistic performance conjures a sense of sacredness without specificity. But before the intoxicating overtones of the Strumming Music (SR 297CD, SSH 003LP) for which he is best known, before the stuffed animals and snifter of cognac that have become his trademark onstage, Palestine's first solo performances were as carillonneur of the Saint Thomas Church at 53rd Street and 5th Avenue in Manhattan. From 5:00 to 5:30, every day between 1963 and 1970, Palestine operated the 26-bell carillon, starting with the hymns he was expected to play before shifting into improvised "klanggdedangggebannggg" sessions that would form the basis for his incantatory repetitions to come. Palestine hammered the instrument's keys with his fists and pounded its pedals with his feet, effectively playing the entire building while relishing the corporeal thrill of the ceremony. Soon known as the Quasimodo of midtown NYC, his performances became a sonic mainstay of the neighborhood, attracting a diverse group of fans including Tony Conrad who, then living in Times Square, one day introduced himself inside the church. The artists became fast friends and collaborators, with Palestine recording some of Conrad's work on the carillon and contributing music to his film Coming Attractions (1970). On March 7th, 2017, Palestine climbed the spiral stairs of the Saint Thomas Church's bell tower once again. This cassette features a full recording of STTT THOMASSS ''''"'"DINGGGDONGGGDINGGGzzzzzzz ferrrr TONYYY'''''''', preceded by a brief incantation delivered one month later at a Tony Conrad memorial."
|
2017 |
€16.00 |
|
|
October 24, 1975 - - PERFORMANCE ICC ANTWERP BELGIUM |
CD |
"A few months after the release of the legendary "Strumming Music"in 1974, Charlemagne Palestine gave a masterful and powerful 56 minutes performance in Antwerp in an exciting concert series. With the work and the precious help of M KHA and Lotte Beckwé, we were able to find this recording. We are pleased to offer you this unreleased performance on cassette and CD. Limited edition CD 300 copies on a 2 volet digisleeve."
[label info]
|
2021 |
€15.00 |
|
| |
DINGGGDONGGGDINGGGzzzzzzz ferrrr SSSOFTTT DIVINI TIESSSSS!!!!!!!!! |
LP |
DINGGGDONGGGDINGGGzzzzzzz!!!!!!! In the newest record by the iconoclastic Brooklyn-born composer Charlemagne Palestine (b. 1947), find two mesmerizing works for carillon, the keyboard-controlled bell tower derived in the 16th century. On side A, a new piece recorded at the artist’s studio in Belgium — a high-ceiling, stuffed-animal-packed paradise he calls Charleworld—among friends and “divinities,” his name for the thousands of plush toys he’s amassed since the ’60s. On the flip side, Blank Forms Editions’ very first and long-out-of-print release appears on vinyl for the first time: a cathartic street recording of the maximalist composer’s 2018 musical eulogy for his late friend Tony Conrad, performed on the bells of St. Thomas Episcopal Church, where the two first met. Two mesmerizing “klanggdedangggebannggg” sessions in the Quasimodo of 53rd Street’s inimitable, trance-induced style.
Perhaps more than any of his contemporaries in the bustling, cross-disciplinary downtown New York arts scene of the ’60s and ’70s, Charlemagne Palestine (b. 1947) has embodied the notion of the artist as playful polymath, testing and transcending nearly every creative form imaginable in his more than six-decade career. Originally trained in Jewish sacred singing to be a cantor, he began his artistic life as a musician, studying piano and accordion, accompanying figures like Tiny Tim and Allen Ginsberg on percussion, using early synthesizers as an assistant to Alwin Nikolais, and eventually landing a long-running gig as the carillonneur at Midtown’s St. Thomas Episcopal. This libertine spirit of experimentation soon led to adventures in other aesthetic arenas: making kinetic light sculptures with Len Lye, devising choreographed performances with Simone Forti, and producing a series of visceral videotapes with the Castelli-Sonnabend collection. In the ’70s, he was particularly prominent on the burgeoning loft movement, becoming well-known for his sparse, intense, and exacting long-form piano concerts that seemed to bend the very nature of time and space. Beginning in the ’80s, he spent decades in self-imposed exile from the new music scene, living variously in Europe and Hawai'i and privately honing his hermetic sonic and visual practice. This was followed by a period of triumphant resurgence beginning in the mid-’90s, since which he has performed and exhibited globally.
This release is on the occasion of Blank Forms’ sixth annual gala honoring Charlemagne Palestine.
Mastered by Stephan Mathieu
Design by Alec Mapes-Frances
A1: Recorded on March 21, 2023, at CHARLEWORLDDDDD, Brussels, Belgium, by Lawrence Kumpf.
B1: Recorded on April 8, 2017, at the Clemente Soto Vélez Cultural and Educational Center, New York, by Ben Manley and on May 7, 2017, at Saint Thomas Church, New York, by Adrian Rew. Mixed by Robbie Lee.
https://blankformseditions.bandcamp.com/album/dingggdongggdingggzzzzzzz-ferrrr-sssofttt-divini-tiesssss
|
2023 |
€27.50 |
|
| PALESTINE, CHARLEMAGNE & SIMONE FORTI |
Meditative Sound Environments |
LP |
*alga marghen presents the second and final chapter in documenting charlemagne palestine and simone forti seminal collaborations. the new "meditative sound environments" lp is more centered around electronic music and also includes a unique two-voice work based on simone's chanting, the magically suspended "simone tape". all the tracks of this new lp present only previously unreleased recordings. in summer 1970 simone forti was invited by allan kaprow (one of the deans of calarts) to do an evening of dance at the pasadena art museum and for this performance she asked charlemagne palestine to try developing a new kind of work together. it immediately clicked!!!! in january 1971 in pasadena they did their first "illuminationss". all of a sudden they were doing a new kind of jamming together. everybody in the audience loved it because it was so dreamy and they found amazing how a man and a woman can act in that strange, very dreamlike oriental way as in trance,,,,,together. this kind of collaboration between man and woman was uncommon at that time. mostly other artists were doing very structural works while with "illuminations" it was totally like they were on magicness drugs. these performances had certain fixed elements. the piano or some electronics like in "meditative sound environment", the title track of this lp. it turned out they liked red lights so they started to always do it in red light. also they liked to do it in a resonant spaces. it became more an approach than a piece, because there were never two "illuminations" that were alike. edition limited to 365 copies with liner notes by charlemagne palestine and simone forti." |
2021 |
€21.50 |
|
| |
Illuminations |
LP |
"the three previously unreleased recordings on this lp were made between october and december 1971. the first take titled "illumination" is for two voices moving in the space with small bells and crystal glasses while simone forti plays the molimo, a corrugated tube meant for connecting the gas stove. the second take titled "wed oct 13th 1971" has simone and charlemagne in a song dialogue as animals do. it was also at cal arts that charlemagne palestine first encountered a bosendorfer imperial piano of vienna. he played it often as simone danced during their "illuminations". take three is a song sang in falsetto while playing the bosendorfer imperial in an arpeggiated style that predates the "strummings". listening to these "three takes" 40 years later they oooozza timeless carefree mystical magical dreamy atmosphere that evoked the times of the late 60s to early 70s in charlemagne and simone part of the california art scene. illuminations were a unique open spontaneous form of performance, ritual and prayer. edition limited to 365 copies with an essay by both charlemagne palestine and simone forti, as well photos of the performances reproduced on the lp front sleeve." [LABEL INFO]
|
2022 |
€22.50 |
|
| PALESTINE, CHARLEMAGNE / GRUMBLING FUR TIME MACHINE ORCHESTRA |
ggrrreeebbbaaammmnnnuuuccckkkaaaiiioooww!!! |
LP |
"In 2013, when Daniel O'Sullivan was invited to curate the sixth installment of Ravenna, Italy's Transmissions festival, his first request was for Charlemagne Palestine, the shamanic world-maker, sacred toy emissary, and one-time student of Pandit Pran Nath associated with the New York '60s minimalist scene and known primarily for extended performances with Bösendorfer piano, cathedral organs, and falsetto voice. After Transmissions O'Sullivan invited Palestine to play a two-night residency at London's Cafe OTO, the second night of which was a collaboration with Grumbling Fur, the duo of O'Sullivan and Alexander Tucker. The performance at OTO was a ritualistic union of crystalware, processed strings, live tape manipulations, Indian harmonium, shimmering piano clusters, bleating cattle, a Japanese orgy, disembodied vocal harmony, and rousing choruses often led by sing-a-ma-jigs (singing Fisher-Price toys affectionately referred to as "the singing assholes"). A continuous flow of overtones and plainchant sieved through mutant simulations of processed pulses, orbiting strings, and heliotropic vocal mantras. Following 2013's Glynnaestra and 2014's Preternaturals, both of which The Wire listed in its top avant rock albums of their respective years, this is the first incarnation of the Grumbling Fur alter-ego Time Machine Orchestra, an alias put together to explore extended drone works, improvisation, and automatic composition. Recorded at Cafe OTO and Fur Island and assembled by Grumbling Fur. LP pressed in an edition of 500 copies." [label info]
www.importantrecords.com
|
2015 |
€25.00 |
|
| PALO ALTO |
Difference and Repetition - A Musical Evocation of GILLES DELEUZE |
do-LP |
"This new album (the tenth in their discography) was born from two ambitions: to pay tribute to Soft Machine's Third on form (4 sides / 4 titles) and to philosopher Gilles Deleuze (Difference and Repetition is the title of his thesis) on the contents. The 4 long pieces of this double concept album were developed over 2 years and each has a different style and climate. Bold and kaleidoscopic, Difference and Repetition perfectly synthesizes the musical and literary obsessions of Palo Alto.
Palo Alto
Formed in Paris in 1989, Palo Alto released his first album (a cassette) on the Italian label Old Europa Cafe in 1990. The year 2020 is therefore an opportunity to celebrate the 30th anniversary of this first stone, the founder of a discography rich with 10 albums. The band is now composed of Jacques Barbéri (also a science fiction author), Laurent Pernice (ex-member of the French industrial band Nox) and Philippe Perreaudin (also coordinator of several compilations and reissues: Legendary Pink Dots, Un Département, Nino Ferrer Revisited, Ptôse, Hardy Fox…).
Literature, and particularly science fiction, is a leitmotiv in the band's work. Antoine Volodine, Thomas Pynchon, Philip K. Dick, Lewis Carroll or J. G. Ballard have been invoked many times.
In recent years, Palo Alto has multiplied musical collaborations with, among others, The Residents, Ptôse, Klimperei, Tuxedomoon...
From industrial music to inextricable electronic ramifications, by making a detour through improvisation, the musical universe of Palo Alto is multifaceted. Their new album is no exception to this rule… "
https://subrosalabel.bandcamp.com/album/difference-and-repetition-a-musical-evocation-of-gilles-deleuze
"Palo Alto aus Paris gibt es seit 1989 und mit "Le Clos" erschien 1990 ein erstes Album (auf Tonbandkassette), dem bisher ein gutes Dutzend weitere gefolgt sind. Das Projekt um Jacques Barbéri nennt als Einflussgeber Tuxedomoon, Art Zoyd, The Legendary Pink Dots, Coil, The Residents, Can und Cabaret Voltaire, und betätigt sich vornehmlich in experimentell-elektronischen Gefilden, verunreinigt seine Musik aber auch mit Punkig-Schrägem, New-Wave-Artigem oder Modern-Kammermusikalisch-Klassischem. Ich machte erstmals mit dem 1998 beim Musea-Unterlabel Gazul Records erschienenen Album "Transe Plan" Bekanntschaft mit der Formation, und auf jenem geht es auch weitestgehend elektronisch und experimentell zu.
Zum 30sten hat man dann das wohl bisher ambitionierteste Projekt verwirklicht. Ein Doppelalbum hat man sich vorgenommen, von der Form her wie "Third" von Soft Machine, also mit vier seitenlangen Nummern, welches sich mit dem Werk des 1995 durch Selbstmord verstorbenen französischen Philosophen Gilles Deleuze befasst. Dazu hat man sich einige musikalische Gäste gesucht: Den von Deleuze beeinflussten SF-Schriftsteller Alain Damasio als Vorleser, Richard Pinhas, der einstmals bei Deleuze studiert hat, an der E-Gitarre, Thierry Zaboïtzeff am Cello und Rhys Chatham an der Trompete. Das fertige Werk wurde schließlich Ende 2020 vom Belgischen Label Sub Rosa als 2xLP oder CD veröffentlicht.
Mit Soft Machine hat die Musik eher wenig gemein. Aber, es ging ja auch nur darum ein ähnlich ausladendes und gestaltetes Album zu veröffentlichen. Ein paar jazzig-rockige Spuren sind auf "Difference And Repetition - A Musical Evocation Of Gilles Deleuze" aber auch auszumachen. Ansonsten ist dies eine Art von elektronischer Musik, oft rhythmisch voran schreitend, bestimmt von programmierter Perkussion, vornehmlich aber dominiert von allerlei Synthesizererzeugnissen und bisweilen heftigst verfremdeten Saxophonklängen, in die je nach Stück weitere Blasinstrumente, Cello, Bass, E-Gitarre und Textrezitationen eingewoben wurden.
Vor allem im dreiteiligen "Triptych" verliest Damasio Texte, einen eigenen bisher unveröffentlichten über Deleuzes Tod (der auch im Inneren des Digipacks abgedruckt ist), aus Deleuzes Buch "Capitalisme et Schizophrenie" (1980) und aus seinem Roman "Les Furtifs" (2019), durchaus engagiert und intensiv, ganz im Stile des "Concerto Delle Menti" von Pholas Dactylus. Man kann, auch wenn man den französischen Text kaum folgen kann, nur gebannt zuhören.
Die restlichen Stücke sind vorwiegend instrumental gehalten, nur im einleitenden "The Tears of Nietzsche" wird kurz ein Text von Richard Pinhas’ verlesen (aus "Les Larmes de Nietzsche – Deleuze et la musique“, 2001), und sind recht stark von den jeweiligen Gastsolisten geprägt. Im eben genannten ersten Track ist Pinhas’ E-Gitarre klangbestimmend und die Nummer klingt dann über weite Strecken wie das recht typische Gitarrendröhnen, welches auch auf den Soloalben des Franzosen meist zu hören ist. Palo Alto, insbesondere Berberis Sax, sorgen aber für eigenen Charakter. In "Rhizom" knarzt Zaboitzeffs Cello erst bedächtig, dann immer wüster, eingebettet in eine hypnotisch dahin schreitende Space-Elektronik, in der das 'Tibetanische Horn' Barberis aber auch exotische Akzente setzt. Im abschließenden Titelstück ist dann Rhys Chatham tonangebend, allerdings nicht an der E-Gitarre, sondern mit einer heiser-krächzenden Trompete, übrigens oft begleitet von einem Damenchor (genannt 'Les Bottines'), der stellenweise fast für Zeuhl-Atmosphäre sorgt.
Eine recht schwer zu kategorisierende Musik ist auf "Difference And Repetition - A Musical Evocation Of Gilles Deleuze" zu finden. Als dynamischen Avant/Kammerprog, dröhnenden E-Gitarren-Elektrorock, krautige Elektronik oder als pulsierendes Electronicagemenge könnte man das bezeichnen, oder als eine dichte Verschmelzung dieser Ingredienzien, angereichert mit allerlei freiem Klangbasteln. Das Ergebnis ist jedenfalls reichlich originell, intensiv, voluminös, packend und auf jeden Fall sehr progressiv. Ich denke einmal, dass Avantprog-Freaks bzw. Zaboitzeff- und/oder Pinhas-Fans, die zudem die weiter oben genannten Vorbilder (oder einige derselben) schätzen, von "Difference And Repetition" (übriges auch ein Buchtitel Deleuzes) begeistert sein sollten. Ein später Höhepunkt des Progjahres 2020!" [Babyblaue Seiten]
|
2021 |
€20.00 |
|
| PAN AMERICAN |
For waiting, for chasing |
LP |
„Mark Nelson, früher Labradford, hat es gefunden, so scheint es. Pan-American-Alben waren immer großartig, aber man spürte immer die Verbundenheit zu seiner alten Band, die Weite und Schwere der Songs. Das ist jetzt anders und es fühlt sich nach einem großen Schritt an. Nelson klingt elektronischer und denkt dabei immer noch akustisch, spielt seine dronigen Trümpfe anders aus, ist nicht mehr offensichtlich vom Berliner Dub beeinflusst, lässt das Knistern der Steine für Minuten im Track einfach stehen und betupft diese ungelenken Gebilde nur sehr zurückhaltend mit weichen Haltegurten. Die Sehnsucht nach Stille klang nie so aufregend. Ein großes Album.“ [Thaddi / DeBug]
"For Waiting, For Chasing was originally issued in a limited pressing by the Stefan Németh (Radian) curated Mosz label in 2006. This is the first time it is being made widely available and also the first time it is being issued on the vinyl LP format. As Mosz eloquently stated at the time of release, "...it is not about the process or the media, which have been used. It is about how elements and structures are put in a detailed relation to each other, ending up in a slow-moving, breathing organism. Filaments of percussive elements condense to polyrhythmic elements, layers of sound, instruments and field recordings merge to build up a mystic parallel, not so much fictional world." Perhaps the most skeletal and minimal of all of the works in the PanAmerican canon, it may also be the most compelling. Released on CD and 140g black vinyl." [label info]
www.brainwashed.com/kranky
|
2010 |
€15.00 |
|
| |
For waiting, for chasing |
CD |
„Mark Nelson, früher Labradford, hat es gefunden, so scheint es. Pan-American-Alben waren immer großartig, aber man spürte immer die Verbundenheit zu seiner alten Band, die Weite und Schwere der Songs. Das ist jetzt anders und es fühlt sich nach einem großen Schritt an. Nelson klingt elektronischer und denkt dabei immer noch akustisch, spielt seine dronigen Trümpfe anders aus, ist nicht mehr offensichtlich vom Berliner Dub beeinflusst, lässt das Knistern der Steine für Minuten im Track einfach stehen und betupft diese ungelenken Gebilde nur sehr zurückhaltend mit weichen Haltegurten. Die Sehnsucht nach Stille klang nie so aufregend. Ein großes Album.“ [Thaddi / DeBug]
"For Waiting, For Chasing was originally issued in a limited pressing by the Stefan Németh (Radian) curated Mosz label in 2006. This is the first time it is being made widely available and also the first time it is being issued on the vinyl LP format. As Mosz eloquently stated at the time of release, "...it is not about the process or the media, which have been used. It is about how elements and structures are put in a detailed relation to each other, ending up in a slow-moving, breathing organism. Filaments of percussive elements condense to polyrhythmic elements, layers of sound, instruments and field recordings merge to build up a mystic parallel, not so much fictional world." Perhaps the most skeletal and minimal of all of the works in the PanAmerican canon, it may also be the most compelling. Released on CD and 140g black vinyl." [label info]
www.brainwashed.com/kranky
|
2010 |
€15.00 |
|
| PAN SONIC & CHARLEMAGNE PALESTINE |
Mort aux Vaches |
do-LP |
"Vinyl re-issue of the work initially released on CD by Staalplaat in 2000. First time on vinyl, remastered, with new cover design (a 1974 drawing by Charlemagne Palestine).
This is the first release in the 'GodBear' series, a project consisting in the re-issue of existing works and production of unreleased material by Charlemagne. In partnership with the Charlemagne Palestine Foundation." [label info}
"Pan Sonic + Charlemagne Palestine’s 20 year old drone album finally takes a new life on LP with this first pressing via Godbear following Staalplaat’s long sold-out CD
Forming the 2nd meeting on record between Palestine, Vainio and Väisänen after their 1997 hook-up with Pita (Peter Rehberg) on ‘Three Compositions for Machines’, their follow-up is slimmed down to the legendary pianist and Finnish wave shapers for an exceedingly tense, minimal, excursion marrying glacial microtonal chords licked with underlying, rhythmic subbass disturbance and occasional, off-key, distorted moraine that buckles the microtones from below.
Both sides of the equation maintain a tense equilibrium throughout the album, which, while originally divided in five parts, played thru seamlessly, whereas this new vinyl cut dedicates nearly a side per piece. Across its taut body Palestine and Pan Sonic sustain gossamer fine chords and swollen, sometimes unruly bass, appearing to under-do each other and never making any moves, but the tension just gives at point, sinking into subbass mire and slipping trains of thought out of line. It’s perhaps not entirely typical of either of them, and achieves a modest mix of their respective sensibilities." [Boomkat]
|
2019 |
€34.00 |
|
| PANHUYSEN, PAUL |
Pendulum Change |
LP |
"First vinyl LP edition by Dutch sound and visual artist Paul Panhuysen since 1986. In terms of sound art, Paul Panhuysen is well-known for his long string installations, yet he has produced a vast amount of other sound installations using different materials and sound sources ranging from various instruments to animals such as birds. This LP contains a recording of the installation "Pendulum Change Ringing", displayed at Pand Koloniale Waren in Hasselt (Belgium) in 2012. The installation consists of twelve engraved Turkish metal platters, each mounted onto a black plastic bin, and placed in a 20 meters long row. The rim of each platter is hit by a metal pendulum operated by a tiny electromotor. Each hit causes the platter to resonate with a rich sound texture full of dissonant overtones. During the recording, the twelve pendulums are activated one after the other. The paces at which they swing differ due to their rods having different lengths. This causes interlocking rhythmic patterns to emerge that become more complex with each step and never stay the same. Hits aggregate into clusters, then thin out again. The sound is not chaotic, yet its regularity is hard to comprehend. "You might call Pendulum Change Ringing a typical Paul Panhuysen piece: it works according to a system, quite a simple one in fact, but its effect surpasses that apparent simplicity by far." (René van Peer)
Edition of 300 copies. Full-color sleeve with photos of the installation and liner notes by René van Peer. Black poly-lined inner sleeve." [label info]
www.edition-telemark.de
|
2014 |
€22.00 |
|
| |
Long String Installations |
3 x LP |
After two LPs in 2014 and 2017, Edition Telemark now turns to the group of works that is probably the most well-known within the vast oeuvre of Dutch sound and visual artist Paul Panhuysen (1934–2015): his long string installations. Using this term, he referred to all of his works involving strings and sounds. They were realized all around the world between 1982 and 2012 – until 1991 mostly together with Johan Goedhart –, each installation made specifically for the site where it was displayed.
Unlike other artists working with long strings around the same time, e.g. Ellen Fullman and Terry Fox, Panhuysen's strings were instruments or performative material only secondarily. Rather, his installations can be considered sculptural and sounding events in space, operating in between two lines of tradition, constructivism and situationism, that are evident also in many other parts of his oeuvre.
"Over 250 long string installations were made since 1982 and have produced a better understanding of what is happening in these works. The first information about what happens around us always depends on the perception and detection of our senses and is afterwards transformed, analyzed and interpreted by the brain. It has been a happy coincidence which has drawn my attention to this opportunity to integrate image and sound in the art of long string installations. [...] In daily life we try to understand what is happening primarily by visual and auditory perception. In art these two senses are mostly kept apart. In the long string installations, eyes and ears are equally important. This improves the understanding of reality and daily life." (from Panhuysen's preface to the book "Long Strings 1982–2011")
The first recordings of Panhuysen's long string installations were published in the 1980s, most famously on a 3-LP box set edited on Apollo Records in 1986.
This new 3-LP set includes solely unreleased recordings made between 1982 and 2012, with one recording added posthumously in 2017. It is presented in a triple gate-fold sleeve with printed inner sleeves containing liner notes by Rolf Sachsse and Stephan Wunderlich as well as various high-resolution photos.
www.edition-telemark.de |
2018 |
€55.00 |
|
| PANTALEIMON |
Heart of the Sun |
CD |
Eine gar illustre Schar von Musikern & Projekten remixten für dieses Album Songs von ANDRIA DEGENS aka PANTALEIMON, daneben gibt es einige "echte" Kollaborationen und vorher unveröffentlichte Stücke von ihr. Folkiger, "magischer" Ambient in wunderbaren & wundersamen Variationen, kein Stück ist doppelt vorhanden...
"The whole thing started when Clodagh Simonds (Fovea Hex) asked if she could remix 'Under The Water.' Of course, I said yes. When she came back with such remarkable music, and casually mentioned, 'Oh, why don't you ask a couple of other pals to do remixes?', it gave me the idea for this album. It is not simply a remix album, but a collaborative project. I chose friends I admired as artists and who inhabit creative spaces that are connected in some way and on some level to me and to each other. I gave away my 'babies' to go out to play with the likes of Andrew W.K., Stephen O'Malley, Lilium, Carter Tutti, Colin Potter, Andrew Liles, The Bricoleur, Plinth, Fabrizio Modonese Palumbo (Larsen), and, of course, Fovea Hex. Even though I had an inkling that the mixes would fit together as one coherent whole, I had no idea just how much they would complement one another. There are also some previously unreleased tracks including a cover of Bonnie 'Prince' Billy's 'Even If Love,' which didn't quite make it on Mercy Oceans for aural reasons. However, this cover version has been gently manipulated and star-mangled by Susan Stenger (Band of Susans)." [label info / credits]
".... The sparse, delicate hazy folk of Pantaleimon remixed? Don't worry there are no cheesy beats, awkward turntables or sloppy hands on any of these songs. In fact the first time we listened we had no idea that any of these songs were in fact remixes. Maybe it's because we hadn't heard any of these songs in their first incarnation. But wow, we were drawn in immediately. Andria Degens is making such beautiful and haunting music as Pantalimon that we almost hesitate to mention that she's married to David Tibet of Current 93, as her own music more then stands on its own. But if folks who haven't heard her before and are C93 fans check this out then the more ears that hear Pantaleimon the better!
While the sound is similar to the music of folks like Fursaxa, Grouper and Christina Carter, there is much more immediacy, focus and a connection to folk history in the songs of Pantaleimon. While less hazy then some of her peers there is a seemingly sonic mist hanging
over her songs which stops you in your tracks. There is also a rustic quality in these stripped down songs that makes us think of Bridget St. John and Hala Strana recording a record together. Plenty of folks help out by adding sounds and ambience but all do so with much subtly and respect. Who knew Andrew W.K. could be so subtle, his tasteful keyboards are heard on the record's opener, and the list of other contributors/remixers reads like a who's who of the musical underground (Colin Potter, Andrew Lilies, Stephen O'Malley, Fovea Hex, Lilium, etc). Heart Of The Sun is becoming the record we listen to both early in the morning and then late at night as we surrender to
sleep. So beautiful!" [Aquarius Records review]
|
2008 |
€12.00 |
|
| |
Under the Water |
7 |
Sammlerstück ! Einseitig bespielte Single auf klarem Vinyl, mit kunstvollem Siebdruck auf der B-Seite. Instrumental-akustische Folk-Ambience mit Gesang, nicht unähnlich z.B. FOVEA HEX..
"Here's a gorgeous one-sided single. 'Under The Water' is an alternate version of a song scheduled for release on an upcoming solo LP, and it's a brilliant, mystical breath of air of pure longing. The lyrics are simply structured and circular, the music is a mix of accoustic plucks and drones, and the mood is wonderfully doleful. Nice package too." [BYRON COLEY, WIRE]
"BLUESANCT is very pleased to announce that the next release in our ART SINGLES series will be by PANTALEIMON. Like the MOUNT EERIE 7", it will be a beautiful single, with an exclusive recording on one side, and a screenprinted image of the song on the other side.
For those not familiar with PANTALEIMON's work, it is essentially the work of ANDRIA DEGENS. She creates gorgeous acoustic soundscapes of droning ambience accompanying beautiful folk melodies. Besides her work as PANTALEIMON, Andria is also a frequent guest on the recordings and in the live emsemble of one of my favourite all time projects, CURRENT 93 and her music will be featured in the upcoming GUS VAN SANT film." [label info]
www.bluesanct.com
|
2006 |
€8.00 |
|
| PAOLO CAMPANA |
VINYLMANIA (FILM) |
2 x DVD |
"A trip into the grooves, Vinylmania is a 75 minute feature length documentary about an object that has never lost its soul: the vinyl record. An epic love story, the film is filled with fascinating characters and internationally recognized artists including PHILIPPE COHEN SOLAL (Gotan Project), WINSTON SMITH (Dead Kennedys, Green Day record sleeve artist), PETER SAVILLE (Joy Division, New Order record sleeve artist) and DJ KENTARO (2002 DMC World DJ Champion).
Devotion, ecstasy, infatuation, agony – all feelings that the director of the film, Paolo Campana, has experienced from childhood and shares with like-minded record collectors, Djs, musicians and artists (the said vinylmaniacs) in the documentary. Set in 11 different cities worldwide, the director sets out on a global road trip to find out what role vinyl records play in the 21st century." [publishers info]
"Wenn das Leben mit 33 Umdrehungen pro Minute läuft: Doku von Paolo Campana.
"Als Kind wurde ich von meiner Mutter immer mit einer Schallplatte von Mozart geweckt", sagt Paolo Campana, Filmemacher und DJ aus Turin. "Seitdem läuft Vinyl durch meine Adern." Der italienische Regisseur möchte verstehen, woher seine große Leidenschaft für Musik und Schallplatten kommt. Also tauchte er für seinen Dokumentarfilm in diese Welt ein und bewegte sich sprichwörtlich undercover. In "Vinylmania" führt uns der Regisseur durch die Facetten eines Objekts, das nie seine Seele verloren hat. Er spürt dem nach, was Vinyl in einer digitalen Welt so legendär macht. An vielen Orten der Welt begegnen wir einer Gemeinde von Sammlern, DJs, Musikern und Künstlern. Die Zuschauer erkunden die Läden, in denen die Leidenschaft zum Fieber mutiert, und die Fabriken, die wieder damit begonnen haben, Millionen von Platten herzustellen. Denn: Die Vinylplatte ist zurück! ",Vinylmania‘ ist sich seines grundsätzlich nostalgischen Ansatzes bewusst, aber lässt sich dadurch nicht beirren. Das macht die Dokumentation zu einem großen Fernsehvergnügen." (Spiegel Online).
Extras: Limitierte Edition inkl. Bonus-DVD: 8 Musikclips (Berlin, Prag, Paris, London, Los Angeles, San Francisco, New York, Tokio); 15 Bonus-Tracks – Interviews mit Sean Bidder (Vinyl Factory), Richie Hawtin (DJ, Produzent), Peter Saville (Designer), Guy Schraenen (Kurator), John Stanley (Schriftsteller), Dubplate & Mastering, Laser Turntable, Matt Mikas (Sammler), V. Vale (Re/Search), Klaus Florida (Bassist Dead Kennedys), Luxuria Music (Webradio), Eilon Paz (Dust & Grooves), Cesar Montesano (Sammler); Google-Map ausgewählter Plattenläden weltweit
"›Vinylmania‹ ist ein wahres Vergnügen. Er spürt erfolgreich der kulturellen Explosion rund um das Wiedererwachen von Vinyl nach und behandelt darüber hinaus auch die Leidenschaft und Liebe zur Musik. Jeder Musiker und wahrer Musikfan wird den Film sehen wollen.“" Record Store Day
"„Wenn man einen DJ auflegen sieht, dann ist das, wie einem Küchenchef beim Kochen zuzusehen.“" DJ Kentaro
"„Vinyl ist wie Jazz. Seine Sound-Nuancen sind einzigartig.“" DJ Kobayashi
"„Das ist meine Kindheit, meine ganze Geschichte…“" Philippe Cohen Solal, Gotan Project
|
2012 |
€12.00 |
|
| PARLANE, ROSY |
Jessamine |
CD |
"Wie schon am ebenfalls bei Touch verlegten Vorgänger »Iris« finden sich auf »Jessamine« lediglich drei Tracks, nach der Betitelung wohl als Teile eines großen Ganzen zu hören, die vom Umfang her wieder eine Spieldauer von fast fünfzig Minuten erreichen. Dabei weisen deren durchwegs von Rhythmus und Melodie befreite Konturen recht eindeutige Züge klassischer Drones auf, die in den entscheidenden Momenten von monolithischem Dröhnen weg in Richtung konzentriert geschichteter Textur-Overloads tendieren und großzügig angelegte Spannungsbögen vornehmlich aus gekonnt inszenierten Intensitätsverläufen zwischen Loslassen und Verdichtung rekrutieren. Das dazu notwendige Instrumentarium ist zum Großteil akustisch und reicht von Gitarre und Piano bis hin zu Field Recordings, Radios oder verschiedenen Haushaltsobjekten. So bleibt auch nach dem digitalen Reißwolf eine, durch die glasklare Produktion eigenartig verstärkte, organische Grundstimmung erhalten, die durchaus im Widerstreit zur fokussierten, geradlinigen Ausrichtung der Tracks steht. Da gibt es kein Ausfransen, kein flächiges Abschweifen; Parlane entwirft einen beeindruckend konsequenten, fast schon ökonomischen Flow, zurrt die unruhigen Kleinstbestandteile, knackend, knisternd und Obertonfunken schlagend, zu drei hypnotischen HighTech-Ambient-Monstern zusammen und setzt auf die Dramaturgie der Dynamik. Oder umgekehrt? Während jedenfalls der erste Track noch vor dem Klimax ein trotzdem versöhnliches Ende findet und die große Erlösung im folgenden lediglich spärlich angedeutet wird, eigentlich nicht mehr als ein digitales Bäuerchen darstellt, explodiert das beinahe zwanzigminütige Schlussstück aus mittels Kaminfeuerknistern geerdetem, euphorisch verstrichenen Klanglayern zu einer wahrhaft infernalischen Wall of Sound, aufgezogen mit Hilfe von acht Gastmusikern, die ihre elektronisch verstärkten Streich- und Saiteninstrumente hier zu einem Crescendo auflaufen lassen, das seines gleichen sucht. Die Sicherheit und Konsequenz, mit der Parlane seine Soundskulpturen bearbeitet, sowie eine herbe, oft schwer fassbare Schönheit, die sich gleichermaßen durch harsche Noisewälle und entschlackte Ambientpassagen streckt, machen »Jessamine« zu einer enorm intensiven Erfahrung und darüber hinaus zu einem der besten Alben an den Outskirts elektronischer Avantgarde des vergangenen Jahres." [Tobias Bolt / Quietnoise]
"This is New Zealand-based (and former Thela member) Rosy Parlane's second full-length release on Touch. His previous album, Iris (2004), was hailed by Jim Haynes in The Wire who wrote: "Jon Wozencroft's impeccable photography and design packages Rosy Parlane's Iris inside a predominantly blue package, inextricably linking the music to the emotional resonance of the color... He flushes his soundfields with cascades of digital fragments which he separates into two distinct compositional categories. On the one hand, Parlane stretches sounds from guitar, piano and organ into unrecognizable drones that swell into dense layerings, every once in a while coalescing into fluttering half-melodies. On the other, he emphasizes the textural qualities of those digital fragments, simulating the natural acoustics of ice crackling from trees in winter or the gentle patter of rain on a windowsill. When fusing these together by placing the textures against the backdrop of the drone, Parlane effectively builds pointillist sound environments with a profoundly human melancholia." With Jessamine, Rosy develops these themes, and continues to incorporate new musical elements from unconventional as well as orchestral instrumentation. To him, everything is an instrument: from household objects to nature sounds. But it is the human element which gives his work such a distinctive sound. Ranging from ambient to noise, he gives full rein to textures of living; to start, languid and mournful; later harsh and assertive. Jessamine is a magnificent follow-up to a classic Touch debut. Rosy Parlane: electric and acoustic guitars, piano, melodica, accordion, violin, trombone, snare drum, shimsaw, amplified sawblade, bowed metal, household objects, contact microphones, field recordings, radio, computer. Additional contributions by Marcel Bear, Tetuzi Akiyama, Lasse Marhaug, Anthony Guerra, Michael Morley, Donald McPherson, Matthew Hyland, David Mitchell, Stefan Neville and Campbell Kneale." [press release]
"A little over two years ago, Rosy Parlane, made his debut on Touch with 'Iris', following solo releases on Sigma, and a membership of such bands as Thela and Parmetier. Three tracks back then, and on 'Jessamine' again three tracks. Rosy plays here electric and acoustic guitars, piano, melodica, accordion, violin, trombone, snare drum, shimsaw (an instrument designed by Marcel Bear), bowed metal, household objects, field recordings, radio, computer and contact microphone, and if that isn't enough there is also help from a whole bunch of people who played guitar. The first track starts out in common territory: ambient glitch made with bowed guitars, violins, but Parlane's music is more angular. It has a sharper edge, already in this first piece. Even a bit of old Organum could be traced in these scraping and bowing sounds. It's hard to say if all the instruments mentioned on the cover are also there, but guitars are definitely there. In the loudest part, 'Part Three' things become orgasmic loud, almost in a Merzbow manner, but Parlane keeps things nicely under control. Overall, Parlane has a richer sound than on 'Iris', there is more happening and he is stepping out of the more safer microsound glitch. Quite a leap forward!" [FdW / Vital Weekly]
|
2006 |
€14.50 |
|
| PARMEGIANI, BERNARD |
Memoire Magnetique Vol. 2 |
LP |
Transversales is very glad to announce the release of « Mémoire Magnétique, vol.2 » spanning 1966-1993, revelatory collection of short and secret music by electronic music pioneer Bernard Parmegiani.
The second volume of this compilation allows us to discover some of unreleased rarities from Bernard Parmegiani’s personal archives and unpublished recordings which were composed for the screen or the performing arts.
Remastered high-resolution audio transferred directly from the original tapes.
Exclusive liner notes and pictures.
Musique originale composée, interprétée et enregistrée par Bernard Parmegiani.
Production exécutive : Jonathan Fitoussi & Sébastien Rosat.
Mastering à partir des bandes originales : Jonathan Fitoussi.
Direction artistique & graphisme : Jean-Philippe Talaga.
Traduction : Michèle Parent.
(P) 2021 Transversales Disques ®
sous licence exclusive de Claude-Anne Parmegiani
A1 / "Témoignages" - 1972.
Générique pour la série télévisée de Pierre Houdain.
A2 / "Pop secret" - 1970.
Version remixée pour concert de la musique créée avec le groupe
"Third Ear Band" au Royal Festival Hall, Londres.
A3 / "Voyage Conseil" - 1970.
Musique pour la publicité de : "Voyage Conseil".
Version non utilisée.
A4 / "Lion d'or" - 1988.
Générique pour l'émission radio de Georges Léon diffusée sur France Culture
le 22/02/1988.
A5 / "Flash sports" - 1975.
Indicatif de l'émission télévisée éponyme diffusée sur Antenne 2.
A6 / "Spot pub" - 1971.
Spot publicitaire non identifié, non utilisé.
A7 / "Journal TV 2" - 1981.
Indicatif du journal télévisé d'Antenne 2.
A8 / "Stade 2" - 1976-1986.
Indicatif de l'émission : "Stade 2".
Antenne 2, émission sport. Animation : Peter Foldès.
A9 / "L'art au monde des ténèbres" - 1982.
Série documentaire télévisée de Mario Ruspoli.
A10 / "Sonal Roissy" - 1971-2005.
Signal sonore de l'aéroport Roissy-Charles-de-Gaulle.
B1 / "Bongo fuego" - 1967.
Film d'animation de Peter Foldès.
B2 / "Electrorythmes" - 1966.
Version remixée pour concert ; film de Peter Foldès avec la chorégraphe Marpessa Dawn.
B3 / "E Pericoloso sporgersi" - (élément) - 1991.
Musique radiophonique ; commande de France Culture.
B4 / "Une mission éphémère" - 1993.
Film d'animation de Piotr Kamler.
B5 / "Une honorable partie de Gô" - 1978.
Série documentaire télévisée de Jean-Emile Jeannesson,
"Lettres du bout du monde".
B6 / "Sonal Roissy" - (inédit) - 1971.
Maquette de signal sonore pour l'aéroport Roissy-Charles-de-Gaulle.
Version non utilisée.
https://bernardparmegiani.bandcamp.com/album/m-moire-magn-tique-vol-2-1966-1993
"Belonging to a growing body of previously unreleased work culled from the archives of Bernard Parmegiani, the always incredible Transversales Disques returns with “Mémoire Magnétique, Vol. 2”, the second instalment in their series of albums focusing on the composer’s work for film, television, and the performing arts.
An inevitable revelation for even the most devoted of Parmegiani’s fans, we’re also making it available as part of a specially priced bundle with brand new represses of “Mémoire Magnétique, Vol. 1” and “Rock (Bande originale du film, 1982)” for those who missed them the first time around.
So good.
Over the last few years, the Paris based imprint, Transversales Disques, has set a remarkable standard for archival releases, bringing us a treasure trove of previously unreleased recordings by Pierre Henry, Archie Shepp, Pharoah Sanders, Luc Ferrari, Igor Wakhevitch, Philip Glass, Ariel Kalma, François Bayle, Ennio Morricone, and numerous others.
While by no means the limit of their focus, the imprint has offered special attention to works by French pioneers of electronic music, particularly those associated with Groupe de Recherches de Musique Concrète (GRMC) and Groupe de Recherches Musicales (GRM). Central to this modus operandi is the work of Bernard Parmegiani. Back in 2017, they brought us the composer’s incredible 1982 soundtrack, Rock, created for Michel Treguero’s film of the same name, followed by the LP, Mémoire Magnétique, Vol. 1 in 2018.
After three years of waiting, the label is back with the second instalment of rare sounds by Parmegiani, Mémoire Magnétique, Vol. 2, accompanied by brand new represses of Mémoire Magnétique, Vol. 1 and Rock (Bande originale du film, 1982), which have been out of print since their initial release. As a special celebration, we’re offering them individually or together as a specially priced bundle. They’re 20th Century electroacoustic music at its absolute height, hugely historically important, and not to be missed.
Bernard Parmegiani’s contributions to electronic and electroacoustic practice are now regarded as among the most important in the history of 20th Century Music, but this wasn’t always the case. For much of his career, the composer lingered in the shadow of his more famous peers at Groupe de Recherches - Pierre Schaeffer, Luc Ferrari, François Bayle, etc. Some of this was a consequence of circumstance and idealism. Gifted with a deep belief in access and humor, Parmegiani believed in the profound potential of electronic and electroacoustic sound, seeking to integrate it into everyday life, particularly through forms of mass distribution activated by radio, film, and television. A great deal of his output was created for these contexts - remaining unreleased on physical formats - while he supported himself as a sound engineer and as the head of the Music/Image division of French television. It is into this rarely heard body of recordings which Transversales Disques takes us once again.
Like the first instalment, Mémoire Magnétique, Vol. 2 culls its material form the composer’s personal archives and unpublished recordings of material created between 1966 and 1993, focusing specifically on his output for the screen and the performing arts. Standing as a largely unacknowledged counterpoint to more famous works like De Natura Sonorum, La Roue Ferris, Dedans Dehors, Chants Magnétiques, and Chronos - created during same period covered by the collection - these works unveil a lesser-known vision of Parmegiani, one that embedded himself in the subconscious landscape of the French public, with sounds that were often heard without acknowledging their genius or source.
Comprising 16 revelatory tracks, of relatively short lengths - from 13 seconds to just over 8 minutes - Mémoire Magnétique, Vol. 2 covers a brilliant range of material, from sci-fi tinged arpeggiating synths, brooding minimalist expanses, semi psychedelic meanderings away with free-flowing texture, pastoral meditations, playful, percussive musique concrète, pieces that flirt on the edges of kosmische and Berlin school electronics, and so much more.
Encountering the composer in the throes of his deepest passion - working alongside the visual realm - just when you’d thought you’d heard it all, Transversales Disques digs up more gold from the archives of Bernard Parmegiani, expanding our vision of the astounding talent and range of one of the most important sonic artists of the 20th Century.
These previously unreleased rarities have been remastered from the original tapes in high-resolution audio, and come complete with exclusive liner notes and pictures. As engrossing as records come, and an absolute blast to listen to. Not to be missed!
Across 17 despite works, Mémoire Magnétique, Vol. 1 spans 24 years of Parmegiani’s output of music designed to integrate with the screen, drawing on a framework the composer developed for research and mutual exchange between sound and image. It should come as no surprise, given the overwhelming creative talent which Parmegiani possessed, that these efforts more than stand on their own when separated from the images with which they were designed to speak. The LP is an overwhelmingly powerful body of revelatory sound.
Not unlike his soundtrack for Rock, Mémoire Magnétique, Vol. 1 pushes the boundaries of what the work emerging from Groupe de Recherches is often perceived to have been, if not the very notions of what qualifies as avant-garde. Imbued with Parmegiani’s overwhelming humor and playfulness, it offers nods to a countless range of musical idioms and fields of practice - often painting a dark, dystopian technological, rhythmic landscape with aural touchstones ranging from techno, Kraftwerk, and John Carpenter soundtracks, with a peppering of the clown show, reminding us that Parmegiani began his career as a mime.
There’s no question that Transversales Disques is taking the high road, bringing us into wild, wonderful, and often overlooked bodies of organized sound which rewrite almost every standard narrative of history. These works are some of a Bernard Parmegiani which all too few heard, belonging to a way of working which captures the idealism closest to his heart.
Absolutely brilliant creatively - a challenging field of imagination and an endlessly thrilling listen. Transferred directly from the original tapes with exclusive liner notes, if you missed the first pressing, don’t sleep. This is an absolute must for any fan of Parmegiani, GRM, soundtracks, and electronic music at large."
[Soundohm]
https://bernardparmegiani.bandcamp.com/album/m-moire-magn-tique-vol-2-1966-1993
|
2021 |
€26.50 |
|
| PATTERSON, BEN & BRANDSTIFTER / FRANZ KAMIN / KOMMISSAR HJULER |
SUXULFART |
LP |
A1 –Ben Patterson & Brandstifter silent refugee night
A2 –Franz Kamin BGESS #4
B –Kommissar Hjuler Der Jordt
LP in Fluxus +/- Series by Kommissar Hjuler / Psych.KG, limited to 75 copies, numbered and signed, black vinyl.
Front Cover shows part from a mixed media painting by Yukiko Nasu & Kommissar Hjuler (project BROTKATZE Collaborations).
Backside Cover shows Ben Patterson & Brandstifter at Kaiser & Cream, Wiesbaden, photo by Udo W. Gottfried.
Track "Silent Refugee Night" was recorded on April 24th, 2016 at Kaiser & Cream Wiesbaden by horstundireneschmitt for FLUX ON DEMAND, copyright by Ben Patterson & V.E.B. Freie Brandstiftung.
Track "BGESS #4" has been released on MC before by tENTATIVELY, a cONVENIENCE / Widemouth, copyright by The Franz Kamin Estate, Nor Hall and Marie Nesthus.
|
2016 |
€25.00 |
|
| PBK & MODELBAU |
The Dead Time |
CD |
https://oxidation.bandcamp.com/album/the-dead-time
"In music, separating the wheat from the chaff these days is not easy, one has to apply some kind of compulsion and instinct towards interesting releases. “The Dead Time” was made out of processing sonic information in the passing of time, yet what makes this music stand out from the passing and make it “dead”?
"I am interested in the alchemical breakdown of things and the results of pure accidents.” -Phillip B. Klingler
Frans de Waard and Phillip B. Klingler are rooted in the experimental music scene. Both are still at the forefront of pushing the boundaries of underground and formal electroacoustic music. This album was made of collages of recordings De Waard made in 2014, fermenting on Klingler’s shelve until summer 2021. One day that summer, Klingler awoke with a premonition about the work, which started an intensely creative period. He created three collaborations: 'The Dead Time' with De Waard, a PBK & Nocturnal Emissions LP, and the CHAIN LETTER EXHORTATION Series. "It's the same way I like to paint: only when inspired to do so, and without preconception.” as Klingler states.
Both composers are daily concerned with archival matters, so they have a deep intellectual and experiential understanding of the importance of work and detail, no matter how small or few the edition. To my knowledge, this quality translates into the depth of sound, fragility and sensibility, the compositional approach of the unknown by the use of transformed field recordings, digital processed, mixer feedback, synthesizers and sample players, which allows them to enter this abyss of a personal and yet collaborative esoteric space. As Klingler puts it: “I think it was very nice to leave the tracks as "miniatures" with their characteristics, not attempting to be epic in scope, but more like the experiments of the 1950's/60's - Dutch composers of the Phillips Research Laboratory, where all ideas of creativity were embraced, even somewhat incongruous combinations. (..) The compositions are made, but they are abstract, no narrative”.
The “miniatures” sound like deep, personal, little moments of awakening, fermented by time, but then again appearing to be free from it: “We have imposed our own very personal process(es) on the audio to create sounds that belong to something but also subvert that thing.”, as Klinger states.
This is a robust and thoughtful work of two composers always deeply involved in their game and firmly immersed in its execution. Favourite piece: “Knife”." [MC / Vital Weekly]
|
2021 |
€13.50 |
|
| PBK & TELEPHERIQUE |
Noise-Ambient Connection |
CD |
"Noise music exists for many years, but there are still some individuals who are assiduously following their own approach, avoiding any external influence, creating something new and inspiring to get rid of any standards, giving us
the idea of unique sounding. Phillip B. Klingler (PBK) is the one such musician.
In his 20 years of activity, he walked against the number of noisescapes, painting them over with some secret traces of beauty and beyond. He released some solo works but also collaborations with Dirk Serries (vidnaObmana), Slavek Kwi (Artificial Memory Trace), Asmus Tietchens, Jeph Jerman (Hands To) and even
Artemy Artemiev (the son of famous Russian ANS-synth explorer). PBK proposes premium quality music with manifold edges: some hypnotic ambient pieces, some crazy noise collages, but mostly just unclassifiable abstract sound-sculptures. His early works were released on tapes by his own PBK Recordings label and sold out for many years, in the early 90s N D Records published his first couple of
CDs: endless labyrinths of dissonances, amorphous soundscapes unfolding from the complex schemes of machine improvisation and stochastic processes. Telepherique is the seminal German project existing since the late 80s and exploring the grey area of the electronic underground. The main person behind
it is Klaus Jochim who also was responsible for now defunct tape label Drahtfunk Productions. Besides his own production under various monikers like Technostria and Das Konzentrat, he released some great collaboration tape albums with artists like Brume, Kapotte Muziek, S.Core, Tesendalo, De Fabriek etc.
Telepherique uses a lot of synthetic sound sources and sequences, creating unsettling atmosphere from the structured electronic patterns ranging from intense rhythmic work to creepy ambient out-of-body soundscapes. They got initial support from labels like Ant-Zen and Noise Museum, later released some albums
through Old Europa Cafe, S.S.S.M., Afe Records and Waystyx. The name Telepherique means "funicular railway" in French, but indirectly also the intention gaining a view from a higher level. This particular album is the first ever collaboration between PBK and Telepherique, it represents yet another breakthrough in the
search for a music that is comprehensively exploring 21st century ambient music." [label notes]
www.monochromevision.ru/
|
2008 |
€13.00 |
|
| PEAL GRIM |
same |
CD |
Peal Grim is one of the names of Dmitriy Shilov known for the projects Unknown, Neznamo and Magickal Things. Peal Grim explores the theme of dramatic experiences of the human life using acoustic and electric guitars, overdrive, distortion and spatial effects. Their sound creates clouds of guitar drone, noise and ringing, assuming different shapes in the acoustic atmosphere: sometimes floating like an impenetrable fog, sometimes rolling like a gigantic front of thunderclouds, sometimes creeping over a dark pit of overwhelming melancholia…
These five compositions were recorded over the course of three years from 2007 to 2009 and were mastered by Sergey Bulychiov (kshatriy.pro) in 2014.
"This record is not recommended to listening for depressively inclined persons".
[label info]
"So, this album begins with the caveat: "This record is not recommended to listening for depressively inclined persons." Now, that is far more enticing than "may cause drowsiness" (which has been affixed to less than inspiring new age / ambient records in days gone by) or Pulp's reverse psychology of "Please do not read the lyrics whilst listening to the recordings" or any number of unimaginative variations on "play loud or not at all, motherfucker!" There is also something rather charming about this translation about "depressively inclined persons" which may just be an utterly commonplace trigger warning in the Peal Grim's native Russian. What we have behind this is a pretty fucking bleak album of crumbling, corrosive blackened ambience that actually morphs into an ominously tranquil, making for an album that could be rather soothing in a dark, wintery kind of way. Peal Grim is the work of Dmitry N. Shilov, who has orbited in the pagan neofolk and mystical ambient underground of Moscow for a good part of the last two decades. In spite of this background, this album has all of the feel of the ambient passages from the best of the best black metal albums, making us think that he must have been buzzing riff with corpse paint instead. Nonetheless, this is a densely layered album of skeletal guitar figures that are blasted out in blackened fuzz, while spiralling down a soul-sucking maelstrom with a stately minor key lament throughout all the atmospheric depression. A properly replicated cd in an edition of 100 copies." [Aquarius Rec.]
|
2015 |
€12.00 |
|
| PEPE WISMEER |
Le Stridor de l'Escargot |
LP + CD-R |
... kaléidoscope maîtrisé d’influences éparses et vastes, l’univers très personnel de pepe wismeer désarçonne par son irrésistible beauté et sa mélancolie ambigüe. mêlant rêverie entêtante avec son ambient bizarroïde et délire expérimental psyché sombre, le duo entraîne dans son ballet et en son cœur les fantômes des legendary pink dots, coil, the cure ou même arvo pärt ...
"This is a 1-off pressing of 100 copies on high-quality vinyl, printed labels AND an extra (free) CD-r E.P., with an original photographic insert (numbered by the artist). The LP itself has a special "DJ-confusion" cut (where the track marks do not coincide with the actual tracks themselves) and was done as an homage to Throbbing Gristle's "D.O.A." who pioneered this mischievous tactic around 35 years ago with their own DJ-confusion cut." [label info]
www.chronoglide.com/equation.html
|
2013 |
€20.00 |
|
| PERRY, BRENDAN |
Eye of the Hunter / Live at the ICA |
do-LP |
Out of print since release in 1999, Dead Can Dance"s Brendan Perry"s debut solo album "Eye of the Hunter" is being reissued this summer and has been expanded to now also include his 1993 live show as part of 4AD"s infamous 13 Year Itch week of concerts at London"s ICA, a live show that has to date only been available as a very rare promotional cassette. Having mutually disbanded Dead Can Dance so he and Lisa Gerrard could focus on their own material (a hiatus that would last seven years between live shows and sixteen between albums), Brendan"s debut built on his renown as a solo performer, having often played just he and an acoustic guitar during his band"s otherworldly live shows. Indeed, Dead Can Dance"s first official live album, 1994"s Toward The Within, captures just this with three Brendan solo tracks helping to set the scene for what came next. Backed by the band of Liam Bradley (drums), Glen Garrett (bass guitar) and Martin Quinn (pedal steel), Brendan performs the guitar, a 12-string guitar, mandolin and keys to achieve a rich, gothic sound while the album"s incredible production elevates his vocals to Scott Walker and Tim Buckley levels of delivery; two clear influences, the latter"s "I Must Have Been Blind Here" is thoughtfully covered here. A record that has been out of print on vinyl since its release in 1999, people have been asking for it to be repressed for long enough. Having been remastered at Abbey Road, fans will be delighted to hear that not only is Eye of the Hunter finally being reissued but that it"s also being expanded to include Live at the I.C.A.. A true collectible, this extra album has previously only been available on a rare as hen"s teeth promotional cassette, recorded during the 4AD label"s infamous 13 Year Itch residency at the storied London venue in 1993. Chris Bigg"s fantastic art remains front and centre, upgraded to a gatefold sleeve for the LP with the transparent teal coloured vinyl matching the album"s palette.
https://brendan-perry.bandcamp.com/album/eye-of-the-hunter-live-at-the-i-c-a
|
2023 |
€44.50 |
|
| |
Eye of the Hunter / Live at the ICA |
do-CD |
https://brendan-perry.bandcamp.com/album/eye-of-the-hunter-live-at-the-i-c-a
Out of print since release in 1999, Dead Can Dance"s Brendan Perry"s debut solo album "Eye of the Hunter" is being reissued this summer and has been expanded to now also include his 1993 live show as part of 4AD"s infamous 13 Year Itch week of concerts at London"s ICA, a live show that has to date only been available as a very rare promotional cassette. Having mutually disbanded Dead Can Dance so he and Lisa Gerrard could focus on their own material (a hiatus that would last seven years between live shows and sixteen between albums), Brendan"s debut built on his renown as a solo performer, having often played just he and an acoustic guitar during his band"s otherworldly live shows. Indeed, Dead Can Dance"s first official live album, 1994"s Toward The Within, captures just this with three Brendan solo tracks helping to set the scene for what came next. Backed by the band of Liam Bradley (drums), Glen Garrett (bass guitar) and Martin Quinn (pedal steel), Brendan performs the guitar, a 12-string guitar, mandolin and keys to achieve a rich, gothic sound while the album"s incredible production elevates his vocals to Scott Walker and Tim Buckley levels of delivery; two clear influences, the latter"s "I Must Have Been Blind Here" is thoughtfully covered here. A record that has been out of print on vinyl since its release in 1999, people have been asking for it to be repressed for long enough. Having been remastered at Abbey Road, fans will be delighted to hear that not only is Eye of the Hunter finally being reissued but that it"s also being expanded to include Live at the I.C.A.. A true collectible, this extra album has previously only been available on a rare as hen"s teeth promotional cassette, recorded during the 4AD label"s infamous 13 Year Itch residency at the storied London venue in 1993
|
2023 |
€16.00 |
|
| PETERS, STEVE |
The Webster Cycles |
maxi-CD |
Sehr ruhige, verhallte Trombonen-Drones und Harmonien, zum Teil polyphon überlagert - ein One-Tracker von fast 30 Minuten, der an PAULINE OLIVEROS Endlos-Hall Einspielungen mit Akkorden erinnert. Beeindruckende Weite wird geschaffen, so entspannt und doch kraftvoll...
"The Webster Cycles, a somewhat open-ended piece for any combination of wind instruments and/or voices, allows for a good bit of decision-making and improvisation on the part of the performer(s). In the present recorded version, six trombone parts were performed (via overdubbing) by noted composer/performer J.A. Deane. The result is a beautifully coherent yet ever-changing music that slowly shifts its texture and harmonic focus as if its individual parts were refractions of a giant aural prism. The wonderful, subtle inflections and tonal shadings that Deane brings to each phrase imbue the piece with a vibrant, palpable sense of energy and motion. The piece's score is constructed from a selection of words drawn from a Webster's dictionary. The words become pitch sequences or melodic phrases that are to be played within the duration of a long breath. These sequences are grouped into seven sections, which the performer(s) may perform in any order they wish while maintaining the internal order of phrases within each section."
"Deane is a soulfully expressive musician and, despite the calm and coolness of Peters's music, his interpretation has immediate emotional appeal as well as seductive depth." [Julian Cowley, The Wire]
www.coldbluemusic.com
|
2008 |
€9.50 |
|
| PETIT, PHILIPPE |
Henry: The Iron Man |
LP |
"I first head Philippe Petit's Henry the Iron Man on WFMU in March of 2010 while driving through the meadowlands on the New Jersey Turnpike. The air was freezing and the sky a depressing cement gray. The music perfectly matched the frozen, decimated landscape. Then, as I took the exit ramp to the even more decrepit route 1 &9, the mood shifted, and I was lifted out of the darkness. Some sort of transformation was taking place, and the bleak numbness of winter soon gave way to hope and the strange feeling that Philippe and I would work together soon.
Fast forward to December 2010. Philip was now on Aagoo records and I was playing the test pressings of Henry. The same surprise and wonder that I had felt on the New Jersey Turnpike surfaced once again. Where do the manipulations start and stop? Is that popping sound Philippe's tweaking or dust on my cartridge? I was left guessing whether to approve the tests or not; and for me, this uncertainty is part of the pleasure of hearing the record.
Philippe’s work on vinyl informs both his creative process and the final product itself. He captures the accidents caused by vinyl manipulations and shapes them into sonic sculptures—creating order from a sum of circumstantial parts. The physical texture of the vinyl album also gradually changes over time. With each repeated listening, Philippe’s album gathers the patina of age. The cracklings become warmer, the sounds become altered, and the album’s identity evolves with every revolution of the plastic disc. My guess is even if your turntable is falling apart this record will be fun to play." [label info]
www.aagoo.com
|
2011 |
€13.00 |
|
| PG.LOST |
Oscillate |
LP |
"Hier ist Oscillate von PG.LOST - das neue Album der Band, welche pures Drama und Katharsis lebt. Ihr fünftes Werk - das erste seit dem erfolgreichen 2016er Versus - braucht mit ausgeprägtem Verständnis von Spannung/Entspannung einen Vergleich mit Mono, Explosions in the Sky und Godspeed You! Black Emperor nicht zu scheuen. Mit Einflüssen, die von der emotionalen Wucht von Big Thief über den erfinderischen Geist des Krautrock bis hin zur Brutalität von Neurosis und dem dunklen Experimentalismus von Coil reichen, verflechten sich diese schwereren Elemente und öffnen sich in der Weite gar bis Fennesz oder Tim Hecker. Eine neue Ausrichtung, welche eine schimmernde Schönheit und Tiefe enthüllt, wie sie in der heutigen überkomprimierten und überproduzierten Version "moderner" Musik selten zu finden ist. Das Titelstück beginnt mit einer blühend dunklen Ambientpassage, ein aufsteigender Gitarren-/Synth-Part, der die Spannung aufbaut bis die endgültige Befreiung durch einem großen Refrai und gigantische Wellen von Gitarrenklängen erreicht wird. Oscillate steht exemplarisch für das Album als Ganzes - massiv im Umfang und noch größer im Klang. Das Album wurde im eigenen Studio aufgenommen und von Magnus Lindberg von Cult of Luna gemischt und gemastert. Souverän in der Ausführung ist Oscillate höchstdramatischer Bombast und ein gewaltiger Schritt vorwärts für die Band - vier Jahre warten haben sich gelohnt. Für Fans von Mono, Explosions In The Sky, Mogwai, Cult of Luna, EF, Caspian, Russian Circles, Envy * Limitierte Single Colour White Vinyl-Version! * Band Info: PG.LOST wurde 2004 in Norrköping, Schweden, gegründet und besteht aus Mattias Bhatt, Martin Hjertstedt (ex- Ghost), Gustav Almberg (The Great Discord) und Kristian Karlsson (Cult of Luna). Auf der Suche nach einem einzigartigen Klang und der Liebe zu Post-Rock, Ambient und Shoegaze mit einem Hang zum Post-Metal, veröffentlichte die Band 2006 und 2007 ihre selbstbetitelte sowie die Yes, I Am-EP.2008 veröffentlichten PG.LOST ihr Debutalbum It's Not Me, It's You! Es folgten In Never Out, Key, die Split-LP mit Wang Wen und zuletzt Versus. Line Up: Mattias Bhatt: Gitarre, Martin Hjertstedt: Schlagzeug. Gustav Almberg: Gitarre, Kristian Karlsson: Bass"
Trapped in a cavern, it’s pitch black and the air is getting harder and harder to breathe. Disoriented, hands follow the walls to find what could be the ceiling, fingers digging into the rock to find something– anything– loose to help point toward a direction out. Suddenly, a rock frees itself and after clearing away some dirt, a pin of blinding light shines through the enveloping darkness. Clearing away soil and rock with more and more vigor, hope and salvation is just a short way from here.
This is PG.LOST’s Oscillate– the band’s latest LP packed to the gills with pure drama and catharsis. Their fifth overall and first effort since 2016’s much lauded Versus, Oscillate leans on an instrumental approach and while their keen understanding of tension/release may warrant comparison to the likes of MONO, Explosions in the Sky and Godspeed You! Black Emperor, PG.LOST is unafraid to move into exciting new directions. With influences that range from the emotional heft of Big Thief to the inventive spirit of krautrock to the brutality of Neurosis to the dark experimentalism of COIL, these heavier elements intertwine and open up into wide-eyed expansiveness of Fennesz or Tim Hecker, revealing a beauty shimmering underneath and a range of depth rarely found in today’s over-compressed and spit-shined version of “modern music.”
In making the new LP, PG.LOST opted to keep it simple and follow their gut. “On the previous records we have always tried to make it very basic and clean when it comes to production, not too many overdubs or add-ons,” reveals bassist Kristian Karlsson. “This time was more about not thinking about that at all. We don’t try to over analyse our records– it always starts with one or two songs and they often set the mood of the rest of the writing process.I think this album has more layers to it– you hear new things every time you listen. We’re really looking forward to hearing what the listeners think.”
Kicking off with a blossoming dark ambient passage on the title track, an ascendant guitar/synth part builds tension until final release is achieved with a massive chorus, waves of eye-opening guitars and elephantine tribal drums. It’s emblematic of the album as a whole– massive in scope and even larger in sound, Oscillate is the true definition of its title with incredibly tense swells to the point of collapse leading to a slow but pensive disintegration. And again. And again. Oscillate is not just instrumental music, it’s cinematic– it’s high drama, executed in IMAX with a pristine soundtrack blasting at 120db.
Due in November via Pelagic Records, the LP was recorded by the band in their own studio, and mixed/mastered by Magnus Lindberg from Cult of Luna. In creating the LP, the only hurdle seemingly was an internal one and making efficient use of individual scheduling. “When we formed the band we spent almost every night in the rehearsal space,” recalls Karlsson. “Nowadays we only rehearse for tours or when we plan to have writing sessions for example upcoming records. It is not as spontaneous as it used to be, but I think it forces us to really make the best out of it when we do see each other.”
Founded in 2004 in Norrköping, Sweden, PG.LOST is Mattias Bhatt, Martin Hjertstedt (ex- Ghost), Gustav Almberg (The Great Discord) and Kristian Karlsson (Cult of Luna). Formed in pursuit of a singular love of post-rock, ambient and shoegaze with a bent towards post- metal, the band released their self-titled and the Yes, I Am EPs in 2006 and 2007. From there PG.LOST dropped their 2008 LP It's Not Me, It's You! quickly followed by 2009’s In Never Out, Key, the Wang Wen split LP and Versus followed in 2012, 2013 and 2016 respectively.
Sovereign in execution and mammoth in scope, Oscillate is ten tracks of pure dramatic bombast and a massive step forward for the decades-old band. The four years away have been worth it.
https://pglost.bandcamp.com/album/oscillate
|
2020 |
€34.00 |
|
| PHAENON |
Submerged |
CD |
Debut-Album eines neues polnischen Dark Ambient-Projekts, extrem kosmisch, spacig und dunkel, rauschend & unendlich weitläufig hallend... ein one-tracker von über 65 Minuten, Anklänge an YEN POX, INADE, AMON... absolut kontemplativer Space-Sound...
"With the debut release from Phaenon, it is immediately evident a heavyweight has arrived. The brainchild of Polish born, but current Maryland resident, Szymon Tankiewicz, Submerged is a dark ambient tour de force. Visually and sonically enveloping, this is an album of space and texture, slowly revealing a psychoactive soundscape of majestic, arcing timbres, circadian buzzes, and expansive drones. Heavy, and cosmically weighty in the beginning, Submerged evolves into something more minimalist and serene, radiating a celestial beauty, yet becoming even more bleak and suffocating as it progresses over it‘s 66 minute time frame. Experienced from start to finished, there’s a palpable sense of drifting and drowning, of being carried away into an endless, interstellar vacuum. An exciting new project, and a must for dark ambient purists. Check out Phaenon‘s myspace page for excerpts of new works at www.myspace.com/szymontankiewicz, as well as the Malignant myspace page for an excerpt of Submerged at www.myspace.com/malignantrecords. In stylish 6 panel digipak, artwork by K. Enderlein (LOKI), mastered by Thomas Garrison..." [label info]
www.malignantrecords.com
|
2007 |
€13.00 |
|
| PHARMAKON |
Bestial Burden |
CD |
"Four days before New York noise musician Margaret Chardiet was supposed leave for her first European tour as Pharmakon, she had a medical emergency which resulted in a major surgery. Suddenly, instead of getting on a plane, she was bedridden for three weeks, missing an organ.
“After seeing internal photographs taken during the surgery, I became hyperaware of the complex network of systems just beneath the skin, any of which were liable to fail or falter at any time,” Chardiet said. “It all happened so fast and unexpectedly that my mind took a while to catch up to the reality of my recovery. I felt a widening divide between my physical and mental self. It was as though my body had betrayed me, acting as a separate entity from my consciousness. I thought of my corporeal body anthropomorphically, with a will or intent of its own, outside of my will's control, and seeking to sabotage. I began to explore the idea of the conscious mind as a stranger inside an autonomous vessel, and the tension that exists between these two versions of the self.”
Consumed by these ideas, and unable to leave her bed, Chardiet occupied herself by writing the lyrics and music that would become Bestial Burden, the second Pharmakon LP for Sacred Bones Records. The record is a harrowing collection of deeply personal industrial noise tracks, each one brimming with struggle and weighted with the intensity of Chardiet’s internal conflict." [label info]
www.sacredbonesrecords.com
|
2014 |
€14.00 |
|
| PHELIOS |
Human Stasis Habitat |
CD |
"After two outstanding CDs on Malignant Records, Martin Stürtzer returns with his new PHELIOS album ´Human Stasis Habitat´. Its predecessors opened the gates to a transcendent journey with huge sound walls of cosmic doom and ritualistic percussion; the new album moves deeper to the core from which the monolithic audio sculptures of PHELIOS rise. ´Human Stasis Habitat´ is a constant maelstrom of sound waves utilising majestic and ominous dronescaping, underlaid by intense bass tones and loaded with echoes. These add a vast emptiness to the textural darkness, enlarging its stoically cosmic aura in the most splendid way. It is the perfect soundtrack for an aural journey far beyond the Earth and our imagination, into the deepest spaces where the dark is light enough." [label info]
www.loki-found.de
|
2016 |
€13.00 |
|
| PHILLIPS, DAVE |
Sixth Mass Extinction |
LP |
"black vinyl lp in embossed sleeve, edition of 300. comes with a free 8 page newspaper featuring articles that offer a broad view of what homo sapiens has achieved in terms of coexistence and in taking care of its home.
1.
Things Falling Apart 21:12
2.
Radical Hope 20:12
about
things falling apart - composition for three PA’s (stereo version):
the original 6 channel piece was commissioned by bad bonn kilbi festival düdingen switzerland 2018.
radical hope - live action (studio version):
this incarnation of live action was initiated in january 2016 and has developed since. triggered by a broken heart, it’s a critical analysis of subjective behaviourisms, self-reflections, self-criticisms and conclusions thereof. the subsequent translation of derived intentions into ritualised actions include purging, activating learning and healing processes, self-betterment, empowerment and hair-burning. has since morphed into a piece about the relationship of the human as a species with planet earth as a cherished entity, such as a loved one, a friend, a partner, a companion, a parent or a family member, a home or an origin.
all audio by dp. decomposed may to november 2018 for schimpfluch. mastered by riccardo mazza. artwork by brett wagg using photos by dp.
https://totalblack.bandcamp.com/album/sixth-mass-extinction
Dave Phillips INTERVIEW by CHAIN DLK
( By Vito Camarretta - August 11, 2021)
dave dp phillips long story short
fields of re/search: existences and behaviourisms humanimalistically. works that oppose the omnipresent restriction and reduction of life and living, that activate primordial shared emotions otherwise hidden under the debris of civilization, inviting rumination, encouraging intervention, endorsing catharsis, liberating, cleansing. therapeutical stimulation is acknowledged. sonic activism, ritual protest music, humanimalism
methods: audio de/construction, composition, sonic rituals, psycho-acoustics and performance
tools: voice, body, fieldrecordings, electronics, objects, video
reason for this interview: his recent release “to death” (7th July 2021, Misanthropic Agenda)
enjoy the reading!
Chain D.L.K.: Hi Dave! How are you doing?
Dave Phillips: Quite alright. I moved house earlier a month ago, I’m settling in…
Chain D.L.K.: I heard you recent ‘to death’ and I honestly think it’s a listening that I would likewise honestly recommend in this historical stage… but before focusing on it, even if those well-informed readers of our zine, whose memory has not been reset yet, don’t really need any introduction, how would you introduce yourself, your sound art and its direction(s)?
Dave Phillips: Puh. Well. My music is rather free, abstract, “cinematic”, and personal. It sounds more organic than it does electronic. What I seek in sound/music is altered states of consciousness, states of trance and liberation, cathartic and purging kind of highs, some sort of elevation. Sound for me is communication, so I like it to have some sort of narrative, intentionality, something shared. I’m interested in the effect of sound as much as its aesthetic form. Sonically I’m inspired by contemporary (classical) composition, the sounds of insects, traditional music, improvisation/free music, bass music, as much as the energy of radical punk and metal. Literature is a big inspiration too. My sound work is often accompanied by topical contexts that touch on environmental and existential issues but are more driven by the interconnectedness of things, the thing that some call chaos, this enormous ecosystem that we are a part of, the kind of free life that is uncontrollable and beyond our systems of control or scientific measurement or language. I call my music “ritual protest music” – I protest against the reduction and restriction of life – I describe my way of approaching sound as “sonic activism”. Uhm, long “introduction” but there you go…. just open ears…
Chain D.L.K.: The last outputs I vividly remember of yours, who reached somehow my desk (I often don’t know how or why some sonic entities reach my desk, besides the fact someone delivers them to my mailbox), has been a super limited split with Emerge on Nazlo, that was a tribute to Dmitry Vasilyev. Have you ever met him? Which tracks did he leave in your memory?
Dave Phillips: I met Dmitry Vasilyev a bunch of times. The last time was in September 2018 when Dmitry had organized a tour for me and emerge in Russia. We met in Sevastopol before embarking on a tour together. The day before our tour began, we went swimming in the Black Sea and Dmitry drowned. The tape you speak of is a reaction to that tragic loss. Dmitry’s enthusiasm for and energy invested in experimental music was amazing…
Chain D.L.K.: I have to amend… There’s also a CD from Attenuation titled ‘Post Homo Sapiens’, but I honestly haven’t unfolded it yet… What a shame! Can I get excused for that? What should I expect?
Dave Phillips: Of course! Post Homo Sapiens imagines a world where insects and plants rule.
Dave Phillips imagephoto courtesy of Jesse Newman
Chain D.L.K.: I enjoyed the reading of some of your texts (ref: https://www.davephillips.ch/texts), the last of which includes many interesting and praiseworthy ecologist thoughts and reflections, but it dates back to 2015. Are you writing some new text for the recent evolution of human history?
Dave Phillips: “For the recent evolution of human history”, haha. Besides writing, I collect and present texts too, and my texts sometimes take from articles and books that touch me. For the “sixth mass extinction” LP (2019) I collected a bunch of articles that together offer a picture of how humans are doing in terms of coexistence with other beings on this planet. It’s probably no surprise that we’re not faring very well – what we seem to be good at though is causing mass extinction and destruction. Said articles were accompanied by a profound text by professor Jem Bendell on “navigating climate tragedy”. For an upcoming split with sist en 343 called “thinking future coexistence,” I used a text by Charles Eisenstein on what happened since corona blessed us – this should be out in the autumn. I am supposed to write something for an upcoming compilation, but I haven’t got there yet…
Chain D.L.K.: So let’s go back (or forward) to ‘to death’. I remember the words of a Tibetan monk on this subject, who said that we have to notice that when a baby comes to life cries, and we smile, when a person comes to death (let’s say so) sometimes has a smiling expression on his/her face, while we cry. Is this somehow ironic viewpoint close to the meaning of death you were referring to on your last release?
Dave Phillips: Yes, very much so! Accompanying my father on his last journey was a profound experience that demystified death to an extent where it mostly wasn’t this “horrible thing” that people often seem to associate with it, but something quite different…. somehow magical, often peaceful and serene – my father was smiling a lot as he lay dying – and also somewhat unbiased, more to do with “life (in all its stages) never fails to amaze me”, where often opposing angles together make the whole.
Chain D.L.K.: I think that most of the weirdest consequences of this likewise weird pandemic crisis can be interpreted by using the filter of human fear of death. How did this situation influence your ‘to death’?
Dave Phillips: I was living in such intense reality bubbles at the time of the pandemic that the pandemic itself seemed to be happening on a side-stage, it didn’t seem to have that much impact on me. In hindsight, though, I realize it played into my perception more than I acknowledged. It affected my perception of the world. The slow dying of my father seemed to go hand in hand with the dying of something that somehow defines us as humans, as we grow more and more separate and distanced from one another and from purpose and freedom – as we have from the “natural world” at large, a separation that we are imposing on us more and more. That’s a slow dying. I mean, the empire is failing and falling, it will crash, no doubt, it’s just a question of when and how. And it sure won’t be pretty. People, please remove your filters!
Chain D.L.K.: I also enjoyed the fact that in the title, there seems a first part missing. You can expect an ‘Hymn to death’, an ‘Ode to death’ or even a ‘Yell to death’! But it’s as it is… just ‘to death’! How did you draw inspiration for it? I read it was somehow related to your father’s last moments (of course you have my deepest sympathy).
Dave Phillips: Thank you. Yes, it’s mainly inspired by my father’s illness, which was devastating and my being his carer for the last 15 months of his life. I witnessed his person being eaten away by disease – in a way, he was gone before death gave him peace. At the same time, I found myself in a role that made sense on so many levels, and somehow I managed to pull it through – I’m so glad I did. Taking care of the old is like taking care of the young, is like education, is like a purpose in life – outsourcing that to a paid service or a job or some system is missing out on profound experiences, on things essential, maybe on things that define us as animals or mammals or tribal beings. Something that teaches more than schools or universities can, but also demands more. So really it’s more about the journey, the path, the story of accompanying someone all the way “to death” and all that it sets free. My father’s wish was to die at home, and I’m glad that my siblings and I made that wish come true.
But this journey also leads to other related topics. There are many readings of the title. The ode/hymn “to death” is certainly in there, probably poking at the wish to demystify death as the huge taboo that it still is. the title also addresses what we’re doing to planetary life – to plants and other animals. Thus, also what we’re doing to ourselves: when I view my father’s disease in a global context, it’s a common cause – nowadays. The main causes of death in our times show us how sick our allegedly “civilized” way of life makes many of us. So much human waste. We are “civilized to death”. And then there’s what this is all doing to us emotionally and existentially – areas where many of us seem more dead than alive, where we merely function and follow rules. The slow death of human potential through our educational systems and through our imposed “normality” is part of that. The death of freedom through total control of life, as per recent events. I mean, life IS uncertain – that’s the exciting part, isn’t it? All our puny attempts to create “safety and security” are laughable if they weren’t so devastating in what they actually do to us – but we’re like animals born in captivity. Our established political and economic systems seem rather dead too – I mean, an economy that functions linearly is just grossly inadequate for a world and lives that happen in cycles. So there are many paths and pointers “to death”. I can also turn it around: if death is the only certainty in life, then a tribute to death is a celebration of life!
Chain D.L.K.: What are the reversed words in the opening ‘A Cycle Completed’ to say?
Dave Phillips: The tone matters more than the words. What do you hear?
Chain D.L.K.: Death is maybe the aspect of existence that keeps the strongest taboos still on. Do you agree with such a statement of not?
Dave Phillips: Yes, that’s also why I wanted to make an album that demystifies that, that steers us away from this taboo, from this conditioned denial or shame, this refusal to face all aspects of existence. I wanted to describe death as what it is, part of a cycle as natural as birth, something to encounter and to know, not something to primarily fear. On the contrary, I feel the awareness of death is one of the driving forces of life, it brings out deep emotions which frankly make me feel very alive. Death the experience has many beautiful aspects to it, at least in my experience. To reduce death – or this album – to just something “dark and scary” is merely scratching the surface – it’s looking away. If we could include death in the bigger picture as something normal, we may enjoy more freedom in our lives…
Chain D.L.K.: That piercing scary and somehow beastly scream on “To Death We All Go, The Sooner The Better”… how did you grab it, if it can be said?
Dave Phillips: I often start a recording based on notes I made or impulses, ideas about sonics, and sentiments. The tape starts running and… I try to put these sentiments into sound, and then… often things happen, I get carried away…. I go places, I enter different states of being, it’s like I travel like I’m somewhere else. Then sometime later, thump, I land again, it’s like I’ve returned from far… and sometimes it even translates onto tape ;o)
Like this album. I didn’t plan to do something about this particular topic, or about my father. I had a bunch of ideas noted, things I wanted to work into, but nothing like “to death”. Then I started recording. It was like a trance. It just poured out of me. The basic recordings happened within about ten days, basic structures of pieces were completed the following week. When I started listening back to what I had done, I was surprised. Then I realized what it’s about…
Chain D.L.K.: Paraphrasing and quoting the title of one of my favorite tracks of the album, what’s the real catastrophe you wanted to represent or maybe exorcize?
Dave Phillips: “The real catastrophe is that humanity continues”. It refers to the coronavirus and a reason why it might’ve appeared. I mean, we humans have vastly overpopulated this planet, and we are a very sick civilization, we’ve taken a couple of wrong turns too many, and we’re destroying not only our home but also that of all other inhabitants and them with it. It’s time we became extinct, or at least drastically reduced in numbers. We, humans, are the catastrophe… haha… it’s somewhat tongue-in-cheek, my sense of humor, though I reckon part of me means it ;o)
Chain D.L.K.: Is there any moment of ‘to death’ that you want to keep deliberately indecipherable?
Dave Phillips: Honestly, I try to be transparent with all that I do. My intentions, sentiments, feelings, it’s all there really. I don’t try to be cryptic or mysterious. On the other hand, it’s very subjective – I’ve put things out into the world that I thought were obvious and then find myself surprised by very different interpretations. So in this work, there are wordings, for example, that are only my own words for this particular moment, this context, they are subjective and not telling in terms of a narrative, so they needn’t be clear, they are only relevant in terms of opening spaces, it’s your own words or sentiments that take you through those spaces, and that’s fine.
Chain D.L.K.: Any plan to lend or adapt ‘to death’ for other forms of art (theatre or video art maybe)?
Dave Phillips: Not for now. The way this album poured out of me, the way it happened, this format is quite right for now. Emotionally, I’m quite elsewhere now anyway, also thanks to having this album happen.
Chain D.L.K.: Any work in progress?
Dave Phillips: Always :o) I’m currently finalizing two pieces for a 7″ for a young Portland label, and a comp track, but there are other pots cooking too…
Visit Dave Phillips on the web:
https://www.davephillips.ch/about
https://dave-phillips.bandcamp.com/
https://soundcloud.com/dave-phillips
vimeo.com/davephillips
|
2019 |
€20.00 |
|
| PHURPA |
Rituals of Bön II |
LP |
"Phurpa is an extraordinary artistic and cultural project, not only on a European scale. For years, its members have been exploring the traditions of Bön – the magical practices of ancient Tibet, Iran and even Egypt, and they take it closer to their listeners.
A year ago the first volume of “Rituals of Bön” was released on vinyl. Zoharum now presents the second volume of this series, based on the recordings from the Moscow gigs where Phurpa performed magic shows lasting up until a few hours. The participants would certainly confirm that they are a highly intensive ritual in which both the band and the audience participate.
As in the case of the previous LP, the second part of the series presents the sacred aspect of the Russian troupe’s activity. It’s more than 40 minutes of shamanic trance. Just like the first volume, this edition on black vinyl is strictly limited to 300 copies."
www.zoharum.com
|
2017 |
€20.00 |
|
| |
LTA ZOR |
LP |
Zoharum is proud to present another ritual recording by Phurpa brought to you on beautiful 180g vinyl. After Rituals Of Bon I & II, “Lta Zor” is the third installment of mysterious Russian duo on Zoharum.
If you ever had the opportunity to experience Phurpa live you know how overwhelming experience this is as this is not a gig. This is a ceremony in purest sense of word. Overtone singing piercing through your mind and soul creating vibration that penetrates every cell of your body, occasionally accompanied by traditional Buddhist instruments (some of them made of human bones) all veiled with dense smoke of incense. This is what “Lta Zor” is like. It’s a spiritual transfer enclosed in an album format. This is the power of human voice. This is the power of sound.
Album mastered with care by Natt comes on 180g LP limited to 300 copies
https://zoharum.bandcamp.com/album/lta-zor
"And so, Phurpa are back. Like Russian Cenobites stepping slowly from the shadows and wreathed in a thick fug of juniper smoke, they are here once more to bathe us in their power and resonate our chakras in sympathy with the universal vibration.
For those not already familiar with Phurpa’s low-end majesty, they are a “roving monastic choir” from Moscow, led by the enigmatic Alexey Tegin and comprising a slowly-revolving cast of participants. Importantly, they are also devotees of a schismatic form of Bön, the ancient shamanistic spirituality of Bactria, in Central Asia.
Their music is a reflection, or probably more accurately an expression, of these beliefs, a transfer of spiritual energy and meaning shaped in sound and given form through a style of overtone singing called rgyud-skad, or “tantric voice”, all supported by an array of traditional Tibetan instruments: the dungkar (a horn made out of an enormous conch), the dungchen (a three-metre-long horn / trumpet), the silnuyen (flat cymbals), the nga (a double-sided drum), the damaru (a drum made from human skulls), the kangling (a human thighbone trumpet), the shang (a Bön tambourine) and an assortment of other cymbals such as the rolmo.
Powered by their physical and mental commitment both to Bön and to its musical embodiment, Phurpa are a band who do not dabble in half measures. Not only is their musical practice intense, but their life and lifestyles, their whole approach to physicality and mentality, are all tailored towards supporting the essential performance of the rites of Bön. This extends right down to the exercise and diet regime, Tegin once stating that:
There is power in food. If you want to feel wild like a tiger or shark you need raw meat, maybe a little salt and pepper. I like horse meat, in Moscow this is possible. When you eat it, there is fire inside you. Sometimes your body says ‘stop fire’, then you drink yoghurt. This is for PHURPA, action aspect – if you instead want information from space you drink only water and eat vegetables.
And so, like their namesake Phurpa Drugse Chempa, the God of resolved action, Phurpa’s live shows are more ceremony than gig per se, combining the hypnotic and transformative power of the music, with ritual, darkness, costume and smell. This is very much a Gesamtkunstwerk designed to overcome and still the restless conscious mind and allow the body to open up and receive the liturgy unmediated. In the correct setting and with the right approach, as Tegin explains, “if doctrines are powerful enough, they’re universal and can settle in other cultures”.
LTA ZOR captures one such ritual, spread across two dense, intense twenty-minute slabs of performance. And as with all such live moments transferred into the recorded medium, it pays dividends to approach it in the right way: put on some headphones, turn off the lights, lie on the floor. If you want to burn some heavy, musky incense whilst you’re about it, I think Tegin would probably approve. And a horse meat dinner beforehand? Well, that’s at your discretion.
Part I is almost entirely vocal driven, the mesmeric tones of aural energy pulsing with power, battering themselves slowly against your consciousness like a siege engine. When listening to this, I closed my eyes and decided to ponder the illustration given to explain the duration of the kappa, the Buddhist eon: “Suppose there were a city of iron walls one yojana (about 15km) in length, one in width, one yojana high, filled up with mustard seed. Therefrom a man were to take out at the end of every hundred years a mustard seed. That pile of mustard seed would in this way be sooner done away with and ended than an eon.” That is scale on which it seems fitting to imagine Phurpa’s resonances and messages.
Part II begins with a startling flurry of horn before giving way to an eerie passage of low drones and deep drum hits – for some reason redolent to me of the quiet yet foreboding shots of the Nostromo travelling in deep space at the beginning of Alien – and thence a collision of voices. This really is Phurpa at their absolute best, organic, acoustic, yet with such controlled power, operating at frequencies to which the body, however swaddled under the vestments of the modern world, cannot help but respond.
The voice and the drum are the primal instruments; they were our modes of musical expression before we even had language or the written word, and thus, when we attune ourselves to them, we can travel back into our own deep time. This is, I think, more than anything Phurpa’s message.
Given that none of us are likely to be getting back into a live venue again any time soon, LTA ZOR is the closest anyone will get to seeing Phurpa’s incredible ritual in the flesh for now. With our enforced focus inwards during these times, turn that from a necessity into an opportunity and embrace the power of Bön."
[David Solomons / FREQ] |
2020 |
€20.00 |
|
| PICCHIO DAL POZZO |
Abbiamo tutti i suoi problemi |
CD |
Wiederveröffentlichung der zweiten (und letzten) LP von 1980 von dieser legendären italienischen ProgRockExperimental-Band, die komplexe und unerwartete Arrangements und Strukturen, perfekt eingespielt, nur so aus dem Ärmel schüttelten... Anklänge an HENRY COW, ZAPPA, etc..
"One of the most original, impressive and highly respected of all the experimental groups to have come out of Italy in the 1970s, Picchio dal Pozzo were also one of the early invitees to the canonical 'Recommended Sampler', and would have been in RIO, had RIO lasted another year - and had the group not folded up and disappeared before anyone had realised it was there. In the last decade the record was reissued briefly in Japan, then It disappeared again. We have now re-mastered it and put it back into the public domain, where it belongs. Copying no one, though there is some Zappa influence - Picchio had a unique and highly developed style of composition that was not only out of step with it's own time but which sounds contemporary still. Highly composed and devoid of jazz phrasing and riffs with solos, this record achieves maximum musical effect with minimum instrumental means through close attention to timbre, dynamics and expressed tempi and a kind of deep complexity that sounds simple but changes with each listening. A lot of ideas subtly developed - rather than experimented with; a one-off classic." [label description]
|
2006 |
€14.00 |
|
| PICK-UP |
From here to anywhere |
mCD-R |
"Pick-up is a new duo of Martin Luiten (Girlfriends, Uw Hypotheek Advies) on guitar and Frans de Waard on laptop. Two gorgeous pieces of digital blues? Well, whatever. Forthcoming is a LP on Important Records and one on Plinkity Plonk." [label notes]
www.kormplastics.nl/moll
|
2008 |
€5.50 |
|
| PILIA, STEFANO |
Spiralis Aurea |
do-LP |
Venturing into untapped realms of creative exploration, the Genoa born, Bologna based, guitarist and electroacoustic composer, Stefano Pilia, returns to Die Schachtel with a double LP of material that intertwines traces of sacred geometry, collective experience and elusive connections between nature and human kind. “Spiralis Aurea” encounters the composer venturing into unchartered waters, exploring notions of spirituality via a body of twelve compositions, recorded in various combinations with a cast of all-star instrumentalist; Alessandra Novaga, iosonouncane, Silvia Tarozzi, Mattia Cipolli, Ensemble Concordanze, Elisa Bognetti, Enrico Gabrielli, Valeria Sturba, Giuseppe Franchellucci, Adrian Utley, and Cecilia Stacchiotti.
The roots of “Spiralis Aurea” rest within Pilia’s longstanding, personal engagement with the spiritual and an epiphany had during a visit to the Futa Pass cemetery, the resting place for German soldiers killed in Italy during the Second World War. Deeply moved, he reflected on the profound meanings laying below geometry of its design; “a place"crossed" by thoughts about the landscape, history, symbols, rituals. A work offering a reflection on life and death. A prayer for the living and the dead.”
Drawing its title from the Golden Spiral - also known as the golden ratio, golden section, golden mean, or divine proportion - a mathematical formula and geometric form that has maintained both mystical and creative significance for millennia, each of the 12 works that comprise “Spiralis Aurea” began with a figure or process that is both geometric and symbolic, drawn by Pilia, that slowly translated into tangible organizations of sound.
Displaying a deep resonance with works by La Monte Young, Arvo Pärt, Pauline Oliveros, Eliane Radigue, Krzysztof Penderecki, and Terry Riley, that have witnessed trajectories of experimental music delving toward the spiritual, divine, and metaphysical, Pilia’s “Spiralis Aurea” culminates as a series of sonic meditations, leaving room within their spacious forms to encourage active listening. Calling up echoes of ancient musics within their optimistic, forward thinking tones, across various arrangements of instrumentation - double cello quartet and bass, horns quartet and bass organ, string quartet, string quartet and organ, cello quartet, solo organ, cello solo and synthesizer, electric guitar quartet, guitar quartet and synthesizer, piano and violin - Pilia sculpts a striking intersection between acoustic and electroacoustic process, drone, and chamber music, harnessing the literal and abstract in search of order and higher meaning within a chaotic and uncertain world.
Overwhelmingly beautiful, conceptually rich, and marked by a profound sense of emotive tension, Stefano Pilia’s “Spiralis Aurea” is issued as a pure gold double vinyl LP in a limited deluxe edition of 250 copies, housed in a beautiful sleeve designed by Bruno Stucchi-Dinamomilano, painstakingly letterpress printed with a 1915 German press machine with a hand-painted and applied gold foil shining on a rust-coloured materic paper of Franciscan inspiration.
https://dieschachtelrecords.bandcamp.com/album/spiralis-aurea
|
2022 |
€45.00 |
|
| PIMMON |
Secret sleeping birds |
CD |
PIMMON-Werk auf dem portugiesischem SIRR-Label, ambienter, melodischer und orchestraler als gewohnt, aber auch mit weirden Collagen/ Loop-Stücken, den Markenzeichen-digital-Effekten und und und...wie immer kaum kategorisierbare, abwechslungsreiche, überraschende NEUE Experimental-Musik.
“ a new work from this sidney-based sonic sculptor. birds are the leitmotiv for an involving and warm listening experience. a mastery of intertwining, beautiful melodic lines, densely layered, rich tones and granular surgery. Pimmon demonstrates in this disc why he is considered "one of the best". [press-release]
www.sirr-ecords.com |
2005 |
€8.00 |
|
| PIMMON / JAMES PLOTKIN |
split |
12 |
"Endlich haben wir diesen Split-Release aufgetrieben – JAMES PLOTKIN erzeugt auf 3 Stücken auf seiner Gitarre ungewöhnliche Klänge, helle repetitive Klickmuster und Flächen, sowie fast schon Maschinenloops, die kaum noch an das Ursprungsinstrument erinnern... Mr. PIMMON dagegen kommt mit rein digitalen Mitteln zu ähnlichen Atmosphären, wobei er jedoch noch wesentlich abstrakter tönt... tolle Platte, nummeriertes, mit Löchern durchsiebtes Cover, Spielzeit einer LP !"
this is something you definitely NEED if you are searching for something unusuable ! JAMES PLOTKIN creates with his guitar on 3 pieces very unusual guitar-sounds, bright click-patterns and soundfloor and something like machine-loops, that nearly don’t remind anymore to the original source. Mr. PIMMON uses pure digital means and reaches similar atmospheres, but sounds much more abstract.. great records, comes in a numbered cover with holes.. plays as long as an LP !" [Drone Records info 2000]
|
2000 |
€10.00 |
|
| PINTO, JOAO CASTRO |
Suntria - Imaginal Sonotopes |
CD |
"Suntria is a soundscape composition orchestrated, fundamentally, through the use of audio fragments captured from distinct locations of Sintra’s forest, near Lisbon, Portugal.
Since remote ages, Sintra’s mountains (in Portuguese, Serra de Sintra) are known as locations of worship and devotion. It is reputed that the Celts, Visigoths, Moorish and Romans were among the people who inhabited and praised these oneiric landscapes before the Lusitanos (the later Portuguese). Throughout the years, Sintra had different toponyms, it is said that the Celts referred to it as Cynthia (meaning the devotion of the moon). It is also given that some Greek and Latin scholars state that Sintra was also denominated as Mons Sacer (Sacred Mount). Ptolemy and the Romans called it Mons Lunae (Mount of the Moon) and, during the Moorish rule of the land, Sintra was denominated as Zintira, Chinra, Xintra, Sentra, until, finally, it was, before its actual designation, named Xentra. From the etymological study of the term there is a curious, but controversial, medieval designation from each Sintra is thought of being derived – Suntria. This possibility presents itself as problematic. The medieval origin of Suntria is supposed to have been derived from the Indo-European (meaning Sun or Luminous Astro). This denomination is controversial because the etymology of the word “Sun”, considering the existing Indo-European branches, puts aside any connection between the term “Suntria” and the significance of the word Sun (except when considering the Gothic [extinct Germanic language] term “Sunno”).
Suntria is the title of this composition because, and foremost, the conceptual purpose of the album is not to mimic the sonic landscapes of Sintra’s physical actual locations but to creatively interpret these spaces. Suntria is a hypothetical toponym of a determined physical location, as this composition is an interpretation and recreation of field recordings captured in Sintra’s soundscape.
The mystical ambience patent in Sintra’s forest is a national symbol depicted in literature, cinema and architecture by Portuguese and foreigner artists as, for example, Lord Byron, which lived there for a brief period.
Sintra’s fauna and flora is as rich as its environment, which configurates a micro-climate totally distinct from the one which predominates in Lisbon, from where it distances not too much. The basilar audio samples that integrate this composition were recorded in the ponds, cascades, forests and beaches of the Sintra-Cascais natural park. Additional sounds were recorded in other (natural / urban) locations of the country (check the cd sleeve for more info).
Suntria’s subtitle is imaginal sonotopes, and it is so because what is at stake in the piece is recreating combinations from elements of the soundscape, i.e., of diverse geophonies, biophonies and anthropophonies. According to soundscape ecology, a sonotope is, precisely, the spatial overlapping units or patterns advenient from these contingent conglomerations, which in their turn result on the blending of sonic elements.
Suntria is a piece that presents plausible soundscapes through the creative electroacoustic exploration and concrescence of samples that even though, in many cases, belong to the same ontic family (for example: geophony – water in streams, ponds and beaches) were originated and recorded, in terms of spatio-temporal coherence, in distinct locations. One of the main purposes of the album is, therefore, to question the sense of identity and place, concerning to the academic established postulates of soundscape composition. Sounding natural, i.e., as we phenomenologically relate to a sonotope, is one of the main goals of this composition: to make plausible the implausible.
One can expect to listen a diverse spectrum of sonic approaches, in between found sounds and abstracted composition, making use of techniques that range from transparent edit, equalization and juxtaposition (phonography) to concrete / acousmatic music procedures (manipulations in the morphological spectrum). In terms of dynamics, the composition reveals subtle quasi-silent moments as saturated and loud events. The same logic prevails in terms of spectral diversity, for Suntria outputs careful sculpting of low, mid and high frequencies, towards a whimsical sound voyage.
Finally, all the audio samples were registered through the implementation of various recording techniques: stereo (XY, ORTF [w. matched pair] and MS) and monaural (shotgun, hydrophone and contact mics). Concerning the audio recording devices, various gear was used, from the enhanced mono (low quality) mic of the iPhone and the prosumer mid-level entry recorders (as the Tascam DR-100 MKII / DR-70D), to the professional standard industry level recorders (as Sound Devices 702).
Suntria reaches for an aural acuity that invites the listener to perscrutate meaning, purpose/intentionality and ultimately to question the sense of hearing and being in the world." (João Castro Pinto, 10 May 2017) |
2017 |
€14.00 |
|
| PITRE, DUANE / PILOTRAM ENSEMBLE |
Organized Pitches Occuring in Time |
CD |
Klassischer Instrumental- & "Tone Generator"-Drone, minimal und zart, wenig abgründig oder dark ambientig, hat eher etwas "chamber-music"- artiges, mit vielen tonal gleichschwingenden Mitspielern auf Klarinette, Saxophon und Violine, die Stücke sind durchkomponiert.
"Organized Pitches Occurring in Time consists of two 25 minute pieces of music, both spawned from the same conceptual composition/score by Duane Pitre, titled Ensemble Drones. With their form reminiscent of works by La Monte Young’s Theater of Eternal Music and their tonality touching on the floating works of Terry Riley, The Ensemble Chord in Eb with a Minor 7th and a Pump Organ Base & The Ensemble Chord in C with a Major 7th and a Guitar Base are aural tapestries based on a minimal tonal palette with their instrumentation consisting of guitars, alto saxophones, bass clarinet, violin, viola, cello, tone generator, and pump organ.
The Ensemble Drones composition varies from the traditional sort as it is rule-based with the score consisting of a set tonic, set pitch classes, playing methods, technique restrictions, and spontaneous conduction. The score is a structure for the performing ensemble to improvise on—order spawning chaos producing order that is different on each occasion of a performance or recording. Ensemble Drones is discipline and freedom, both within each other, the first major focus of the work. Variance is the second major focus of the composition; with instrumentation, ensemble performers, tonic, pitch classes, and the physical space varying from performance to performance, the results can never be the same.
One way to view Ensemble Drones is like a compositional “body,” as in the composition taking human form. The score is the skeletal structure that gives the "body" its general shape and feel. The pump organ, for instance, could serve as the circulatory system, the bass clarinet as the muscles, cello and saxophones as the internal organs, the electrically generated tones as the nervous system, guitars as the flesh, viola as the skin, violin as strands of hair, and the listener—the listener acts as the eyes. Not in the sense of vision, though—each listener will "view" the same compositional body differently, and, in return, the body will view itself differently with each new set of eyes. This helps to analogize the last major focus of the Ensemble Drones score/composition, which is perception." [label info]
www.importantrecords.com
|
2011 |
€13.00 |
|
| PLANNING FOR BURIAL |
Desideratum |
LP |
"New Jersey gloom band Planning For Burial will release its first full-length in almost four years this May on SF-based dark music label The Flenser. Titled Desideratum, this album is the band’s first full-length since 2010′s cult hit Leaving (Enemies List).
Simultaneously straddling the line between being completely nostalgic and futurist sounding, Planning For Burial is the product of a single wunderkind taking healthy obsessions with certain influences and filtering them through a droning, gloomy spyglass that evokes only the most concrete blues (the emotion not the music) this side of the gray waters of the Atlantic. While Planning For Burial gets lumped in with the whole wave of “bedroom recording artists” (which is where the project toiled for years until Leaving finally was released), the mastermind behind the project sets himself apart from his peers due in no small part to his background in sound. Planning For Burial’s brand of dark shoegaze/gloomgaze is hard to categorize, but it’s sound contains elements of slowcore, shoegaze, doom, drone, 90′s alt rock, 80′s goth, and black metal, while never being defined by any one of those genres.
Over the course of the last four years, Planning for Burial has been sporadically popping up in live venues (sharing the stage with a wide breadth of musical compatriots from Chelsea Wolfe to Deafheaven while seeming out of place at none) along the east and west coasts and releasing a slew of EPs and splits on various labels. Now, as Planning for Burial gears up to release Desideratum, the band will also perform a series of live shows – tour dates can be found below. PFB commented,
Expected to ship on or before May 13th.
LP comes in a heavy jacket with a heavy inner sleeve. The CD version comes in a case-wrapped jacket with an inner sleeve. CD/LP package can be ordered below.
The colored vinyl edition is Half & Half Oxblood/Swamp Green and is limited to 200 copies. Inspired by a gloomy Jamison bottle." [label info]
theflenser.com
|
2014 |
€21.50 |
|
| PLOOG, JÜRGEN |
Tapes von Unterwegs 1971-1976 |
LP |
"Recorded & edited by Jürgen Ploog on different flights between 1971 & 1976 on a portable tape-recorder. Final selection, montage & editing by Robert Schalinski.
Like his literary fellow traveler William S. Burroughs who made tape experiments a few years earlier, the German Beat writer Jürgen Ploog (born 1935) began experimenting with tape recorders in the 1970s. Due to his career as a transcontinental pilot Ploog was constantly on the go. “My life was a series of interruptions both geographically (outwardly) and psychologically (state of mind) with exposure to different countries and the constant effects of jet lag.” This 40-minute cut-up is the result of his experiments. Passages of Ploog’s spoken text get mixed with Indian television voices, while sounds of Buddhist rituals are heard through an open hotel window. Radiograms, birds, recordings of airport and street noises, people noise and that of machinery … assembled, superimposed … scraps pulled out/torn, shifted and copied … questioned and documented … an alchemical experiment, a journey of sounds …
“Cut-up as a drug that leads to a different relationship with language, just as a hallucinogen leads to an altered relation with the so-called reality. The result is a fundamental shift of meaning. ‘Shift linguals’ was the motto in a continuous process with an open end …” J.P.
"This tape is a recording of many voices simultaneously under the spell of the urban Moloch. They moan, marvel, murmur and curse in a mixture of sounds that would became independent and found its own cadence. A sound that could turn drunk, melt on the tongue, mingle with the juices of the body and eventually turn into sweat and piss. The traveler lived with it as with microbes sucked up and gulped with every swallow.”
“When I look back now at those years, I see that they were a ground-breaking departure for me, not towards other, newly rising ideologies but into an unspecified way of writing and perception — because reality is based on perspective and seeing, thus opening the possibilities of an enhanced imagination and a vision of life under conditions which are not determined and pre-recorded. It may be said that these were the accounts of only the first steps. That in my case this was related to traveling to far-off continents and may just have been a lucky coincidence. At the same time it is obvious that it was difficult for me to record the exoticism of travel as merely a fortunate occurrence that gave me the chance to slide into remote scenery. The whiskey on the rocks at the beach of a tropical island is after all only the Technicolor-version of the beer in the pub back home. The challenge was to navigate under limitless technical possibilities and across the open space of digital deserts that spread rapidly …” J.P.2014
Jürgen Ploog - born 1935, lives in Frankfurt and Miami. He was a pilot for Lufthansa for 33 years. With Jörg Fauser and Carl Weissner he was co-founder of the legendary little-mag Gasolin 23. A friend and literary associate of William S. Burroughs, he is considered a father figure of the German-language literary underground." [label info]
www.90-prozent-wasser.de
|
2015 |
€18.00 |
|
| PLOTKIN, JAMES & PAAL NILSSEN-LOVE |
Death Rattle |
CD |
" “Death Rattle” is the noise of two forces of nature in collision. Like a pair of clashing typhoons, Philadelphia based avant guitarist James Plotkin and Norwegian free jazz drummer Paal Nilssen-Love generate chaos, disturbance and a terrifying beauty in their first ever collaborative recording. Free jazz and metal-edged rock never chimed so exhilaratingly together before. ‘Paal’s precision and constant invention/reinvention is mind-blowing, only matched by its intensity,’ James enthuses. ‘There’s a very fluid feel to what he’s doing despite the ferocity. Instead of trying to match the chaos, I opted to build a more solid foundation of repetition and melody for him to launch from. I really appreciated the role reversal of drummer and guitarist!’
James Plotkin’s distinctively extreme, aggressive guitar sound has been a constant presence in underground music since the late 1980s, when he founded the metal/industrial band OLD. As a solo artist and as a member of outfits such as Scorn, Khanate, Phantomsmasher, Khlyst and most recently Jodis, he has plotted a nomadic trail through new metal, dark ambient, industrial, noise, grindcore and drone rock. Sought out by Michael Gira, John Zorn, Ikue Mori, Franz Treichler, Francisco López and many more, he has also remixed a wide range of artists from KK Null and Sunn O))) to Pelican, Earth, Nadja and Neu!. ‘I've wanted to work with Paal for the better part of a decade,’ comments James. ‘Stephen O'Malley had played one of Scorch Trio’s discs in the van during a Khanate tour and I could hardly believe it was only one drummer at work.’
Paal Nilssen-Love is one of the most intense drummers working on the planet right now. He grew up in Stavanger, west Norway, where his parents ran the city’s thriving jazz club. In theory he’s now based in Oslo, but there’s a huge global demand for his percussive threshing machine. He’s often travelling on a relentless round of musical projects and festival appearances – notably with Mats Gustafsson in The Thing, his Chicago trio with Ken Vandermark and Ab Baars, the Hairy Bones group with Peter Brötzmann and Toshinori Kondo, a trio with Massimo Pupillo and noise artist Lasse Marhaug, plus duos with Peter Brötzmann, Terrie Ex, John Butcher and others." [label info]
www.runegrammofon.com
|
2013 |
€15.00 |
|
| PLURALS |
TriTone |
LP |
"Tri Tone is Plurals' first studio recording as a trio following the most recent releases which feature live or session material. The last studio release was 2014's Bugenès Melissae - two tracks of calmer, more reflective music, standing aside from the bulk of the group's output which tends towards noise as the ultimate splitting-point after a period of collected density.
On Tri Tone that density is an end in itself. It is slow music that maps out its space carefully in coming together. It may be the gentlest and most patient of Plurals' albums, though it required the longest and most detailed sonic wrangling to complete. Two pieces were chosen from three hours of recorded music, and were contracted and expanded again by turns until eventually the finished versions took shape.
Plurals' studio improvisations typically expel a significant amount of aggression and intensity in their early stages, holding closer resemblance to live performances. With such force expunged however, the following material sees them exploring lengthy passages of audio cogitation rarely delivered live.
Mastered & cut by Frederic Alstadt at Ångström Mastering, Brussels." [label info]
"Silken Tofu seems to be taken by the music of Plurals; as a follow-up to a double CD
'Atlantikwall' (see Vital Weekly 1076), they now release a LP. This LP is the first studio recording of them as a trio, and the first studio recording to be released since 2014. This trio of improvisers (Daniel Mackenzie, Michael Neaves and David Hamilton-Smith) use a variety of tools (guitar, synthesizers, keyboards, vocals, tape machines, radio and reed and string instruments) and then go about to do their improvised work. For this record they recorded some three hours of music and extracted forty-eight minutes spread out over the two sidelong pieces. I can't judge if that is a lot or not. The music on both pieces is quite dense, rich with sound and also mostly not too loud. That seems to me a bit of break with what I know from them so far, which was always bit more towards the noise of lo-fi drone music. Like
always the changes within the pieces is quite minimal; Plurals take their time to slow go from one point in their piece to the next. In 'Sun Lock' for instance a simple drone starts out and little by little they add more and more sound, while the original drone lingers on, and towards the end it is very much changed and no longer recognizable. It ends as quiet as it started. Hard to say how much post-production and
editing took place here. Surely something, I would think, but for all we know, it is released as it was played back then. ‘Bas Fond' on the other side is more from the drone rock side of Plurals with mildly distorted guitars played long form drones. A record with two sides, obviously, showing two different sides of Plurals, not as obvious. From what I heard from them, this is the most refined work." [FdW/Vital Weekly]
|
2018 |
€16.00 |
|
| POLE |
Steingarten |
CD |
"This is Berlin-based producer Stefan Betke's sixth full-length release, and his second release on his own ~scape label. Pole presents music that could be architecture, with his elegantly spare form that reaches out into space. After minimalist experiments with elements of hip-hop and dub, Steingarten has hardly any concrete references. What has remained, though, is the minimalism so characteristic of Pole. Built around little loops, his arrangements dispose with any kind of ornamentation. A stark contrast with the album's title and cover -- which shows a picture of the famously ornate, gingerbread-style castle Schloss Neuschwanstein. But despite some funky grooves, this is no dancefloor record. And despite its simplicity, the music never comes across as meager or repellently cool. This might be due to the fact that Pole has found a perfect middle point between avant-garde and pop." [press release]
"Eine Form von Sounddesign: Pole vereint Minimalismus mit groovy Beats.
--------
Stefan Betke alias Pole ist seit Ende der 1990er-Jahre national sowie international als einer der führenden und stilprägenden Produzenten elektronischer Musik bekannt. Nach Minimal-Experimenten mit Dub- und Hip-Hop legt er mit „Steingarten“ ein Album vor, das kaum konkrete Referenzen aufweist. Geblieben ist der für Pole so charakteristische Minimalismus. Um kleine Loops werden Arrangements aufgebaut, die auf jegliche Ornamente verzichten. Umso stärker wirkt der Kontrast zu Titel und dem Cover der Platte, einem Foto des verschnörkelten Schlosses Neuschwanstein.
Trotz einiger Funk-Grooves ist „Steingarten“ keine Dancefloor-Platte, und trotz extremer Schlichtheit wirkt die Musik an keiner Stelle karg oder abweisend. Denn Pole findet eine perfekte Zwischenform, die Pop und Avantgarde ausbalanciert. Die Beats sind groovy, aber nie aufpeitschend, und die Melodien werden fragmentarisch als harmonische Tupfer eingesetzt. „Steingarten“ ist eine Form von Sounddesign, das sich abseits von bekannten Behaglichkeiten seine eigene Welt schafft." [Indigo] |
2007 |
€16.50 |
|
| POLIO |
Concrete |
CD-R |
Alles andere als „konkret“ klingen die drei Drone-Stücke auf dieser CDR von Peter Wright aka POLIO; spheric dreamscapes at its best !
“ Before relocating to the U.K. earlier this year, Mr. Wright finished this fourth POLIO release back in Christchurch, NZ. "Concrete" is an apt title; these are digital deconstructions of recordings made live in a bunker (apparently before an audience as distant chatter is
heard on the last track), and to my mind there's a palpable sense of weight, gravity. At first these suspended "pure tones" just sort of
hangs there, but the recording progressively resolves itself beautifully & becomes more open, then somewhere during the second track descends to an altogether deeper/sub-conscious level....oohmm .....close your eyes....still literally quite heavy but exquisitely layered and hallucinatory. Enveloping, but not stuffy. This is huge.” [label description]
|
2003 |
€7.00 |
|
| POOK, JOCELYN |
Untold Things |
CD |
"The Real World Gold version of Untold Things includes two bonus tracks: Adam's Lullaby and Ave Maria, sung by Natacha Atlas.
"I wanted Untold Things to reflect the live work I'd been at the time," says the classically trained, thirty-something Londoner. Pook sees the recording as a natural progression from her long association with Real World, where she'd been a keen participant in the legendary creative jams that are Recording Weeks and worked as a string player and arranger for Peter Gabriel. (As a former member of The Communards and co-founder of the all-female sextet Electra Strings she has also helped flesh out the sounds of PJ Harvey, Paul Weller, Morrissey, Nick Cave and Siouxsie Sioux).
Where her previous albums, 1997's 'Deluge' and 1999's 'Flood', were written specifically for theatre and film - the former for Canadian dance company O Vertigo, the latter for Stanley Kubrick's 'Eyes Wide Shut' - 'Untold Things' is very much Pook's own creative vision. Encouraged by Real World's penchant for blurring boundaries, she channelled her trademark combination of classicism and innovation into an exhilarating gem of an album, one which pulls off that rare coup of putting listeners in touch with their deeper feelings. 'Untold Things' will, no doubt, be the source of many an epiphany. You could say that it has a spiritual, even magical, quality, as befits one who is constantly changing artistic shape - and whose surname is the Celtic word for fairy.
Pook's soft speech, translucent skin and Pre-Raphaelite curls might fit the stereotype of a classical musician (and, if you like, a latter-day Titania), but they belie a background in performance-based work that's seen her create 'atmospheres' from found objects like answer-machine messages and corrugated iron. And though Pook insists she is proudly rooted in the formal, classical music tradition, she still hankers after the cutting edge. Her influences - Laurie Anderson, Steve Reich, Holger Czukay and her friend Michael Nyman - are also shared by her like-minded ensemble. "Most of my string section are friends who go way back and who, like me, are also composers. I tend to work with people I've got chemistry with and then build around what they play. That means all sorts of instruments and voices creep in."
"There's a juxtaposition of vocal styles," states Pook, who has always favoured eccentric opposites. On 'Untold Things', she pits her English choral plainsong and early music leanings against multi-ethnic traditions, and offsets the spacious, tranquil nature of some tracks with the pulsing, dervish-style rhythms of others. It turns out the vocals are not words at all. "Because words are so incredibly powerful," Pook explains, "I tend not to use them. I prefer to treat voices like instruments. So we've used a made up language on two of the songs; there's one piece which developed from a phrase Parvin Cox once sang to me over the phone. On others I've recorded texts backwards, because I love the strange, kind of uneasy quality you get. I find it really peaceful."
'Saffron' is the title track for 'In A Land of Plenty', a major new BBC TV drama series which aired at the time of the album's release. "It's about a family who are my generation, born in the Sixties and growing up into the present day. It's very beautifully shot, very impressionistic, which is unusual for television" Pook states. But it started out as a poem written by a mother for her daughter, its lyrics reversed by Pook and Pappenheim before being featured in a short dance film. All of the songs on 'Untold Things' have been reshaped and sculpted to perfection. Or at the very least, as near to it as Pook will admit.
"I could go on fiddling with all these pieces for years," she grins. "But with what I've learnt over the past year, especially from doing 'Eyes Wide Shut', I've been able to go back and rework some of them. I'm more confident in what I'm doing now, which has really helped me to develop. And Stanley (Kubrick) was just so amazingly positive and flattering about my music. The experience of working with him was truly powerful."
"I'm not somebody who conceptualises," she offers. "I just do it and see the connections afterwards. I know people will think there's a religious element to this, which isn't something I want to comment on. But I do think there's a sense of faith, of loss and yearning, which is inherent in the music. Hopefully, it moves you." And in keeping with her Celtic surname, Jocelyn Pook has made an album with translucent wings." [label info]
www.realworldrecords.com
|
2013 |
€10.00 |
|
| POST SCRIPTVM |
Raspad |
CD |
"Post Scriptum fiel mir zuerst mit einer CD auf dem französischen Label Hermetique auf, das vor allem durch die Veröffentlichungen der Powerelektroniker Propergol bekannt sein dürfte. Bereits auf dem ersten Album waren dick verwobene Schichten von atmosphärischem Noise und gelegentliche energetische Ausbrüche zu verzeichnen, man hatte jedoch etwas das Gefühl, hier halte sich jemand bewusst zurück. Die aktuelle CD "Raspad", die nun auf dem Industrial-Kultlabel Tesco erschienen ist, knüpft stilistisch an das Debüt an, erscheint jedoch etwas differenzierter und dramaturgisch raffinierter. Man ist bei der bräunlich-monochromen Covergestaltung geblieben, die auf dem matten Digipak zu voller Geltung kommt. Der zunächst verhaltene Aufbau der Soundscapes erscheint hier als Methode, um eine fast nervenzerrende Spannung aufzubauen. Manche Störfrequenzen werden lange durchgehalten, so dass sie langsam ins Unterbewusstsein des Höreres einsickern. Vor allem das erste lange Stück 'crepusculum' erinnert so an die Hohphase von Schloss Tegal: morbid, befremdlich, düster. Wer mit Propergol nicht nur die krachigen Tanzflächenfeger kennt, wird die Verbindung zwischen beiden Projekten erkennen. In beiden Fällen geht man fast cinematografisch vor, was u.a. durch den massiven Einsatz von Samples bedingt ist. Auch sind die Strukturen von Post Scriptum nicht unbedingt immer repetitiv, wie man es von Postindustrial gewohnt ist, sondern abwechslungsreich, voller Entwicklungen. Positiv fallen die gelegentlich eingesetzten apokalyptisch-rauhen Metalperkussions auf, die man länger nicht vernommen hat in diesem Bereich. In Track 5 'Exacerbation' kommt dann alle aufgestaute Energie zum Ausbruch: mit flirrenden Hochfrequenzen, pumpenden Subbässen, Ethnosamples und verzerrt-aggressiven Vocals erinnert man hier zeitweise gar an Genocide Organ. Zugleich sorgten Propergol hier für ein kraftvolles Mastering, das die zahlreichen Stereoeffekte gut herausstellt. Es erscheint also wenig erstaunlich, dass Post Scriptum den Schritt in den größeren Aufmerksamkeitsbereich geschafft haben, denn 'Raspad' ist ein geschlossenes und stilistisch überzeugendes Album, das zahlreiche Hörer verdient." [IKONEN]
"Raspad is Russian for disintegration-zerfall. This is the third full length album by Post Scriptvm. It was mastered by Jerome Nougaillon(Propergol) Dense, thickly-layered industrial ambient music, exploring the abysmal pathology of modernity--illusion of progress, dissolution of memory, abandonment of higher meaning and paralysis of the will. The advanced lethargy of human spirit. Rich structure of music plays subtle tricks on the listener's subconsciousness, and the mood slowly drifts from quiet melancholy to visceral intensity. An example on how to use analog and digital equipment in creating a special way of sound, a brilliant example of innovative music outstanding form the mass of releases."
[label info]
|
2006 |
€15.00 |
|
| |
Gauze |
LP |
"LP reissue of the first full-length album by Post Scriptvm, recorded in late 2001 and originally released as CD-r. Unlike the project's later works that are characterized by subtlety and meticulous production, Gauze is an unvarnished, gritty 4-track recording of lo-fi death ambient from the wasteland of southern Brooklyn, NYC, enshrouded in the lingering haze of razed buildings and burnt human remains. The boundary between what is considered normal everyday life and sheer insanity, carnage, personal and social collapse-true horrible face of humanity-is but an ephemeral layer of gauze that can be torn in a heartbeat, throwing reality out of balance, violently and irrevocably. "This game is prompted by a rip in the fabric of life." [Gauze] has the same hypnotic and overwhelming power as a strong fever dream. It hauls you into a contorted world of loose association, an industrial landscape in which humans lose their form and randomly merge with animals and bizarre machinery, where perception is warped and hours flicker by in an instant. -Nulll Oppressive drones and bleak atmospheres, interjected with twisted samples and cavernous, haunted basement noises. [Gauze] has a very cool old school feel to it that's been sadly missing within the 'death industrial' genre. -Jason Mantis/Malignant Records "Gauze" is a hazy swirl of dark ambient, subtle ritual elements, esoteric samples and mild death industrial textures. The deep tones and the cryptic vocals samples and chants combine to make some truly eerie atmospheres. -Scott Candey/Worm Gear "Gauze" sounds quite a bit like a live recording, like being immersed in a real-time psychosis simulation. -Industrial.org Post Scriptum construct their pieces from a varied mixture of drones, analogue sounds, post-industrial samples, strongly maintaining a claustrophobic atmosphere at the same time...thick with an uneasy sense of a catastrophe about to happen. -Corridor of Cells Ragged dark ambience full of trepidation and strangeness, as scratched into the flesh of weird, dimly lit corners of aural resonance. -SEVEN Tracklist: Cunctator Trepan On the brink Pore The Binding Vox Calamantis Gentle Diversions."
www.tesco-germany.com
"Gerade hat Kollege ENDSAL die aktuelle Live-Werkschau "Séance" (Besprechung) des russischen Industrial-Duos POST SCRIPTVM gewürdigt. Nun möchte ich noch ein paar Infos zu "Gauze" nachschieben, um die Diskografie komplett zu machen. Es handelt sich um die allerersten Aufnahmen von POST SCRIPTVM, die ursprünglich im Jahr 2001 auf CDR erschienen sind. TESCO ARCHAIC DOCUMENTS, eine Serie des Mannheimer Industrial-Labels TESCO, presst hier ältere – teils auch unveröffentliche oder live entstandene – Werke auf Vinyl, und so ist auch "Gauze" als nicht mehr erhältlicher Baustein des Gesamtwerkes nun als LP wieder zugänglich. Womit wir auch wirklich alle Veröffentlichungen der in den USA lebenden Russen auf NONPOP geehrt hätten.
"Cunctator" (01) startet mit einem höhligen, gefährlichen und vibrierenden Drone. Dumpf klingende Sprachsamples und ein kratziges Geräusch ergänzen den Track, ab der Mitte tauchen sporadisch sakrale Mönchsgesänge auf; eher Atmosphäre als Musik, sehr stimmungsvoller Dark Ambient. Das Frickeln und Bratzeln in "Trepan" (02) formt sich nach und nach zu Frequenzdonner. Auch hier tönt eine Sprech- und später schamanische Singstimme aus der Gruft. Mit metallenem Scheppern ergibt sich auch ein erster Ansatz von Rhythmus, der in "On The Brink" (03) weiter verfolgt wird. Gelooptes Kratzen hält Drones zusammen, später übernimmt diese Funktion ein Herzschlag – das Stück ein geisterhaftes Schweben. "Pore" (04) besteht aus weitem, maschinellem Rumpeln und Dröhnen, dezent von noisigen Sounds unterstützt, die in "The Binding" (05) zunehmen: Zwischen Weltuntergangs-Blitzen ruft eine russische Frauenstimme ganz sicher den Notfall aus. Wasserplätschern, Wind und schwimmende Drones lassen "Vox Calamantis" (06) ruhiger wirken, in wiederholende Loops fügt sich eine nachdenkliche, mahnende russische Stimme ein. Und zum Schluss besteht "Gentle Diversions" (07), ganz klassisch, überwiegend aus rotierendem Dröhnen zwischen Noise und Industrial.
Für mich sind POST SCRIPTVM einer der besten und intelligentesten Industrial-Acts auf dem Markt. "Gauze" hat bereits alle Grundbausteine für die spätere Entwicklung. Klanglich noch recht roh und rau, man könnte auch sagen 'old school', wirkt das Album fast wie eine Liveaufnahme. So unmittelbar und direkt. Ich habe permanent das Gefühl, mich in einem dunklen Schiffsbauch zu befinden, schwankend, zwischen stampfenden Maschinen. Diese LP gehört natürlich, wie alle anderen Veröffentlichungen von POST SCRIPTVM auch, in den Plattenschrank. Nicht nur als abzuhakendes Frühwerk, sondern als spannender Ausgangspunkt für folgende Meilensteine." [Michael We. für nonpop.de]
|
2016 |
€23.00 |
|
| POTTER, COLIN |
The Abominable Slowman |
LP |
This release by Colin Potter, “The Abominable Slowman”, is the logical follow-on from his previous 2015 LP “Rank Sonata”. Like that album, there are elements that were recorded many years ago, but this work also contains new music. Again, the emphasis is on rhythm, although the rhythmic components range from conventional drum sounds to strange electronic and/or mutated outbursts, often accompanied by squalling guitars. As to what this sounds like, keywords would be soundtrack, experimental, ambient, electronic psychedelia, contemporary, drone…. There’s constant experimentation throughout the album, a search for never-before heard sounds to create obscure atmospheres and a pleasantly disturbing feeling of disquietude.
The LP is housed in a beautiful grey cardboard sleeve, hand-printed by letterpress, and die cut to reveal the printed inner sleeve, which features a number of pictures of The Abominable Slowman during the recording of the album at IC Studio’s current London location.
“Colin Potter has been a central figure in the UK’s DIY and post – industrial underground since the late ‘70s. His ICR label, founded in 1981, blurred the lines between post – punk experimentation, crude pop, Krautrock – inspired drone work and contemporary electronica, with releases by everyone from DIY legends The Instant Automatons through Chris & Cosey of Throbbing Gristle , experimental composer Trevor Wishart, drone soundists Andrew Chalk and Darren Tate and Bryn Jones’s Muslimgauze. He has also been a key collaborator with both Current 93 and Nurse With Wound, working in the studio with both groups since the late ‘90s as well as serving as a member of Nurse With Wound’s current live line – up. From the late ‘90s to the late ‘00s Potter’s IC Studio, based in a Victorian Water Tower outside Preston, was a lightning rod for musicians working beneath the radar and a focal point for the nascent UK drone scene. Recent years have seen an upsurge in interest in Potter’s solo works.”
|
2017 |
€17.50 |
|
| POTTER, COLIN & THE HAFLER TRIO |
A pressed on Sandwich |
CD |
Erste Zusammenarbeit der beiden Urgesteine britischer Experimental-Drones / Elektronik, ein one-tracker von ca. 53 Minuten Länge. POTTER bearbeitet die H30-Sounds, das sind organisch-elektronische Oberton-Klangstrahlen, die sich glitzernd & oszillierend ins Ätherische winden, ruhig & klar & zur Versenkung einladend....
"CD is packed in special paper wallet & released as the limited edition of 1010 copies. This nutritious fare was prepared by Colin Potter at IC Studio, Preston, UK in 2005, using the finest Icelandic ingredients supplied by The Hafler Trio." Colin Potter explains: "I attended The Hafler Trio performance of 'How To Slice a Loaf of Bread' in Preston and was very impressed on many different levels. During a discussion with Andrew McKenzie after the event, he suggested that we might try a joint project. Shortly afterwards he sent me some of the original source material from the performance. It was my intention to preserve the overall shape & sense of the material, but at the same time move it to another (sonic)..” [label info]
“Do any of these two artists need really an introduction? I don't think so. Both are big shots in the world of experimental music. Early 2003, shortly after the re-discovery of The Hafler Trio, the trio did a performance in Preston called 'How To Slice A Loaf Of Bread'. The performance was attended by Colin Potter, who lives and works in the same city. Afterwards it was suggested that the two should work together, but McKenzie being Iceland and Potter in Preston made a tete-a-tete not easy. Andrew McKenzie mailed Colin Potter the original source materials for the concert, which Potter happily reworked into 'A Pressed On Sandwich'. The original performance was also released (see Vital Weekly 404), so there is something to compare. Both The Hafler Trio and Colin Potter are masters of drone music, but there are some subtle differences. The Hafler Trio seem overall more monochrome in approach, with so it seems for the listener who doesn't know any better, whereas Potter seems to be using more sound effects to create the soundscapes that he does, maybe less organic and more electronic. As said, the differences are quite subtle here, and there is certainly no hierarchy, both are masters of the genre. Potter's mix is perhaps a bit more dense and obviously more concise (The Hafler Trio release spans three CDs), but it moves as gentle and dark as the original. Great collaboration.” [FdW / Vital Weekly]
"Fucking brilliant. Yeah, you should expect that these two high caliber sound sculptors would manage something great; and they do not disappoint. As for the obligatory introductions, Colin Potter may be best known from his ongoing contributions to Nurse With Wound over the past two decades, but has been privy to some of the finest in British dronescaping thanks to his work in Ora and Monos. The Hafler Trio is the creation of Andrew McKenzie, a sound research project which has been investigating the impact of sound upon the body, mind, and spirit through the lens of a Byzantine gnosticism. A couple years back, Potter had the good fortune of witnessing the Hafler Trio's How To Slice A Loaf Of Bread performance in Preston, England in 2003; after the show, Potter and McKenzie struck up a conversation, whence McKenzie suggested that the two collaborate. Shortly thereafter, McKenzie sent Potter a collection of the source material from that very performance as the foundation for their collaboration. Potter stated his intentions clearly, that he wanted to preserve the shape of the material while pushing it into another space. It's an understatement to say that Potter merely achieved his intention; as A Pressed On Sandwich ranks as one of the best things that he's worked on, on par with his work with Steven Stapleton on the existential void of Nurse With Wound's Salt Marie Celeste. Yeah, it's that good! Of course, McKenzie ultimately stretched out his own material of monumental dronings over a whopping six discs on the twin set of triple cds also entitled How To Slice A Loaf Of Bread (all of which are long out of print); so Potter's redux is a bit easier to digest, but certainly no less an album! You'll encounter the drone supreme here on A Pressed On Sandwich with electrified tonal vibrations, undulating phase patterns, and oceanic gasps of sublime expanses. The album starts off with a very cold, shivering feel but eventually transitions into a dynamic interplay of tones that simultaneously capturing the solemnness of church organ droning (with all of the overtones of holy symbolism) and the unnerving purity of feedback (with all of the allusions of technology on the brink of collapse). We mentioned it before, and we'll mentioned it again: fucking brilliant." [Aquarius Records]
|
2006 |
€15.00 |
|
| PRAXINOSCOPE |
same |
pic-LP |
“Praxinoscope is a new project which sees the duo Roberto Opalio (one-half of My Cat Is An Alien) and Ramona Ponzini (close collaborator of the Italian space-brothers). While in the debut album as Painting Petals On Planet Ghost (out in early September 2005 on Time-Lag Records) Ramona will focus on her Japanese vocals alongside both brothers' acoustic tunes, here she plays little Japanese percussions and wind chimes, creating a resonant texture over Roberto's alien wordless vocals and space electronics. The material comes from a whole session recorded in a mysterious location of the Western Alps, directly transferred to cd using neither overdubs nor outtakes, practice which the Opalio bros have made us addicted to. For the entire lenght of its 40 minutes, the piece will stifle you the breath because of its so pure essence and intimate mood; a mystic, suffocated chant reminding the silence of ancient rituals, the ultimate exorcism to avert the Infinite Pain. Limited edition of 500 copies only as vinyl picture disc 12" LP with psychedelic artwork!” [label info]
“…..This project traverses a similar terrain as MCIAA, but is perhaps closer to Roberto's brilliant solo album, "Chants From Isolated Ghosts". Opalio's vocals star here, taking the limelight and thriving inside it. Effects drench his voice making it something truly not of this world. These lunar oceans of sound are magnificent and totally enthralling. It's as though he's a cosmonaut trapped inside a glass box, unable to travel the reaches of space. Such confinement derails your mind and Opalio sounds like a person struggling against himself. At times, hearing this is almost too much - there's simultaneous discomfort and exorcism happening and you can't quite focus intently on either. You are a passive player in this exercise, lost in the crevices Opalio and Ponzini create. I cannot discount Ponzini's contributions to this 40 minute piece, either. While it may seem minimal on the surface, her various "Japanese percussions" (mostly chromatics, cymbals, and the like) add a great deal of needed texture to counterbalance Opalio's haunted wails. It is reminiscent of the way Finnish master, Keijo, works in a lot of percussive elements to his tracks. And it has the same effect. Praxinoscope is a great new project from the always wonderful My Cat is an Alien. This is one of Opax's finest releases. Bringing to mind the vocal transcendence of the Skaters, Praxinoscope are proof that you don't need any instruments to make amazing sounds. This is wonderful, wonderful music” [Brad Rose, FOXY DIGITALIS]
|
2006 |
€15.00 |
|
| PROPELLER |
Rame |
CD |
Debut-Album des Solo-Projekts von “ex-Zoviet France”-Mitglied MARK SBYBEY, war lange vergriffen, wieder erhältlich !!
„Propeller is a Vancouver based collective of no fixed membership save the hands of Mark Spybey. Spybey is known for his work as Dead Voices On Air, who have released several albums for Invisible Records. He also worked with Download and Zoviet France.
Rame was a quick fire collection of sonic fragments, isolationist doodles, half truths, archived recordings and low fi ambience.....
Propeller started it's life in England, 1992. It was there that Spybey recorded with his childhood friend Richard Sanderson, who is a mainstay of London's vibrant free improvisational scene. The pair recorded versions of songs that they had worked on in the late '70's, as well as numerous pieces inspired by their fascination with spontaneous composition and noisy improvisational music. It is hoped that these recordings will be cleaned up and released.
Spybey resurrected Propeller's Do It Yourself Disposable Music ethos when he was invited to submit a 30 second piece for a CD Rom project in 1995. Why become so fascinated by first take spontaneity? Propeller seeks to create compact music. Music that expressively captures a moment in time or a dynamic (between the musicians, between the musicians and their instruments and between the music and the listener ). It's deliberately ambiguous in intent. You won't find deceptive melodies or catchy hooks here. It's not gratuitous noise either. It's carefully sculpted once recorded and laid out for the listener to play with. To explore.“ [label info]
|
1996 |
€13.00 |
|
| PRURIENT |
Casablanca Flamethrower |
do-LP |
Casablanca - A hiding place and escape route. Flamethrower - A weapon designed to drive people out of hiding places.
Casablanca Flamethrower is Prurient's first proper full length for Tesco Organization. Thirteen tracks of doom electronics crowded by voices of industrial cynicism focused on four theatres (corridors of violence):
Ural tracers, Guadalcanal Necrophilia, Normandy Reaper, Casablanca Flamethrower…
Casablanca Flamethrower deals with alternative histories. About hidden allied war crimes. The wild and ferocious airborne divisions once they passed the beachhead and their fateful encounters with civilians. About forgotten victims and known memorials. We deal here with the memorials we see that were created after the fact. By ’hiding what is known’ we see another history, another past... a past without a future!
Additional atmospheres:
Paratroopers mutilations as psychological warfare
Unspoken necrophilic activities in the Pacific
Human ‘trophies’ sent home to loved ones before atom day
Memories of the black raven under Uncle Joe
Human smuggling, fatalistic hedonism and triple-crossing in Morocco’s propaganda establishments
These are the songs from torture chambers across hateful american shores.
TRACK LIST:
A
Black Iceberg
Peace and Bread Humilation
D-Day Rape
Normandy Reaper - Snow on the Atlantic
B
Fucked by Tracers
Beneath the Wheels of the black Raven
Most Cannibals were Women
C
Dead you are already
Corn Cop Pipe Butcher
Guadalcanal Necrophilia
D
The Thrust of the Spear
Sphere from Christ´s side
Directionless World
Tesco 140
credits
released March 31, 2020
https://tescogermany.bandcamp.com/album/casablanca-flamethrower
"As Dominick Fernow’s main project, Prurient is somewhat of a sonic chameleon which has explored a myriad of underground noise and industrial styles over a huge number of releases and span of years. While Prurient have also had a close association with Tesco Organisation for some time, Casablanca Flamethrower is the formal debut album for Tesco given other releases to date have been reissues on Tesco’s sub-labels. To quickly mention those reissues*, each were within an industrial/power electronic/heavy electronics frame of reference, therefore closely aligned with the Tesco’s prevailing style and sound. In a similar context Casablanca Flamethrower follows suit and is very much a Prurient album, and with its broader thematic focus on the hidden stories and forgotten victims of war, it definitely feels at home on Tesco.
In terms of the arc of Prurient’s main/core albums, Casablanca Flamethrower follows the massive seven LP Rainbow Mirror (self-described as ‘doom electronics’). Casablanca Flamethrower is notable by the fact that although not too far removed from the sprawling and mellow tone of Rainbow Mirror set, that sound has also been repurposed with a focused attention on a European heavy electronics/industrial sound. This may then be partially explained by the involvement of Kris Lapke of Alberich (who is credited as providing loops, percussion and synths), whose own project takes clear influence from a European heavy electronics sound, which has perhaps further cemented the sound and direction of Casablanca Flamethrower.
Black Iceberg open the album with a squelching bass throb, distant scrap metal tones and angst-ridden rasped vocals, while Peace and Bread Humiliation is a short track of hollow radio scanning static, whistling noise and semi-buried radio broadcast announcements. The following D-Day Rape is then an early album highlight, featuring bulldozing bass, mid-toned insectile noise squalls, while the spoken vocals are featured upfront but rendered undecipherable due to the treatment with an off-kilter warbling effected. Marvelous stuff. Fucked By Traces maintains momentum with static squalls, thick bass drones, vague rhythmic backing and charred echo chamber vocal barrage. Beneath The Wheels of the Black Raven is also an excellent track of stalking menace, where the tone is one of militaristic death industrial involving droning bass, slow shuddering rhythm, and vocals delivered as agonized chants and treated spoken fragments. Late album track The Thrust of the Spear is another highlight. Opening as a low droning and treated vocal piece it soon evolves into a minimalist yet highly hypnotic track of militaristic tinged rhythmic loops and swirling rotor blades. The track title then obviously then cross references the collage image of the Spear of Longinus shown on the back cover (contributed by The Grey Wolves). Yet when the spear collage is considered in context of the adjacent phrase: ‘the risen Christ holds the spear of destiny in his side’, it shrouds the intended meaning, which is at least consistent with Dominick’s established approach to abstracted thematic presentation. Sphere From Christ’s Side also uses similar militaristic rhythmic loops for brooding result, while the close to ten minute Directionless World rounds out the album in subdued fashion with minimalist tonal rumbles and radio scanning static (but perhaps could have been half as long without foregoing ideas or loosing impact).
From my own perspective Casablanca Flamethrower is an an intense yet brooding take on a heavy electronics/industrial sound, and is inherently more listenable, engaging and digestible than the sprawling Rainbow Mirror set. Yet even so, not all tracks reach the same peak level as the album’s standouts, meaning if it were paired down to a single rather than double LP, it would have increased immediacy and impact, and duly elevated the album from being good to great. Regardless, that is really quite a minor observation and is hardly a reason to not seek out this album, which is stunningly presented in a full colour gate-fold sleeve." [Noise Receptor] |
2020 |
€33.00 |
|
| PSYCHIC TV |
Those Who Do Not (White Vinyl) |
do-LP |
Double LP version. White vinyl. 180 gram vinyl; gatefold. The sound of the classic period of Psychic TV -- featuring Peter Christopherson and Geff Rushton (John Balance) of Coil, this full show is interspersed with recordings of the Pagan marriage between Genesis and Paula P-Orridge conducted by Sveinbjörn Beinteinsson Allsherjargodi. Psychic TV at their most esoteric, their most ritual, and often most extreme, a perfect accompaniment to the legendary Dreams Less Sweet album of the same year. These recordings of a live disconcert by Psychic TV in Reykjavik, Iceland that took place November 1983 organized by HÖH and GRAMM Records. Out of print for 23 years, this is the ultimate edition for Psychick Youth. Meticulously remastered, with the track order finally arranged into what was the original show.
https://coldspring.bandcamp.com/album/those-who-do-not-csr323cd-lp
|
2023 |
€33.00 |
|
|
Those who do not |
do-LP |
Double LP version. 180 gram vinyl; gatefold. The sound of the classic period of Psychic TV -- featuring Peter Christopherson and Geff Rushton (John Balance) of Coil, this full show is interspersed with recordings of the Pagan marriage between Genesis and Paula P-Orridge conducted by Sveinbjörn Beinteinsson Allsherjargodi. Psychic TV at their most esoteric, their most ritual, and often most extreme, a perfect accompaniment to the legendary Dreams Less Sweet album of the same year. These recordings of a live disconcert by Psychic TV in Reykjavik, Iceland that took place November 1983 organized by HÖH and GRAMM Records. Out of print for 23 years, this is the ultimate edition for Psychick Youth. Meticulously remastered, with the track order finally arranged into what was the original show.
https://coldspring.bandcamp.com/album/those-who-do-not-csr323cd-lp
|
2023 |
€31.00 |
|
| |
Those who do not |
CD |
The sound of the classic period of Psychic TV -- featuring Peter Christopherson and Geff Rushton (John Balance) of Coil, this full show is interspersed with recordings of the Pagan marriage between Genesis and Paula P-Orridge conducted by Sveinbjörn Beinteinsson Allsherjargodi. Psychic TV at their most esoteric, their most ritual, and often most extreme, a perfect accompaniment to the legendary Dreams Less Sweet album of the same year. These recordings of a live disconcert by Psychic TV in Reykjavik, Iceland that took place November 1983 organized by HÖH and GRAMM Records. Out of print for 23 years, this is the ultimate edition for Psychick Youth. Meticulously remastered, with the track order finally arranged into what was the original show.
https://coldspring.bandcamp.com/album/those-who-do-not-csr323cd-lp
|
2023 |
€14.00 |
|
| PUNCTUAL TRIO |
Grammar |
CD |
Lou Mallozzi: turntables, CDs, Microphones, Oscillator
Fred Lonberg-Holm: Cello
Carlos Zingaro: Violin
Recorded by Pete Wenger at Experimental Sound Studio, Chicago, 28 May 2003.
Mixed and Masterd by Lou Mallozzi and Fred Lonberg-Holm at Experimental Sound Studio, Chicago, 23 June 2004.
Produced by Lonberg-Holm, Mallozzi and Zingaro.
@2003 Mallozzi / Lonberg-Holm / Zingaro
Lou Mallozzi (b. 1957)
Lou Mallozzi is a Chicago audio artist who has been dismembering and reconstituting language, sound, and gesture on stages, sites, CD, and radio since 1986. His background is in performance, intermedia and installation art, and since 1996 an increasing amount of his attention has been focused on improvised music. Using microphones, turntables, CDs and analog mixing, he collaborates with numerous instrumentalists in improvised frameworks. These collaborators have included Carlos Zingaro, Fred Lonberg-Holm, Michael Vorfeld, Mats Gustafsson, Jaap Blonk, Sebi Tramontana, Terri Kapsalis, Michael Zerang, Guillermo Gregorio, Birgit Ulher, Hal Rammel, and many others. He has performed in this context at the Come Sunday Festival (Munich), the Logos Foundation (Ghent), Podewil (Berlin), The Empty Bottle (Chicago), Candlestick Maker (Chicago), The Renaissance Society (Chicago), Kraakgeluiden (Amsterdam), and others. He has also composed several sound poems and structured improvisational works for soloists and ensembles, including Jaap Blonk, Barbara Lüneburg, and the ensemble Intégrales.
In addition to his improvised music projects, Mallozzi also produces intermedia and sound performances, radio art works, and sound installations. These have been presented at numerous venues since 1986, including the PAC/Edge Performance Festival (Chicago), the Chicago Cultural Center, Experimental Intermedia (New York), the TUBE audio art series at the Einstein Kulturzentrum (Munich), Spritzenhaus (Hamburg), Suoni/Sound 2000 (Isola d'Elba, Italy), The Subtropics Experimental Music Festival (Miami), the Fort Wayne Museum of Art (Indiana), Percorsi 98 Festival (Montegrosso d'Asti, Itlay), the Sound Canopy public art project (Chicago), Donald Young Gallery (Chicago), Gallery 400 (Chicago), the Bechtler Gallery (Charlotte), Randolph Street Gallery (Chicago), Aether Fest (Albuquerque), New American Radio, Bayerischer Rundfunk (Munich), Kunstradio/Radiokunst on ORF Vienna, Sender Freies Berlin, ABC Radio (Sydney), the Resonance FM Festival (London), and others. Among his collaborators in these realms are Sandra Binion, Mark Booth, Heinz Weber, Antonia Contro, and Maurizio Pellegrin.
Mallozzi has two CDs on the Penumbra Music label: Radiophagy (three radio works from 1990 - 1996) and Whole or By the Slice (electroacoustic collaborations with Hal Rammel). A CD of improvised music with Fred Lonberg-Holm and Carlos Zingaro is forthcoming on Rossbin Records (Italy). He also appears on Guillermo Gregorio's Faktura and Cornelius Cardew's Material (both on HatArt, Switzerland).
Mallozzi has received a number of grants and fellowships, including a residency at the Rockefeller Foundation's Bellagio Study Center (Italy), four Artist Fellowships from the Illinois Arts Council, and grants from the Richard H. Driehaus Foundation and the Governor's International Arts Exchange Program.
In addition to his artistic career, Mallozzi is co-founder and Executive Director of Experimental Sound Studio in Chicago, and he is on the faculty of the School of the Art Institute of Chicago.
Fred Lonberg-Holm
Composer, improvisor and anti-cellist Fredrick Lonberg-Holm currently resides in Chicago. Defying categorization, his work deals only with the context of the specific musical situation in which he finds/places/builds for himself. A former composition student of Morton Feldman and Anthony Braxton, and cello student of Ardyth Alton and Orlando Cole, his ongoing projects include the groups Terminal 4, The Boxhead Ensemble, Pillow, and the Lonberg-Holm/Kessler/Zerang Trio. He is also currently a member of the Guillermo Gregorio Trio, the Peter Brotzmann Chicago Tentet, XMARSX, and Witches and Devils (music of A. Ayler). He also has been coordinating and directing performances of his Light Box Orchestra, a non fixed structured improvising ensemble utilizing a light based cuing system . In addition he has also performed in ensembles led by Anthony Braxton, Ken Vandermark, Anthony Coleman, Georg Graewe, Wolfgang Fuchs, and John Zorn. As an improvisor he has recorded and or performed with numerous musicians including Jaap Blonk, John Butcher, Gunter Christmann, Axel Dorner, Hamid Drake, Barry Guy, Joelle Leandre, Paul Lytton, Jeff Parker, William Parker, Mischa Mengelberg, Ikue Mori, Mats Gustafsson, Paul Lovens, Paul Rutherford, Sten Sandell, Hamid Drake, Jim O'Rourke, David Stackenaas, Willie Winant, Carlos Zingaro, and many others. He has also performed/recorded with the rock groups God-is-my-Co-Pilot, Wilco, the Flying Luttenbachers, Chris Mills, Janet Bean, Super Chunk, Bobbie Conn, Ahmed Elmotassem's Legal Fiction, L'Altra, US Maple, Freakwater, Lake of Dracula, Plastic Scorpions, Zeek Sheck, Smog and others. Concert works have been premiered by William Winant, Carrie Biolo, Joe Fonda and Bottoms Out, Duo Atypica, the Schanzer/Speach Duo, New Winds, Paul Hoskin, Kevin Norton, the E.S.P. Ensemble and others. He has performed throughout the US and Europe as both a soloist and ensemble member. His scores for dance have been performed at the Brooklyn Academy of Music and Dance Theater Workshop as well as many other venues. Film credits include music for a Playboy Channel short and the independant feature Animals, by Michael DiGiacomo. He has recorded for the Avant, Pogus, Occa, miguel, Explain:, Locust, Meniscus, Nuscope, Curious, Random Acoustics, Skin Graft, Hat Art, Buzz, Knitting Factory Works, Drag City, Ecstatic/Yod, Nine Winds, Atavistic, Rastascan, Box Media, 8th Day, Tzadik, Truckstop and What Next? labels as well as many others.
CARLOS “ZINGARO”
Born 1948 in Lisbon, Portugal; violin, electronics.
Carlos Zingaro undertook classical music studies at the Lisbon Music Conservatory from 1953 to 1965, and during the two years 1967/68 he studied church organ at the High School of Sacred Music. Also, during the 1960s, Zingaro was a member of the Lisbon University Chamber Orchestra. In 1967 he formed Plexus, the only Portuguese group at the time to have developed a new musical approach based on contemporary music, improvisation and rock; the group recorded a 45rpm single for RCA-Victor in 1968.
From 1975 onwards Carlos Zingaro has performed with a wide variety of improvising musicians, including: Barre Phillips, Daunik Lazro, Derek Bailey, Joëlle Léandre, Jon Rose, Kent Carter, Ned Rothenberg, Peter Kowald, Roger Turner, Rüdiger Carl, Dominique Regef, Evan Parker, Günter Müller, Andres Bosshard, Jean-marc Montera, and Paul Lovens. In 1978 he was invited by Wroclaw Technical University in Poland to participate in the 1st Instrumental Theatre Meeting, and in 1979 he won a Fulbright Grant and was invited by the Creative Music Foundation in Woodstock, New York to participate in meetings, classes and performances with such composers as Anthony Braxton, Roscoe Mitchell, George Lewis, Leo Smith, Tom Cora and Richard Teitelbaum (a regular collaborator). He also gave lectures on New Notation Concepts, Movement and Sound, and the inter-relationship of Improvisation and Body Attitude. As a soloist, or with other musicians and composers, Carlos Zingaro has performed at many of the most important new music and improvising festivals in Europe, Asia and America.
A substantial level of Carlos Zingaro's musical activities are associated with theatre, film and dance. In 1975 he completed Stage Design studies at the Lisbon Theatre High School and later served on the board of directors of the School. From 1974 to 1980 he was musical director for the Lisbon-based theatre group Comicos, being responsible for most of the original music scores performed during the period. In 1981 Carlos Zingaro received the Portuguese Critics Award for best theatre music and in 1988 he worked with the Italian theatre director Giorgio Barberio Corsetti on his Kafka Trilogy. He has also been stage and costume designer for several other theatre productions. He has produced several film scores and worked extensively with dancers and dance companies such as the Gulbenkian Dance Company, the Opéra de Genève Dance Company, Michala Marcus, Aparte, and Olga Roriz.
Carlos Zingaro was a founding member of the Lisbon-based art gallery Comicos, his work has been exhibited, and he has received several prizes for his cartoons, comics and illustrations, samples of which can be seen on a number of CD sleeves, for example, Musiques de
scène.
www.rossbin.com/rs019.htm
"Is there a mode (maybe mood, posture, or circumstance) in which you are required to set yourself in order to appreciate (maybe absorb) freely improvised music? If you are attending a live show, the location, smells, company, and certainly the visual aspects of the show contribute to your "experience." When you are merely listening to a purchased recording, what are the rules for your listening experience?
Do you meditate in a quiet room? Can you listen to it in your car? Walking with an iPod? Washing dishes? How does the experience of the improvisation mesh with your current environs? Don't ask me for answers, but consider all the stimuli that invade your senses every hour of every day. Maybe that's why the relentless beat-beat-beat of pop music is so simple... because no one's actually listening.
My point is this: no two listeners can have the same response to very highly interpretable music like what the Punctual Trio produces on Grammar.
The cast of players includes cellist Fred Lonberg-Holm, the newest member of Vandermark 5 (plus Wilco, Terminal 4, The Boxhead Ensemble, Pillow, and the Peter Brotzmann Chicago Tentet, to name just a few); Lou Mallozzi, a sound artist from Chicago who lists Mats Gustafsson, Jaap Blonk, Sebi Tramontana, Michael Zerang, and Guillermo Gregorio as collaborators; and Portuguese violinist Carlos Zingaro, who has partnered with the likes of Anthony Braxton, Roscoe Mitchell, George Lewis, Leo Smith, Tom Cora, and Richard Teitelbaum.
Simple review: you cannot dance to this disc, but I give it a ten.
The trio benefits from its choice of instrumentation. Lonberg-Holm's cello, which is seemingly at home in a range of settings from jazz standards to rock to free music, mixes well with Zingaro's violin's scraping, plucking, single notes, and complex travels. They are attuned to silence and space, as on the opener, or odd pulse and song forms, as with "Punctuation. Mallozzi doesn't drown you with samples or electronics; he places them in the mix as if he were Treg Brown, the sound editor of 1950s Warner Brothers cartoons. If you listen closely to "Punctuation, you may find yourself actually embedded inside a cartoon.
But then again, your experience with these sounds will probably be nothing like mine." [All About Jazz]
|
2004 |
€6.00 |
|
| PURE |
Ification |
CD |
"Mir ist PURE durch seine Releases auf Mego, Feld und dOc Recordings ein Begriff, andere kennen Peter Votava schon aus Ilsa-Gold-Zeiten, als Loop- und Sub/Version-Macher und Electronica-Veranstalter. Auf Ification (Crónica 038) schafft der Ex-Wiener und jetzige Berliner erneut mit dröhnminimalistischen Mitteln sieben Soundscapes. Die lassen einen eintauchen in dark-ambiente Dunkelwolken (‚Blind Flight‘) oder lethargisch und wie unter einem Bann dahin driften durch eine Nacht, die kein gutes Ende verspricht (‚End‘). ‚Iron Sky‘ ringt mit zähen und drückenden Verstrickungen wie Laokoon mit den Schlangen, die fatalen Beats schlägt - wie auch bei ‚After the Bomb‘ - Martin Brandlmayr, die Stimme ist die der Bolzn-Screamerin Alexandra. Die hatte auch schon in der Geisterbahn von ‚Sonomatopoeia‘ gestöhnt, zu giftigem Sirren, Theaterdonner und Gewummer, während die krachig verzerrten und gewellten Impulse des Auftakts ‚Fire‘ auf der Gitarre von C. de Babalon basieren. Die dystopische Melancholie von ‚After the Bomb‘ entsteht durch gedämpfte Drones, silbrig durchfunkelt, voller sirrender Frequenzen und mit dem fernen Nachhall von Sirenen und Gefechtslärm, den Brandlmayr mit Besenschlägen und Cymbalbeats andeutet. ‚Approximation‘ nähert sich mit dunklem Stöhnen - wie von den Sirenen der Titanic oder Tubas des Jüngsten Gerichts - und diskant schrillenden Strings, spärlich durchsetzt mit perkussiven Akzenten, dem Bereich der Klassik, mit offenbar ungescheutem pathetischen Effekt. Wer in Pures Elevator
Noir einsteigt, muss sich auf einen Trip ans dunkle Ende der Gefühlsskala gefasst machen." [Bad Alchemy]
"After more than ten CDs and several vinyls under different aliases, projects or collaborations that ranged a multitude of musical styles over the last 15 years, Pure's newest release is now proudly presented by Crónica. Three and a half years later than scheduled, and six years after his previous studio CD release “Noonbugs” on Mego, Pure returns with his fourth solo full-length album — “Ification” — the outcome of a long period of live work (documented in the first two volumes of the “Home Is Where My Harddisk is” series), residencies — in France, with Johnny Dekam, where the “Reqoil Displaced Peaceoff” DVD was produced — and collaborations — the “Heart Chamber Orchestra” with Erich Berger, an audiovisual performance based on the heart-beats of an orchestra of 12 musicians. “Ification” presents a collection of seven highly diverse tracks that revolve around dense, filmic and eerie atmospheres, without ever drifting into obvious or simple harmonies. As in his previous work, Pure takes from music history whatever serves his narrative needs and appropriates it through his." [label info]
"Something entirely different is the latest album by Pure, from Vienna. He works under various guises, and this is fourth Pure CD, following 'Noonbugs' on Mego for four years ago. Seven pieces of electronic music, six of them recorded with the help of others, like Christoph de Babalon on guitar samples, Martin Brandlmayr on drums, the screams of Alexandra von Bolzn and Anke Eckardt on bass guitar. What Aubrey lacks in variation is made up here by Pure. The heavy start of 'Fire', into to post nuclear war zone with no survivors of 'After The Bomb' (an appropriate title), Pure takes the listener on a ride that ranges from subtleness to the utter crude, which ends with the nightmares of 'Iron Sky'. Excellent music for b-movies that deserve a-music. Certainly not always 'pleasant' in terms of nice background music for your living room, but unpleasant music to make your life a bit easier and less painful." [FdW, Vital Weekly]
www.cronicaelectronica.org
|
2008 |
€14.00 |
|
| QUEST |
(an) Exterior |
MC |
Frans De Waard. When he is not writing reviews for the long-running Vital Weekly column he helms, records an incredible amount of music under many different monikers. Each one has a personality. The name Quest (not to be confused with QST) is De Waard's ambient outlet. Vintage synths, wet ware, hiss, harmonics.
The history of Quest goes back to the mid-90 when 'ambient house' was looming large when Frans de Waard got tired of playing the same noise show as Kapotte Muziek and Beequeen and was still deep into the world of everything dark and drone-like. It was time for something lighter, ambient and, why not, perhaps a bit rhythmical.
A drum machine was bought but never understood and only used for a couple of pieces on the 'Questionmark' LP, released as QST in 1994. That was the premature end of QST, but as Quest, the project became more ambient and less rhythm and a bunch of releases on Noise Museum and Lunar in the mid to late 90s. Somewhere in the late 90s new possibilities and techniques came along and it was time to move away from analogue synthesizers, field recordings and four-track machines. It had been a good run.
Fast forward to 2014 and another development in technology. Apps developed for the iPad made it possible to create the rhythm music dreamed off in the mid-90s but that was never realized back then; QST all of a sudden got a restart, with lots of pieces being composed resulting in a 12" released by Inta (2017), a CD for Static Caravan (2017) and Carpe Sonum Novum (2019).
In 2015 Infraction Records raised the question "is this technology also useful for some good old ambient music as Quest?", and never tired of trying new things out, Frans de Waard set to work. In a born again Quest, he decided to combine his newfound love for iPad technology in combination with some of his rusty and trusted synthesizers and with his old four-track machines, walkmans and field recordings. A high meet low sort-of technological approach, if you will. So far that has resulted in an album per year in the last five years. Of these, '(An) Exterior' was the first to get started but the second to finish. In fifty-three minutes, seven pieces of music are played, flowing like a breeze, like a storm and at times without any visible movement. Deep synths passages, small shimmering melodies, vast drones, mildly processed field recordings, it is all one long, spacious journey of one of the unique voices in experimental music.
When looking for a cover that surpasses the prescriptive photography from a landscape, Frans asked his close friend, musician and visual artist Bertin van Vliet if he could use some of his geometric drawings he posted online. Van Vliet invited Frans over and showed the entire collection of these drawings, a whole book full of them, which were all scanned for further inspection, which then resulted in the idea to do a limited edition facsimile reprint of the original Van Vliet drawing book, with a bonus CDR.
All of this resulted in a beautiful release, across various formats;
1. A CD in a digipack, edition of 300
2. A cassette with J-Card in a plastic case, edition of 50
3. A CD and bonus CDR (41 minutes of additional music) in a book bound reprint of the original Bertin van Vliet drawing book, edition of 25 copies
4. All of 1, 2, and 3 with an additional bonus CDR (40'20), with the original Bertin van Vliet book in a signed edition of 1 copy
Mastering by Peter John Nijland
Design by Timothy O'Donnell
https://infraction.bandcamp.com/album/an-exterior
|
2021 |
€9.50 |
|
| RABELAIS, AKIRA |
Eisoptrophobia |
do-LP |
Akira Rabelais’ supremely moving eisoptrophobia album issued on vinyl for the first time, 17 years after it was first released on CD. Harnessing Akira’s own smudged recollections of childhood brought to life via treated solo piano pieces by Erik Satie and Bartok, it’s a haunting mutation of sound that comes hugely recommended if you grabbed his peerless Spellewauerynsherde reissue last year, or indeed any of his releases for David Sylvian’s Samadhisound label. Followers of The Caretaker’s work or Stephan Mathieu’s classic 'Radioland' album should also dive deep into these exquisite, bittersweet memories of secret histories lost in time.
First released in 2001 on CD by Ritornell, a sub-label of Mille Plateaux, ‘eisoptrophobia’ was an early iteration of Akira applying his Argeïphontes Lyre software to classical music, opening a fascinating schism between the original object and his modern, subjective perspective in the process. Made up of spellbinding, uniquely decayed renderings of solo piano pieces, it forms a poetic farewell to the 20th century and a reluctant embrace of new technological possibilities.
The original piano recordings of Satie and Bartók pieces were made at Wave Equation Studios in Hollywood, California, and subsequently transformed by Argeïphontes Lyre with beautifully elusive results. The recognisable melodies here ring out in myriad new ways, sometimes fractured and indented by patinas of crackle that echo the original contours, while, at othere, smudged into mind-bending obfuscation or spectral, timbral thizz. They have the uncanny capacity to resemble exhumed artefacts, dug up after decades of decay, and riddled with potently psychedelic mycelium ready to spore on the listener’s mind. But they also capture that elusive yearning for early life; the distant crackle of AM radio playing in another room, scratched records, a piano playing, somehere.
The title eisoptrophobia itself means ”fear of mirrors“, in an interview with L.A. weekly back in 2002, Rabelais explained that he picked it as a way of articulating his dread of limitation. ”I exist in a much larger space than what I am physically. But if I were to look into the mirror, I would suddenly pull back into my body.” A feeling not unlike the experience of sitting through this remarkable album before suddenly being snapped back to your surroundings.
First time on vinyl, Black 2LP housed inside a deluxe, thick spine gatefold sleeve. Lacquer cut at D+M, Berlin, photography by Jacqueline Roberts, design by Michael Worthington
|
2018 |
€26.00 |
|
| RADIGUE, ELIANE |
Transamorem Transmortem |
CD |
\" “Before the greatest achievement
Before the greatest detachment.
At the limit of the frontier space of the unconscious - tuned waves - \"consonant things vibrate together\".
Where does the change happen? In the inner field of perception or the exterior reality of moving things in the course of becoming.
\"And time is no longer an obstacle, but the means by which the possible is achieved\".
Eliane Radigue - June 20, 1973
\"Transamorem - Transmortem\" was premiered on March 9, 1974 at The Kitchen in NYC, where the music programmer at the time was Rhys Chatham - this was right before his guitar phase. During this period, \"Transamorem - Transmortem\" was presented along with other compositions by Eliane Radigue in a linear mode of listening, although the piece had originally been conceived, during its composition, as a sound installation. Of course, both modes of listening are possible, and each works marvelously in its own way.
In their original form, Eliane Radigue\'s works are magnetic tapes. After being played a few times in public, the tape disappears to its case until a release proposal makes it available again through a disc.
During this period Eliane Radigue\'s compositions became fairly long, some lasting over an hour. Because the tracks could not be edited for some obvious reasons, a vinyl release was unthinkable. It was only in the 90\'s, with the advent of the CD format, that the long compositions of Eliane Radigue were made available (with the exception of the \"Song of Milarepa\" LP on Lovely Music, a work already divided into multiple movements and thus able to be fit onto two sides of an LP). For these reasons, the work of Eliane Radigue remained virtually unknown for twenty years - from the 70\'s to the 90\'s.
It was in 2004, when she accepted my aid in digitizing her archives, along with Lionel Marchetti, that I discovered \"Transamoren - Transmortem.\" Immediately, I was awed by the majestic grace of this very long tangle of frequencies, this set of seemingly unchanging tones, whose variations are of a delicate subtlety. \"Transamoren - Transmorten\" is recognizable as one of the most radical of Radigue\'s compositions, comparable to the first \"Adnos,\" the work that follows \"Transamoren - Transmortem\" chronologically. Very few transformations, an apparent formal aridity that is then contradicted by the physical play of the frequencies as the listener turns her head gently from right to left, or better yet as the listener moves slowly throughout the music space. Moving through zones of specific frequencies, the listener\'s body experiences localized zones of low, medium and treble frequencies which vary according to the acoustic properties of the space. As Radigue wrote of \"Adnos\": \"to displace stones in the bed of a river does not affect the course of water, but rather modifies the way the water flows.\" Here, we find the same meditative tension proposing a peaceful movement through the spaces created by the different frequencies that compose \"Transamoren - Transmortem.\"
Very well-organized, Eliane Radigue\'s archives are a pleasure to explore, and \"Transamorem - Transmortem\"\'s case contained a mine of information. What excited me most was the short text entitled \"Inner Space\", which described the ideal conditions under which \"Transamorem - Transmortem\" should be presented. That is to say as a sound installation.
\"Inner Space - This monophonic tape should be played on 4 speakers placed in the four corners of an empty room. Carpet on the floor. The impression of different points of origin of the sound is produced by the localization of the various zones of frequencies, and by the displacements produced by simple movements of the head within the acoustic space of the room. A low point of light on the ceiling, in the center of the room, produced by indirect lighting. Several white light projectors of very weak intensity whose rays, coming from different angles, meet at a single point\".
Eliane Radigue - 1973
I immediately felt that it was necessary to make \"Transamoren-Transmorten\" available once again, and this time in its ideal form, in trying to follow Radigue\'s recommendations word for word. It was with this idea in mind that the Cumulus collective (also responsible for the contemporary music festival Why Note) organized the Continuum festival in Dijon along with the art space Le Consortium (one of the founders of which had persuaded the goup Circle X to record their first, mythic EP in Dijon in 1979 - but that\'s another story!).
The goal was to correctly present some of Eliane Radigue\'s sound installations, an aspect of her work now completely forgotten. And yet, between 1967 and 1971 her work was often exhibited in galleries of contemporary art, mostly in Paris (Lara Vincy, Yvon Lambert ... ), a reflection of the fact that French people have had a harder time than Americans placing the work of Radigue. She herself hesitated for quite a while to use the word \"music\" to describe her work, a complex that is familiar to this very generation of musicians, and which is now no longer really a problem. Who would claim that the work of Eliane Radigue is not musical? That would be strange ...
The 2006 Continuum festival in Dijon saved four sound installations from the dust (an expression that Radigue uses to describe her archives): \"S=a=b=a+b\" (1969), \"Omnht\" (1970), \"Labyrinthe Sonore\" (1970) and \"Transamorem - Transmortem\" (1973). The first two installations are composed with feedbacks, the two others with the sounds of the ARP 2500 synthesizer. Each one is based on a strategy of specific spatial presentation, but that\'s also another story ...
Now it\'s your turn to enjoy this enveloping electronic space ...\" [liner notes]
www.importantrecords.com
|
2011 |
€16.50 |
|
|
CHRY-PTUS |
do-LP |
Eliane Radigue's Chry-Ptus is her very first piece for the modular synthesizer. It was composed in 1971 using a Buchla 100 which had recently been installed at NYU by Morton Subotnick. This double LP was mastered by Golden and pressed at RTI for maximum fidelity.
From the original press release:
'Chry-Ptus' (1971). Originally two tapes which were to be played simultaneously, with or without synchronisation, which does not affect the structure of the work, but creates changes in the game of sub-harmonics and overtones.
Three variations on this piece were performed at the New York Cultural Center in 1971, with variations of amplitude and location modulation as well as synchronisation. Realized on the Buchla Synthesizer at the New York University.
The booklet contains a text by painter Paul Jenkins, who also realised the watercolor on the front cover, written on occasion of Radigue's first concert in New York, April 6th, 1971.
“It’s with the Buchla that I constructed Chry-ptus, a piece made up of two tapes with an analogue duration, 22 or 23 minutes, which could be played either simultaneously or with a slight time difference, so as to establish slight variations every time the piece was played. I spent the first months eliminating everything I did not want; I even used a notebook in which I tried to determine a writing system resembling chemical formulae.” Eliane Radigue |
2019 |
€33.50 |
|
|
In Memoriam-Ostinato / Danse des Dakinis |
LP |
"Alga Marghen presents the last chapter from the Feedback Works documentation series, a brand-new LP including "In Memoriam-Ostinato" and "Danse des Dakinis", two previous unreleased tracks by Eliane Radigue. Among the works of fixed duration from the feedback period, "In Memoriam-Ostinato" is the link between "Jouet Electronique" (ALGA 029LP) and "Opus 17" (ALGA 045LP), and allows you to understand the evolution of her approach. "In Memoriam-Ostinato" is a game of mirroring symbols which glide into a non-measured, bent and elastic, temporality. Eliane Radigue's working method and her aesthetic direction are evident in this work from 1969: her very own unique temporal space of sonic experiences. Even though it bears the same name as the third part of "Adnos III", "Danse des Dakinis" is a peculiar work in Eliane's oeuvre. Conceived in a short time, with all kind of tapes from the composer's past work, it fluently shows a kaleidoscopic vision of Radigue's sensibility for sound. In 1998 she put together a curious self-portrait in sound. There is a feedback ostinato conceived around 1969 and which refers to "In Memoriam-Ostinato" and "Opus 17". All through "Danse des Dakinis" you plunge into the sound of a creek recorded at Mills College campus that brings you back to the field-recordings from the beginning of the 1960s, made on the coasts of the Mediterranean Sea. Such elements construct "Elemental1" (ALGA 029LP) as well. There are also some discreet interventions on the ARP 2500 synthesizer. It is indeed a peculiar work, which doesn't have the same features of her other compositions, especially at that time of her compositional path. There is an explanation for the composer producing this kind of sound material in 1998, and not limited to the sound waves of the ARP synthesizer. Invited to a workshop at Mills College in 1998, Eliane Radigue could not load herself down with her bulky instrument on such a trip. So, she left with just a few tapes taken from her own collection, drawn from different periods, and composed "Danse des Dakinis" with those old elements. There is tension in this composition, a certain wildness, an unpredictability of elements, those which are recognized as fundamental elements, which give structure to the universe. "Dance des Dakinis" is an intimate and wild symphony, alive and unpredictable, which is to be the next-to-last gesture of the composer before completely stopping her work with electronics." [label info]
"There is no artist, working in the contemporary field of experimental sound, that is more important than the French composer Éliane Radigue. She is a shining light, who, for more than half a century, has quietly blazed trails with a body of work that is as creatively visionary as it is sublime. Back in the 2010s, Alga Marghen launched a crucial archival series, dedicated to some of Radigue’s earliest and previously unavailable works, many predating her first LP, 1983's “Songs of Milarepa”, by more than a decade. Having already delivered four LP of this material, they return with their fifth and final instalment in the series, “In Memoriam-Ostinato / Danse des Dakinis”. Perhaps the most fascinating of the group, the first work was composed in 1969 in the period between the creation of two of her earlier works comprised within Alga Marghen’s initiative, “Jouet Electronique” and “Opus 17”, while the second draws on material recorded during the 1960s and then further intervened with, “Danse des Dakinis” was conceived and created in 1998 by Radigue as a self-portrait in sound. Absolutely essential on every count, we couldn’t think of a better place for this series to end, further illuminating the remarkable beginnings of one of our greatest living composers in truly eye watering ways.
Born in 1932, Éliane Radigue began her musical endeavours in Paris during the late 1950s and early '60s, working under Pierre Schaffer and Pierre Henry, before quickly outstepping her mentors. Initially working predominantly in tape, during the early 1970s she made the radical switch to modular synthesis, beginning a decades long exploration of the ARP 2500 that drew on her practice as a Buddhist and pushed the notions of musicality endlessly forward, taking the entire landscape of experimental sound with her through a series of sonic mediations that bound life and art.
During the early 2000s, Radigue set aside her synth, embarking upon a hiatus from music, before taking the unexpected step of beginning to compose works with and for acoustic instrumentalists. By the the early 2010s, this new phase in her career had begun to emerge as the sprawling work, “Occam Ocean” series, arguably bringing her more acclaim and adoration than any other point in her long career. Fittingly, it was during roughly this same moment, beginning with “Jouet electronique”, that Alga Marghen embarked upon their archival series dedicated to Radigue’s earliest and previously unavailable works, offering a unprecedented and much needed sense of dimension to the breadth of her career. Followed in rapid succession by “Feedback Works”, “Vice-Versa, etc…”, and “Opus 17” - each mining the period when the composer worked predominantly with magnetic tape - it’s been nearly a decade since the last LP appeared, making the emergence of their final instalment in the series. “In Memoriam-Ostinato / Danse des Dakinis”, that much more sweet.
Comprising two free standing works, the first, “In Memoriam-Ostinato”, foreshadows the pacing that would soon come to define Radigue’s unique approach to composing sound. Measured and slow, it is an immersion into an extending state of contemplation, manifested in organizations of sound; a game of mirroring symbols that bend and elongate time, inviting the ear to get lost. As Radigue recounts: “This piece was commissioned for a Happening, Mémorial. It was a sort of secular procession to the castle of Verderonne, a beautiful place. The pools bordering the edifice were lit, and everyone was dressed or draped in mauve. It terminated in one of the grand salons of the castle where I played “In Memoriam-Ostinato”.”
While considerably more concise than many of the durational works through which Radigue would come to make her name, the 23 minutes that make up “In Memoriam-Ostinato” are not encompassing or lacking in depth. Where it differs is within the presence of slighter darker temperament and mood. Across the work’s length, low rumbles of textural noise form a bedrock - feeling a bit like the death knell of dying electronics - into which strange, warbling tones of feedback pulse and dance with a palpable sense of tension. Like so much Radigue’s work over the years to come, “In Memoriam-Ostinato” actively obscures a consciousness of the artist’s hand. It's so elegant and risk laden, that were it encountered by chance, without context, it might be perceived as the generative form of an abandoned radio station within an alien landscape.
Rounding out the collection and not to be confused with the third part of “Adnos III”, which bears the same name, “Danse des Dakinis” is quite possibly the only work of its kind in Radigue’s remarkable body of work. Drawing on a wealth of tapes she created during the 1960s, the work was created in 1998 as a kind of self-portrait in sound; a kaleidoscopic vision of Radigue's sensibility for sound, a memoir, and a hall of mirrors prismatically reflecting the multiples sides of self. The piece, because of the many phases in her career from which it draws, is a fascinating hybrid that uses field-recordings from the beginning of the 1960s, made on the coasts of the Mediterranean Sea and capturing the sound of a creek recorded at Mills College campus, feedback elements from 1969, as well as later interventions on her ARP 2500 synthesizer.
Standing outside her larger body of composition, while intrinsically bound to it, “Danse des Dakinis” nods toward the dakini, a female deity in Vajrayana Buddhism or a female demon in Hinduism, establishing a curious bond between wrathful female forms and the elements of nature which double, in Buddhism - a central force in Radigue’s life and work - as the absence of ego or mental obstacles, where nature itself is revealed. Here, once again, we encounter the composer in a darker meditative state, weaving the sounds of nature into those of her Arp and feedback to create a complex internal world that blurs the lines between abstraction and raw emotion, electronics and organic sounds.
It’s hard to not feel a little bitter sweet about the long overdue emergence of Éliane Radigue’s “In Memoriam-Ostinato / Danse des Dakinis”. On one hand, it’s a truly incredible and deeply illuminating body of work. On the other, it signals the end of Alga Marghen’s decade long immersion into the composers crucial, previously unreleased body of feedback works from the 1960s. Still, we couldn’t think of a better way to end than here. It’s one of the most intriguing and engaging of the group. Absolutely fantastic from the first to the last." [Soundohm]
|
2022 |
€24.00 |
|
| |
Opus 17 |
do-LP |
"alga marghen very proudly presents "opus 17", a major turning-point in the sonic oeuvre of eliane radigue. finished in 1970 it was the last work composed with feedback materials. from that experimental period "opus 17" preserves the plastic character: a music made of rough sonic phenomena, at once harsh and granular, possessing a quality of materiality and tactility. its vibrations structure the air surrounding the listener with densities, thicknesses, indeed with palpable movement. her compositions are frames which let us hear these phenomena, open frameworks from the sonic installations of her endless musics and here reinserted in the five scenes making up "opus 17". in 1970, in her studio of very rudimentary means, she developed a completely unique body of work centered on sounds produced by feedback. "opus 17" has the quality of showing off the sum of the achieved techniques and methods. eliane radigue's music has never been rooted in ideas but in practice, the intimate experience of things in the wild which she has known how to tame. this dialog both intense and poetic which she keeps up with the solid matter of sound finds a remarkable concretization in "opus 17". it is to be underlined that with "opus 17" eliane radigue inaugurates a technique of composition which will be her footprint, her trademark: imperceptible transformations. for that she has developed a technique of meticulous mixings, based on the slow passage from one section to the next. imperceptible, all during the piece, we pass, ceaselessly and without noticing the changes, from one frequency flux to another. time is suspended, smoothed out, stretched. it is this technique which eliane radigue will be essentially using for all the electronic works to come and which she will never cease to refine and render always more subtile. "opus 17" is the great panoramic voyage through material sound, its electronic phenomena detailed as if in a microscope. could feedback really contain such a universe? "yes", the work of eliane radigue answers, but that exploration was not that easy: one had to learn to listen. it required eliane radigue's great demands on listening which led her to the discovery of such treasures. unknown wealth in a material often rejected as trivial. "opus 17" was created at the artistic center of verderonne on may 23, 1970, for the fete en blanc (i.e. white festival) organized by the visual artists antoni miralda, joan rabascall, dorothee selz and jaume xifra. 2021 repress, edition of 300 copies
|
2021 |
€36.00 |
|
| RADIOHEAD |
In Rainbows |
CD |
„Ihr bestes Album seit ‚OK Computer’“
.... so oder ähnlich war es der Presse zu entnehmen, als "In Rainbows" im Oktober 2007 digital veröffentlicht wurde. Die Presse war nicht nur ob der neuartigen Veröffentlichungswege der Band begeistert, sondern auch von der Qualität der Musik überzeugt. Der deutsche Rolling Stone kürte das Werk denn auch umgehend zum Album des Monats, und auch Spiegel Online vergab die selten gewordenen 10 Punkte.
Nun hat die Kultband um Mastermind Thom Yorke doch noch einen klassischen Plattenvertrag unterschrieben und erlaubt XL Recordings, CD und LP in den Handel zu bringen. Und beschert uns sicher die letzte Veröffentlichung in 2007 und den ersten Chartentry in 2008.
"Natürlich, Radiohead haben alles schon einmal gemacht, was auf "In Rainbows" so schön ist: der Kitsch, das Experiment, das Liebeslied, die Symphonie, die Elektronik, das Enigma, das Lärmende, das Zarte, das Ausladende, das Einladende. Aber besser macht es sonst niemand." Rolling Stone 11/07
|
2007 |
€16.00 |
|
| |
The King of Limbs |
CD |
"Unbezwingbare Größe: achtes Studioalbum der englischen Alternative-Rock-Helden.
Sie gelten als stilprägendste britische Band der 90er-Jahre und haben sich mit Alben wie "The Bends" und "OK Computer" in jede 90er-Jahre-Best-of-Liste gespielt. Die Rede ist natürlich von Radiohead. Die 1986 in Oxford von Sänger Thom Yorke gegründete Band veröffentlicht mit "The King Of Limbs" ihr achtes Studioalbum. Die acht Stücke des Albums wurden erneut vom Erfolgsproduzenten und Quasi-Bandmitglied Nigel Godrich betreut, der bereits "OK Computer" produzierte. Die Internetplattform "Laut.de" urteilte: "Mit jedem Durchlauf wächst der tiefe Schatten, den Radiohead mit ihrer zeitdiagnostischen Qualität samt eigenbrötlerischen Veröffentlichungswillen auf die Musikindustrie geworfen haben, bis zur unbezwingbaren Größe heran." [label info / Indigo]
www.xlrecordings.com |
2011 |
€16.00 |
|
| RAISON D'ETRE |
Prospectus I |
do-LP |
For the first time on vinyl, re-issue the first album by raison d’être, originally released in 1993. For this recording all sounds have been restored and re-recorded from the original source material and all tracks have been carefully remixed to maintain the true feeling and atmosphere of the original album but with current standards for high quality audio. This re-issue also contains 4 bonus tracks not featured on the original album. Re-mastered for vinyl according to the K-14 level standard by Peter Andersson. A Cyclic Law & Old Europa Cafe Co-Release.
Gatefold 2LP limited to 300 copies on Black vinyl. 350gr cover with matt lamination. 13 tracks. Running Time 75:36
https://cycliclaw.bandcamp.com/album/prospectus-i
|
2018 |
€27.50 |
|
| |
Enthralled by the Wind of Loneliness |
do-LP |
For the first time on vinyl, re-issue the second album by raison d'être, originally released in 1994. For this recording all sounds have been restored and re-recorded from the original source material and all tracks have been carefully remixed to maintain the true feeling and atmosphere of the original album but with current standards for high quality audio. This re-issue also contains 4 bonus tracks not featured on the original album. Re-mastered for vinyl according to the K-14 level standard by Peter Andersson. A Cyclic Law & Old Europa Cafe Co-Release.
-Standard Edition Gatefold 2LP limited to 300 copies on Black vinyl. 350gr cover with matt lamination. 11 tracks. Running Time 75:17
https://cycliclaw.bandcamp.com/album/enthralled-by-the-wind-of-loneliness |
2018 |
€27.50 |
|
| RAISON D'ETRE & TROUM |
De Aeris In Sublunaria Influxu |
do-LP |
First time on Vinyl, presented in Gatefold Sleeve on Double LP. Originally released in 2015 and carefully forged between 2011 and 2014, "De Aeris In Sublunaria Influxu" showcases a magically crafted alchemical wedding between these two titans of drone ambient. The 2LP features an exclusive bonus track.
Troum navigates through cavernous, subterranean spaces where cyclical sounds reverberate towards impressive crescendos of icy noise, luminous drones and dramatic, guitar-driven ghostly melodies. Their truly unique soundscapes shine in a perfect symbiotic movement with the Swedish dark ambient maestro Peter Andersson. Engulfed in a hauntingly beautiful kaleidoscope of grey-ish melancholia, raison d’être comfortably walks deeply into Troum’s vast territory, delivering his very own trademark of eerie tones, ominous sacral ambience and crystal clear constructions. Airy lush enigmatic atmospheres live together with dark breathing, reverberant transformative drones. Rich and gorgeously layered.
All sounds assembled and recorded by raison d'être (Peter Andersson) and Troum (Stefan Knappe, Martin Gitschel) between 2011-2014. All sounds processed, manipulated and structured by Peter Andersson 2011-2014. K-14 level mastering by Peter Andersson 2014. Artwork by Ritxi Ostáriz.
2LP Vinyl Edition of 300 copies, Gatefold Sleeve, Matt Lamination, black Paper Innersleeves. 8 Tracks. Running Time 76:785
https://cycliclaw.bandcamp.com/album/de-aeris-in-sublunaria-influxu |
2023 |
€28.00 |
|
| RAMLEH |
Conquest Play / Clockwork |
12inch |
12" LP by legendary Ramleh on Entropy, with two exclusive tracks. "Conquest Play" is a terrifying guitar noise wail, while "Clockwork" is a rhythmic
post-punk epic. Essential stuff.
|
2016 |
€13.00 |
|
| RANTA / ICHIYANAGI / KOSUGI |
Improvisation Sep. 1975 |
LP |
Toshi Ichiyanagi, Michael Ranta and Takehisa Kosugi originally got together in the summer of 1975 for an open-air concert in Sapporo. The concert felt like a great success but was unfortunately not recorded. As the desire arose to record together, they managed to arrange a studio session in the NHK Studio in Tokyo, with presence of sound engineers.
What was supposed to be a soundcheck for this session became the session itself: a haunting 50-minute séance of intense avantgarde improvisation using a large instrumentation and live processing (tape echo, ring modulation, phasing). A trident travelogue of the momentum masterfully controlled by the ensemble spirit, transcending the boundaries of psychedelic underground.
Official reissue of this underground classic from 1975, originally released in a tiny edition on the small Japanese Iskra label.
As the original master tapes of these recordings seem to be lost, the master had to be taken from an unplayed original LP copy. It was carefully restored and mastered by Jos Smolders with amazing result.
Audio restoration and mastering: Jos Smolders/EARLabs
Lay-out: Meeuw
Translation: Alan Cummings
Production: Timo van Luijk
https://metaphon2.bandcamp.com/album/improvisation-sep-1975 |
2022 |
€25.00 |
|
| RANTA, MICHAEL |
Yuen Shan |
do-LP |
"16 track composition for pre recorded sounds and live percussion performed by Michael Ranta (entirely different work from the Yuen Shan CD released in 2005). All material previously unreleased.
LP version : 2 LP's in gatefold sleeve with insert. Edition of 300 copies.
Yuen Shan (Round Mountain in Chinese) was conceived in 1972 and finalized in
2014. It's a musical cosmogony in four cycles based on different levels of ancient
Asian spiritual principles and mechanisms. A major work in Ranta's oeuvre (his
first solo release in almost 25 years), highly personal and spiritual." [label info]
www.metaphon.be
|
2015 |
€32.00 |
|
| RAPOON |
Dream Circle |
CD |
"The long-awaited re-issue of the very first album of Rapoon initially released by now long defunkt Death Of Vinyl Entertainment in 1992. “Dream Circle” was out just after Robin Storey left Zoviet France and it has a lot of common with his former project’s late 80-es/early 90-es sound, especially with the same DOVe label release “Shadow, Thief Of The Sun”, which is now maybe the most sought-after CD of Zoviet France. “Dream Circle” is a bridge between the old and new projects, a kind of a witness to this difficult times. It’s dark, esoteric and dense, with a lot of haunting loops, frightening whispers and subtle trance-inducing rhythms. Though it’s nearly 20 years old, it sounds fresh and actual, as now the spiral of time made its turn bringing us closer to this point of eternal dream circle, just one level higher (or lower, who knows). The release limited to 500 copies comes in a mini LP-like embossed cover with inner sleeve, both printed gold-on-black." [label info]
|
2010 |
€13.00 |
|
|
Vernal Crossing |
do-LP |
"Vernal Croossing was Rapoon's fourth album, originally released in 1993 by Staalplaat. One of the most interesting records released by Robin Storey (founding member of the pioneering industrial group :zoviet*france) on vinyl now for the first time.
A magic balance between percussion and electronics, creating mind-bending tapestries of minimalistic patterns and quasi-melodic drones fused with occasional doses of well-placed white noise. An approach much in debt to his 12 year stint with zoviet-france. It paints a gossamer diaphanous drifting veil of mood over the top. Other than some moody loops and psychoacoustic dimensions, it sounds authentic - hardly a trace of crude electronics or sampling. The drumming - in soft tones rather than hard hitting ones - does nothing to intrude on the passive mood. The overall atmosphere does not really change throughout the recording making it a cool, pacifying atmosphere while having the madcap tempo which would be very easy to dance to.
This edition includes a new track called Total Crossing, edited/constructed by Colin Potter, who has been in charge of the remastering of the record. A deep drone trance/meditation edit that blew Robin's own mind (and also ours!). The successful experiment explained by Colin: "I imported all the masters to my DAW to make a mock-up of the LP & initially they were all together at the beginning of the multitrack, before I spaced them out in the record's running order. And I thought.... what would it sound like with them all playing at once? Well, it was actually suprisingly interesting, so I did a mixdown."
|
2020 |
€26.00 |
|
|
:Cinema Telephonique: |
LP |
We present the latest release from Rapoon. ": Cinema Telephonique :" is an audio description of an imagined film. Robin Storey was inspired to start working on the album by the acoustic phenomenon that appeared while scrolling his sound files into 1010Blackbox sampler with the play activated. Staccato little snapshots of sound evoking cinematic fragments of pictures through the random audio. Every track was played live with looped drum recordings/resampled and multi-triggered. The recordings were then refined in Pro Tools. This album contains material, composed especially for a vinyl plate according to the scheme used before the CD era, when the longplay lasted not much longer than 40 minutes, which contained the entire concept, divided into two sides and also functioning as separate fragments, consisting of several shorter pieces arranged in such an order as to build their proper drama, taking into account factors such as their length, dynamics and sound.
The album is released only as LP on 180g of navy blue, transparent vinyl in a limited edition of 300 copies.
https://zoharum.bandcamp.com/album/cinema-telephonique
|
2021 |
€20.00 |
|
| |
Raising Earthly Spirits |
CD box |
• CD in mini-LP gatefold sleeve
• Remastered
• Wooden box
• Limited to 300 copies
https://kontaktaudio.bandcamp.com/album/raising-earthly-spirits
• Ritualistic Ambient music at it's best
• Project from the co-founder of Zoviet France
• Pulsating Deep Ambient with calm, yet vibrant soundscapes
• Electronic manipulations mixed with mysterious instruments and eastern influences
• Includes 2 unreleased bonus tracks from the same sessions back in 1991
• For fans of Muslimgauze, Zoviet★France, O Yuki Conjugate, Biosphere and the likes
Raising Earthly Spirits was conceived as a ritualistic, shamanistic album centred around the concept of transcending this level of consciousness and existing mindfully in multidimensional space and time. It draws heavily upon the sacred ideas and practices of many indigenous peoples from this earth and how they communicate and interact with their ancestors and how they see themselves in relation to this world. It was made with respect towards these beliefs. - Robin Storey/Rapoon
credits
released February 15, 2023
All tracks written and performed by Robin Storey
Drawings by Robin Storey
Design by Oleg Galay
An Other Voices Records / Kontakt Audio Co-operation Release
https://kontaktaudio.bandcamp.com/album/raising-earthly-spirits
|
2023 |
€19.50 |
|
| RATKJE, MAJA S. |
Crepuscular Hour |
do-LP / DVD / CD |
Maja Solveig Kjelstrup Ratkje (1973) is quite a remarkable musician, singer, improviser and composer and Crepuscular Hour is quite an extraordinary piece of music, written as it is for the unusual line-up of three choirs, three pairs of noise musicians and church organ. It´s a one hour piece to be performed in a cathedral or similar with musicians surrounding the audience. The room will be filled with sound in an intense and dramatic, but also hypnotic and meditative hour, where the voices blend with the distortion, the noise sometimes taking over, and the organ eventually hoisting the music to a new dramaturgic level. The piece is inspired by the phenomena ‘crepuscular rays’, which is when rays of sunlight stream from one point through gaps in clouds or other obstacles. The visual design of this concert is a play on the phenomena, with the light being filtered by the obstacles and musicians in the room. All texts are from the Nag Hammadi Library, a collection of thirteen ancient books with over 50 texts that were discovered in upper Egypt in 1945. These texts have provided a major re-evaluation of early Christian history. Crepuscular Hour was premiered at the Ultima Festival in Oslo in 2010, and the next realisation of the piece was at the Huddersfield Contemporary Music Festival in 2012, where this recording was done.
The concert was beautifully filmed and directed by Kathy Hinde and can be found on the DVD that comes with both the CD and 2LP editions. This also includes a 5.1 surround sound option.
Released 18.03.16
www.runegrammofon.com
|
2016 |
€34.00 |
|
| |
Crepuscular Hour |
CD + DVD |
Maja Solveig Kjelstrup Ratkje (1973) is quite a remarkable musician, singer, improviser and composer and Crepuscular Hour is quite an extraordinary piece of music, written as it is for the unusual line-up of three choirs, three pairs of noise musicians and church organ. It´s a one hour piece to be performed in a cathedral or similar with musicians surrounding the audience. The room will be filled with sound in an intense and dramatic, but also hypnotic and meditative hour, where the voices blend with the distortion, the noise sometimes taking over, and the organ eventually hoisting the music to a new dramaturgic level. The piece is inspired by the phenomena ‘crepuscular rays’, which is when rays of sunlight stream from one point through gaps in clouds or other obstacles. The visual design of this concert is a play on the phenomena, with the light being filtered by the obstacles and musicians in the room. All texts are from the Nag Hammadi Library, a collection of thirteen ancient books with over 50 texts that were discovered in upper Egypt in 1945. These texts have provided a major re-evaluation of early Christian history. Crepuscular Hour was premiered at the Ultima Festival in Oslo in 2010, and the next realisation of the piece was at the Huddersfield Contemporary Music Festival in 2012, where this recording was done.
The concert was beautifully filmed and directed by Kathy Hinde and can be found on the DVD that comes with both the CD and 2LP editions. This also includes a 5.1 surround sound option.
Released 18.03.16
www.runegrammofon.com
|
2016 |
€19.50 |
|
| RATKJE, MAJA S.K. / JON WESSELTOFT / CAMILLE NORMENT / PER GISLE GALAEN |
Celadon |
CD |
"A record of slowly evolving beauty that gradually unravels its meditative design. Recorded in Norwegian sculptor and painter Emanuel Vigeland' s (1875 -1948) mausoleum in Oslo in 2013. A recording space that is famous for its acoustics and its long and full-sounding reverb. These three tracks utilize both the delicacy and the power of acoustic instruments and human voice in relation to the unique recording space. This is a record that is otherworldly and eerie but also with a great primal expressive force. Performed by four artists from different backgrounds coming together to create this singular set of music. Maja S.K. Ratkje - Voice and Bells. Jon Wesseltoft - Accordion Organ and Harmonium. Camille Norment - Glass Armonica. Per Gisle GalŒen - Zither and Harmonium. Recorded at Emanuel Vigeland Mausoleum May 2013 by Thomas Hukkelberg. Mixed and mastered by Maja S.K. Ratkje." [label info]
www.importantrecords.com
|
2015 |
€16.00 |
|
| RATS WITH WINGS |
Out Vile Jelly ! |
CD-R |
Die australischen Flügelratten sind wieder da, noisen herum und meditieren grob, und weg sind sie! Ein irrer Mix aus überdrehten Analog-Electronics, hirnverdrehenden Samples und Instrumentalparts (e-bow –whatever)! Schon recht speziell...
“A brand new dense and all-cooked-up electronic stew from mr. Wings out of Sydney, Australia. 4 shorter tracks (clocking in at ca 30 mins) originally slated for a release on now-defunct label Nidnod + a 45 min track which really melts yr brain.” [label info]
|
2005 |
€6.00 |
|
| |
Aide-Memoire |
do-LP |
A collection of material taken from diverse CDR-releases from this die-hard experimentalism project from Australia. Always disturbing, always challenging, always low-fi & mysterious, always unsettling, strange & alien in an almost absurd way. You could compare it to MLEHST or LICHT-UNG maybe, speaking of the approach....electronic micro & macrosounds, crackles, hums, squakings, sounds from objects, field recordings, drones... do not try to understand or analyse this, just let it in. This is one of the not-understandable records that will be searched for in maybe 20 years. Or maybe not. We think its great stuff ! Import from Australia in a tiny edition, handmade cover with broken CD on it.
"double LP of material taken from CD-R releases: The Fish Rots From The Head (unreleased), Southern Oscillation Index (HoLR) CDR-RWW (MIR), Ratified Loopholes (AEN), Ashtray Cabbage (Fiend), Get And Put (Deadline), Out Vile Jelly! (Gold Soundz), Night Science and Underground Australia compilations (Cipher Productions). [package has a damaged CD glued to the cover]" [label info]
|
2006 |
€20.00 |
|
| RECCHION, TOM |
Oaxaca Dawn |
pic-LP |
"Elevator Bath's ongoing series of picture disc LPs (each record being adorned with full-color artwork by the recording artist) continues with Tom Recchion's lovely Oaxaca Dawn | Bamboo. Originally slated for release nearly ten years ago, this pair of humble field recordings is now finally available.
Oaxaca Dawn and Bamboo are two raw, unadulterated, and unpretentious snapshots of specific moments in time and space: the early morning cracking of dawn in Oaxaca, Mexico and a windy afternoon in a Hana bamboo forest on Maui, Hawaii. Individually these audio documents are gorgeously simple, matter-of-fact presentations of travels. Together they are a recollection of their natural beauty, impossible to adequately render by any other means.
"I was struck by the cacophony of sounds at the dawn of light in the 'suburb' of Oaxaca where I was staying. It woke me everyday of my week long stay. It was like a barnyard turned up to 11. I brought a DAT machine and two Audio Technica microphones for the purpose of making field recordings on the trip. I woke up before the sun came up and set up the equipment in the dark. The first sound on the record is the moment the sun came over the horizon.
The bamboo forests on Maui were seared into my memory from my first time in Hawaii. On my second trip, armed with a first edition Edirol digital recorder, I hung out in the forest for a couple of hours to make the recordings. I noticed 3 distinct sounds (though there are more). The wood block clunking of the stocks, the squeaking of the thin branches flicking and slipping off neighboring plants and the white noise rustling of the leaves on top of the giant clusters."
This beautiful LP features site-specific recordings and photographs by Tom Recchion, a sound and visual artist/composer/potter/art director and graphic designer. He is the co-founder of the legendary Los Angeles Free Music Society (LAFMS) and has been an active, integral participant in the arts for more than forty years. Recchion lives in Pasadena, California.
This picture disc LP has been released in an edition of 250 copies. Every copy purchased directly from Elevator Bath will include a download code for high quality files of the entire audio content of this LP."
www.elevatorbath.com
|
2016 |
€20.00 |
|
| RED FAVORITE |
same |
LP |
"Jeremy Pisani recorded these 11 tracks between 1996 and 2003. As a resident of western Massachusetts, he shared stages with acts like Sunburned Hand of Man (=vaguely focused free folk), P.G.Six (acid folk, reviewed on next page), MV & EE Medicine Show (=avant music), Flaherty & Corsano duo (=avant music), Dredd Foole (=guitarist / s-sw, -havn’t hear him yet-) and Joshua (psych-folk) has maintained a curiously low profile.
The combinations of fingerpicking guitar meanderings with additional textures and some murmering voice (like on “First”) fits well with music like early Tower Recordings, Six Organs Of Admittance, Currituck Co., etc. Jeremy described his music well as “A soundtrack for dreams, chemical endeavours, human afflictions and distant memories”.
Acoustic guitar is the main instrument, often as acoustic guitar meanderings, with textures and fingerpicking improvisations, combined with some additional instruments like amplified guitar and banjo. On several tracks the guitar is combined with mellotron : on “Routine”, “Cistern”, “Wingshot”, and on the slightly loaded “Flight”. There are also touches of collages with other sounds (like with a distant phonograph on “Agrippa”). The production and mixing is well done and in a combination of songs the concept has been made optimal. I heard for instance an original use of changing the environmental echoes or tensions in the recordings on “Stormwatch”. “Pallid” has also a strangely mixed sound, which has some surreal effect, probably benifits from a less perfect recording. And “Flight” which has a somewhat dense tension is mixed as outro into the quieter acoustic fingerpicking solo. In between tracks with more tension are various very moody instrumental tracks like “Routine”, which has also flute and mellotron. A strange track is “Green Hill Beach” which starts with waves, then has guitar improvisations (amplified and acoustic), some voice whispers, and then evolves to more and more electro-acoustic and electric guitars echoes, to a point of saturation with effects, then calms down as if filtered again to amplified guitar meanderings only. In general I can say that those people who liked the experimental approaches from Six Organs of Admittance should check this artist too. But also fans of Joshua / P.G.Six might notice here a wonderful undiscovered talent.
The last hidden 12th track is a beautiful solo fingerpicking instrumental closer in Middle Eastern mode. A release which definitely deserves to be heard with an official publication." [Psychedelic Folk]
"Red Favorite, a cycle of compositions for guitars, electronics and voices created by Jeremy Pisani was first released as a limited edition CD on Spirit of Orr and is now offered, as it was originally conceived to appear, on an LP. He moved closer and looked through the peephole. And he saw: the world stretched out before him, a quiet and gentle space with a broad expanse of grass that practically glistened in its greenness. A sparkling brook ran through the meadow in the middle distance, and now he saw that the grass was dotted with the pale blue and soft yellow of many blooming flowers, which, half hidden in the grass, stared out at him like so many frightened eyes. On a distant hilltop stood a grove of small pink trees, covered and obscured by the astonishing pinkness of their blossoms. The world had a sense of freshness, as if it might only be minutes old -- washed clean by a careful springtime rain, dried and scrubbed by a solicitous breeze, burnished to its brightness by the rays of a gentle sun. It was an uncomplicated place, a very simple place. But what it had was quite enough; it had all it needed." [label notes] |
2008 |
€15.50 |
|
| REDOLFI, MICHEL |
Desert Tracks |
LP |
"In 1987, Michel Redolfi hit the California Desert road during the Fall, to catch those hypothetical poly-sensorial desert tones. He visited the Mojave Desert, Death Valley, Palm Canyon and came back with an extraordinary album of early electronic music, sparse and bright to express the crude light and the divine silences.
Released in our Early Electronic series
Michel Redolfi (Marseille 1951):
In 1969, with the co-foundation of the GMEM, Groupe de Musique Expérimentale de Marseille, Michel Redolfi pursued his passion for electro-acoustic music at an early age. During the 80s and 90s he composed collaborative works with
Luc Ferrari, Bernard Parmegiani, Pierre Henry and Jean-Claude Risset. Resident of the United States from 1973 to 1984, he carried out his
research with several new music centers, including the CME at the University of California in San Diego and California Institute of the Arts. Also during this period he developed several collaborations with American
composers. The natural elements highlighted by technology are a constant in Redolfi's catalogue: many electroacoustic pieces stylize and orchestrate sound matter, recorded in remote locations (Pacific Tubular Waves, Desert Tracks, Jungle).
He currently heads a major studio in sound design, Audionaute, based in Nice, France.
tracklisting CD
1 opening 5'49
2 mojave desert 7'11
3 death valley 11'26
4 palm canyon 10'20
5 too much sky / 10'00 extra track CD only
tracklisting LP
side 1
1 opening 5'49
2 mojave desert 7'11
side 2
1 death valley 11'26
2 palm canyon 10'20
............................................................................................................................................
MICHEL REDOLFI
Desert Tracks
ref
SRV418 LP
ref
SR418 CD
file under
Michel Redolfi
GRM
Early Electronic Music
stock date OCTOBER 12 2016
www.subrosa.net
|
2016 |
€16.00 |
|
| REED, RICK |
Dark Skies at Noon |
CD |
Einigen vielleicht bekannt von der schönen BETA LACTAM 10” „Music for the Rothko Chapel"; hier drei neue Stücke von RICK REED, der von KEITH ROWE (Gitarre & Radioempfänger) sowie TRAVIS WELLER (Violine) begleitet wird. Dronige Improvisationen mit bizarren analogen Sounds, Klangfelder voller elektrischer Transmissionen, der Aether aufgeladen mit ominösen Radio-Schwingungen...
“Rick Reed is a self-taught composer/improviser who has been working in the Austin underground music scene for the past 25 years. Dark Skies at Noon is his definitive statement. Over the years, Reed’s sound has taken on a life of its own – that of a magnificent monster capable of both ferocious intensity and lulling tranquility, yet perfectly controlled under Reed's masterful care.
Dark Skies at Noon's title track was utilized by legendary filmmaker Ken Jacobs as soundtrack to some of his recent works. And it is an apt accompaniment to Jacobs' surreal, otherworldly images (the Jacobs/Reed collaboration is ongoing). The second piece in this collection is a live recording (made by Tom Carter of Charalambides) featuring ex-AMM guitarist Keith Rowe in a stunning duet. The album's closing piece is pure Rick Reed, demonstrating his wholly unique sound and compositional style in an ear-bending, yet always restrained blur of sine waves, field recordings, short-wave radio, and Moog synthesizer.
Reed has defined his sound while performing solo and with various groups including Frequency Curtain and the Abrasion Ensemble. Since the mid 90s, Reed has released several LPs and CDs on labels such as Ecstatic Peace, Beta-lactam Ring, Pale Disc Japan and Elevator Bath.
Packaged inside two elegant printed sleeves of 100% recycled paper, this compact disc has been issued in an edition of 328 copies.” [label description]
“...Very nice work throughout indeed, perhaps his strongest until now.” [FdW / Vital Weekly]
|
2005 |
€14.00 |
|
|
Dreamz / Blue Polz |
pic-LP |
Rauschig-repetitive Analog- & Mechano-drones, füllig & dicht auf Seite 1, ruhiger & ätherischer auf Seite 2, kreiert mit Analog-Synth, Sinustone-Generator und Kurzwellen-Radio. Das sind quasi die Soundtracks für 2 von RICK REEDS abstrakten Gemälden, die auf dieser picture-disc abgebildet sind. Schöne Arbeit des Texaners mit starkem 70er Jahre Drone & Minimalismus-Touch.
"Beautiful picture disc LP featuring two full-color reproductions of visual works by Rick Reed and two new side-long solo compositions. Reed's fascinating, highly evolved world is represented well by these two new pieces, each of which offers up the kind of droning intensity and unsettling beauty that this veteran noisemaker has come to be known for. Reed's work is very obviously that of an experienced craftsman - one whose sound is a reverent nod to early electronic music underscored by an enduring sensibility for atmosphere and ethereality.
Dreamz began life as the soundtrack for a live visual display by filmmaker Ken Jacobs, which was performed live by Jacobs and Reed at the 2007 New York Film Festival. The record’s flipside, Blue Polz, was also inspired by the work of a filmmaker (originally conceived as a kind of alternate soundtrack to a piece by Fred Worden). All of the music was created using an EMS Synthi A, plus 2 sine wave generators and a shortwave radio. The artwork comes from two original paintings. Reed has been active in the visual arts for more than 20 years; his work is utterly abstract, beautifully enigmatic. These images are the perfect accompaniment to Reed’s otherworldly audio counterparts.
In addition to his solo work, Rick Reed has participated in a number of productive collaborations over the years with Keith Rowe, Jgrzinich (in Frequency Curtain), the Abrasion Ensemble, and SIRSIT. He currently resides in Austin. This picture disc LP has been released in an edition of 260 copies." [label info]
"From the improvisation world of Texas comes Rick Reed, who has been around for quite some time, playing with Keith Rowe (it's this Rick from that AMM title), the Abrasion Ensemble and Sirsit, of whom I never heard. He has had various solo releases on Elevator Bath before. These two pieces here were part of something bigger: one as a 'live visual display by filmmaker Ken Jacobs', and the other one could be an alternative soundtrack to a piece by one Fred Worden. Reed uses a EMS Synthi A, two sine wave generators and a shortwave radio. The first side, if I detected that alright, is a very minimal piece of soft flowing, high pitched tones. Like far away insects chirping whilst the dawn sets in. Over the course of the side dawn gets dark and insects quiet out. The other side start out in the middle of the dark night but it stays night: dark humming organ like drones, which are filtered out over the course of the piece, until some chorus like sounds drop. Of these four sides, this is the most single minded, and for me the least interesting, even when it's not bad either. Two fine to great records, lovely picture disc and highly limited. Yummy." [FdW / Vital Weekly]
www.elevatorbath.com
|
2008 |
€17.50 |
|
| |
The Way Things go |
do-LP |
"Here, finally, is the gorgeous presentation that astronomy domine Rick Reeds music so richly deserves: Two black vinyl LPs, pressed on
180-gram virgin vinyl, with full-color labels, inside black poly-lined sleeves, housed in a matte-finish full-color gatefold jacket adorned
with Reeds vibrant and fantastically evocative paintings. Included with each copy of this set is a full-color download card featuring
access to high-quality MP3s of the complete contents of the vinyl records. This package has been issued in an edition of 515 copies.
- - - -
Welcome to an atmospheric realm of blurred synth drones, textural shortwave radio, and vivid sine waves. Welcome to the highly
individual sonic world of Rick Reed. For around 25 years now Reed has been toiling away, composing, performing, and fine-tuning his craft of very personal and powerful electronic meditation. And his expertise is plainly evident. His is incredibly engaging music with an almost physical presence. Reeds level of mastery is virtually unparalleled - it seems that no one else can combine these elements with quite the same finesse, with the same ear for arrangement, or with the same sense of purpose.
If Rick Reed is not yet a household name it is likely due to his relatively slim body of work. 'The Way Things Go,' then, is an attempt at resolving this issue, for here are 83 worthy minutes of top-shelf electronic tonalities. 'The Way Things Go' covers a span of eight
years of work, and yet the material flows very naturally from one piece to the next. Yes, the evolution of technique is on display here,
but Reed found his voice some years ago and his stylistic development has therefore been suitably subtle and deliberate. This is the work of a composer who is extraordinarily familiar with the sounds at his disposal and whose editorial skills are equally honed.
Massimo Ricci, inspired by one of the pieces in this set (Hidden Voices, has noted:
I can't stress enough the importance of composers like Reed, who thrive in semi-obscurity and without the praises given to people [worth] less than half their value, continuously finding alternative interpretations of the word 'emotion.'
The observation is astute and the idea of an emotional presence is crucial to understanding Reeds work. His music is sometimes noisy,
sometimes tranquil. Harsh frequencies give way to beautifully sustained tones. Jarring textures and lilting melodies are both to be
found in this sphere. Above all, though, Rick Reeds work is challenging. There is no easy classification for music of this complexity. The curious listener is best advised to investigate personally.
In addition to his solo work, Rick Reed has participated in a number of productive collaborations over the years with Keith Rowe, Jgrzinich (in Frequency Curtain), the Abrasion Ensemble, and SIRSIT, among others. Reed's music has previously been released by labels such as Ecstatic Peace, Beta-lactam Ring Records, and Elevator Bath. He currently resides in Austin." [label info]
www.elevatorbath.com
"Over the years Rick Reed has played with Keith Rowe, Jgrzinich (as Frequency Curtain), Abrasion Ensemble and Sirsit but also explored the world of drone music as a solo artist. Hard to say what he does to create his drone moves. One could easily think of a bunch of analogue synthesizers, or perhaps heavily treated field recordings. Maybe its all computer work? One look at the cover though and its revealed: moog and EMS synthesizers, sine wave generators, shortwave radio, found radio sounds and voices. The pieces on this double album are from anywhere between 2001 and 2010 - the title piece. Its both an excellent overview of his work and a very coherent body of work. One could easily argue that in those ten years Reed didn't progress at all, and that his approach to composing stayed rather the same. That's one way of looking at it. One could as easily argue that it all makes up for a very consistent approach that reveals a fine craftsmanship in creating dense electronic landscapes. In
those ten years Reed never released much work, so its hard to say that he is overproductive and that 'it is always the same'. I thought this was all excellent music, a fine cross road of musique concrete and electronic music.Taking the best out of cosmic music, drone and experiment and put that into all immersive music. Music that sucks you totally into in it, like a hot bath, especially when you play it loud. Very refined." [FdW/Vital Weekly]
|
2011 |
€25.00 |
|
| REIBEL, GUY |
Douze Inventions En Six Modes De Jeu |
LP |
"Format: LP (180gr, insert, download code, 500 items)
Release date: december 4th 2015
Guy Reibel is one of the most enigmatic figures in the post-war electronic music scene. He started out with a double qualification: he first became an engineer – due to the pressure of his parents – and then studied composition with Olivier Messiaen in Paris, the teacher of Karlheinz Stockhausen, Iannis Xenakis, Francois Bayle, to name just a few…
Pierre Schaeffer, the director of the GRM (Groupe de Recherches Musicales at Radio France), very soon offered him a position: he was not only responsible to edit and work out the famous Solfège-3LP-Box that was the practical part of Schaeffer’s theoretical manifest “Traité des objets musicaux”, he also codirected with Schaeffer the class for electroacoustic music at the National Music Conservatory.
During that period Guy Reibel worked intensively in the studios of the GRM. He did not only compose some milestones of electronic music, he also developed a very music-based theory of electronic music: he included his ideas of musical gesture and game theory already in the sixties long before anybody else discussed those issues.
His theories as well as his education as a musician with absolute hearing etc. soon brought him in conflict with other members of the GRM, who at that time more and more emphasized the media nature of electronic music. Guy Reibel – who was for long time considered to be Schaeffer’s successor as the director of the Group – lost the competition with Francois Bayle and in consequence not only quit the GRM but also electroacoustic music. He kept his composition class at the conservatory, toured the world as conductor of his newly founded Groupe Vocale de France (who realized the first complete recordings of Ligeti’s choir-work) and also took over a director’s position at Radio France. Meanwhile his electronic music almost disappeared. There were two or three LPs available on the early GRM series, later only one CD. Guy Reibel became in some ways the Trotzky of the GRM, who was removed from the acoustic photos of the group. Now, decades later, these struggles are over, and the GRM generously offered the possibility to use their studios for the digitalisation of the old tapes. So Guy Reibel and Reinhold Friedl could digitize his whole archive of his electronic pieces in late 2014.
This vinyl is one result: “12 Inventions …” is now being released for the very first time: a milestone in electronic music and a perfect example for Reibel’s musical austerity: very defined and limited musical material results in concentrated and dense forms. The unusually vital character of the music is also due to Reibel’s use of hybrid sound production: he very often combined amplitude envelopes of acoustic sounds and noises (especially and very often of polysteron) on synthetic electronic sounds.
A few of the “12 inventions” are even played at least partly live: TM+, the legendary first live-electronic French group, was founded in 1977 by three of Reibel’s students: Denis Defour, Lurent Cuniot and Yann Geslin. They were almost the first purely electronic group that also toured Europe extensively with their analogue synthesizers. A separate vinyl of this group is also up to be released on Karlrecords’ Perihel series soon!
But this LP documents how Guy Reibel succeeded to compose a music that combines the density and purity of electronic music with an unbelievable sound sensuousness. A real listening experience, here released for the very first time!
Reinhold Friedl
All music composed by Guy Reibel
Commissioned by ina-GRM, Groupe de Recherches Musicales, Radio France, 1979
Tracks 3, 6, 8, 11 played by TM+, Trio Instrumental Électroacoustique: Laurent Cuniot, Denis Dufour, Yann Geslin, recorded at Grand Auditorium, Maison de la Radio, Paris, May 7, 1979" [label info]
www.karlrecords.net |
2015 |
€18.50 |
|
| REICH, STEVE / ENSEMBLE AVANTGARDE |
Four Organs / Phase Patterns / Pendulum |
LP |
"Three early compositions (1968-1970) by Steve Reich, one of the most prolific exponents of minimal music, in stunning interpretations by the critically acclaimed Ensemble Avantgarde. Available on vinyl (180gr, gatefold sleeve incl. download code) for the first time ever!
Steve Reich (born 1936) is undoubtedly one of the key figures in 20th century contemporary music and along with Terry Riley or Philip Glass one of the founding fathers of so-called minimal music. With classics like “Music For 18 Musicians”, “Drumming” or “Different Trains” the American composer proved himself one of "a handful of living composers who can legitimately claim to have altered the direction of musical history" (The Guardian). The four pieces on this collection date back to the time before his famous master pieces (1967-1970): “Four Organs” and “Phase Patterns” build on short, repeated patterns that gradually go in and out of phase with each other, creating “a shimmering matrix of sound that is both hypnotic and fascinating in detail” (Allmusic.com) and anticipate Reich’s later trademark sound. “Pendulum Music” is a process piece where only a few starting parameters are given: four microphones are suspended within an array of amplifiers and speakers, then set in motion - the shifts in feedback as they move in space create the music, the results differ with each new performance (as can be experienced listening to the 2 versions here). Reich’s early works are presented on this LP in stunning interpretations by Leipzig based Ensemble Avantgarde whose dedicated, inspired renditions of essential masterpieces of modernism (documented on CDs on reputated labels such as Wergo or Hat Hut Records) won them the Ernst von Siemens Foundation Prize and the Schneider-Schott Prize of Mainz." [label info]
www.karlrecords.net
|
2014 |
€17.50 |
|
| RENALDO & THE LOAF |
The Elbow is Taboo & Elbonus |
do-CD |
" 'The Elbow is Taboo' was Renaldo & The Loaf's fourth album and was released by Ralph in America, Torso in The Netherlands and Some Bizzare in the UK in 1987. You can hear a great technological step forward immediately. Also, the list of analogue instruments played on this album seems endless. Included is one of their most popular songs, "Hambu Hodo" which was also released as a 12" single, and a cover version of the song "Boule!" by French band Ptose. Sadly, it turned out to be their last album, the split followed soon afterwards. As with the other re-issues of this great band's recordings, we offer this new and remastered edition as a double CD. "Elbonus" features not only the legendary 12" of Hambu Hodo, but also the unreleased 7" mix. There's also the the material that was issued on the scarce Hambu Hodo Tak Awa CD-R given away to 5 personal friends and some further unreleased stuff. A must-have. Track list: 1. A Street Called Straight 2. Boule! 3. The Elbow Is Taboo 4. Hambu Hodo 5. Dance For Somnambulists 6. Here's To The Oblong Boys 7. The Bread Song 8. Critical / Dance 9. Extracting The Re-Re 10. El Boaca Pella 11. Hambu Hodo (7" Version) 12. Writing Postcards (From Italy) 13. Mouldy Bread On Bent Street 14. Just Lazy Zen, Martin 15. Doctor Vesner 16. Returning The Re-Re 17. Howl On The Bowline (A-Shanti 18. Then At Iona Lanthem 19. Hambu Hodo (12" Single Version)" [label info]
www.klanggalerie.com
|
2016 |
€19.00 |
|
| RENOU, CHRISTIAN |
Gone with the Wound |
mCD-R |
Finally, new material from RENOU, very eerie & threatening stuff with rising drones & alienated voice-material. So good & intense..
"Years and years ago, Christian Renou was known as Brume, but already since six or so years he works under his name, and changed his sound a little bit. As Brume the sound collage was his main interest, but under his own name, he seems to have developed a love of sustaining and droning sounds. 'Gone With The Wound', in two parts is no different. Elements of collating sounds are still there, but throughout the pieces, the long journey is the central theme. Still quite powerful stuff. Part one is loud and clear present, whilst the second part uses more covered up sounds." [FdW/Vital Weekly]
"it's a great pleasure for us to welcome Christian Renou in the taâlem series. active for more than 20 years, first under the Brume alias, he has released many discs (and countless tapes in the old days) on many international labels like Staalplaat, Release, Ground Fault, Drone Records, Old Europa Cafe and more recently Fario or Waystyx.
this in two parts is a highly evocative journey with constantly evolutive sounds between experimental, ambient and drone... processed recordings from various different sources for a captivating & fascinating result." [label info]
|
2007 |
€5.00 |
|
| RENOU, CHRISTIAN & ANEMONE TUBE |
Transference |
CD |
"Die wahrscheinlich letzte VÖ des guten, aber leider nie wirklich bekannt gewordenden süddeutschen Experimentalprojekts ANEMONE TUBE, hier von CHRISTIAN RENOU vormals BRUME dekonstruiert & re-komponiert. Neben geräuschhaft-konkreten Stücken begeistern lange melancholische Drone-Stücke... kommt im Postercover mit neon-farbener Papierumhüllung." [old drone rec. info]
“ final recordings by anemone tube, reworked by mister brume christian renou. sonic deconstructions and dense soundscapes. a bit of noise is thrown in but, overall the atmospheric sound prevails. comes in special poster cover wrapped in transparent green envelope with graphs designed by stefan hanser.” [press release]
|
2003 |
€13.00 |
|
| RESIDENTS |
Duck Stab! Alive! |
2 x 10inch / DVD BOX |
Als The Residents im Jahr 1978 die 33-RPM-EP "Duck Stab!" Im 7" Format veröffentlichten, war das für die Gruppe eine nette Abwechslung von den sich über Jahre (1975 -1979) hinziehenden, anspruchsvollen und experimentellen Aufnahmen an ihrem epochalen Eskimo Album. Außerdem brauchte das Label Ralph Records, eine Einnahmequelle um die lange Phase ohne ein "echtes neues" Album zu überbrücken.
Zur allgemeinen Überraschung wurde die EP ein Hit und verkaufte mehr als 50.000 Einheiten in wenigen Monaten. Die Nachfrage ließ auch in der Folge nicht nach und so drängte Ralph Records The Residents eine zweite EP - "Buster & Glen" - aufzunehmen, die dann schlussendlich zusammen mit "Duck Stab!" als LP-Release zu einem Klassiker und großem Verkaufserfolg wurde.
Einige Jahre später, zwischen 1981 und 1988 übernahm Night Flight, eine damals populäre Sendung im US-Kabelfernsehen, Video-Clips von The Residents in ihr reguläres Programm auf - insbesondere "Hello Skinny", das legendäre Video zum "Duck Stab! / Buster & Glen" -Album. Für viele Fans der Band war Night Flight der erste Berührungspunkt mit The Residents.
Im Jahr 2016 feierte der Sender unter dem Namen Night Flight plus fröhliche Wiederauferstehung als Internet Streaming-Service und bat The Residents anlässlich des 40ten Jubiläums des Programms um einen Video-Beitrag. Da die Gruppe ohnehin an einer Live-Version von "Duck Stab!" als Teil ihrer 50ten Jubiläums-Tour im Jahr 2022 arbeitete, bot sich "Duck Stab! Alive!" als eine naheliegende Wahl an, um daraus eine Show für Night Flight plus zu produzieren. Und so begaben sich The Residents unter der Leitung von Regisseur John Sanborn und Kameramann Frazer Bradshaw vom 19. bis 21. Mai 2021 in die 25th Street Studios in Oakland, Kalifornien um die neu ausgearbeitete Performance "Duck Stab! Alive!" live im Studio aufzunehmen.
Die spektakulären Ergebnisse dokumentiert auf zwei 45 RPM 10"-Vinylplatten sowie einer Video DVD bilden den Inhalt dieser aufwändigen und limitierten Sammler-Box.
Weltweit auf 3.000 Stück limitiert!
The Residents released DUCK STAB! as a seven inch, 33 1/3 rpm EP in 1978. For the group, the relatively lighthearted EP represented a break from the much more experimental Eskimo recordings which consumed the majority of a four-year period from 1975-79; for Ralph Records it was a much-needed revenue source at a time when the band was not producing much product. To everyone’s surprise, the EP was a hit, selling 50,000 copies in a few months. The demand was so high that Ralph insisted the band record a second EP, Buster & Glen, which they paired with DUCK STAB! to make an LP, which was also quite successful.
Several years later, Night Flight, a program featuring alternative programming on the USA cable channel, aired Residents’ video, including the Hello Skinny music video based on a song from the DUCK STAB! / Buster & Glen album. The program aired from 1981-88 often highlighting The Residents to the extent that many of the group’s fans cited Night Flight as their initial introduction to the band.
Fast forwarding to 2016 when Night Flight resurrected itself as a streaming video service, Night Flight Plus. In recognition of their long-standing connection, Night Flight invited The Residents to create a program in celebration of the service’s 40th Anniversary on June 5, 2021. Since the band was already rehearsing DUCK STAB! as part of their upcoming 50th Anniversary Tour, the forty-year-old EP/LP seemed like a perfect choice for Night Flight.
With a professional camera crew, led by director John Sanborn and director of photography Frazer Bradshaw, The Residents performed the reworked DUCK STAB! ALIVE! music over three days from May 19-21,2021 at the 25th Street Studio in Oakland, CA. The results, as you can hear and see on the discs of this limited boxed set, are spectacular.
https://www.grand-chess.com/duck-stab-alive
|
2021 |
€79.50 |
|
| |
RESIDENTS - The Third Reich'n' Roll |
do-LP |
• THE LEGENDARY ALBUM PLUS THE NEVER-BEFORE-ON- VINYL ‘OH MUMMY’ SHOW AND THE BRAND NEW ‘GROOVY GREATS’ RDX SUITE – ALL REMASTERED FROM THE ORIGINAL TAPES.
• PRODUCED WITH THE RESIDENTS AND THE CRYPTIC CORPORATION.
• INCLUDES NEW INSIGHTFUL SLEEVENOTES BY THE RESIDENTS’ MYSTERIOUS ARCHIVIST.
• THE SECOND IN A SERIES OF 2LP VINYL RE-ISSUES OF THE RESIDENTS’ CLASSIC 70S ALBUMS. LONG-AWAITED BY THE RESIDENTS’ LARGE INTERNATIONAL FANBASE
Formed in the early 1970s, The Residents have now been charting a unique path through the musical landscape for 50 years. In celebration of that remarkable anniversary, we present an expanded vinyl re-issue of the classic 1976 album ‘The Third Reich ‘N Roll’.
Alongside the legendary album and a seminal live recording, this new edition includes ‘Groovy Greats RDX’, a new, alternative redux mix produced by The Residents using the ‘Third Reich ‘N Roll’ multi-track tapes. Featuring new interpretations and material not included in the final original mix, ‘Groovy Greats’ both celebrates and denigrates the original record, just as that album did to the many garage pop nuggets it interpreted.
Produced with the involvement of The Cryptic Corporation, remastered by Scott Colburn and complete with insightful new sleevenotes, this package builds upon The Residents’ ongoing pREServed re-issue project, which will continue into 2023 and beyond.
Track Listing:
SIDE A
1 Swastikas On Parade
SIDE B
1 Hitler Was A Vegetarian
SIDE C
1 GROOVY GREATS RDX (The ‘Third
Reich N Roll’ Multi-tracks)
SIDE D
1 Oh Mummy! Oh Daddy! Can’t You See That It’s True; What The Beatles Did TO ME I Love Lucy Did To You
|
2023 |
€49.50 |
|
| REUDENBACH, MICHAEL |
Szenen, Standbilder, Werke 1991-2009 |
do-CD |
"zur selbstverständlichkeit wurde, dass nichts, was die kunst betrifft, mehr selbstverständlich ist, weder in ihr noch in ihrem verhältnis
zum ganzen, nicht einmal ihr existenzrecht." mit diesen worten eröffnet adorno ende der 1960er jahre seine "ästhetische theorie".
"An Klangsetzkästen aus Zeit lassen diese Stücke denken: äußerst sparsam bestückt mit munkelnden Tonzeichen, Geräuschfundsachen, ins Irreguläre kippenden Pulsationen, skelettierten Nachtschattenereignissen. Und in dem, was an Stille ins Unendliche sich weitet, kann man lauschend den Nachhall eines existenziellen Bebens gewahren. Die Interpreten agieren hochakkurat und mit heilig-nüchternem Ernst." (Für die Jury: Helmut Rohm; Quelle: Preis der Deutschen Schallplattenkritik, Bestenliste 2-2013)
CD 1
trio. studie für klavier, violine und violoncello 10:49
choral für stimme und fünf instrumente 7:49
und aber. musik für streichquartett 16:24
kommen — überschreibungen für 5 stimmen 11:36
trio 3 für bassetthorn, bassklarinette und klavier 10:08
mirlitonnades pour petite flûte 2:45
59:43
CD 2
zählergesang für ensemble 10:47
schnitt & fortsetzung für flöte, harfe, gitarre, klavier und pauke 10:26
duo pianism für zwei klaviere 8:12
ahto. musik für 8 instrumente 12:30
stratton für ensemble 11:34
szenen, standbilder für vier instrumente 9:24
62:55
[label info / credits]
www.edition-rz.de
|
2013 |
€21.50 |
|
| REYNOLS |
Gona Rubian Ranesa |
LP |
Reynols is a storied band with endless lore. Many history lessons have been written about them, still they remain one of the world's most mysterious and challenging groups. "Gona Rubian Ranesa" is Reynols' first studio album in 17 years and it exposes their classic sound to new realms of hypnotic psych-rock immersion. This record was cut by the classic Argentinian quartet of Miguel Tomasin, Anla Courtis, Rob Conlazo and Pacu Conlazo and it stands as 100% proof that Reynols are highly reinvigorated and rocking headier than ever.
Reynols stand as living legends of the international underground. Outspoken singer, drummer and spiritual architect Miguel Tomasin has Down's syndrome and shapes the band's unique and playful sense for conceptual sound art. The band has always extensively collaborated with other like-minded innovators, most notably Pauline Oliveros, The Nihilist Spasm Band, CCMC, and Acid Mothers Temple.
Reynols have recently hit headlines with their "Minexcio Emanations 1993-2018" box set as well as the Acid Mothers Reynols collab LP and film, and now "Gona Rubian Ranesa" delivers on the... more
MIGUEL TOMASIN: vocals, drums & organ
ROB CONLAZO: guitar & marmonio
PACU CONLAZO: percussion, horn & flute
ANLA COURTIS: guitar & rovelio
Recorded by Hernán Calvo at Van Vliet Studios, Buenos Aires, 2018-2019
Mixed by N. Sitruoc & Slonyer at Celula Stadium II, Buenos Aires, 2020
Mastered by Lasse Marhaug at The Best Studio, Oslo, 2020
Produced by Reynols
https://outliercommunications.bandcamp.com/album/gona-rubian-ranesa
|
2020 |
€25.00 |
|
| RGV |
Aliseum |
mCD-R |
RGV = Ruben Garcia. Wieder ein neuer Name auf Dreamland! ALISEUM ist die Umsetzung von Impressionen (oder auch Sounds) des Timanfaya Nationalparks in Lanzarote. Mächtig dronende, kilometerweit entfernte, mit hell klingenden Schwingungen versehende Kraftfelder, alles gerät in hellste Schwingung und Vibration, erinnert an MNORTHAM, LOPEZ! TIP !!!
„ a drone of low density & depths, invoking hard sand and rock soil, only the intense temperatures beneath our feet remain to haunt.”
[label info]
|
2003 |
€5.00 |
|
| RHEIN_STROM (SIEFERT & RIEK) |
Von der Rheinquelle bis Hafen Karlsruhe |
CD |
How can we as humans in this day and age foster a relationship with the Rhine River, without lapsing back into modes of romanticism, when witnessing its remaining beauty in some rare places; without turning away in frustration and disillusionment, when confronted with the irreparable interventions it has undergone?
What is disclosed if we shift the focus from the dominant sense of vision to hearing?
Would you recognize the Rhine by its sound?
What other senses are helpful here?
Do I have enough senses at my command to answer this question?
Do I have to and can I develop further senses?
With these questions as a starting point Thomas M. Siefert and Lasse-Marc Riek have approached the Rhine acoustically and visually on various locations and seasons during the last seven years. This resulted in the close examination of the ambient sound, the soundscape and the “sound entity” of the Rhine.
The “Rhine-soundscape” does not only sound like flowing, gurgling or slowly bobbing water. The soundscape also includes animals and humans who live by the river, who move and rest there.
In addition to the sound of the present, also the sound of the past was sought out: a listening back to what has remained; a listening forward to what could come.
Siefert’s and Riek’s formal approach to the soundscapes demands from the artist to step back behind the recording. In the foreground of their artistic practice stands the unprocessed sound- and visual-recording of a specific situation.
Tracklist:
01 vorderrheinquelle (region)
02 rhein bei tschamut
03 rheinschlucht nähe versamer tobel
04 kanalrhein bei balzers
05 rheinbrech bodensee
06 stein am rhein
07 rheinfall bei schaffhausen
08 basel hafen (nähe wiesemündung)
09 petit camarque d´alsace
10 staustufe ottmarsheim
11 restrhein bei fessenheim
12 staustufe und schleusenanlage fessenheim
13 staustufe marckolsheim
14 ile de rhinau
15 staustufe rhinau
16 fähre kappel – rhinau
17 kanufahrt im naturschutzgebiet taubergiessen
18 ile de langgrund
19 staustufe strasbourg
20 staustufe gambsheim
21 karlsruhe hafen
21 Tracks (73′25″)
CD (500 copies)
www.gruenrekorder.de
|
2016 |
€13.00 |
|
| RIEDL, JOSEF ANTON |
Klangregionen 1951-2007 |
do-CD |
"Wie kaum ein anderer hat J.A.Riedl sowohl mit seinen zahlreichen Werken als auch
mit seinen kulturpolitischen Aktivitäten das Musikleben der Bundesrepublik Deutschland
nachhaltig geprägt.
As almost no other, with his many works and his cultural activities, J.A.Riedl has left an
indelible mark on musical life in the Federal Republic of Germany.
ed. RZ 1020-21 2CD
Josef Anton Riedl: Klangregionen 1951 - 2007
Neuerscheinung: Siemens-Studio für elektronische Musik, Studio für konkrete Musik (J. A. Riedl)
Cover Design: Ott + Stein, Berlin; Scan: Christine Berkenhoff
CD 1
* Paper Music I 1961/70
* aus Folge von 4 Studien: Studie 59 I 1959
* Zeichnen - Klatschen/Zeichnen - Zeichnen 1979/81
* aus Landschaftsbeschreibung I 1973
* Mix Fontana Mix 1974/76/79
* aus Silphium Metallophonic 1969/70
* aus Lautgedichtfolge g) 1977/79/98
* Ausfluss, Niederschlag, Spur, Nachhall I 2000/02/07
* Douce-Amère 1972/74/81
* Komposition Nr. 2 1963/65
* Polygonum 1968/70
* aus Leonce und Lena 1963/64
* Vielleicht - Duo 1963/68/70
* Musique Concrète - Studie II 1951/59
* Musique Concrète - Studie I 1951/59
* Leonce und Lena b 1963 ·
* aus Folge von 4 Studien: Studie 62 I 1962
* aus Folge von 4 Studien: Studie 62 II 1962
CD 2
* Komposition Nr. 3 1965/67
* Ideir notna fesoj Radiophonisches Porträt von Helmut Rohm 1996
* aus Folge von 4 Studien: Studie 61 I 1961
* Klangsynchronie I Studie 59 1981
* Elektronische Musik - Studie II 1959
* Elektronische Musik - Studie I 1958
Gesamtspielzeit: CD 1 ca. 68:00 | CD 2 ca. 70:00 | insgesamt ca. 138:00"
"Edition RZ presents a 2CD collection of work from German electronic and multimedia composer Josef Anton Riedl. Spanning the diverse breadth of his musical output from 1951-2007, Riedl has left an indelible mark on music history in the Federal Republic of Germany with his many works and cultural activities. A pioneer in early concrète and electronics, Riedl joined Pierre Shaeffer's Groupe de Recherches Musicales from 1953-1955. He worked at various music studios including the NWDR (Northwest German Broadcasting) studio in Cologne, and was the artistic director of the Siemens Studio For Electronic Music from 1959-1966. During the same period he founded the Neue Musik München/Klang-Aktionen concert series, and established the Musik/Film/Dia/Licht-Galerie, which has presented multimedia compositions ("sound/light/scent-games"), audiovisual environments, events, exhibitions ("Paper Music I," "Optische," "Akustische Lautgedichte") and installations at important national and international festivals. This collection samples some of Riedl's most compelling work, including his "Paper Music" and musique concrète experiments." [label info / credits]
www.edition-rz.de
"Eine fulminante Werkschau in gewohnter EdRZ-Qualität, man muss es so sagen. Schickes Design und informatives Booklet; ein Release mit dem man wahrlich in eine andere Klangwelt eintauchen, eben in neue Klangregionen vordringen kann. Das Beste aber ist: Riedl funktioniert auch nackt! Seine verschwurbelten Wagnisse sind forschender Bruitismus, feinste Punzmunster auf unseren Trommelfellen. Montierte und studiobearbeitete Sprachklänge, sirrende Electroacoustics und erweiterte Kammermusikskizzen sind alle auf dieser Doppel-CD zu finden, die um einige Radioarbeiten und Versuche aus dem Siemens Studio München komplettiert wird." [Zipo, Auf Abwegen]
|
2009 |
€23.00 |
|
| RITSCH, WINFRIED |
Woodscratcher |
pic-LP |
"This release turns out to be the best way to celebrate little GODrec anniversary: the tenth release of the label! Woodscratcher (Scratching Wood) is a composition and sound generating machine from Austrian composer, media-artist, sound-sculptor and performer, Winfried Ritsch. Already known as collaborator in different projects with Bernhard Lang (pieces from his series Differenz/Wiederholung, Trike), Peter Ablinger (Klavierautomat), Ritsch created 'my own dedication to noise pieces of experimental music from 70s onwards'. This machine cuts a 2-5cm thick disk of a wooden trunk in a circular line along the growth rings of the wood, which makes this nothing else then monumental turntable. At the same time, the wood is amplified with four pickups (sensors) and the signals picked from microphones are spatialized over four loudspeakers in the corners of the room which spans acoustically the slice of the wood. This scratching in the concert is done until the inner part of the disk falls to the ground and the piece ends. The movement of the cutting tool behaving like an over-sized record player needle, has the performing function and is an allusion of the production of records, as well as playing them. The woodscratcher pretends to extract and play the information which resides in the piece of wood cutting it in an excessive performance. The wood is heard as acoustic material with inhomogeneities annual rings by superimposing a loops of the cutting process. With the progression of the cutting process the sounds evolves of the pieces in more and more rubbing and squeezing sounds. The audio signal filter functions of the wood is heard like repeatedly changing formants, almost imaging voices in the noise. Composition : With this performances not only the machine as performer is broached as the issue, also the exploration of unknown material is an artistic statement as also defining the structured and timing of the piece. The aesthetics lies in the excessive performance beyond feasible by a human actor or musician and also, links the many possible associations and associative to the world of music performance. One of them is the sound based on the noise of the experimental music pieces since the 70s and another with ideas of Herbert Bruen's computer music project sawdust from that time, when the rejection of oscillators as a tone generator for free definition of single events down to the scale of samples as a liberation of note-oriented Music generation. The transition in algorithmic composition to the composition of processes as instrument like done in live composition is expanded to the construction of a mechanical machine which is the live composer. The main aspect of this is that the process does the composing and the machine is composed for executing the process of extracting the piece out of the disc of wood, destroying it and defining the audible result of the piece. So composer becomes a mechanical engineer and inventor of machines and the musician the operator as machinist. The picture vinyl release is vinyl simulation of woodscratcher: a vinyl record has a picture of a wood on itself and recorded sound of scratching the wood." [label info]
www.godrec.com
|
2012 |
€20.00 |
|
| RIVULETS |
You are my Home |
CD |
"Long-delayed 3rd album by internationally acclaimed solo artist Rivulets. Featuring guests Jessica Bailiff (Kranky), Chris Brokaw (Codeine, Come, the New Year), Christian Frederickson (Rachel's), Fred Lonberg-Holm (Boxhead Ensemble), & Bob Weston (Mission of Burma, Shellac).
The contributions of these remarkable musicians adds snowy layers of wintery texture to Nathan Amundson's beautiful recordings. Like Nick Drake smothered not with layers of orchestration, but subtle textures to truly compliment the mood of the album.
Rivulets is the project of minimalist singer-songwriter Nathan Amundson. Born in Colorado, Amundson grew up in Alaska before leaving home at age 16 and moving frequently throughout the United States. He started performing as Rivulets in 1999, and currently resides in Bloomington, IN.
Rivulets is a prolific songwriter, with releases out on several labels, including Acuarela, BlueSanct, Silber, and Chair Kickers'' Union. This is Rivulets'' 3rd full length album, and 1st for Important Records.
Rivulets'' first 2 full-length albums, r i v u l e t s (2002) and Debridement (2003), were both recorded by Alan Sparhawk of Low, and released on Low''s own label Chair Kickers'' Union. These albums feature guest appearances from the likes of Jessica Bailiff , LD Beghtol (Magnetic Fields), Jon DeRosa (Aarktica), Marc Gartman (No Wait Wait), Brian John Mitchell (Remora), Aaron Molina (if thousands), and Mimi Parker (Low).
Extensive touring overseas has garnered Rivulets intensely loyal fanbases across Europe. We''re hoping this, Rivulets 1st album on Important records, will help the US to take notice as well. A few of the artists Rivulets has shared bills with in the past include: Haley Bonar, Chris Brokaw, Cerberus Shoal, Cocorosie, Mark Eitzel, Daniel Johnston, Low, Mirah, My Morning Jacket, the New Year, Scout Niblett, Piano Magic, Radar Bros., Stars of the Lid, Songs: Ohia, Swearing at Motorists, Willard Grant Conspiracy, Shannon Wright, and Xiu Xiu. Rivulets'' discography also includes numerous compilation appearances and several EPs: the aforementioned Thank You Reykjavik EP on BlueSanct; The Alcohol EPs on Silber; the Rivulets / Marc Gartman split CD (featuring Jarboe of Swans) on Tract; and the You''ve Got Your Own EP on Acuarela (the bestselling EP Acuarela have released, out-selling EPs by the Album Leaf, the Clientele, and Tara Jane O''Neil!).
This is not a folk album. This is an album about hearts breaking, tearing it down, and moving on." [label info]
www.importantrecords.com
|
2006 |
€13.00 |
|
| RLW |
Tonlose Lieder |
CD |
22 Stücke aus der Zeit von 1990 & 1991, kurz bevor das erste RLW-Album “Acht” erschien.
Brilliante (De)Konstruktionen von instrumentellen & Alltags-Soundquellen (z.B. Piano, Gongs, MIDI-Keyboard & Rhythmen, Staubsauger) vermischt mit Sample-Technik, gescratchten Platten, & obskuren Feldaufnahmen. Eine unglaubliche Fülle von Ideen wird hier schonungslos umgesetzt - meist sehr dynamisches und vitales Material, zwischen Atonalität und Geräuschimprovisation, no easy listening guaranteered !
“After the recent re-issues of the old PD work, it's now time to fast forward in music history and take a closer look at the missing link of disbanding P16.D4 and the first solo works of RLW. Fast forward to 1990. This is the time when the old techniques of tape-splicing,
cheap four track records and such like was replaced by cheap samplers and computer interfaces (midi to control sequences), being an option for everyone. Before this all settled down into RLW's first CD 'Acht' (1992), he experimented with a lot of ideas, using the newly acquired techniques. The abrassive side of P16.D4 became more subtle, more dynamic and at the same time it was also reduced in sound and approach. No less than twenty-two pieces from the sketchbook are to be found on this CD, and each of them is described in the booklet.
Scratching records is for instance a main feature, like was done on the SLP project, but it involves also organ like sounds, sterile factory settings found inside the sampler and much more. In some cases we get the raw version of a piece that ended up on 'Acht', but the majority is unheard. Whereas on the later solo records by RLW it's hard to recognize the original input, we can hear on this CD him freely improvising around with instruments, sampling them etc. Of course not every fragment is great, but it would not be right to say that this album is only for those with a keen ear on history. It bears the collage-like style of P16.D4 with the latter RLW style, but in all its fragmented style it sounds, still after all these years, like a fresh album. Only to be compared, I think, with P16.D4's
'Tionchor' album. A collection of nice short pieces, that make more sense when heard they are groupep together.” [FdW / Vital Weekly]
Address: http://www.parallaxrecords.jp
|
2004 |
€13.00 |
|
|
An Archivist's Nightmare |
CD |
Die Beta-Lactam "Black Series" prüft (überschreitet?) weiter die Grenzen des Alltäglichen, mit dieser CD von RLW (oder sollte man eher sagen: mit diesem im CD-Player installiertem Happening?). RLW liest (mit extra-starkem "german accent" wie es scheint) die Titel der letzten Tonträger die er bekam vor, (s)ein Kind versucht dies (manchmal) zu imitieren, das ganze lief 2003 als Radio-Feature für Radio Resonance London... 60 Minuten lang....ja, genau, das wars! Den Effekt des ganzen kann mich nicht beschreiben, den muss man erleben!! Nummer 2 in der neuen BLACK SERIES (schwarze edle Klappcover) von Beta-Lactam!
"Black Series 2 - Ed. of 300 numbered and signed copies by RLW (P16.D4). RLW moves in to the world of sound art with his piece "The Archivist's Nightmare". "RLW: An archivist´s nightmare The nightmare has been produced as a sound feature for radio resonance, London, in mid 2003 and was “aired” on internet October 3rd 2003. It is dedicated to Benjamin Green and would not have been possible without the help of Dorothea, Soeren, and Sonja. Index points are set for your pleasure. The feature itself embraces the whole CD. Total Time: 60:00 Some notes: "...i will read the titles of the last records i got (i guess about 1000 should fit into one hour). selected, insofar as i'll leave out those i found not worth listening to anyway. no criteria of order otherwise (therefore the title). ... imagine a future archivist interested in experimental/avantgarde/underground - however you will call it - sounds of the past 21st and 20th century, trying to find a path..." rlw, april 2003 “in an earlier mail i told you i would like to add some pieces of mine to the feature. Meanwhile i think this only would distract the listener´s attention from the reading. Instead i will additionally read parts of my letters to you and include these recordings in the feature. this additional level of self-reflection will also be of use as an structural element. “ rlw, may 2003 “sounds fucking great.. and i can sense an opening of possibilities… working with children is something I would be interested in doing, with some kind of structured improvisation/game pieces… strange… i keep getting a very high pitch sound in one ear when I type loudly, which reminds me of yr piece.” ben green, may 2003 “thanks for the radio feature. it´s really great. the funniest thing i´ve heard in a long while. it´ s a weird thing, initially i thought these were the records that would get played later, and then i started thinking like ´got that one, heard that name before, did the cover for that one, dunno this`.” jos moers, june 2003" [label website info]
www.blrrecords.com
|
2007 |
€16.00 |
|
|
The Pleasure of burning down Churches |
CD |
Der nette Titel des neuen, insgesamt sehr düsteren, fast schon mistantrophen RLW-Werks basiert zum Teil auf Feldaufnahmen einer Vietnam-Reise die er in den 90er unternahm, wo ein US-Vietnam-Veteran stolz auf dort zerbombte Heiligtümer verwies....
Das Gesamt-Klangbild variiert zwischen field recordings und recht ruhigen, aber angespannten z.T. collagierten Soundscapes und kulminiert in einer höchst aggressiven Nachrichtenabfolge auf einem Anruf-Beantworter, die einen kaum kalt lässt. 4 tracks, 44 Minuten.
"Solo music by RLW (Ralf Wehowsky) is a pretty rare thing. For RLW the act of music making lies in creating something with others, wether or not by meeting up or exchanging sounds by (e-)mail. 'Views', reviewed in Vital Weekly 413, was a rare instance of a solo work and now, quite some time and many collaborations later, 'The Pleasure Of Burning Down Churches' is a new solo work. The churches of the title hark back to meeting a US veteran in Vietnam who told RLW that he liked bombing churches because they were easy targets. Field recordings from Vietnam also form the input of 'More Churches'. It's hard to see this otherwise than as a political piece. Just as the guy who rants against an answer machine on 'Helplessly Friendly' - it's hard to decipher his German, but it's sure not very friendly. I don't think I had expected RLW to overtly political and he perhaps he isn't. But it seems to me as if RLW isn't using sounds just for it's sheer beauty. On these two pieces he wants to bring a message across. On the opening piece 'Towards A Decontamination Breakthrough' this is less obvious. Quite a drone like piece of music, quite unusual for RLW. Collage techniques are to be found in 'More Churches' and 'Helplessly Friendly', the first with quite a nice intro of car horns and the second has a scary feel to it, both through the voices and the spiraling sounds of 'paper string actions'. In 'Burning Pianos' things move into the abstract again, not political view, just the exploration of a piano. RLW's work moves on the edge of musique concrete, but never looses it's touch with industrial music on hand and with microsound on the other. But it defies these categories and can perhaps only be classified as RLW music. Great work, but perhaps you shouldn't believe me; I find much of his work great!" [FdW / Vital Weekly]
|
2007 |
€13.00 |
|
| |
Agnostic Diaries |
CD |
"The common factor linking these recordings are projects that were never fully realized. The basic recordings started in 2005, however the period of reworking and transformation (2016 to 2017) is more important. All vocal parts and general revisions were done during this period. Agnosticism was the basic idea for the vocal/musical re-working of the pieces with the vocals implanted into the basic pieces, not just as simple overdubs, but inserted in a dialectical confrontation with the basic sounds and structures. "Le Ballet" relies on George Antheil's Ballet Mecanique; "For Gerald" on a co-operation with Anla Courtis using some sounds by Ovary Lodge planned for the Gerald Jupitter-Larssen series which stopped far too early. "Without M.B." includes RLW's parts for a collaboration with Marc Baron whilst "Monotype #6" includes vocals by Dylan Nyoukis, also used for a collaborative CD-r with him. Ralf Wehowsky is one of the most respected electronic composers of our day and was also a founder member of the seminal German group P16.D4 and label Selektion whose ground-breaking releases influenced many working in today's experimental music scene. Previous releases have seen him collaborate with such well known and diverse artists such as Merzbow, Bernhard Guenter, Jim O'Rourke, Achim Wollscheid, and Lionel Marchetti. His music is impossible to pigeonhole into one simple bracket. It is neither industrial or musique concrete, nor computer music nor improvisation. In fact, it could be all of these." [label info]
"There was a time when Ralf Wehowsky was very active when it came to releases under the alias of RLW. In the last decade that seems to have slowed down. The last new one I heard was his LP with Paak (Vital Weekly 1047). Wehowsky was, in the 1980s, one of the main people behind P16.D4, a highly influential group coming from the world of 'industrial music' but crossing over to musique concrète. Since the early 90s, he works solo as RLW, using the computer to work and rework sounds and collaborating with many others, such as SRMeinxner (his label boss here), Paak, Das Synthetische Mischgewebe and others. The music on 'Agnostic Diaries' was recorded in 2016 and 2017 but started back in 2005; it is an album to complete things that were not yet completed. Among those who delivered sounds for this, we find Anla Courtis, Ovary Lodge, GX Jupitter-Larsen, Marc Baron and Dylan Nyoukis. Throughout these six pieces, voices seem to play one role or another. The music of RLW is best explained as organized sound. You load everything you have, basic material, processed versions (analogue, digital) thereof, onto the computer and through a lengthy process of editing and erasing, filtering and cutting, adding effects and so on, until there is a narrative, a composition. It is not easy to say why something works, and something else, perhaps, doesn't work. I guess that is part of being great at what you do and RLW is among the best in this field. With the excellent variation between pure electronic sounds, acoustic sounds and voices (which are, of course, also acoustic) a fine, delicate interplay emerges that makes up these six pieces. In the opening piece, 'Le Ballet' (which relies on George Antheil's 'Ballet Mecanique'), there are some very high and piercing tones, which made me reach for my remote control, but in his other pieces that don’t happen. The dynamics between 'loud' and 'quiet' is something that RLW plays with, along with hard cuts in the music. Yet, it seems as if all the sounds come naturally out of the previous, a logical extension if you will and that makes up for some great music. Upon repeated listening, there is every time something new to be found in this." [FdW/Vital Weekly]
|
2021 |
€13.00 |
|
| ROACH, STEVE & JORGE REYES |
The Ancestor Circle |
CD |
Conjuring images of a primal futurism, this alchemical blending-of-sound is a ceremonial offering to the forgotten gods. The Ancestor Circle is a new tribal-ambient-electronic collaboration, the first recording from Roach & Reyes since Vine ~ Bark & Spore (Timeroom 2000). This is the lost chapter of a long soulful journey that has taken twists and turns in its unfoldment. The music feels steeped in a frothy mind-altering blend, waiting for years as the potency increased. Roach & Reyes combined their instinctual nature — developed over almost a decade of worldwide live and studio adventures — leading up to the core of what became The Ancestor Circle. It is in this circle that their sound is unearthed from deep within their primordial soundworld, where prehistory meets future-tech creating a sound impossible to carbon date.
Like the audio artifacts of a lost tribe, the studio source recordings that form this album’s foundation were uncovered in 2013 on a cryptically-marked set of tapes. Created the week before Roach & Reyes’ May 2000 concert at Tucson’s Temple of Music and Art, this is their last joint studio project as Reyes passed on to The Ancestor Circle in 2009.
Roach comments, “Jorge is still very much alive here in the circle where we always met with an unspoken language of sound constantly moving through us. As I completed this music now, adding new elements and evolving the arrangement, I could feel Jorge’s spirit listening and interacting with me in the studio, offering feedback or sometimes making his guttural sounds of agreement like he would do in the past when we were deep in the process of carving on a mix. Just as in previous magical studio and stage experiences, we are in the circle once again.”
For thousands of years, music was created to assist entrance to expanded states of consciousness, support a passage of life, birth and death and invoke the gods, spirits, and allies. While the abundance of today’s entertainment-music has lost this powerful inner core, on The Ancestor Circle it is fully reinstated. This is a new “medicine music” as it should be: a probing visceral experience with the power to illuminate and shroud in mystery, digging deep into zones hidden within the psyche. It offers a potent realm of renewal for those seeking an unfiltered, cathartic rinse-down of today’s technological, modern world; it helps hit the reset button of perception.
Rising up from a dark shroud of night to embrace life, an ancient voice chants in serpentine ecstasy only to subside and hover next to a slow realm of eternal time drawn from electronics, percussion, prehispanic flutes, ocarinas, other acoustic instruments and silence. When the sound dissolves beyond recognition, a subconscious landscape arises, whispering of faded visions painted on stone, echoing on studio walls, of times gone by and times to come. Roach & Reyes are still here bringing us messages from the infinite.
Artist Bios
Jorge Reyes took an ethno-musicological approach to music-making on 20 solo albums; released throughout the late 80s, 90s, and 00s these albums all has a special emphasis on indigenous and shamanic traditions from Reyes’ native Mexico. After years of tirelessly performing across Europe, he met Roach in the early 90s at a festival on the Canary Island of Lanzarote. Along with the Vine ~ Bark & Spore collaboration with Roach, Reyes & Roach teamed with Spanish electric guitarist Suso Saiz for two mid-90s albums from their group project, Suspended Memories (Music From The Hearts of Space 1993 & 1994). Reyes passed away on February 7, 2009.
Steve Roach is a pioneering cornerstone of ambient-atmospheric-electronic music with over 100 albums to his name. Since the early 80s, Roach has approached music like a medicine man approaching the void: engaging the challenge, uncovering new mysteries, and bringing them back to share with the world. From the expansive, time-suspending spaces reflecting his spiritual home in Arizona to the fire breathing, ethno-ambient expressions woven from all things electric and organic, Roach’s long list of groundbreaking recordings are fueled by his prolific nature and uncompromising approach.
https://projektrecords.bandcamp.com/album/the-
ancestor-circle |
2014 |
€15.00 |
|
| ROBERT, JOCELYN |
Monsonics |
LP |
"Monsonics was done in two steps, both for the Citysonics Festival in Mons, Belgium, in June 2009. Two of the pieces - "L'air circulaire" and "L'abbatoir des Droits de l'Homme" - were first composed as soundwalks. I first went to Mons to choose interesting paths, then made the works to fit to them. For the festival, one could borrow maps and mp3 players from the organization, or one could download the soundtracks and a map from the website of the festival and live the experience on site. The pieces that appear on the LP are sligthly reworked versions. The two "La Chapelle des FUCAM" pieces are performance works made for the Festival. They are numbered 1 & 3: there were other versions, but these two seemed to fit better with the other pieces on the LP. There are no overdubs: they were made live using software developed at Avatar, Quebec city. The software can be downloaded for free at www.avatarquebec.org/ohm/index.php?page=logiciel&id=1 - Jocelyn Robert
Jocelyn Robert lives in Québec, Canada. He works in audio art, performance art, installation, video and writing. He did many performances, solo or with Diane Landry, Laetitia Sonami and Bruit TTV. He published about fifteen CDs, and participed in over twenty others. He was awarded First Prize, Image category, at the Berlin Transmediale in 2002, and the Prix du Rayonnement International from the Conseil de la Culture de Québec in 2006. He had numerous solo shows, and also teamed up with Emile Morin and Daniel Jolliffe for many installations. His work has been shown in Canada, United States, Mexico, Chile, Australia, and in Europe. His texts have been published by Le Quartanier (Montréal), Ohm Éditions (Québec), Errant Bodies Press (Los Angeles/Berlin), Semiotext(e) (New York), and in many catalogues, notably from Ars Electronica (Austria) and Sonambiante (Germany). In 1993, he founded the art centre Avatar, in Québec City. He currently teaches at l'École des arts visuels de l'Université Laval, Québec." [label info]
www.hronir.de
|
2010 |
€18.00 |
|
| ROCCHETTI, CLAUDIO |
These are the days |
LP |
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. Auf "These are the days" werden Teile davon collagenhaft neu zusammengesetzt und ganz neue Geschichten "erzählt", es wirkt wie kurze Schnappschüsse des Unterbewussten ins Verborgene der Alltagsgeräusche, 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!
"These are the days" is a collection of short pieces all around of memory concept... a sort of back-up of experiences on Claudio's preferred media (tapes and vinyls). Tapes and vinyls are here used in a double way: in their common way, the Universal recognized one. As sound reproducers, as technological element of our day-life with their own personal story linked to all the people who owned them... they are full of memory, they are part of our World. But if you change the rules and use the machines in an unusual way, the story change and also the result. Driving them over the limits we can discover unexpected borders... "...I'm attracted by places where the human presence is denied or cancelled, but where you can still hear their vibes. Abandoned flats, tube stations in disuse, spaces in which Nature grows between asfalt and cement, resuming what men has stolen..." CR. Limited to 300 copies." [label info]
www.asilentplace.it
|
2007 |
€14.00 |
|
| ROSS, DAVID & CLIVE BELL |
Recovery Suite |
LP |
"David Ross plays here a customized analog oscillator, baptized drosscillator. Among others, he has worked in the past with Evan Parker. He is also known as the drummer for the instrumental combo Kenny Process Team. He has previously released another critically acclaimed duo album with Clive Bell, 'Mystery Lights / Nightflower'.
Clive Bell studied the shakuhachi (Japanese flute) with Kohachiro Miyata in Tokyo. In 2005 he took part in the British Council Beijing project, Sound & The City, alongside Brian Eno, David Toop and Peter Cusack. He has played on numerous albums by Jah Wobble, plus records by a.o. Paul Schutze, Jeff Beck, Bill Laswell and David Sylvian.
This is their 2nd album on ini.itu, the first one being as members of Twinkle , with Richard Scott. The project for this LP started when David Ross suffered a back injury and had to lie in bed for several weeks, a time where one of the few instruments. Some sketches later gave the opportunity to further improvise and compose some tracks with Clive Bell. This unusual record will take you through some derouting mazes, evoking at times the perplexity and obfuscation of the experience of ill ness and slow, uncertain recovery. It's free music, but not in the free jazz way. Maybe it's dystopic lounge ambiance, with evanescent melodic lines on the shakuhachi and circular undertones. Sometimes bleak, brooding, fractured and gloomy; at other moments rather delicate, elaborate and lush. A nocturnal record, where melancholy and aching is slowly dissolved by a sprawling confidence, where mental landscapes are built on the contemplation of opioid numbness and extraction therefrom. File next to : Popol Vuh's Garten Pharaos, Cluster, Kosmische Musick in general, or Brian Eno & John Hassell 'Fourth world vol 1'. All clicks, pops and shuffles are intended. The LP was mastered by Taylor Deupree." [label info]
www.iniitu.net
|
2014 |
€15.00 |
|
| ROTHENBERG, DAVID |
Nightingale Cities |
do-CD |
Five years in the making, David Rothenberg’s Nightingales in Berlin project includes a book, a film, many live concerts, and this double CD, including a 20 page color booklet of stills from the film and music not available in any form online. Here’s what Rothenberg says about the project:
“I used to make interspecies music largely on my own, seeing myself as some kind of individual explorer seeking out musical ideas with creatures we can’t even talk to. But in recent years I’ve decided that the point of musical contact with another species is to convince other people to join me. Over five years, from 2014 through 2019, I invited the best and most adventurous musicians I know to connect in musical collaboration—humans with nightingales, in Berlin and Helsinki.
The nightingales have helped me find the perfect sound. By assembling just the right group of kindred spirits, together we dream of a way that humans and nature might live closer together. Our species is warming the planet beyond recognition, and this could mean the end of our reign over this place. Yet there are still these moments during which humans can touch nature through sound happening all around us, as we make music along with the nightingales of Helsinki and Berlin. The paths to animal music sit right before us.
I love to listen to different musicians respond to the song of the nightingale for the very first time. I have played with these birds for several years now, and sometimes I wonder why I keep trying to make music with musicians with whom I cannot speak, who live as birds—such different lives than people who may join the band. Some human critics think it’s all delusion, that I intrude upon the birds’ ancient world of perfect sound and struggle, but whenever I bring a new musician along to play with nightingales, I realize why I began this process in the first place. We all feel such joy and hope when music can carry meaning from one species to another. The planet becomes a more harmonious place.”
Nightingale Cities
Emil Buchholz, bass
Korhan Erel, iPad
Wouter Jaspers, Field Kit
Lembe Lokk, voice
Benedicte Maurseth, Hardanger fiddle
Wassim Mukdad, oud
Jay Nicholas, electric bass in remix
Volker Lankow, frame drum
David Rothenberg, clarinet, bass clarinet, seljefløyte, iPad
Sanna Salmenkallio, violin
Cymin Samawatie, voice
Ines Theileis, voice
Disc One, Berlin (72 minutes)
1. The Boori Sound
2. Dreaming Slow
3. While Birds Chant Praises
4. O Bülbul, Your Love
5. The Nightingales Are Drunk
6. Viktoria’s Dream
7. Nightingale Cities
8. Addicted to Birds
9. She’s Finally Here
10. At Midnight We All Waited
11. I Cannot Go Home
12. Exit Music
13. Nightingale, You Are the One
Disc Two, Helsinki (69 minutes)
1. Elektro Repeet
2. Sharawaji Blues
3. Willow Wind
4. No One Sings at Dawn Alone
5. Ballad with Nightingale and Mosquitoes
6. Sisichak
7. Sisichak Remix [for Emu]
8. Alien Beauty
9. The Morning Electric
10. Sotavalta’s Satakieli
11. NeoNachtigall
24 Tracks (141′00″)
Double CD (500 copies)
20 page color booklet
|
2019 |
€16.00 |
|
| ROUX, SEBASTIEN |
Revers Ouest* |
CD |
"This is the story of a man marked by an image of his childhood… Or perhaps is it the story of this woman coming here to meet a beloved stranger, at the Grange-Auloup street ? or maybe their story ?" [Sébastien Roux]
"Revers Ouest* is a radiophonic work based on text fragments drawing a futuristic and mental description of the Nantes city. It’s an isolated utopist vision of architecture, buildings made like concrete waves. The texts are read by two actors, whose voices are used as a musical material and digitally processed, becoming a ghostly trail of the characters they represent. The piece, by mixing a fragmented story with heavily processed acoustic sources, aims to intricate radio art genres like documentary and hörspiel with more ‘musical’ forms such as electroacoustic and contemporary classical music. The first version of the piece was commissioned by Sonor festival and co-produced by La Muse en Circuit. It was premiered on the 31/03/2007 in Lieu Unique (Nantes).
Born in 1977, Sebastien Roux is sound artist living in Paris. Since 2003, he has recorded for the experimental electronic labels 12k, ROOM40 and Apestaartje. In 2005, he was awarded for his piece « un grand ensemble » at Muse en circuit 6th international competitions of Radio Piece. His main collaborative projects includes Heller (with Eddie Ladoire, published by French labels n-rec and optical sound), works with 12k artist Sogar, and with Greg Davis (the duo cd called “paquet surprise” was released on carpark in October 2005). He has released a series of sound installations called wallpaper music. This work has been shown in Paris, Lyon, Strasbourg and Bristol. He also works at Ircam as a musical assistant. (mainly with composer Georges Aperghis)." [label info]
www.room40.org
|
2007 |
€12.00 |
|
| RUIZ, MIGUEL A. |
Grosor |
CD |
MIGUEL A. RUIZ gehörte zu den aktiven spanischen Experimental-Komponisten der 80er & 90er Jahre und betrieb das TORACIC-Tapelabel. GROSOR besteht aus 14 Stücken düsterer Sample-Elektronik, die eine postindustrielle, apokalyptische Atmosphäre heraufbeschwören. Erinnert durchaus an z.B. ASMUS TIETCHENS.
Ein Teil des Materials erschien 1991 auf der “Encuentros en la Tercera Edad” LP. MONOCHROME VISION ist ein russisches Label, das sich auf die Wiederzugänglichmachung vergessener Klassiker spezialisiert hat!
“This is the new, remastered version of classic material recorded back in 80s, next to postindustrial aesthetics priority in electronic music. Rigorous and austere, ascetic but dynamic, this music rearranges everyday being into mindchallenging imagination, reserving the leading parts for the habitual processes and domestic objects.
From the deep underground of Spanish industrial music, it comes to be rediscovered after 15 years. Release date is 10 December 2005. Limited edition of 500” [label info]
|
2005 |
€13.00 |
|
| RUIZ, MIGUEL A. - & BARDOSENETICCUBE |
Exclusion Zone |
CD |
"A collaboration work of Spanish musician Miguel A. Ruiz (Orpheon Gagarin, Efficient Refineries, etc.) and Russian project Bardoseneticcube. Dangerous zones of sonic landscapes painted with the help of analogue synths and sequences, all sorts of samples, vinyl records and even folk instruments (percussion, gusli, penny whistles and pipes). Schizophrenically twisted ambiental collage of the fragments of the modern soundsphere. Rhythmic excursions into contaminated areas. Industrial psychedelia." [label info]
"... On the same label, but a concert sadly missed is a release by the duo Bardoseneticcube, who have been active for many years, who do a collaboration with long serving Spanish hero Miguel A. Ruiz. The Russians supply 'basic sounds and samples' while Ruiz add 'sounds, track arrangements and mastering'. What can be noted here, in difference with the previous work of Bardoseneticcube is the presence of rhythm, lots of rhythm actually. They form the solid backbone of the music, which otherwise involves field recordings and electronics. The rhythm part is solid, minimal but truly techno inspired. It bangs and it bangs. It reminded me of of the CD 'Electroid' by Sympathy Nervous from 1994. It has that same solid attitude. The field recordings are also sampled while the electronics are used to play around with, to add that somewhat nice krautrock and psychedelic touch to the music. Despite its minimalism there are lots of minor changes going on, that add a really nice edge to the music. Quite powerful stuff going on here, and a solid, fine work." " [FdW / Vital Weekly]
www.aquarellist.ru
|
2009 |
€10.00 |
|
| RUTTMANN, WALTHER |
Berlin, die Sinfonie der Großstadt & Melodie der Welt |
do-DVD |
"Walther Ruttmann is a pioneer of modern multimaedia art. His first short films are unique experiments with forms, colors, and rhythm, his innovative commercials connected abstract animation art with concrete messages. The symphonic documentary Berlin, die Sinfonie der Großstadt is one of the most famous silent cassics, the travelogue Melodie der Welt became the first German sound feature film. With the radio play Weekend Ruttmann created the first sound film without images while his short In der Nacht transforms music to images and is a prototype of modern music videos. The 2-disc DVD combines for the first time all surviving works by Walther Ruttmann from 1920-1931 in newly restored and reconstructed versions, often with original scores. It also includes lobby cards, posters, programs and text documents as well as little known paintings and drawings by Ruttmann. With the films 'Berlin, die Sinfonie der Großstadt' (1927), 'Opus 1' (1920), 'Opus 2' (1922), 'Opus 3' (1924), 'Opus 4' (1925), 'Der Sieger' (1922), 'Das Wunder' (1922), 'Das wiedergefundene Paradies' (1925), 'Der Aufstieg' (1926), 'Spiel der Wellen' (1926), 'Dort wo der Rhein...' (colorised) (1927), 'Melodie der Welt' (1929), 'Weekend' (1930), 'In der Nacht' (1931), 'Walther Ruttmann, der Visionr bewegter Rhythmen' (1987). DVD PAL, all regions. Texts by and about Walther Ruttmann, program booklets and original scores as ROM features 20 page booklet with essays about Walther Ruttmann. Edited by: Filmmuseum München, Arte, Bundesarchiv-Filmarchiv and Goethe-Institut. DVD-Authoring: Ralph Schermbach. DVD-Supervision: Stefan Drössler." [publishing house info]
www.edition-filmmuseum.com
|
2010 |
€28.00 |
|
| RV PAINTINGS |
Samoa Highway |
LP |
"RV Paintings were born in California. Humboldt County, to be exact. It is nearly impossible to imagine their origins being elsewhere since the brothers Brian and Jon Pyle, who currently pilot RV Paintings, constantly mine the metaphysical properties of their homeland through a heavy-lidded psychedelia. The redwood trees that majestically rise from the rugged terrain may have been one of the endemic objects that inspired RV Paintings to "jam nature;" but Humboldt County's other major cash crop -- marijuana -- cannot be far behind. As much as the Pyle brothers channel a psychotropic animism through sound, their diaphanous drones and foggy ambient tangles spring from a schematic intelligence that belies any method acting of getting stoned and jamming in a room.
Samoa Highway is the second full album for RV Paintings, following the nature jam transmissions of Trinity Rivers published by Root Strata in 2007 and a well-suited split LP with Taiga Remains from Blackest Rainbow. Just as the debut payed homage to the rugged river system that cuts through forests and mountains of the region, Samoa Highway refers to the lengthy bridge that runs between two coastal communities in Humboldt County, one of which houses a municipal airport. A swarm of drone guitars announces the opening of the record on "Millions," with a shoegaze wash collapsing into rarified tone purity and bulging through a metallic buzz. Field recordings of airplane take-off and firework explosions punctuate the undulating bleary smear of the Pyle brothers' guitars. The result is one of levitation, even as RV Paintings seem to be plugging their guitars and electronics directly into the moss, soil, and mycelia of the Humboldt forest. Echo-soaked flutes, maudlin strings, scabrous noises unearthed from the bottom of the Pacific, and a cinematic arcs of guitar shimmer complete the beautiful and haunted miasma of Samoa Highway that falls somewhere between Taj Mahal Travellers, Organum, and The Caretaker.
Brian Pyle may be best known as one of the founders of the Starving Weirdos and records his solo work as Ensemble Economique. Samoa Highway stands the first piece of vinyl published by Helen Scarsdale Agency and includes a code for a digital download. Pressed in an edition of 500 copies." [label info]
www.helenscarsdale.com
"Two brothers, Brian and Jon Pyle are behind RV Paintings and hail from Hunbold County, California, home of redwood trees and marijuana. Bryan Pyle is also a member of Starving Weirdos and solo known as Ensemble Economique. The brothers jam about about to start with and then edit these out into fixed compositions. They use guitars and effects, I believe, and if I am to believe the press text, also flutes and strings. The recording quality doesn't seem to be something that they care about that much, or perhaps its just the pressing that is not that great? It moves into slight distortion which doesn't justify the music. Unlike many of the previous releases by The Helen Scarsdale Agency, this is drone music of a somewhat different branding. More improvised, more loosely played also, these drone based textures are a bit crude and bending the idea of static drone music, with its metallic scraping and reverb effects in the background. A bit like a toned down 'In Extremis' by Organum, with the addition of field recordings, buzzing effects and other obscured sonic debris. A bit more raw than is usual, and that surely marks a fine difference. Because its not top perfect, all the more nice." [FdW/Vital Weekly]
"Two brothers from Humboldt County are RV Paintings - one is Brian Pyle, whose name should probably strike a chord as one of the principals in Starving Weirdos and recently has been generating some impressive work under his solo Ensemble Economique moniker; the other is Jon Pyle, who occasionally makes a guest appearance in the Weirdos but also operates in Nudge with Honey Owens, Paul Dickow, and Brian Foote. For all of the method acting from the brothers Pyle in getting stoned and jamming, they have been remarkably consistent and consistently good in all of their ruminations, with RV Paintings probably the best that they've mustered. The RV Paintings debut on Root Strata is three years out but is still a timeless, gorgeous dronesmear of bowed metals and elongated guitar; this was followed by a well-suited split with Taiga Remains on Blackest Rainbow, and now, they've got this stunner on Helen Scarsdale.
RV Paintings speak about, to, and from their own immediate surroundings: the moss, mushrooms, and mycelium of the awe-inspiring redwood forests, the heavy fog that hangs at the coast and from their bongs, and the weightiness of the Pacific Ocean just off to the west. The title Samoa Highway gives the impression that the two brothers were on their own trip during a cold, wintery day, gazing off to the southwest and pondering the warmer climate of American Samoa. But no, the Samoa Highway is located in Humboldt County, connecting Eureka with the small community of Samoa on the other side of the bay which was thought to resemble that of Pago Pago in the mid-19th Century. It's also the bridge that would get you to the Arcata/Eureka Airport.
So, the album begins with field recordings of airplanes lifting off on the jawdropping track "Millions," as sitar-like harmonics and ghostly, levitating drones emanate from the distance. It's a perfectly narcotized smear of echo and drift, hanging in space as the remnants of a particularly lucid dream or the foggy headspace from an afternoon of smoking pot and staring at the sun. This is a track that could spiral onward forever. So nice! Samoa Highway continues with "Mirrors" driven by melancholy looped melody from a cello that dissolves into a flurry of shimmered guitar fuzz, whose shoegazed mantra has been submerged under centuries of felled trees and lichens. Cyclical patterns of samples from dark yet pastoral orchestral passages rounds out the album. If it weren't for the delicate freeform clamor of the drumkit, tracks such as this wouldn't be that far removed from the 'pop ambient' cuts by Gas. Citations of Taj Mahal Travellers, Organum, Grouper, Barn Owl, and The Caretaker certainly hit the mark. Music for airports? More like Music for California airports! Fuck yeah!
And a download coupon is tucked within the sleeve as well!" [Aquarius Records] |
2010 |
€10.00 |
|
| S-CORE |
Finger Mark (SOLD OUT) |
7inch |
this legendary dronish and noisy tape-group combines deep power-sounds with harmonic over-tunes
"LIMITED+NUMBERED FIRST EDITION OF 250 COPIES
IN SELF-PRINTED SLEEVES BY THE ARTIST; WHITE VINYL.
THIS LONG-EXISTING SOUND-PROJECT FROM TOKYO HAS BEEN ACTIVE IN THE INTERNATIONAL TAPE-SCENE SINCE 1985, DEVELOPING A VERY OWN, SOMEHOW EARTHY STYLE OF MUSIC. NOW IT SEEMS THAT SFCORE IS GETTING MORE AND MORE ATTENTION, A FIRST CD AND LP ARE OUT NOW. DRONE PRESENTS THE THIRD 7"-VINYL, CONTAINING THE NEW TRACKS "THE KILLI # 2" AND "AFFLICTED AREA".
SFCORE MANAGES IT TO COMBINE ROUGH OR EVEN HARSH WHITE NOISES AND POST-INDUSTRIAL SOUND-LOOPS WITH SILENT BEAUTIFUL, SOMETIMES EVEN MELODICAL SOUNDS - THUS DEVELOPING A KIND OF GLOWING TRANCE MUSIC. IT'S A STRANGE FORM OF HYPNOTIZING MEDITATION YOU CAN PUSH YOUR MIND IN WHEN BEING SURROUNDED BY THESE WAVES.
THIS IS MODERN ZEN-MUSIC. "SACORE BRINGS YOU TO THE CORE OF INTELLIGENT POWER!"
DRONE RECORDS DR-14/ SEPTEMBER 1995
|
1995 |
€ |
|
| SAAADON |
мреть (наутро ночь) [Die (in the morning night)] |
CD |
In 2018, the longtime partnership between the St-Petersburg based duo Sádon (familiar to us from their collaboration with Treha Sektori) & France's Romain Barbot alias Saåad (who has curated & managed the BLWBCK label and released Sádon's early material) finally turned into a musical collaboration as Saáadon. Entitled мреть (наутро ночь) (which can be translated as « Die (in the morning night ») is centered around the melancholic and introspective poetry of Donat Mavleev, evoking a secular dream, the end of time, its horizon and beyond. The trio's music moves across drone & ambient soundscapes, giving birth to a disturbing strangeness with radiant hues, simultaneously intense and peaceful. A poignant emotional journey the likes only such a joining forces can conjure.
CD edition of 300 copies in 6 panels Digisleeve, Matt Lamination. 5 Tracks. Running Time 37:02
LP Edition of 200 copies on black vinyl with printed inner sleeve, Matt Lamination. 5 Tracks. Running Time 37:02
https://cycliclaw.bandcamp.com/album/- |
2021 |
€13.00 |
|
| SABLE MOUVANT |
Bridge that leads nowhere |
CD |
Mysterious sounds & atmospheres from this Lithuanian project, repetitive metallic overtune-structures, impressionistic oracle-sounds as coming from a different dimension...
"SABLE MOUVANT is a music project coming from Lithuanian artist GyS. The project may be classified as hypnotic drone ambient. The first album titled Bridge That Leads Nowhere perfectly conveys gloomy, melancholic world where the prevailing trends include reduction, extinction and impalpability. Compositions of Bridge That Leads Nowhere are very slow and solid, their monotonic vibes are the source of a weird hypnotic feeling. Here we have live and pulsatile drone ambient where the track names precisely represent their mood best described as solitude and isolation. SABLE MOUVANT music offers a full dose of Gnostic unknowability, cryptic atmosphere. It is best suited for listening in derelict wastelands, while meditating invisible, elemental and indeed pervading supernatural reality that uncompromisingly regulates the evolution of all worlds known and unknown. The album will please anyone who’s not indifferent to the music of Jarl, Moljebka Pvlse, NWW, Kammarheit." [label info]
www.autarkeia.org
|
2006 |
€13.00 |
|
| SAL SOLARIS |
Die Scherben 2004-2010 |
CD |
"kultFRONT and ZHELEZOBETON labels are glad to announce the new CD by one of the most outstanding Russian post-industrial projects - Sal Solaris. This release follows the logic of the "Der Ruf" compilation CD (2006, Der Angriff) and collects the tracks recorded at different times on various occasions. Among other tracks the disc contains compositions from the compilations "The Black Square" (2006, kultFRONT), "Iznutri" (2007, Ewers Tonkunst), "Rush for Black Celebration" (2008, kultFRONT), "Heliophagia III" (2009, Heliophagia), "Art of Caring the Dead" (2009, Dodozavr), "Heliolatria" (2010, Heliophagia), also tracks from the split 10" record with Stahlwerk 9 (2004, Der Angriff) and several previously unreleased compositions.
When describing the sound of Sal Solaris reviewers often mention the neologism "power ambient" and we can't but agree with this term. The music of this duet coming from Rostov-on-Don and Moscow combines the elements of dark, often space ambient, post-industrial and power electronics, a collage approach and a dense saturated atmosphere, not relaxing but rather stimulating the listener. A collection of works created during various years allows to trace the live dynamics of the project - from the austere ideological persistence of the "early National-Bolshevist period" to the more sculpturesque and psychedelic compositions, including some naive but remarkable exercises.
The works feature contributions from many band friends, including Russian cosmist writer Ivan Polikarov, lead artist of "Crazy Pierrot Cabaret" Sergey Vasilyev, piano player & composer Anna Antropova, decadent cynic and erudite DJ Deutschmark, master of noises Nikolay Lepesa, trombone player Seung-hui Cho and even Pyotr Ilyich Tchaikovskiy.
The artwork is done by the famous visual artist and media philosopher Oleg 'cmart' Paschenko (http://holesk.in | http://www.conclave.ru).
With this CD kultFRONT & Zhelezobeton labels open the series named "Die Zeichen" aiming to publish the archival works of Russian post-industrial projects." [label info]
|
2013 |
€12.00 |
|
| SALTLAND |
I thought it was us but it was all of us |
LP |
"Saltland is the new project led by Montreal-based cellist Rebecca Foon, best known as a founding member of contemporary chamber group Esmerine and a former member of Thee Silver Mt. Zion and Set Fire To Flames. Foon began composing solo work in 2010, featuring multi-layered cello and hushed vocals at the intersection of drone, no-wave, improv, dream-pop and minimalism. Joined by Jamie Thompson (Unicorns, Esmerine) on miniature percussion, programming and signal processing, Foon's live performances in Montreal and abroad over the past two years have seen her sound progress towards gently rhythmic and electronic territory as well. She has transfixed audiences with this new music while sharing the stage with Mary Margaret O'Hara, Julia Kent, Nat Baldwin and Sam Amidon, among others. As her largely home-recorded debut album began taking shape throughout 2011, with numerous guests contributing to various pieces, Foon adopted the Saltland moniker for this work.
I Thought It Was Us But It Was All Of Us is a beautifully restrained debut album that telescopes the directness and economy of Foon's compositional and vocal styles into lush, twilight atmospheres aglow with luminescent tendrils and flickering particles. Foon sings of childhood innocence lost, of tender utopic reveries and downcast dystopic horizons, and the search for soft, stoic strength in a darkening, devolving world. Foon’s voice is discreet but defined, drifting on buoyant currents of sound sourced from her plucked and bowed cello lines, in most cases propelled by Thompson's bespoke percussion and understated programming/processing, with touches of guitar, bass, horns, woodwinds, strings and backing vocals added by a cast of supporting players. The record unfurls like a gauzy flag in a restless breeze at dusk: a delicate, resolute sentinel set against the fading light.
The album's ambience also owes much to the work of Mark Lawson, the award-winning engineer (Arcade Fire) who collaborated closely with Foon to record and mix these songs at Six Saint V, her apartment studio in Montreal. Lawson, along with friend and percussionist Thompson, helped to forge a balance between lo-fi intimacy and shimmering breadth with these recordings, remaining faithful to the all-anologue instrumentation of the source material while judiciously deploying signal processing strategies to subtly refract, saturate and expand the sonic landscape. With contributions from Laurel Sprengelmeyer and Jess Robertson (Little Scream), Mishka Stein (Patrick Watson), Colin Stetson (Bon Iver), Sarah Neufeld and Richard Reed Parry (Arcade Fire) among others, Saltland offers up an unassumingly immersive debut album of searching songs that blend several core influences into a distinctively naturalistic sound. Saltland stakes out an unaffected, meditative, clear-eyed and earnest space where minimalism, dream-pop, drone, shoegaze, confessional folk, chamber music, and ambient/electronic coexist and coalesce.
Release date: 14 May 2013
Running time: 38:32
Packaging notes
CD comes in a custom gatefold jacket printed on 100% recycled paperboard in 4-colour process. LP is pressed on 180 gram virgin vinyl at Optimal (Germany) and comes in a heavyweight gatefold jacket printed in full-colour process." [label info]
www.cstrecords.com
|
2013 |
€23.00 |
|
| SAMARTZIS, PHILIP |
Mort aux vaches |
CD |
Highly abstract digital processing music with a wide range of moods, sounds & spheres, nearly undescribable. Concentrating listening necessary. Comes in luxury cardboard-paper-covers with embossing, lim. 1000.
“ Philip Samartzis is a Melbourne based composer with a long history in experimental sound production and performance. He formed Gum in 1986 with Andrew Curtis releasing several albums and singles independently and through Korm Plastics (NL) and RRR Records (USA). Since 1995 he has primarily worked solo, releasing Residue (1998) & Windmills Bordered By Nothingness (1999) through Dorobo (Aust), both of which highlight his explorations in recording and processing acoustic and spatial environments through digital technologies. More recently Samartzis has extended his studio based techniques to incorporate live performance working both solo and in collaboration. Over the last two years he has performed with Kozo Inada, Gunter Muller, KK Null, Sachiko M, Voice Crack & Seiichi Yamamoto. An upcoming release in the Mort Aux Vaches series released by Staalplaat (NL) contains elements of these collaborative and solo performances. Samartzis is also responsible for curating Variable Resistance: Ten hours of sound from Australia, a contemporary survey of Australian sound culture, presented at the San Francisco Museum of Modern Art in 2002, and the Transmediale Festival in Berlin in 2003. Philip Samartzis' 'Mort Aux Vaches release' is the 40th release in the series... “ [label info]
|
2002 |
€13.50 |
|
| |
Soft and Loud |
LP |
SOFT AND LOUD ist eine Klangkunst-Installation für 8 Lautsprecher, die auf verschiedensten ‚environmental recordings’ aus Japan basiert. Aufnahmen von Tempelplätzen, Wäldern, Marktplätzen, U-Bahn, Vorstadt-Noise, wobei sich aber das „typische japanische“ als Klangfokus herauszentriert, betörend schöne fliessende Sounds wechseln mit lauteren Alltagsmomenten & -geräuschen ab. Das ganze klingt sehr konkret und komplex zusammengefügt in dynamischer Bewegung & Effektierung.
“Originally conceived for eight-channel surround sound playback, Soft and Loud is comprised of field recordings made in Japan between 1999 and 2001 that were later arranged and mixed in Melbourne over a three year period. The objective of the field recordings was to document a variety of common environments in order to investigate the behaviour of singular events and their relationships to other sounds occupying the Japanese soundscape. Of particular interest is the cohesion with which artificially generated sounds are incorporated within the generally subdued natural acoustic environment. However intriguing the artificial is, the strangely muted quality of Japan is also a source of fascination. A massive city like Tokyo can be thunderously noisy, however it has a calmness to it that can be quite unsettling. It is the intersections where the distinctions between the artificial and the natural, noise and silence are blurred that drew samartzis' interest when constructing this work.” [label info]
|
2005 |
€18.00 |
|
| SAND |
His first Steps |
LP |
"The present album is a forerunner of GOLEM, the legendary album from the cosmic and psychedelic genius that is Sand. After the split of POT the early SAND submerged as a threesome in the basement of Claudiusstrasse and built up an alchemical assembling shop, where they resurrected the archetypical GOLEM. SAND considered themselves as an exile community in a fascinating area - full of distinctly bizarre energy.
There is something magical and inexplicable in creation, and Sand manifest absolutely these mysterious phenomena. Story-tellers, musicians, shamans, geniuses, Sand were known, at the end of the 60s, as P.O.T. (Part of Time). The music they created at that time has remained unreleased until now.
Two different approaches are evident within this band. The first—which is shown in the compositions of the trio Ludwig Papenberg, his brother Ullrich Papenberg and Johannes Vester—is avant-gardist, experimental and proto-industrial. The second, when this same trio is augmented with a few extra members, reveals a more emphatically “rock” side, somewhat in the vein of Pink Floyd’s The Piper at the Gates of Dawn, perhaps making it somewhat less personal than the visionary and experimental positions characteristic of Sand, a truly unique entity in the history of music.
At that time Klaus Schulze was developing, with engineer Manfred Schunke, a specialised recording process called “Artificial Head Stereo Sound”, which, like “Surround Sound”, created the illusion of the music coming from 360º around the listener. Schulze chose Sand to record in his studio one of a series of records to demonstrate this new technique. Sand’s album Golem was recorded and released on the Delta-Acustic label in 1974.
Sand acknowledge that Manfred Schunke and Klaus Schulze were Sand’s most important mentors.
Although classed as “Krautrock”, Sand are not really in the Krautrock style, despite being part of this movement of German cosmic/psychedelic bands. Instead they take us on a cerebral/cosmic/strange/dark trip all of their own, with a highly original subtlety, elegance and strength. Trapped in the trip, swallowed up by the quicksands, seduced by the unique and innovative combination of acoustic guitars, synthesisers, sound generators, short-wave radios, factory noises, hammers from the shipyards, agricultural machines, whirls of sand and eerie atmospheres, the listener discovers and lives the story of Sand and his Golem.
Julian Cope wrote of Golem in his HeadHeritage’s website’s “Album of the Month” column, “Dig this fucking weird Saxony sound and fill your heart”.
Rotorelief releases, in 2010, a series of unreleased albums by Sand as well as a reissue of Sand’s only album, the obscure and rare Golem, first released by Delta Acustic in 1974, along with related releases by Nurse with Wound and Current 93.
This series of albums from Sand is called “INXOM”, the series title having one letter for each album, explained by Johannes Vester as follows:
“Incoming, Inspiration, (...) In X is OM (Odem) which could mean ‘There is Om/Odem/Atman in the Unknown (X)’ ; this also corresponds to "shem" which is in XOM,—the meaning in the Golem Myth. Last, but not least, for me it sounds like the electronic attitude in symbiosis with Sand's spirit....”
And also called '' INXODEM '' with 5x Sand album (INXOM) from 70's + 1 album of Nurse With Wound (2013) and 1 45RMP twelve inch of Current 93 (1992) :
"His First Steps" (I) / is a previous, unreleased and variety album (1972 & 1973) of "Golem"
"Golem" (N) / legendary album composed in 1972 and 1973 (released in 1974)
"Desert Navigation" (X) / unreleased album, titles composed in 1973, 1975 and one track from 1982
"Sylph Ballet" (O) / unreleased album, titles composed in 1969, 1972, 1973, 1974, 1975 and 1976
"North Atlantic Raven" (M) / unreleased album, titles composed in 1973, 1975 & 1976
(+ bonus 1982)
"Chromanatron" (E), by Nurse With Wound composed in 2013 with sounds and extracts from Sand
"When the May Rain Comes" (D), 2 varieties of the reprise title "May Rain" of Sand by Current 93 in 1992
Today, 40 years later, here the cool sound jugglers, founders and new members, go again (Ludwig and Ulrich Papenberg, Johannes Vester, Christian von der Schulenburg and Richard Pappik) then Sand is active in a creative frenzy timeless...
www.rotorelief.com
|
2016 |
€25.00 |
|
|
His first Steps |
CD |
"The present album is a forerunner of GOLEM, the legendary album from the cosmic and psychedelic genius that is Sand. After the split of POT the early SAND submerged as a threesome in the basement of Claudiusstrasse and built up an alchemical assembling shop, where they resurrected the archetypical GOLEM. SAND considered themselves as an exile community in a fascinating area - full of distinctly bizarre energy.
There is something magical and inexplicable in creation, and Sand manifest absolutely these mysterious phenomena. Story-tellers, musicians, shamans, geniuses, Sand were known, at the end of the 60s, as P.O.T. (Part of Time). The music they created at that time has remained unreleased until now.
Two different approaches are evident within this band. The first—which is shown in the compositions of the trio Ludwig Papenberg, his brother Ullrich Papenberg and Johannes Vester—is avant-gardist, experimental and proto-industrial. The second, when this same trio is augmented with a few extra members, reveals a more emphatically “rock” side, somewhat in the vein of Pink Floyd’s The Piper at the Gates of Dawn, perhaps making it somewhat less personal than the visionary and experimental positions characteristic of Sand, a truly unique entity in the history of music.
At that time Klaus Schulze was developing, with engineer Manfred Schunke, a specialised recording process called “Artificial Head Stereo Sound”, which, like “Surround Sound”, created the illusion of the music coming from 360º around the listener. Schulze chose Sand to record in his studio one of a series of records to demonstrate this new technique. Sand’s album Golem was recorded and released on the Delta-Acustic label in 1974.
Sand acknowledge that Manfred Schunke and Klaus Schulze were Sand’s most important mentors.
Although classed as “Krautrock”, Sand are not really in the Krautrock style, despite being part of this movement of German cosmic/psychedelic bands. Instead they take us on a cerebral/cosmic/strange/dark trip all of their own, with a highly original subtlety, elegance and strength. Trapped in the trip, swallowed up by the quicksands, seduced by the unique and innovative combination of acoustic guitars, synthesisers, sound generators, short-wave radios, factory noises, hammers from the shipyards, agricultural machines, whirls of sand and eerie atmospheres, the listener discovers and lives the story of Sand and his Golem.
Julian Cope wrote of Golem in his HeadHeritage’s website’s “Album of the Month” column, “Dig this fucking weird Saxony sound and fill your heart”.
Rotorelief releases, in 2010, a series of unreleased albums by Sand as well as a reissue of Sand’s only album, the obscure and rare Golem, first released by Delta Acustic in 1974, along with related releases by Nurse with Wound and Current 93.
This series of albums from Sand is called “INXOM”, the series title having one letter for each album, explained by Johannes Vester as follows:
“Incoming, Inspiration, (...) In X is OM (Odem) which could mean ‘There is Om/Odem/Atman in the Unknown (X)’ ; this also corresponds to "shem" which is in XOM,—the meaning in the Golem Myth. Last, but not least, for me it sounds like the electronic attitude in symbiosis with Sand's spirit....”
And also called '' INXODEM '' with 5x Sand album (INXOM) from 70's + 1 album of Nurse With Wound (2013) and 1 45RMP twelve inch of Current 93 (1992) :
"His First Steps" (I) / is a previous, unreleased and variety album (1972 & 1973) of "Golem"
"Golem" (N) / legendary album composed in 1972 and 1973 (released in 1974)
"Desert Navigation" (X) / unreleased album, titles composed in 1973, 1975 and one track from 1982
"Sylph Ballet" (O) / unreleased album, titles composed in 1969, 1972, 1973, 1974, 1975 and 1976
"North Atlantic Raven" (M) / unreleased album, titles composed in 1973, 1975 & 1976
(+ bonus 1982)
"Chromanatron" (E), by Nurse With Wound composed in 2013 with sounds and extracts from Sand
"When the May Rain Comes" (D), 2 varieties of the reprise title "May Rain" of Sand by Current 93 in 1992
Today, 40 years later, here the cool sound jugglers, founders and new members, go again (Ludwig and Ulrich Papenberg, Johannes Vester, Christian von der Schulenburg and Richard Pappik) then Sand is active in a creative frenzy timeless...
www.rotorelief.com
www.rotorelief.com
|
2016 |
€14.00 |
|
| |
Vibrating Cloud |
do-LP |
DOUBE LP. Over 5 decades Sand is a timeless narrative machine full of pictures and scenarios, each title a unique piece that stands alone. The band took off with 'Golem', the analogue primitive robot that became independent and out of control. A hybrid creature related to Enki Bilal's mutants, androids, animal humans or automatons. This is their collaboration with artwork by Bilal. Contains 16 tracks of which 6 are remakes from the '70s. Comes on 200 gram vinyl.
https://rotorelief.bandcamp.com/album/vibrating-cloud
|
2020 |
€32.50 |
|
| SANTOS SILVA, SUSANA / HAMPUS LINDWALL / TORBJORN ZETTERBERG |
Hi! Who are you? |
LP |
The trio Susana Santos Silva / Torbjörn Zetterberg / Hampus Lindwall emerged in 2015 with their first album If Nothing Else (Clean Feed CF348) which was received with critical acclaim. The unique conceptual approach to composition & improvisation rooted in both free jazz and contemporary classical music was described as “guaranteed a unique listening experience” (JazzIn), “It is art!” (Gapplegate Music Review) and “unique sound and style” (New York City Jazz Record). On their new album “Hi, who are you?” (Matière Mémoire MATME004LP) they have taken the musical creation a step further by adding live electronics for real time sound treatment. Different techniques from experimental electronic music is juxtaposed with simple use of electric guitar effects to obtain tight and highly emotional sound.
Susana Santos Silva - trumpet
Torbjörn Zetterberg - double bass, and electric noise on track 5 and 10
Hampus Lindwall - pipe organ and live electronics
All music composed and performed by Susana Santos Silva, Torbjörn Zetterberg and Hampus Lindwall
Produced by Susana Santos Silva, Torbjörn Zetterberg and Hampus Lindwall
Recorded by Torbjörn Zetterberg in Engelbrektskyrkan, Stockholm, Sweden, January 20-21 2018
Mixed by Torbjörn Zetterberg in Mörbylund, Sweden
Mastered by Mats Äleklint
Cut by Frédéric Alstadt at Ångström studio, Brussels
Artwork collage by Dan Lean (Merciful Stranger Art)
Graphics and layout by Cedric D’hondt
The organ in Engelbrektskyrkan was built by Grönlunds Orgelbyggeri in 1964 and restored in 2013 by the same company. It has 91 stops, 5 manuals and pedal.
https://matiere-memoire.bandcamp.com/album/hi-who-are-you
https://matiere-memoire.bandcamp.com/album/hi-who-are-you
In 2015, Portuguese trumpeter Susana Santos Silva teamed up with Swedish musicians Torbjörn Zetterberg on bass and Hampus Lindwall on organ. The combination is relatively unique, as is their sound. Santos Silva is one of the leading voices in contemporary improvised music, often performing together with Zetterberg. Their collaboration with Lindwall is more selective. In 2015 they released "If Nothing Else", and we are happy that the next iteration of their music is now available, albeit in only 300 vinyl copies, so you'd better hurry.
The sound of Lindwall's church organ is critical to the overall feel of the music. Under the influence of his organ teacher, Rolande Falcinelli, he moved to Paris in 2002 and studied at the Conservatoire de Saint-Maur-des-Fossés and the Conservatoire National Supérieur de Musique in Lyon. He is the Titular Organist in Saint-Esprit, Paris.
In an interview with us about their debut album, Susana Santos Silva explained their approach as follows: "It's improvised music but with a great sense of structure and development within each song. And that's what can be so beautiful in an improvised piece of music, that all the notions of composed music, like the development of an idea, theme and variations, counterpoint, leitmotifs, dynamics, question-and-answer phrasing, different layers, textures, and so on, can just happen spontaneously, in the moment".
Most of the music is acoustic, but frequently altered by live electronics. The result is a strange sonic world, that is at once brutal, haunting, reverent and riveting. The performance was recorded in the Engelbrektskyrkan, a church in Stockholm, selected amongst others for its recently restored organ, that has 91 stops, 5 manuals and pedals.
The resonance of organ, trumpet and bass in the church makes this an even more special performance. In a way, you have to be in the space itself to fully enjoy it, even if the sound quality of the album is also astonishingly good.
Highly recommended!
---
I had the luck to see the trio perform in 2017 in the Saint Jacob's Church in Ghent, Belgium, where I recorded the following video vignettes with my smartphone. Not the ideal quality, but it gives an impression of what this music means in a real church. The trio is of course high up on the balcony next to the organ.
[The Free Jazz Collective] |
2019 |
€23.00 |
|
| SARNO, LOUIS |
Song from the Forest: The Soundtrack |
CD |
"This is the soundtrack album to the film “Song from the Forest”, which tells the story of Louis Sarno, an American who has lived for thirty years among the Bayaka pygmies in the Central African Republic. No outsider has had such access to this beautiful and musical culture, and this selection of the best of his recordings presents the sounds of this amazing people and their environment with a depth and richness never heard before.
SONG FROM THE FOREST: THE FILM /// Premieres in Germany: Showtimes
As a young man, the American Louis Sarno heard a song on the radio that gripped his imagination. He followed the mysterious sounds all the way to the Central African rainforest and found their source with the Bayaka Pygmies, a tribe of hunters and gatherers. He never left.
Today, twenty-five years later, Louis Sarno has recorded over 1,500 hours of unique Bayaka music. He is a fully accepted member of Bayaka society and has a son, Samedi. Once, when Samedi was a baby, he became seriously ill and Louis feared for his life. He held his son in his arms through a frightful night and made him a promise: “If you get through this, one day I’ll show you the world I come from.”
Now the time has come to fulfill his promise, and Louis travels with Samedi, age 13, from the African rainforest to another jungle, one of concrete, glass, and asphalt: New York City. Together they meet Louis’ family and old friends, including his closest friend from college, Jim Jarmusch.
Carried by the contrasts between rainforest and urban America, with a fascinating soundtrack and peaceful, loving imagery, their stories are interwoven to form a touching portrait of an extraordinary man and his son.
A modern epic set between rainforest and skyscrapers.
FROM THE DIRECTOR
In the fall of 2009, I was traveling in the Congo River Basin when by chance I heard tales of a white man who was said to have lived for decades in the rainforest with a tribe of huntergatherers called the Bayaka Pygmies, for decades. I went to look for him. A few days later, I was standing in a clearing when Bayaka came running at me from all directions, brandishing spears and screaming. Suddenly, the noise ceased, and a tall figure detached itself from the undergrowth: a white man, two heads taller than everybody else, a Bayaka baby in each of his arms. Before me stood a legend: a lost, forgotten man, reborn in the Central African jungle. A man who once ate tadpoles for a month, who married a Bayaka woman, who survived malaria, hepatitis, typhoid, leprosy, and has recorded more than 1500 hours of unique Bayaka music. Before me stood the musical Herodotus of the Central African forests, the white Bayaka—Louis Sarno.
When we shook hands in this clearing, I instantly felt that something really big had happened in my life. How could I know that this was the beginning of a journey which would turn me—a writer and journalist—into a film-maker and which would take me across the globe for years to come? To me—a person without a real home, driven from place to place, a passionate hunter-gatherer of stories who has spent the past twenty years traveling to the most remote corners of the Earth—Louis Sarno is the most fascinating person I have ever met. He took a radical leap, accomplishing what I often imagine myself doing when I am on the road: leaving it all behind, starting over, becoming someone else. More than everything else I am impressed by his life’s work: the fantastic recordings of Bayaka music that we are proud to present in this soundtrack from Song From the Forest. (Michael Obert)
FROM THE CURATOR
Beautifully mapping the entire range of music-making of a single community of hunter-gatherers across more than a generation, the Louis Sarno collection of Bayaka music and soundscapes is extraordinary, unprecedented, and unrepeatable. No field recordist has ever matched the depth and sensitivity of Sarno’s commitment to presenting a record of what it sounds like to live with an indigenous community. Sarno has developed a uniquely sensitive recording approach, refined through an acute listening that is only possible through permanent immersion in a culture.
Nearly all of the recordings on this soundtrack have been drawn from the Louis Sarno collection of Bayaka music at the Pitt-Rivers Museum in Oxford. Louis continues to donate his exceptional recordings to the Museum with the long-term intention that they will benefit the community whose musical life they so beautifully present. (Noel Lobley, Ethnomusicologist, Pitt-Rivers Museum, Oxford University)
FROM THE MUSIC SUPERVISOR
Through Louis Sarno’s recordings, Bayaka music has become famous around the world. I first spoke to Louis about his endeavours in the mid-nineties when I was putting together “The Book of Music and Nature”, which included some of his work. When I heard he was still down there, twenty years later, and that a film wasnbeing made about his life, I knew I wanted to help.
Central to Bayaka music is a sonic integration with the rhythms and melodies of the forest itself. We have tried to include selections from the vast archive that highlight the ways the human sounds fit into the natural sounds, as an inspiration for how human life as a whole might better be part of our surrounding environment, our true home. (David Rothenberg)
TRACK NOTES BY LOUIS SARNO
1. Yeyi-greeting / 4:30
Yeyi just means ‘yodel,’ and this is one of my favorite forms of Bayaka music. They used to go on all night, slowly moving through the village, and at dawn they’d be going on one last time, throwing leaves on the roof of each house. The new generation doesn’t do it the way it used to be done. This is the most recognizable sound in Bayaka music, pure vocal music, very beautiful songs. When they sing you can hear the forest all around them.
2. Women Sing in the Forest / 4:55
This is recorded in a bimba forest, where there is not much undergrowth, so you hear the singing echoing as if you were inside a natural cathedral. The Bayaka have this way of wandering into the forest, taking music from different forms, and improvising together as they collect water or gather mushrooms. I love the sound of women’s voices in the distance in the forest. The forest without that sound is incomplete. These are the most lovely voices on Earth.
3. Tree Drumming / 3:08
There is a certain kind of tree, the gooma that has big buttress roots. You hit it and it really resonates. Whenever the Bayaka come across a tree like this on the trail they hit it and play a little music. It’s kind of irresistible. Then they move on.
4. Bobé Spirits Calling / 5:53
I remember that camp, it was a beautiful one. The first evening, as the sun was setting, I saw this fire in the distance between the bimba trees. But it turned out to be the sun, at ground level in the forest, and you could barely see it through the trees at the horizon. The Bobé were really wild, spinning around and dancing wildly. That was the time when they buried Samedi’s grandmother. I had just came back from America, and I walked fifty kilometers in one day, and I heard she had died. The next day I set up to find this camp. We didn’t know where to go exactly, and it took us three days to find it. I was so moved by the place. The ceremony went on for two or three nights. This is a typical esimé, when the women move on from the usual melodic singing into something polyrhythmic. The Bobé are not human, they are animal spirits, and they use sounds that are beyond language. The Boyobi ceremony is not just music, it’s theater, dance, and myth, all blended together. Sometimes the Bobé spirits are naked in the moonlight, smeared with bioluminescent fungus. No crew has yet been able to film this!
5. Bayaka Night Insects / 4:52
Insects, yes, but also a few birds. That’s a type of cuckoo. I call it the “ngon go go” bird. There are two cuckoos and the rest is insects, with maybe a few tree frogs. Sometimes you get these moments in the forest where everything seems to come together like that. That’s why I spent so much time in the forest, because most of the time nothing much seems to be happening. But once in a while you get these beautiful moments, which you can only get by spending a lot of time out there. Years.
6. Louis Sarno Speaks / 2:32
Ewunji was an incredible guy, Samedi’s great-grandfather. He was known to go very deep into the forest, way into what’s now the Nouabalé-Ndoki National Park in Congo, and we just wandered around with spears, no hunting nets. You couldn’t survive like that now. The small animals have been decimated by poachers. Taking care of this should be the responsibility of the World Wildlife Fund, but they prefer to concentrate on big charismatic animals like elephants and gorillas, instead of the animals that the Bayaka depend on, small forest antelopes and monkeys. The Bayaka are no longer allowed to go into the park, but the poachers still go in there with shotguns.
7. The Flutes We Hear No More / 5:12
That was the only time I ever heard two flute players playing at the same time. Momboli and Gongé playing mbyo duets on Dec. 22 nd 1992. You are supposed to hear this music in your dreams, that’s why they usually play it alone at night, so it can get into your dreams. They play more or less in unison even though the Bayaka love vocal polyphony. This is a music you no longer hear anymore, since the last flute player died a few years ago. He gave me his flute and I had it in my house and could get a bit of a sound out of it. But when the Séléka raided my house last year during the insurgency, they destroyed everything, and they smashed the flute. This is a sound we will never hear again.
8. Net Hunt / 3:00
Well, that’s not actually a net hunt. That’s actually gida-gida, it’s a gorilla hunting game, they imitate chimpanzee noises. That’s from 1987, the very first time I went out into the forest. Just the men and boys are singing here. They make these fake spears and pretend to kill.
9. Earth Bow / 2:09
To make an earth bow the Bayaka take a sapling and bend it over, then attach a piece of twine to one end of the sapling, tie the other end to a piece of bark and hold it over a hole that they dig in the ground. This was Boungingi, and those are the same guys who were playing the tree drum. Just takes them a minute or so to make this instrument. Usually one person plays it, but there is always some extra percussion in the background.
10. Geedal / 2:28
That’s Balonyona, one of the greatest masters of the bow harp, the geedal. I recorded many hours of his playing, he really was the best player of this instrument. In 1991 he even went to Paris to play. It has six strings, you find it all over Africa. But the Bayaka way of playing is a bit different. They use fewer notes, and more rhythms. They play along with the pulses of the forest. It fits right in.
11. Flute in Forest / 5:16
That is a beautiful melody, the flute sounds so beautiful in the forest in the distance. That sound brings back so many memories of so many good times. Momboli played that melody a lot, and I recorded it often in the distance. You hear the night ambience swelling with insects, frogs, cuckoos, and the distant flute. So many good times… This music is really part of the whole forest world.
12. Water Drumming / 2:55
When the women bathe, they are always playing water drum. And sometimes they get these percussive melodies, this is a music for girls, and they are much better at it than the boys. Women will do it, too, and sometimes I’ve been far away when you can only hear the deepest sounds, and I think it’s the drum, and when I get closer, I realize it is women playing in the water. It is one of the few instruments Bayaka women are allowed to play.
13. Lingboku Celebration / 5:36
Ah, the Lingboku – women’s music. That is the one spirit they still have. They claim all the others have been stolen from them by the men. A lot of the lyrics make fun of male sexuality, it’s really an expression of female power. The men don’t like women to do it. But they don’t stop them. The men are not supposed to be present when they sing it. “The penis has no endurance and dies right away, but the pussy is always ready to keep going.” You ought to mark this song “explicit” on the CD. The dancing is quite explicit, too, the women look like they’re humping each other and if they catch men looking at this they’ll chase them away.
14. Moukouté’s Lament / 1:52
Ah, that’s little Moukouté. He appears in the film. At the time you recorded him for the film, he really wasn’t all that good at the geedal. But since then, he’s gotten a lot better.
15. Yeyi-Farewell / 5:32
What can you say? It’s beautiful. Yeyi. It’s the most pure Bayaka music. I never get tired of hearing these songs. They bring back so much musical wealth of these people. I don’t make recordings anymore. In some ways it’s easier to make recordings with today’s new technology, but I don’t love it the way I love those old cassette recorders. How do you write numbers on those tiny SD cards! They’re always getting lost. Many of the people I used to record are no longer alive. The new generation is just not the same." [label info]
www.gruenrekorder.de
"One of the various releases this week that is supposed to be a soundtrack. Here no film either, but just the recordings made by Louis Sarno, made in Central Africa with Bayaka Pygmies, a tribe of hunters and collectors. Sarno is not a visitor, but he lives there as a member and married, has a son and recorded 1500 hours of music and sounds. That's what the documentary by Michael Obst is about, about this rather unique field recordist. Sarno, who guides us through music from Bayaka and the place they live in, documents each of the fifteen pieces here in word. Flutes, tree drumming, singing, games, celebrations and such like are what we hear on this disc. Sometimes recorded from a distance, with the rainforest adding a whole additional layer of sound, which works very well. The 'Tree Drumming' reminded me of earlier Etant Donnes. I very much enjoy a release like this. Not because I know a lot about the subject of tribes or Non-Western music, and I am the first to admit I can't say
anything worthwhile about this, other than: I think this is a fascinating trip. Maybe it's because I was on holiday just now, and perhaps I would like to evoke the memory of holiday a bit longer? (I doubt whether Central Africa will ever be a point of holiday for me however). Just for now I can really enjoy all of this a lot. Strangely fascinating music. A sound documentary as well as something that you can enjoy from a purely musical point of view. Very nice variation in the world of field recording." [FdW/Vital Weekly #946]
|
2014 |
€14.00 |
|
| SATOH, SOMEI |
Mandala Trilogy + 1 |
do-LP |
WRWTFWW Records announce the full official reissue of Somei Satoh's magnificent Avatamsaka Sutra inspired Mandala Trilogy with one additional never-released piece. Sourced from original masters and available on double vinyl in heavy 350gsm sleeve with liner notes by passionate Japanese music connoisseur/collector/critic/DJ, Masaaki Hara. Deep deep deep into the abyss... The Mandala Trilogy blends Somei Satoh's own slowed down Buddhist chant vocalization and early electronics to create a radiant and meditative atmosphere conveying serenity and timelessness. It includes three pieces recorded separately. "Mandala" was recorded at the NHK Studio of Electronic Music in 1982 and was included on the album Mandala/Sumeru, released on Kojima Recordings' ALM. "Mantra" was an NHK commissioned work, recorded at the same studio in 1986. "Tantra" was recorded at Victoria University of Wellington's Lilburn Studios for electronic music and recording in 1990. Included as a bonus is the 20-minute "Mai", a composition commissioned by harpist Ayako Shinozaki and recorded at the Kioi Hall in Tokyo on November 11th, 2004. The piece was conducted by Tetsuji Honna and performed by the Kioi Sinfonietta Tokyo. Satoh says: "The harp is one of my favorite instruments. Also, by combining my affectionate percussion instrument, the chromatic gong and steel drum, with the harp's most beautiful tone, I attempted to bring out a mystical sound." Although it is not an electronic music piece, the stunning composition elegantly complements the deep mystical world that Satoh expresses in his Mandala Trilogy. Mandala Trilogy + 1 is reissued in conjunction with Somei Satoh's Emerald Tablet / Echoes LP
https://wrwtfww.com/album/mandala-trilogy-1
|
2021 |
€30.00 |
|
| SATORI |
Contemptus Mundi |
CD |
"Neben der Wiederveröffentlichung der "Kanashibari"-LP auf CD, gibt es vom englischen Duo Satori auch noch etwas Neues zu hören. Es handelt sich zwar lediglich um einen Song namens "Contemptus Mundi", aber der bringt es zusammen mit einem Remix auf Albumlänge. Neil Chaney von Pessary und Cold Spring Label-Chef Justin Mitchell nehmen einen gesprochenen Auszug aus einem von Magus Peter H Gilmore, Hohepriester der Church of Satan, verfassten Essay und lassen um diesen von Peter H Gilmore selbst gesprochenen Text herum eine dunkle Schattenwelt entstehen. Gilmore richtet seine überbetonten Worte gegen den Kontrollwahn in der modernen Welt, gegen die Versuche, die Menschen vor allem Übel zu bewahren und sie damit einzusperren und ihrer eigenen Meinung zu berauben. Eine Sichtweise, deren darwinistische Ausrichtung in den heutigen Zeiten wieder Anhänger finden dürfte.
Satori lassen Posaunen erklingen, Chöre und Pauken. Tiefste Drones, immer wieder auftretende, kleine Unterbrechungen und metallische Geräusche geben dem Song etwas abgrundtief Schwarzes und Unheimliches, auch wenn bei über 20 Minuten Spielzeit etwas die Abwechslung fehlt. Die bringt dann der "Nameless Wrath Mix", der ohne Gilmores Pamphlet auskommen muss und etwas industrieller ausgerichtet ist. Die Posaunen sind durch Rauschen ersetzt worden, die Pauken durch dumpfe Schläge. Der Mix rumpelt mehr, wirkt bedrohlicher, erreicht aber nicht die atmosphärische Dichte des Originals. Schön düsterer Drone Ambient, der darauf hoffen lässt, dass Satori bald mehr veröffentlichen." [Medienkonverter]
"Brand new CD from UK dark ambient/Fortean electronics act Satori - Neil Chaney (Pessary) and Justin Mitchell (Cold Spring boss). This is a collaboration between Satori and Magus Peter H. Gilmore, High Priest of the Church Of Satan. Satori provide their trademark deep, underground, pounding electronics, here with a ritualistic dark soundtrack atmosphere, while Gilmore bestows a seething tirade against the weakness of the modern world! Two 20+ minute tracks, the 2nd being a deeper, instrumental mix of the title track." [label info]
"... "Contemptus mundi" is another very dark effort from the two british composers, this time in collaboration with the high priest of the church of Satan, Magus Peter H. Gilmore. While the joint venture behind Satori create dark ambient of low end rumbles added processed choir, bells and ochestral brass, Magus Peter H. Gilmore accompanies with spoken words focusing on the weakness of modern world. Underneath the multilayered dark ambient some slow and heavy rhythms creates a ritualistic atmosphere on the album. After the lengthy track "Contemptus mundi" running 26 minutes, comes a remix with an exclusive focus on the instrumental side and with more concentration on noisy elements. Where the opening track belongs to the dark ambient-style this so-called "Nameless wrath mix" is more towards the ambient-noise-style. Never the less two interesting ambient-based works from Satori that will appeal to listeners of projects such as Inade, Brighter Death Now and Lustmord." [NM, Vital Weekly]
www.coldspring.co.uk
|
2009 |
€12.00 |
|
| |
The Hanging |
CD-BOX |
"A spore. Or a seed. Or maybe a drop of blood. There is always something left. Just when everyone thought the devil was done, the alien defeated, it comes back. More powerful, stronger and much much angrier. To lay waste the land, destroy the positive and breathe its fetid stench in the face of light. We should have known. Should have realised that in the vacuum left by its departure something would grow. Expanding and multiplying to fill the void. Recycling its hate, constricting hope and slowly, surely getting pissed at the world. Do we deserve its seething rage? Yes we probably do.
Dave Kirby formed Satori in the early 1980s with Rob Maycock, released music on the legendary Broken Flag label and then, just as quickly as they had arrived, stopped. Resurrected briefly to promote a retrospective CD "Infect" Dave and Justin Mitchell (Cold Spring Records) joined forces to blast a total wall of noise to unsuspecting gig-goers. Then Dave vanished. Justin along with new recruit Neil Chaney (Pessary) released the album "Kanashibari" in 2008. After touring the UK, Europe and Japan things went quiet again. Until now. Dave is back with ten new Satori tracks. Classic Power Electronics, Industrial and Dark Ambient soundscapes sculpted from a collection of alienating electronica, found sound and heavy drums. "The Hanging" marks both a new beginning and a continuation of a project now 30 years old but, most importantly, the chance to hear over an hour of brand new Satori.
Florian (the photographer)? I think his contribution has been invaluable. florian kriechbaum vienna " [label info] |
2015 |
€15.00 |
|
| SAUNDERS, BRYAN LEWIS |
Near Death Experience |
LP |
"Bryan Lewis Saunders is a performer and sound poet. He works here with different musicians. Extreme sound poetry ! With music from Joachim Montessuis, Marcelo Aguirre, Christopher Fleeger, M. Peck, John Duncan, Spastic Dementia, Kaontrol Kontraos, Murmurists. Produced, mixed, mastered and edited in 2010 by Joachim Montessuis. Artwork by Felix Rosier. LP gatefold limited to 500 copies. Comes with a link to download a digital version with bonus tracks and a pdf with all texts." [label info]
www.erratum.org
|
2010 |
€15.00 |
|
| SAUVAGE, TOMOKO |
Fischgeist |
LP |
Fischgeist was recorded in a former water tank in Berlin-Prenzlauer Berg in August 2019. The nineteenth-century brick building consists of five layered circles, with a spiral staircase in the middle leading up to an exit to a hilltop. Inside, it's humid and cold, the temperature always around 8–10 ℃. The building’s acoustics produce a long reverberation that lasts up to 20 seconds.
‘One day between recording sessions, a man, a passerby, wanted to look inside the building. He told me that it used to be full of fish. For a second I imagined a huge round aquarium with loads of fish swimming around in circles. Then I realized that he meant dead fish were kept there, to be sold on markets during the GDR era. But the image of fish swimming in the space stayed with me.’
In conversation with the space of the water tank, Tomoko Sauvage searches beyond the limits of her self-invented ‘natural synthesizers’: porcelain and glass bowls, filled with water and amplified with hydrophones.
While she continues to develop some of the classic techniques heard on her previous album Musique Hydromantique (Shelter Press, 2017) – hydrophonic feedback (Kinetosis Study) and ‘fortune biscuits’ (porous pieces of terracotta that emit tiny singing bubbles) (Deluge) – here new elements are combined with delicate gestures to make curious noises: stroking bowls’ surfaces to imitate the voices of sea mammals (Metamorphosis), drawing dots and circles by rubbing stones against stones underwater (Exit) …
The underwater amplification of quasi-inaudible sound is even more magnified in the air by the echo of the water tank. Not only tiny bubbles, but also micro-movements of the bones and veins of the hand holding the sonorous objects in the water, are intensely amplified – sounding like a tempest on the opening Deluge.
Sauvage's longtime research into hydrophonic feedback develops with her new obsession with natural harmonics and sympathetic resonance. In Flying Vessels, the percussive notes of struck bowls resonate and turn into feedback loops before decaying, fueled by electric signal gain. Kinetosis Study is a sonic etude on fluid dynamics – the flow velocity, pressure and density of manually shaped water waves directly controlling the aquatic synthesizer's parameters.
August, when the mid-summer Ghost Festival is held, is traditionally known as the Ghost Month throughout East Asia. The spirits of the dead visit their living families, who welcome them with feasts, dancing and music. Miniature lantern-laden boats are released in rivers, to help lost ghosts find their way home.
Animated by formless matter – water, electricity, sound – Fischgeist celebrates a phantasmagoric journey, as the souls of aquatic lifeforms find their way out of the labyrinth of the water tank.
credits
released October 16, 2020
Composed, performed and mixed by Tomoko Sauvage
Recorded and produced by bohemian drips prior to Speicher festival, Berlin, August 2019 | Binaural recording with a KU 100 dummy head microphone
Mastered by Andreas Kauffelt in Berlin
Cover drawings by Baien Mōri (1798–1851)
https://tomokosauvage.bandcamp.com |
2020 |
€23.00 |
|
| SAVAGE REPUBLIC |
Sword Fighter / Taranto!!! (RED vinyl) |
7" |
Limited edition including an insert.
Very special package with die-cut cover with silk-screened printings designed by Andrea Scarfone (Skarfo/Julie's Haircut).
First 200 hand-numbered copies comes is solid RED vinyl.
Hailing from the Los Angeles underground of the 1980s, Savage Republic forged an astonishing reputation for themselves with their legendary performances. Their brand of ritualistically tribal exhibitions blurred the boundaries of Post-Punk and Industrial music. Their music incorporates minimalist bass rumbles, exotic and/or militaristic drumming, Arabic melodies, primal chants and even a bit of surf guitar.
Now A Silent Place is honoured to release a limited vinyl 7" single with two amazing exclusive tracks recorded expressly for this release after '1938' cd album release on Neurot Recordings!
Both tracks are with SR distinguishing elements: tribal drumming, hypnotic and raga-like guitar lines with pulsating bass, Post-Punk and Industrial music with a sort of exotic atmosphere." [label info]
www.asilentplace.it
SR Biography:
Figures of considerable repute within the Los Angeles post-punk community of the 1980s, Savage Republic grafted tribal percussion, industrial drones, and raga-like guitar lines together to craft an idiosyncratically moody sound with flashes of both desolation and eloquent grandeur. Capable of both harsh dissonance and shimmering textures, the band's guiding force was guitarist Bruce Licher, a founder and constant presence in their shuffling lineups. Alternating between cyclic instrumentals and quasi-industrial assaults with gruff, chanted vocals, their records were unavoidably inconsistent, but most contain some enduring highlights.
Savage Republic was founded by former UCLA students Licher and drummer Mark Erskine in the early '80s. Adding new members, the group originally called themselves Africa Corps, changing the name to Savage Republic just before releasing their first record in 1982. Exotic percussion would always play a big role in Savage Republic -- even in the early days they were using oil cans, metal pipes, and 55-gallon drums. Their early singles, and their debut LP Tragic Figures (1982), show the group at their least accessible, though there are hints of the more mysterious and melodic elements to come.
After some personnel changes (some members went off to form 17 Pygmies), Savage Republic regrouped with new elements (Thom Fuhrmann and Ethan Port) and a more guitar-oriented sound. On Ceremonial (1985), the band shifted their focus to mostly instrumental material, usually piloted by oddly tuned guitars (the group sometimes used guitars with six identically tuned strings). They'd never wholly abandon those droning, angst-driven chants, though. Combined with the fact that their instrumental material wouldn't break much new ground over the course of the decade, that can make their studio albums uneven listening. In any case, the band was best experienced live, where they would burn trash cans of pampas leaves, play on Los Angeles' Skid Row, and use all sorts of unexpected objects for percussion in their quest to make each concert a unique event.
Savage Republic's albums, which were individually hand-letterpressed and numbered by Licher himself, received as much attention for their packaging as their music. Licher would perform the same services for other bands on his Independent Project label, even getting a Grammy nomination for his work on the first Camper Van Beethoven LP. Savage Republic was not destined to become nearly as big as Camper (not that this was ever their intent), and disbanded around 1990. A small reunion tour brought the band back in the fall of 2002, but the band only played a few random dates. After relocating to Arizona, Licher continues to run the Independent Project label, and design sleeves (his most famous work in that department has been for an R.E.M. Christmas fan club single). Musically, he resurfaced with the trio Scenic, which plays entirely instrumental material that blends the exotic flavor of Savage Republic with influences from Ennio Morricone and southwest border music. ~ Richie Unterberger, All Music Guide
|
2009 |
€12.50 |
|
|
Sword Fighter / Taranto!!! |
7inch |
"Limited edition including an insert.
Very special package with die-cut cover with silk-screened printings designed by Andrea Scarfone (Skarfo/Julie's Haircut).
Hailing from the Los Angeles underground of the 1980s, Savage Republic forged an astonishing reputation for themselves with their legendary performances. Their brand of ritualistically tribal exhibitions blurred the boundaries of Post-Punk and Industrial music. Their music incorporates minimalist bass rumbles, exotic and/or militaristic drumming, Arabic melodies, primal chants and even a bit of surf guitar.
Now A Silent Place is honoured to release a limited vinyl 7" single with two amazing exclusive tracks recorded expressly for this release after '1938' cd album release on Neurot Recordings!
Both tracks are with SR distinguishing elements: tribal drumming, hypnotic and raga-like guitar lines with pulsating bass, Post-Punk and Industrial music with a sort of exotic atmosphere." [label info]
www.asilentplace.it
SR Biography:
Figures of considerable repute within the Los Angeles post-punk community of the 1980s, Savage Republic grafted tribal percussion, industrial drones, and raga-like guitar lines together to craft an idiosyncratically moody sound with flashes of both desolation and eloquent grandeur. Capable of both harsh dissonance and shimmering textures, the band's guiding force was guitarist Bruce Licher, a founder and constant presence in their shuffling lineups. Alternating between cyclic instrumentals and quasi-industrial assaults with gruff, chanted vocals, their records were unavoidably inconsistent, but most contain some enduring highlights.
Savage Republic was founded by former UCLA students Licher and drummer Mark Erskine in the early '80s. Adding new members, the group originally called themselves Africa Corps, changing the name to Savage Republic just before releasing their first record in 1982. Exotic percussion would always play a big role in Savage Republic -- even in the early days they were using oil cans, metal pipes, and 55-gallon drums. Their early singles, and their debut LP Tragic Figures (1982), show the group at their least accessible, though there are hints of the more mysterious and melodic elements to come.
After some personnel changes (some members went off to form 17 Pygmies), Savage Republic regrouped with new elements (Thom Fuhrmann and Ethan Port) and a more guitar-oriented sound. On Ceremonial (1985), the band shifted their focus to mostly instrumental material, usually piloted by oddly tuned guitars (the group sometimes used guitars with six identically tuned strings). They'd never wholly abandon those droning, angst-driven chants, though. Combined with the fact that their instrumental material wouldn't break much new ground over the course of the decade, that can make their studio albums uneven listening. In any case, the band was best experienced live, where they would burn trash cans of pampas leaves, play on Los Angeles' Skid Row, and use all sorts of unexpected objects for percussion in their quest to make each concert a unique event.
Savage Republic's albums, which were individually hand-letterpressed and numbered by Licher himself, received as much attention for their packaging as their music. Licher would perform the same services for other bands on his Independent Project label, even getting a Grammy nomination for his work on the first Camper Van Beethoven LP. Savage Republic was not destined to become nearly as big as Camper (not that this was ever their intent), and disbanded around 1990. A small reunion tour brought the band back in the fall of 2002, but the band only played a few random dates. After relocating to Arizona, Licher continues to run the Independent Project label, and design sleeves (his most famous work in that department has been for an R.E.M. Christmas fan club single). Musically, he resurfaced with the trio Scenic, which plays entirely instrumental material that blends the exotic flavor of Savage Republic with influences from Ennio Morricone and southwest border music. ~ Richie Unterberger, All Music Guide
www.asilentplace.it
|
2009 |
€5.00 |
|
|
Tragic Figures (40th Anniversary Edition) |
do-LP |
Savage Republic: Tragic Figures (Expanded 40th Anniversary Edition) (Red Vinyl Edition) 2LP-Set Regular Version
Welcome to the world’s first (and only) post-punk-industrial-trance-psychedelic-surf album! The fact that it took us so many adjectives to describe Tragic Figures lets you know just how unique of an album it is. Sure, there are echoes of other artists, like krautrock legends Can, post-punkers Public Image Limited (Savage Republic opened for PiL on their 1982 West Coast dates), avant-garde guitar players like Glenn Branca and Rhys Chatham, scrap metal industrialists Einstürzende Neubauten, and Bay Area sludgecore nihilists Flipper—but really, this unlikely product of (mostly) UCLA undergrads sounds like no other record before or since. And only adding to Tragic Figures’ mystique are its graphics, which displayed band co-founder Bruce Licher’s trademark letterpress printing and featured a UPI photo of rebels getting executed in Kurdistan, the ghostly images sharing space with a red lettering that gave the album’s title in script that roughly translated “tragic figures” into Arabic (which, in turn, had the unexpected effect of drawing more Iranian and Middle Eastern people to their shows)! Tragic Figures wasn’t just a bold musical statement; it was an objet d’art in its own right.
For its 40th anniversary edition, we at Real Gone Music worked with Bruce Licher to preserve and expand on the magical, talismanic quality of the initial release. The original album has been remastered from the original tapes by Mike Milchner at Sonic Vision, while both the CD and LP editions both boast an extra disc of largely unreleased rehearsal recordings taped in the bowels of UCLA parking garages, where the band used to practice to take advantage of the extended reverb afforded by all the concrete surfaces (imagine being an unwitting undergrad happening upon this unearthly din coming out of nowhere)! Richie Unterberger’s liner notes feature interviews with band members Licher, Philip Drucker, and Jeff Long, and the LP comes with the original cover graphics expanded into a gatefold jacket pressed in heavyweight “chipboard” paper stock. Finally, the LP pressing is in red vinyl limited to 2000 copies. Clear your calendar and set aside a couple of hours to listen to Tragic Figures…you won’t end up where you started.
Disc One Side One
1. When All Else Fails…
2. Attempted Coup: Madagascar
3. The Ivory Coast
4. Next to Nothing
5. Exodus
Disc One Side Two
1. Machinery
2. Zulu Zulu
3. Real Men
4. Flesh That Walks
5. Kill the Fascists!
6. Procession
Disc Two Side One
1. Attempted Coup: Madagascar
2. When All Else Fails
3. Kill the Fascists!
4. Real Men
5. The Vampire Bites
6. Next to Nothing Weirdness
7. Thee Three Preserves
Disc Two Side Two
1. Sliding into Arabia
2. As It Was Written
3. Procession (Into the Light)
4. Exodus
https://realgonemusic.com/products/savage-republic-tragic-figures-expanded-2-lp
"Die erste legendäre LP von 1982 der damals als "Art-Punk" gehandelten kalifornischen Band, die auch politisch radikale Wege ging, ihren eigenen "Staat" gründete und mit eigenem Label & Druckerei versuchte so unabhängig wie möglich zu bleiben...
TRAGIC FIGURES vereint auf unnachahmliche Weise aggressiven Industrial-"Rock" und politische Agitation (so z.B. im Stück "Kill the Fascists"), sehr perkussiv & tribal und oft mit Metall- oder Schrottschlagzeug und gebrüllten Vocals, aber auch eine psychedelisch-trancig "ethnische" Note ist hier bereits vorzufinden... was sich später zu ihrem unnachahmlichen oriental angehauchten Wüsten-Rock entwickelte..." [Drone Rec. 2002]
|
2022 |
€55.50 |
|
|
Tragic Figures (40th Anniversary Edition) |
do-CD |
Welcome to the world’s first (and only) post-punk-industrial-trance-psychedelic-surf album! The fact that it took us so many adjectives to describe Tragic Figures lets you know just how unique of an album it is. Sure, there are echoes of other artists, like krautrock legends Can, post-punkers Public Image Limited (Savage Republic opened for PiL on their 1982 West Coast dates), avant-garde guitar players like Glenn Branca and Rhys Chatham, scrap metal industrialists Einstürzende Neubauten, and Bay Area sludgecore nihilists Flipper—but really, this unlikely product of (mostly) UCLA undergrads sounds like no other record before or since. And only adding to Tragic Figures’ mystique are its graphics, which displayed band co-founder Bruce Licher’s trademark letterpress printing and featured a UPI photo of rebels getting executed in Kurdistan, the ghostly images sharing space with a red lettering that gave the album’s title in script that roughly translated “tragic figures” into Arabic (which, in turn, had the unexpected effect of drawing more Iranian and Middle Eastern people to their shows)! Tragic Figures wasn’t just a bold musical statement; it was an objet d’art in its own right.
For its 40th anniversary edition, we at Real Gone Music worked with Bruce Licher to preserve and expand on the magical, talismanic quality of the initial release. The original album has been remastered from the original tapes by Mike Milchner at Sonic Vision, while both the CD and LP editions both boast an extra disc of largely unreleased rehearsal recordings taped in the bowels of UCLA parking garages, where the band used to practice to take advantage of the extended reverb afforded by all the concrete surfaces (imagine being an unwitting undergrad happening upon this unearthly din coming out of nowhere)! Richie Unterberger’s liner notes feature interviews with band members Licher, Philip Drucker, and Jeff Long, and the LP comes with the original cover graphics expanded into a gatefold jacket pressed in heavyweight “chipboard” paper stock. Finally, the LP pressing is in red vinyl limited to 2000 copies. Clear your calendar and set aside a couple of hours to listen to Tragic Figures…you won’t end up where you started.
|
2022 |
€30.00 |
|
| |
Live in Wroclaw January 7, 2023 |
do-LP + 8" lathe |
"Hailing from the Los Angeles underground of the 1980s, Savage Republic forged an astonishing reputation for themselves as art-punk and industrial pioneers with their legendary performances. Their brand of ritualistically tribal exhibitions blurred the boundaries of Post-Punk and Industrial music. Their music incorporates minimialist bass rumbles, exotic and/or militaristic drumming, Arabic melodies, alternate tunings, primal chants and even a bit of surf guitar. Savage Republic released four full length albums in the 1980s, plus several live records and compilation tracks. 1989 everything went quiet as the republic scattered to pursue other interests and their labels and distributors folded. After reuniting in 2002 for a brief U.S. tour supporting the boxed-set reissue of their five studio albums by Mobilization Records, several of the members began sharing ideas for new songs, reviving the band officially in 2005. In 2006/2007 Savage Republic added drum professor Alan Waddington (the Unforgiven) to the line-up and released "1938" on Neurot Recordings, the band"s first studio recording in 18 years. The limited edition "Siam" EP was also released on Neurot Recordings featuring alternate mixes of some of the "1938" material. In 2021 Savage Republic released the album "Meteora" on Gusstaff Records and during the tour promoting this album in January 2023, the band also played a concert in Wroclaw, Poland. It became not only a document of this route, but also a kind of summary of their entire history. The album is released in CD format (the entire concert), as a black LP (over half of the concert) and as a limited red vinyl with an 8-inch vinyl record (lathe-cut) added with a few remaining songs from the concert. Both LP versions were pressed on thick 200g vinyl. Vinyl versions include download codes with the entire concert. |
2023 |
€33.50 |
|
| SAVY, PASCAL |
Simulacra |
CD |
Conceived around a time of strong political, social and cultural turmoil in the UK and elsewhere, a time ridden with a deep sense of uncertainty and unease, the music resonates with feelings of alienation and powerlessness as well as convey ideas of anger and latent violence. Working with heavily textured drones as well as sharp edged sounds and sustained rhythms to echo and articulate those feelings, some of the tracks were re-worked until their final forms had lost all relation with their initial skeleton, something that was partly influenced by the idea of simulacra not representing the real anymore, inspired by the reading of ‘Simulacra and Simulation’ by Jean Baudrillard and ‘The Weird and the Eerie’ by Mark Fisher. The addition of rhythmic structures, a new step for Savy, helped explore the idea of power by saturating the sonic landscape with repetition and pulsations. On certain tracks rhythms are implied, slowly disappearing or simply absent to reflect this idea of the real not being there anymore.
Overall the process used to make this album was heavily influenced by both the idea of simulacra (sound as a representation of the real but often devoid of true relationship with it) and the idea of connecting to something tangible and truly personal (drone textures and harmonic movement as a representation of the fragility of the real). Ultimately, this record seeks to process a turbulent period echoed by ideas of political, social and cultural disintegration. Feelings of alienation and loss, as well as a desire for reconnection are at the core of the music, and the album navigates this complex emotional and personal map while avoiding the trappings of an escape into the hyperreal of pure simulation.
Pascal Savy is a French musician who lives and works in London. He creates organic ambient and drone music as a way to reflect on erosion, transition and decay. He utilizes tones, textures, micro-melodies and noise to explore atmospheres rather than narratives. His work often combines acoustic and electronic sources generated from field-recordings, pick-ups, tape loops, feedback, synthesisers or home made electronics which he transforms into dense and layered motifs.
CD Edition of 300 copies in 6 panel Digisleeve, matt lamination. 7 Tracks. Running Time 48:49
https://cycliclaw.bandcamp.com/album/simulacra
|
2023 |
€13.00 |
|
| SCHAEFER, JANEK |
Unfolding Luxury beyond the City of Dreams |
LP |
"Dekorder presents two new vinyl editions composed and designed by UK sound artist Janek Schaefer, who is known around the world for his wide variety of engaging and unpredictable works for installation, concert and composition. Following his highly acclaimed ‘Lay-by Lullaby’ album on 12k [which Pitchfork listed in the ‘Top 10 under-the-radar releases for 2014’], Janek has created and collated a collection of tracks that showcase both his more ambient works [077], and his highly charged sonorities [078]. A beautiful pair of LP’s that ideally should be experienced together for your home listening pleasure. The tracks were mastered by Stephan Mathieu and cut by Lupo at Calyx Mastering.
A1 White Lights of Divine Darkness
By chance I composed this for my brother-in-law the day he passed away. In recent years he had seen the white lights of heavens gate, but returned, and became fascinated by what he called God’s divine darkness in this lifetime.
A2 Unfolding Honey 6:06
A track from my exhibition soundtrack 'Future Beauty, 30 years of Japanese fashion' held at The Barbican Gallery, London. The exhibition featured some amazing folded garments by Issey Miyake, that inspired the unfurling fabric feeling of the composition.
A3 Luxury 3:00
An orchestral drone piece featuring an old French lady singing to her cats with an extra celestial chorus.
A4 Skyline Ascending 3:28
A Carpenters LP piano loop is layered again and again over a high sky recording, which was recorded using a helium balloon floating in the clouds over the city, with raindrops.
B1 Coda (for Sir John Dankworth) 5:00
In my early teens, I used to attend week long music camps, in tents, within the grounds of Sir John Dankworth's home with Cleo Laine. I used to know them, and composed this piece with one of their vinyl's on the day I heard he died. The installation premiered at the Sydney Cooper Gallery in Canterbury, broadcasting a 3 channel version to six 50's radios.
B2 The City of Dreams 8:28
Theme tune for the opening of “The Mill: City of Dreams” a site specific theatre production in a deserted mill in Bradford. Piano motif recorded live with my twin-arm turntable, additional overlays recorded with Mark Robinson on his old family piano.
B3 Beyond 6:30
The Carpenter’s return, sliding piano loops through recordings made in Grand Central Station at closing time when the vast hall was deserted, and the full majesty of the acoustic space could be appreciated. Stilettos pass by forming polyrhythm's, as the last train announces it’s departure...
credits
released 19 November 2014
Biography
Janek Schaefer has exhibited, lectured, and performed widely throughout Europe [Sonar, Tate Modern, ICA, Strasbourg Museum of Modern & Contemporary Art], USA/Canada, [Walker Art Center, Mutek, Princeton, XI], Japan, and Australia [Sydney Opera House 2003]. His foundsound concerts and installations explore the spatial, social and celestial qualities that sound can communicate, through the twisting of old and new technology. The context of each idea is central to its development and resolution, often exploring themes of appropriation, accident, & alteration.
Janek studied Architecture at the Royal College of Art where he worked with Brian Eno, creating “Recorded Delivery” in 1995, and discovered how important sound is in perceiving space, and place. In 2008 he won the British Composer of the Year Award in Sonic Art, and a Paul Hamlyn Award. The Bluecoat Gallery in Liverpool exhibited a Retrospective of his career to date in 2009. He is represented by the Agency gallery, London, and is a Visiting Professor at Oxford Brookes Sonic Art Research Unit. He lives and works in Walton-on-Thames." [label info]
www.dekorder.com
"The other LP has seven pieces, shorter pieces of course and it's a pity that there are no clarifications printed on the cover. They are in the press text, so we know why there were created, so we know, for instance that 'Luxury' is 'an orchestral drone piece featuring an old French lady singing to her cats with an extra celestial chorus', or that 'Skyline Ascending' is 'a Carpenters LP piano loop is layered again and again over a high sky recording, which was recorded using a helium balloon floating in the clouds over the city, with raindrops'. Shorter these pieces may seem, they essentially are not unlike his longer pieces: multi-layered sound events that create a beautiful dense, atmospheric field of sound. Careful crackles, computer processed sustaining loops (from instruments, vinyl, field recordings, nothing is sacred in the hands of Schaefer), and carefully placed field recordings in their raw state. There is obviously no reason to pick one over the other, but I think I prefer the second LP to the first, great as that one is. The second LP had more variation and the compositions were better worked out, unlike the more endless stream of sounds approach of the first. The differences are small I know, and it's probably best if you get both at the same time. This is Janek Schaefer at what he does, and what he does best. No surprises here, pleasant or otherwise." [FdW/Vital Weekly]
|
2014 |
€14.00 |
|
| |
Inner Space Memorial in Wonderland |
LP |
"Dekorder presents two new vinyl editions composed and designed by UK sound artist Janek Schaefer, who is known around the world for his wide variety of engaging and unpredictable works for installation, concert and composition. Following his highly acclaimed ‘Lay-by Lullaby’ album on 12k [which Pitchfork listed in the ‘Top 10 under-the-radar releases for 2014’], Janek has created and collated a collection of tracks that showcase both his more ambient works [077], and his highly charged sonorities [078]. A beautiful pair of LP’s that ideally should be experienced together for your home listening pleasure. The tracks were mastered by Stephan Mathieu and cut by Lupo at Calyx Mastering.
'Over the years, I have produced a number of works in praise of the ideas of J.G Ballard. He lived just over the river from my home. While reading his autobiography in 2009, I was wandering how to go and say hello, but found out I was too late. I produced a monument in honour of him called the ‘Inner Space Memorial’, part of my Retrospective at the Bluecoat in Liverpool. A pair of speaker cones were turned around to play back into the void of their cabinets. An epitaph for a great mind.'
'Wonderland is the finale of my exhibition soundtrack to "Asleep at the wheel...". A work that questions where our culture is heading further down the highway ahead. A single majestic daydream that drives you forwards as reality undertakes you. Location recordings were made in the middle of the night on a footbridge over the M3, at the end of Ballard's street. I was fascinated to work out that while he was writing Crash and Concrete Island, the six lane motorway was being built right past the front of his home. Ideal music for when you need to stay awake on the road!'
Biography: Janek Schaefer has exhibited, lectured, and performed widely throughout Europe [Sonar, Tate Modern, ICA, Strasbourg Museum of Modern & Contemporary Art], USA/Canada, [Walker Art Center, Mutek, Princeton, XI], Japan, and Australia [Sydney Opera House 2003]. His foundsound concerts and installations explore the spatial, social and celestial qualities that sound can communicate, through the twisting of old and new technology. The context of each idea is central to its development and resolution, often exploring themes of appropriation, accident, & alteration.
Janek studied Architecture at the Royal College of Art where he worked with Brian Eno, creating “Recorded Delivery” in 1995, and discovered how important sound is in perceiving space, and place. In 2008 he won the British Composer of the Year Award in Sonic Art, and a Paul Hamlyn Award. The Bluecoat Gallery in Liverpool exhibited a Retrospective of his career to date in 2009. He is represented by the Agency gallery, London, and is a Visiting Professor at Oxford Brookes Sonic Art Research Unit. He lives and works in Walton-on-Thames." [label info]
www.dekorder.com
|
2014 |
€14.00 |
|
| SCHEICH IN CHINA |
Scheich in China |
LP |
"Killer album of ferric, monotone, fizzing electronics, slowed down bunker Techno and heavily atmospheric field recordings unearthed and compiled by Golden Püdel's impeccable selector Nina (veteran of mixes for the likes of Blackest Ever Black's Krokodilo Tapes and Berceuse Heroique) and Tobias Duffner's VIS label. Highly Recommended if you're into Alessandro Cortini or fellow Pudel compatriot Helena Hauff.
Scheich in China make exactly the kind of stuff you’d hope to hear during one of Nina’s far-reaching but focussed DJ sets and comes from another one of the club's elusive and extended possee, someone who alongside their nocturnal activities apparently spends their time beekeeping.
Their self-titled LP bluntly stakes out malefic intent to hypnotise thru their unflinching style and greyscale, atonal palette that’s deeply entrenched in a bunker mindset.
On the A-side they lash us into a trio of ever-decreasing drone techno circles primed for the grungiest DJs and clubs that crave a bit of murk on the ‘floor, but the record’s biggest attraction in undoubtedly the B-side’s 18 minute tract of treated and re-wired field recordings, all processed with a cold, hollow, metallic finish that make us feel like some invisible entity haunting the Hamburg docks and Reeperbahn at 6am.
If you fell in love with Alessandro Cortini's impeccable run of releases over the last few years, this one's a must." [Boomkat]
https://v-i-s.bandcamp.com |
2016 |
€16.00 |
|
| SCHICKERT, GÜNTER & PETER UNSICKER |
Mauerharfe |
LP + CD |
Günter Schickert, krautrock maestro of echo-driven psychedelia, returns on Marmo one year and half after the release of the Labyrinth LP. Mauerharfe consists of old and special material, which has officially never seen the light before. It is due for release on the eve of the 30th anniversary of Berlin Wall fall, in 12” LP with CD, CD and digital formats. The physical versions contain exclusive pictures, linear notes, a prose poem by Peter Unsicker and some draft writings by the artists with reflections on the project.
Berlin, August 1990, first post-wall Summer. Two friends, the locals Günter Schickert and gallerist Peter Unsicker perform a spectacular yet symbolically intimate interpretation of those epochal changing days by building a sound installation with a damaged piece of the Berlin Wall. They persuade the patrol “Feliks Dzierzynski” of the Western German army to transport and relocate a the piece outside Peter`s Wall Street Gallery on the Zimmer Strasse, in the borough of Mitte, where only a few months back the intact structure actually passed through.
Once the wall was positioned, they bend down the bars of the iron structure that crop out the concrete, bind piano chords to them, stretch the strings down to the bottom base of the construct and connect guitar amplifiers to the set up. The Berlin Wall is ready to be played as a harp.
Günter Schickert`s Mauerharfe are executed between August and October 1990, resulting into three long field recordings.
Side A features a 19` long piece. The tape-induced background noise lays down a carpet of haunting atmospheres and introduces the experiment. Günter starts to test the chords by pulling out, with his fingers, dry and acid timbers. The warm up evolves by investigating wider sinusoidal waves and dilated metallic riffs. The track takes the form of a more conventional music narration, as the artist bangs the harp with a sort of rudimental violin bow creating marching percussive patterns. Layers of psychedelic ambience take over the scene before mixing up with roaring industrial spasms. Lunar sceneries seem to emerge, paving the way to sudden strings feedbacks, crackling distorted clicks and menacing reverbs.
Flipping side, a similarly long take opens up with ferocious urge, like being catapulted into a warfare between iron and cement, sounding like a real military operation. As the strings get hit and pulled, the metal seems to crash into thousands of pieces, dissolving into merciless distortions. Yet it is intriguing to notice how these dynamics of madness occasionally generate wavy and gentle sub-harmonics. This piece adds up intensity in comparison to the previous one, containing enhanced abrasive and distorted frequencies. The final part is marked by monstrous echoing rhythms, before drifting back to a chaotic rumble of fire, metal and concrete.
The third piece, Mauerharfe 3, is a 30 minutes long performance dated August the 13th 1990. As Schickert recalls, 29 years before exactly on that same date, the construction of the Berlin wall was accomplished. This take appears exclusively on CD, with copies included inside the vinyl package and as a separate CD format release. The recording is cleaner than the previous two, giving more width and definition to the sounds. As opposed to Mauerharfe 1 and 2, where the wall of sound is overwhelming, in this 3rd take human presences can be heard : fragments of women voices, a baby crying, the siren of a police car. The compositional approach is more sober, the tones of the harp warmer, closer to an actual one, its notes more gentle, discrete and meditative, sometimes resulting into deep, gong-like percussive timbers.
As Günter Schickert claims, the idea behind the project was the one of representing, in a personal musical way, the feelings and sensations that he – as well as many others experiencing the division and eventually the removal of the Wall - felt through the decades around the presence of this monstrous separator. The wall becomes an instrument, seen both as an object and executor of the experiment, while the human and artistic presence almost vanishes. The atonal and harsh sounds embody the ugliness of an inhuman separation, the terrible echoes of prisons and the lament of its prisoners. The pulling of the strings suggests the repression of a regime, while releasing these it indicates a dash of freedom.
You can get lost into the intensity of the Mauerharfe, find always new sensations and a countless amount of details. If you approach the listening with adventurous spirit and a good dose of curiosity, it can really throw you back into the past, a past of segregation, austerity and suppression, yet of an urging desire of liberation.
https://marmomusic.bandcamp.com/album/g-nter-schickert-peter-unsicker-mauerharfe
|
2019 |
€22.50 |
|
| SCHITTKO, CLEMENS / LOUIS JUCKER / THE SPYON / JEROEN DIEPENMAAT / KOMMISSAR HJULER & MAMA BÄR |
Home Made Universe |
LP |
Tracklist
A1 –Clemens Schittko Selbstkritik
A2 –Louis Jucker Fake Fake Folk
A3 –The Spyon Got Milk (#6)
A4 –Jeroen Diepenmaat Home Made Universe
A5 –Louis Jucker Vielle Laroque
B –Kommissar Hjuler & Mama Bär Copenhagen Magazines
LP is series FLUXUS +/-, limited to 100 copies, LP appears in black vinyl with black labels.
|
2018 |
€22.00 |
|
| SCHNITZLER, CONRAD & WOLFGANG SEIDEL |
Music is not Language. Neither is it Painting. Just Music |
LP |
"A posthumous duo LP featuring text and music by Conrad Schnitzler, music by Wolfgang Seidel, and artwork by Matt Howarth!
Conrad Schnitzler and Wolfgang Seidel have been musical collaborators since the early 1970s when Seidel performed in Schnitzler's free-form group Eruption that had been founded as a successor to Kluster and featured a revolving cast of members. In the 1980s, they produced the duo albums Consequenz, Consequenz II and Con 3 where Seidel performed under his alias Wolf Sequenza.
Shortly before Schnitzler's death in 2011, he handed Seidel a hard disk of his archive including a huge collection of music originally recorded to CD-R, subdivided into "solos" and "mixes", where solos are building blocks to be blended with other solos in a performance, and mixes are recordings of such performances. One of those solos turned out to be a spoken-word CD-R, aptly titled "CONtext", where Schnitzler gives an account of his musical philosophy – in a performative lecture with a lot of humour. It is not known what he intended this recording for, but its unique character made it a natural choice for a building block of a new piece.
Instead of making a collage with other solos from Schnitzler's archive, Seidel decided to record his own music to accompany the text, inspired by the early-1970s Eruption recordings. The resulting 8-channel piece was mixed down to stereo for side A of this LP and features Schnitzler's voice and English text-to-speech subtitles for his non-German-speaking fans. Side B contains an instrumental posthumous duo for which Seidel used excerpts from Schnitzler's EMS synthesizer performance at the Gallery House in London in 1972.
The cover artwork was created by US comic artist Matt Howarth and features Con, a character from his Savage Henry comic book series who is a "German synthethist" and member of the premiere insect-rock group, the Bulldaggers.
"Any combination of sounds is just as valid as any other. Any means for the production of a group of sounds is just as valid as any other means. [...] Music is not what reaches our ear as a sound wave. It's not the sounds that are music, but what we've made out of them and what has been heard from them." (Conrad Schnitzler)
Edition of 300 with printed inner sleeve and insert containing a transcript of side A and liner notes."
www.edition-telemark.de/923.06.html
|
2021 |
€20.00 |
|
| SCHNITZLER, CONRAD / PYROLATOR / WOLFGANG SEIDEL / KOMMISSAR HJULER / ETC. |
A Tribute to Anthony Braxton |
LP |
Tracklist
A1 –Conrad Schnitzler & Wolfgang Seidel kWh 01/03
A2 –Conrad Schnitzler & Pyrolator 287_4
A3 –Kommissar Hjuler Gerichtsverhandlung fuer Eimer und Giesskannen
B1 –Kommissar Hjuler Und Frau _____Br/I+ T° n_/
B2 –Albrecht/d. & Der Mußikant Duett
Notes
LP, limited 75 copies, numbered, black vinyl, white labels, part of series FLUXUS +/-.
|
2016 |
€23.00 |
|
| SCORN / SEEFEEL / TIMOTHY LEARY / YANOMAMI |
Ancient Lights and the black Core |
LP |
"Third record of a thematic series of 9,
published from 1993 to 1998 called Utopian Diaries: Ancient Light and the Blackcore (1995).
Never released before as LP vinyl. Contains only unreleased and exclusive material.
It begins with Scorn at his best, Naked Sun with M.J. Harris (Lull, Painkiller) & N.J. Bullen.
Followed 3 new tracks by Seefeel (As if, As track & As well) recorded during the sessions of Seccour. Why are you there? the large track by Timothy Leary (voices) & DJ Cheb i Sabbah (production) is a fascinating hallucinatory
piece. At the end of the LP, extraordinary recordings of an intoxicated and painful ceremony of some Amazonian Shamans - recorded
by David Toop in the rainforest of Southern Venezuela (communauty of Yanomami) in november 1978.
Insert includes an important text written by David Toop: 'Subworld .' " [label info]
www.subrosa.net
www.subrosa.net
|
2017 |
€15.00 |
|
| SEASONS (PRE-DIN) |
Your Eyes The Stars and Your Hands The Sea |
LP |
"You might not be familiar with the work of Seasons (pre-din), but the shadowy northerner has been honing his craft for some time now, covertly issuing a slew of stunning albums while the world ticked on. He cut his teeth performing and collaborating with Richard Skelton and Xela, but over the last couple of years has busied himself prepping a range of hand-made releases on his own label. Often gone in a matter of hours, these lovingly crafted curios caught the attention of astute listeners worldwide and it is now our pleasure to announce the first widely available album from Seasons (pre-din).
‘Your Eyes The Stars and Your Hands The Sea’ is a collection of tracks crafted from hours of field recordings and instrumental takes. Using a small hand held recorder and a collection of string instruments, Seasons set about using ‘spaces’ – recording sounds in different areas to create a certain sound or mood. These rooms, fields and abandoned buildings form the backbone of the sound and give a curious cinematic quality to the record. You can almost place yourself in each space, and while it isn’t always obvious beneath the chatter and manipulated radio static, there are always skeletons of real life just around the corner. It is eventually the artist’s humanity that sets these compositions apart from those of his peers; rather than simply dry recordings, they are merely starting points for layering and sculpting. The result is thick, detailed pieces which, while subtle, pack a clout more readily associated with the contemporary noise scene.
Restrained and totally enveloping, this is an album which resides somewhere in the undergrowth, emerging slowly before drifting gently out to sea. Turn down the lights, lower the needle and let it pull you away. You might not want to come back." [label info]
www.typerecords.com
|
2009 |
€16.50 |
|
| SEETYCA |
Bleakscapes |
CD |
"Everyone into dark ambient should be already familiar with Seetyca project from Germany. Bleakscapes full-length is an incredible dark journey, it consists in 77 minutes of drones, minimal dark ambient sound pleasures for the ear and mind.
bleakscapes was conceived and recorded in winter and spring 2010 @ mbira v.06. seetyca plays e-maschinen, samplers, bells, flutes. artin mucht plays synth. etheocles stevens provides voices & string samples, recorded with the oregon origo string quartet. mixed and mastered by seetyca & artin mucht. Additional artwork and final mastering by C." [label info & credits]
www.essentiamundi.com
"Back in Vital Weekly 549 we reviewed a triple CD set 'Nekton Falls', with twenty six pieces by as many people working, loosely, with field recordings. That project was organized by Seetyca, with whom I seem to have lost contact a bit over the years, but a recent e-mail exchange lead to him sending his latest work and probably my first proper introduction into his music. He has worked in ambient and experimental music since 1994 and besides his solo music he is also active with groups like vzusdw, Circle Of Pines, Postmoderne Phonombel, Origami Nalebariska and moedra and has been involved in some eighty releases, sometimes on his own Mbira label. On his own he plays 'e-maschinen, samplers, bells and flutes', while receiving help on synth, voices and string samples from others. Despite the title this is not as bleak as one would expect, deepscapes would have probably been a better title, as these seven, mostly, lengthy excursions are in the world of deep atmospheric ambient music. The final piece is the shortest and the most experimental, with a cluster of organ sounds but very much in the digital field - bleak perhaps indeed. In the six other pieces Seetyca keeps himself in control within the tight (?) rules of deep ambient music: long sustaining sounds, effectively more so by the use of reverb, to generate that necessary feel of atmosphere, dislocated bell and flute sounds. While the early autumn sun truly blazes outside, this is might not be the perfect soundtrack for such circumstances. I guess this nocturnal work is more suited for late night listening. Perhaps in its genre not the most original album, but then: what is these days? On the other hand, purely looking from the point of musical content, this is really a great album. Refined, contemplative and rich in sound." [FdW, Vital Weekly]
|
2011 |
€12.50 |
|
|
Seetyca 3 |
CD-R |
die tracks I. und II. sind aufgenommen zu beginn des jahres 2002; III ist live eingespielt an eynem tag im juni 2002. e-maschinen gespielt und granularsynthese von seetyca. st. martin war technischer assistent. heisser dank geht an DER schmurnz für violinspiel in II.
die beiden ersten stücke auf der scheibe führen seetycas experimente mit granularsynthese zu einer neuen ebene. durch scheinbar unzugängliche klangkaskaden ergeben sich bei intensivem hören an überraschenden stellen neue klangeffekte. dazu werden vorher althergebrachte hörgewohnheyten grob zerschmissen.... das dritte stück ist eyne live eingespielte longformsynthese aus ambianten klangskulpturen und dem perlen granularer klangfetzen. traumtöpffern ist seetycas monadologie.
each day affects the next.
www.seetyca.org
|
2002 |
€12.00 |
|
| |
Remnants of Carbon Beauty |
do-CDR |
disk one of this 2-cd-set contains music from the cd-rom-projekct ein audiovisueller spaziergang durch die sammlung of the paläontologisches museum of the tübingen university. here we have the original soundtrack plus unreleased additional material, alternate versions and new mixes. the music was conceived between november 2004 and february 2005, recorded and mixed in mbira world studios by seetyca. produced by seetyca.
disk two contains original music and bonus material mixed into a suite called remnants of the mesozoic. recorded and mixed with the help of dr. dipl.-ing. johann e. mildenberg in march 2005. produced by artin mucht and seetyca.
this work was inspired by wolfgang gerber, achim reisdorf and the paintings of zdenék burian.
www.seetyca.org
|
2005 |
€19.50 |
|
| SEKTOR 304 |
Soul Cleansing |
CD |
"In three decades, Industrial music, due to its tangible form, has given birth to numerous interpretations and splintered factions.
What’s indisputable, is that most of what is actually defined as “industrial” has ultimately become more about entertainment than
confrontation and far removed from the original intent. This is the context in which Sektor 304 has appeared. Equipped with a frightening
and impressive array of primitive instrumentation pulled from junkyards and scrap metal heaps, this Portuguese outfit has delivered an astounding formal debut ¬ a heady mixture of truly old school industrial in the vein of Einsturzende Neubauten, Test Dept , and S.P.K, and the grinding, bass heavy dirge of vintage Swans and Godflesh. These are anthems to the past, but geared towards an apocalyptic and bleak future… a form of counter-culture using what is most evident in modern western society: the debris, the abandoned objects, the waste, the noise, and the interference.
With a solid foundation of rusty, oil drenched percussion, Sektor 304 adds layer upon layer of squalling industrial clangor, hammering metallic noise, grimy atmospheres, heaving masses of haunted factory drones, and threatening tribal batter, with a strong and commanding vocal presence. The sound here is almost physical in nature - provocative, persistent, and demanding. An organic impulse filled with shamanic drifts in which the noise barrage allies itself with metallic rhythmics and the use of concrete elements in the compositions. Junk, plastics, amplified objects. A change of scale. A manipulation of
non-musical sounds in search of visual inductions trying to bring forward
the sequences of Tsukamoto or situations invoked by J.G. Ballard. The conflict between man and machine as a metaphor of the struggle of man against himself. A mix and weight of three decades of sonic subversion.
It can be said that to find the future of music, one must look to the past, drawing influence from prior achievements, yet forging a new identity, and sculpting something completely unique and distinct. With Sektor 304, the future is now, and it’s not entertaining. In 6 panel digipak, mastered by Steel Hook Audio." [Malignant Records]
"Epic crushing metallic industrial heaviness, the kind of thing
we thought they just didn't make anymore, but this is total Swans /
Godflesh / Cop Shoot Cop worship, pounding metallic percussion,
soundscapes of whirring drills, blown out low slung bass, howled
distorted vox, the whole thing so repetitive and mantric, thick slabs
of distorted rumble wrapped around tons of damaged electronics,
bleating horns buried beneath reverb drenched beats, some songs are
full on walls of twisted electronic crunch, others are brooding,
droning skeletal sprawls, laid over deep blurred basslines, and tribal
rhythms, some are dense whorls of deeeeeep sinister black ambience,
all darkly drifting layers, and distant bits of clang and shimmer. For
a few moments here and there, the sound gets downright poppy, like
some sort of washed out post industrial deathrock, but even then, it's
shot through with a seriously menacing sonic undercurrent that seeps
into every beat, and every note. Filthy, crusty, heavy, haunting,
crushing and brutal, the perfect mix of old school industrial pound,
and more modern bleak blackness. Fucking fierce and frightening, grim
and punishing, and we're digging it like crazy." [Aquarius Records]
|
2009 |
€13.00 |
|
| SELAXON LUTBERG |
Simboli Accidentali |
LP |
"SELAXON LUTBERG ist das Ambient Projekt des zurückgezogen lebenden italienischen Künstlers Andrea Penso. Nach zwei Alben, einem weiteren Album in Kollaboration mit Subinterior und verschiedenen EPs, erscheint mit SIMBOLI ACCIDENTALI (Zufallssymbole) sein drittes Album und die dritte Veröffentlichung bei Denovali Records. Wie viele seiner Arbeiten, steht auch das neue Album in enger Verbindung mit Andreas Biographie. 'Während ich das Album komponierte, habe ich versucht mich auf Zufallssymbole zu konzentrieren, die meiner Kindheit entstammen und näherte mich ihnen an - nicht um sie im Detail zu studieren, sondern damit ich ihre Essenz herausfiltere. Diese 'subjektiven Sounds' des Albums gehen aus eben jenen Gedanken und Erwägungen hervor." Um dieses Motiv zu unterstützen, beinhaltet auch das Artwork eine impressionistische Geschichte aus Andreas Kindheit. Simboli Accidentali besteht aus acht Tracks, die allesamt zwischen 2010 und 2012 bei Andrea zu Hause aufgenommen wurden. Die typisch warmen und umhüllenden Songs sind größten Teils auf bearbeiteten, kaum wiederzuerkennenden Gitarren, einer alten billigen Orgel sowie Loops aus zerstörten Tapes und Schallplatten entstanden. Der daraus resultierende Sound findet sich wieder in der weiten Landschaft aus Ambient/ Postrock, bekannt durch Musiker wie LABRADFORD und SLOWDIVEs Pygmalion Ära, den analogen und verfallenen Loops bei PHILIP JECK und WILLIAM BASINSKI oder auch dem cineastischen Gefühl von STARS OF THE LID oder DAVID LYNCHs Drones. Es ist an der Zeit in all dies einzutauchen." [label info]
www.denovali.com
|
2013 |
€20.00 |
|
| SERRIES, DIRK / STEFANO GENTILE |
The Disintegration of Silence |
CD + BOOK |
DIRK SERRIES
THE DISINTEGRATION OF SILENCE
28-page 8" Book + CD, ltd. 250 handnumbered copies
Stefano Gentile and Dirk Serries met almost thirty years ago when Stefano’s Amplexus label released Vidna Obmana’s seminal classic "The Transcending Quest" on a limited 3” CD. Fast forward twenty years later, after the ending of Dirk Serries’ critically acclaimed Vidna Obmana project, Stefano and Dirk, under his own name, regathered with another gem "The Devastation Chant", a limited 8” lathe cut and a 10” vinyl on Gentile’s new label Silentes/13 that featured Stefano’s own impressive collage artwork. Now again, after four years, Dirk Serries, fully operational under his own name as a free (jazz) improviser, frequently returns to his trademark ambient music while continuing to push himself as an artist and sound sculptor. THE DISINTEGRATION OF SILENCE is Dirk’s new album that, partially inspired by the melancholic collage artwork of Stefano Gentile, plays with the sounds he has been recognized and appreciated worlwide for almost four decades, while - so typical for Dirk’s ongoing knack for adventure - expanding the comfort of his ambience with alienating analog and real-time treatments. An album that has been performed solely on electric guitar in conjunction with plenty of pedal effects and absolutely no computers. Enjoy this breathtaking work of melancholy and introspection, marking it another milestone in the collaboration between Stefano Gentile and Dirk Serries.
https://dirkserries.bandcamp.com/album/the-disintegration-of-silence
"The most extensive package is the 28-page booklet, 8 inches squared of collages by label boss Stefano Gentile and music by Dirk Serries. The two go back some thirty years, when Gentile's first label enterprise, Amplexus, released a 3"CD by Serrires, then working as Vidna Obmana. Four years ago, Gentile released some more music by Serries, now working under his own name, on vinyl and 'The Disintegration Of Silence' is their latest offering. In the booklet, we find collages by Gentile from fashion ads, words, and newspapers, all looking quite colourful. As I am playing Serries' music at the same time, I am thinking about his music concerning the collages. Maybe the music resembles black-and-white photography of nature shots, trees and such. Still, the relation between images and music becomes more apparent if you look at the images as worn-out pages from magazines from a long time ago. These days, Serries is more known as a player of free
improvised music, but he occasionally returns to the world of ambient music, and this is what he does here, playing five excellent moody tunes on his guitar. Many guitar effects are used, some of which are a bit hissy, such as in the second part. At times, it sounds like he has been made on a reel-to-reel tape, using various bits of tape stuck together, with the music recorded later. It creates a refined, somewhat unsettling atmosphere and sometimes just a beautiful atmosphere in the longest and final piece. It's always good to hear Serries doing this kind of music occasionally. I understand his heart might be somewhere else, but I assume he also wants to unwind after a hard day of improvising and do what he does very well. A true beauty." [FdW / Vital Weekly] |
2023 |
€20.00 |
|
| SEVERIN BESTOMBES (VOM HORSE GORE CLUB) |
Auszug & Abgesang |
LP |
„Wenn man zu vorgerückter Stunde der verdächtigen Phantasterei anheim fällt, der heimische Plattenteller würde ungeklärterweise das Dunkel des Raumes wie von Geisterhand erleuchten, dann liegt das in erster Linie nicht an der falschen Sorte Pilze, die man unter Umständen mal wieder zu leichtfertig verzehrt hat, nein, es sollte sich lieber schnell besonnen werden, dass die lang erwartete dreizehnte Punch Productions Platte nun endlich von den Nadeln malträtiert werden darf, auf dass das fluoreszierende Plastik wahlweise in giftgrün oder türkisblau erstrahlt. Als wäre das nicht schon reizvoll genug, bietet uns die erste Manifestation des seltsam-mysteriösen HORSE GORE CLUBs zudem unerhört exquisite Tonkunst. SEVERIN BESTOMBES ist das dreihundertsiebenundfünfzigste Pseudonym eines gewissen Herrn Jürgen Weber, der, so erzählt die Legende, im vergangenen Jahrtausend in einer nicht unbekannten österreichischen Metropole, respektive dem slawischen Bezirk "Neue Welt", mehrere Hundert der denkbar wildesten musikalischen und antimusikalischen Orgien dem Tonband anvertraut haben soll und sich inzwischen, vielleicht zur Kontemplation, in ein katalanisches Dörfchen zurückgezogen hat, von wo aus er jedoch von Zeit zu Zeit, aber leider immer seltener, nicht minder wilde Geistesblitze in die gepeinigte Welt hinaussendet. "Auszug & Abgesang" ist ohne Zweifel einer dieser Geistesblitze, der darüber hinaus wohl oder übel dem angesprochenen Rückzug ins Kontemplative wie eine bittersüße Frucht entsprungen zu sein scheint.
Der erste Part dieser LP-langen Abrechnung mit dem Wiener Gesangsverein trägt den mit düsterer Symbolik überschütteten Titel "Lilien aus dem Garten des Gegenpapsts". Das akustische Gewächshaus dieser Spiegelbildikone fühlt sich jedoch an wie ein klaustrophobisches, von gespenstischen Erinnerungen heimgesuchtes Mythologieaquarium, dessen Innenwände zur Dämmerstunde zwischen Kuckucksruf und Spieldosengedudel von psychopathischen Rhythmen rituell verziert werden. In einer noch dunkleren Ecke liegt ein abgesoffenes Diktiergerät und gibt die befremdlich geflüsterten Chiffren eines kleinwüchsigen Wesens zum besten. Dann zieht ein sphärischer Wind in das Fast-Vakuum dieses Mikrokosmoses ein und alles wird erschreckend leise. Ist dies etwa die Ruhe vor dem persiflierten Militärparadenrummelplatzsturm? Haaaauuu Rrruckkk! Einmal kräftig dran gezogen und die schwerwiegend stachligen Lilien sind auch schon gepflückt. Zur Belohnung wird zwei-, dreimal auf die Klaviertasten gehauen und die Rillen flüchten sich hustend ins Platteninnere.
"Musik für Dolores" schwebt ebenso wie die A-Seite im Umkreis experimenteller, elektroakustischer Tonkunst des nahezu gesamten zwanzigsten Jahrhunderts und verarbeitet dabei womöglich sämtliche jemals aufgeschnappte Einflüsse. Zuerst werden NURSE WITH WOUND, Ghedalia Tazartzes, Edgar Varèse und wer weiß schon wer sonst noch alles durch den cut-up Fleischwolf gedreht und anschließend samt rudimentären Groovebruchstücken auf eine kaum noch wahrnehmbar leise Minimalambientfläche breitgeschmiert. Irgendwann brechen dann einige atonale Klavierklänge durch den fragilen Schleier, begleitet von dezenten Stimmexperimenten und schließlich einmündend in sehr sparsam platzierte Abstraktionen, die im Grunde völlig auf elektronische Klangforschung reduziert wurden. Das ganze wurde dazu mit einem heimlich munkelnden "live at Schlafzimmer" Charme aufgenommen und wirkt daher umso staubiger, direkter und echter.
"Auszug & Abgesang" bietet zwei hartnäckige Kompositionen zum Schlussstriche ziehen und neue Anfänge finden. Gerade letzteres will seitens der fragmentarisch aufgerissenen und minimalistisch verwesenden Klangstrukturen bewusst nicht leicht fallen. All die einzelnen Szenen dieser Collage sind wie Mittelteile ohne signifikanten Beginn und Ende, an ihren ungeraden Kanten aneinandergefügt, montieren sie eine diffuse, mit Schräglage in sich verschachtelte Sinfonie, die mit einem Bein auch im traditionsreichen Avantgardezimmer steht. Art bruit!“ [Roy Liebscher / Lichttaufe]
Collectors item from NOVY SVETS alter ego with surprisingly experimental soundscapes, wonderfully obscure collages !
“12" vinyl GLOW IN THE DARK !!!!!!!!!! - Silk-screened plastic sleeve
Severin Bestombes is said to be J. W. Eber who is said to be J. Weber, who the world claims to be NOVY SVET, singer and brain appendix of MUSHROOM'S PATIENCE and god knows what else. might be true....well, seems to be true. And what's truth on diplomacy's smooth grounds? Was this guy ever known for being outstanding diplomatic?
Definitely not...neither is this album. Bad memories melted into two long (each one LP-side long) tracks, that have their roots growing out of the sixties avantgarde's ass. In the end it is just fuckin' beau.
special cover - on special vinyl - for sure special musick too” [label info]
label: www.punchrecords.it
|
2006 |
€20.00 |
|
| SHARON'S LAST PARTY |
Blue light and blue eyes |
7 |
Romantischer Titel, aber äusserst unromantische Musik auf dieser ersten 7” dieser Schweden, klassisch-kraftvoller Industrial - wer jemals TG geliebt hat, wird entzückt sein von so viel dunkel-aggressiver Energie.
“Two tracks from this very promising new Swedish act. You may have heard their contribution on CMI's "Nihil" compilation 2LP - if not, GET IT! The music is powerful electronics and noise firmly rooted in the "old school" (argh) industrial spirit. To be blunt, this is just as good as TG always promised to be, but never managed to be on vinyl. Excellent vocals on the A-side, and a dark brooding instrumental track on the flipside. Buy, motherfucker, buy.” [press release]
|
2003 |
€3.00 |
|
| SHASTA CULTS |
Shasta Cults |
LP |
"Shasta Cults is the musical project of Canadian electronics technician Richard Smith. For almost two decades, Smith was the official Buchla & Associates go-to repair person for studios, collectors, and musicians around the world, having worked with artists like Aphex Twin, Suzanne Ciani, Mort Subotnick and institutions like NYU, The Library of Congress and Mills College in Oakland, Ca.
Recording demonstrations of the rare equipment that found its way on to his workbench is how Smith describes the origins of Shasta Cults. Although sounds have been trickling out for decades via Soundcloud and other outlets, it wasn’t until 2017 that Smith recorded his first album using one of these rare instruments – the Buchla 700. Configurations, released this past September by Important Records, features eight tracks of heavily-modulated, wave-shaped explorations drenched in effects, and was the catalyst for his latest releases.
Recorded over the span of 3 months in the fall of 2018, this album was programmed solely on the only fully-functional Buchla Touché. Developed in the early 1980s with hardware by Don Buchla and software programmed by musician David Rosenboom, the Touché features waveforms generated internally by twenty-four digital oscillators using frequency modulation and sophisticated digital and analog signal processing for timbre and output assignment, all of this controlled via a six-octave black and white keyboard, unusual for a Buchla instrument.
This LP is a continuation on themes first heard on Configurations, with more consideration given to the generation and capturing of the pieces. This album is less dark than previous releases, showcasing the incredible fidelity of the hardware used and Smiths evolution as an audio engineer. Put on some headphones, find a comfortable chair, and let this LP transport you to the mystifying southern cascades of Siskiyou County." [label info]
"To the uninitiated, the complexities of electronic synthesis can seem daunting and foreign. Even for those well versed, complete mastery over those systems seems like a lifelong task given the seemingly infinite nature of their design. Richard Smith, the synthesist behind Shasta Cults, has worked as an official technician for Buchla gear for nearly 20 years, and has an intimate mechanical knowledge of the company's many machines, which have achieved near-fetishistic status over the past decade. On Shasta Cults' self-titled album, Smith demonstrates a rare virtuosity of the Buchla Touché (of which there were only four made) that illustrates not only the power of the machine to sculpt uncanny textures but also Smith's singular compositional style.
Smith's work is compact and economical, a contrast to the protracted compositions that define the remaining core of Important Records' contemporary synth roster, including Eleh, Caterina Barbieri, Alessandro Cortini and Jessica Ekomane. Drones and arhythmic swells comprise the basis of most of the six pieces on Shasta Cults, but rather than letting them marinate he focuses on dynamic layering and timbral juxtapositions. Shasta Cults originated from Smith's desire to demonstrate the range and abilities of the various Buchla models he was repairing and restoring, and this approach seems directly derived from those roots. Within each track, he's able to cover a surprising amount of ground. If you didn't know the music was created all on one machine, you'd be forgiven for assuming these tracks were realized using a much more diverse arsenal.
The album begins peacefully, and with restraint. "Prologue" hovers with a sense of placid melancholy, bass tones cycling in and out of the mix. Its clean tones sound glass-like, smooth and nearly transparent as they fade in and out of the audible field. Other moments have more bite. "DA3" features coarse waves of sound that resemble aural quicksand, gulping the listener up in successive, oozing surges. This buzzing intensity is overlaid with dramatic, organ-like stabs that appear triumphant in the face of the pulsing chaos below. On the drone track "Incline," Terry Riley-esque tones swirl back and forth over an increasingly resonant bass hum. The closer, "Chinook," with its apprehensive melodic fragments that open up into a yawning, fuzzed-out climax, leaves the album feeling unresolved in a way that feels entirely purposeful.
Gear worship for its own sake can be tiring, but the music on Shasta Cults is too expressive to be pigeonholed simply as exercises in technological know-how. The recent Buchla boom has led to many different approaches over the past few years, but Smith's Shasta Cults project stands apart not just because he has access to the rarest models or has such an intimate knowledge of their notoriously unpredictable, generative circuitry. He uses this knowledge to create music that is richly textured without becoming dense, and like all masters of their instrument he knows how to dance elegantly between complexity and simplicity. It is that dance that makes Shasta Cults feel special." [Resident Advisor]
|
2019 |
€26.50 |
|
| SHE SPREAD SORROW |
Huntress |
LP |
"The new album by She Spread Sorrow (Alice Kundalini) is the story of a huntress and her morbid and psychotic relationship with her prey. The protagonist is Blue, a girl whose existence is marked by obsession with another woman of the same age and by nightmares that leave her without peace. Between love and psychosis, a tragic story is consumed, which vibrates in the stomach, like the music that accompanies it - dark and hypnotic death industrial, with moments of dark ambient, power electronics and noise.
Inspired by Kundalini’s nightmares and her fervent world of dreams, "Huntress" was born after 3 years of intense recordings. It pursues the need to whisper secret, forbidden tales and to stimulate the deepest shadows of the human being, exploring the boundaries between the delicate and the violent; between love and obsession; between fantasy and madness.
"Huntress" is the soundtrack of a tragic game between opposites in a reality of total solitude.
CD in 6-panel digipak
LP on 180g vinyl in 350gsm sleeve. Ltd x 500
Alice Kundalini: synth, pedals, vocals
Music and lyrics by: Alice Kundalini
Recorded, mixed and produced by: Luca Sigurtà and Alice Kundalini
Photos by: Stefano Majno
Mastered by: Martin Bowes (The Cage)
Layout by: Abby Helasdottir
https://coldspring.bandcamp.com/album/huntress-csr282cd-lp
|
2021 |
€23.00 |
|
| |
Huntress |
CD |
"The new album by She Spread Sorrow (Alice Kundalini) is the story of a huntress and her morbid and psychotic relationship with her prey. The protagonist is Blue, a girl whose existence is marked by obsession with another woman of the same age and by nightmares that leave her without peace. Between love and psychosis, a tragic story is consumed, which vibrates in the stomach, like the music that accompanies it - dark and hypnotic death industrial, with moments of dark ambient, power electronics and noise.
Inspired by Kundalini’s nightmares and her fervent world of dreams, "Huntress" was born after 3 years of intense recordings. It pursues the need to whisper secret, forbidden tales and to stimulate the deepest shadows of the human being, exploring the boundaries between the delicate and the violent; between love and obsession; between fantasy and madness.
"Huntress" is the soundtrack of a tragic game between opposites in a reality of total solitude.
CD in 6-panel digipak
LP on 180g vinyl in 350gsm sleeve. Ltd x 500
Alice Kundalini: synth, pedals, vocals
Music and lyrics by: Alice Kundalini
Recorded, mixed and produced by: Luca Sigurtà and Alice Kundalini
Photos by: Stefano Majno
Mastered by: Martin Bowes (The Cage)
Layout by: Abby Helasdottir
https://coldspring.bandcamp.com/album/huntress-csr282cd-lp
|
2021 |
€13.00 |
|
| SHIBALBA / BLACK SEAS OF INFINITY |
Mahakala |
CD |
"For their next split, SHIBALBA united into morbid congregation with BLACK SEAS OF INFINITY...
Utter grim horrific rite to glorify Great Black Goddess Kali. Far beyond the manifestations of Maya, obtain the dark essence of Her - Dark Shakti of Siva, Destroyer of Time, A Transcendental Blackness." [Nihilward info]
"The conjoined work of the order of Shibalba and Black Seas of Infinity, constitutes an undertaking and exploration of the supreme Kala, through musical, visual and literary transmissions and receptions an adoration unto Kali. She is the adored and the adorer, our blood shall be as her venom, our skull as her ornamentation.
Members of the Memphitic Coven of Shibalba:
Acherontas V. Priest Aldra-Al-Melekh
Recorded at the Halls of Christian Cambas, during the waning crescent moon of January MMXV. Mixed and mastered by Christian Cambas.
Artwork/Layout by Synthetic.
Front And Back Painting By David Hereiras.
Cd is coming by Nihilward Productions and Handmade edition in Tape and special box set tape by Arsenestre
Lp is coming later by Nigrum Serpentis.
Tshirt Merchandise by Nigrum Serpentis On October.
[Shibalba Bandcamp info]
www.nihilward.com
|
2017 |
€12.00 |
|
| SHIFTS |
Branches |
mCD-R |
A quiet powerful one-tracker (almost 20 min.), pure mechanized overtones and shifting poly-waves. Great for microsound-listening.
"Since 1995 Shifts is one of the various projects of Frans de Waard, besides Freiband, and membership of Beequeen, Kapotte Muziek, Goem, Wander and his recent new project with Roel Meelkop, Zebra. All of the work is based on guitar sounds. In the first phase various guitars were played with objects and effects, then, the next phase were computer treatments of the previous phase (the 'Vertonen' series, 22 pieces in total). After that a return to simplicity again; 'Branches' is one of three pieces ('trees' and 'leaves' to be released on LP by entr'acte) based on four stringed, detuned acoustic guitar and motor objects. Loud and drone this could have been a next step, but might very well the final works on Shifts. Previously material has been released on Korm Plastics, Fourth Dimension, Kraak, Elsie & Jack, Meme and other labels." [label info]
"Derrida's idea that the "semantic horizon which habitually governs the notion of communication is exceeded or punctured by the intervention of writing." which "..does not give rise to a hermeneutic deciphering".. is key to understanding the difficulty of locating the 'drone' within the idea of music which is "western" - i.e. teleological, which is written contra the arguments given in S.E.C. And though we have passed through such a teleological epoch we are only now in the light of post modernism reconsidering the alternatives, i.e. 'turtles all the way down'.. the eternal return of the same. and alternative mythologies - Buddhist, Jain, Hindu .. even Wagnerian prior to Parsifal... And so this 'music' is open to the critique of those who wish to enforce a teleology upon us. (And the usual ploy of leveling ethnocentric critiques on musics which are not part of this great tradition of the west! - and its teleological meta-narrative - i.e. Christian / Jewish / Islamic / Marxist).
This piece avoids the latter critique, its very Conrad-esq beginning locates it within modern western culture despite its use of the de-tuned string instrument. Its development, and that's a very dangerous word to use here, is something subtle - it does not so much hide the development but points towards a cyclic anti hermeneutic work - and this is perhaps my only 'valid' point of criticism of this otherwise excellent work, and maybe not that valid - but given a piece of music (normally) has to be temporally located this provides an obvious challenge to the drone work - (unless repeat play is used) - maybe via an mp3 disk this temporality could be extended but never breached, but this is not a significant philosophical challenge to the drone work as its not surprising that our technology supports the western idea of a teleological universe even though there is a likely alternative - eight track tape as the anti-Christ!" (jliat)
www.taalem.com |
2006 |
€5.00 |
|
| SHOEMAKER, MATT |
Isolated Agent Stranding Behaviour |
pic-LP |
"Elevator Bath's ongoing series of picture disc LPs (each record being adorned with full-color artwork by the recording artist) continues with Matt Shoemaker's debut appearance on vinyl: An enigmatic pairing of new recordings with appropriately cryptic artwork.
Much of Shoemaker's recorded output prominently features the use of field recordings (see his Tropical Amnesia One CD), but in this case he has eschewed such grounded measures and has instead sculpted a two-part puzzle which seemingly exists on some other plane(t). Layer upon evolving layer of sonic phenomena is still the methodological trademark, but the content is almost entirely electronic, lending a great deal of vivid color to a description of blackest space. The two works presented here are powerfully mysterious, unsettling examples of Matt Shoemaker's prowess as a composer of details, of moods and tenses.
The improbably relevant artwork for this picture disc consists of two collages utilizing Shoemaker's own hand-dyed paper. The images, as well as their meanings, are essentially abstract and yet remarkably familiar. On the A side, the Isolated Agent scuttles in a circular motion, forever locked in an endless search for the unknown element. The B side depicts the constant retreat, the Stranding Behavior inevitably resulting in/from confusion.
"You realize what you are implying? That we owe our human condition here to the intervention of insects."
Matt Shoemaker's music has been released by such labels as Trente Oiseaux, The Helen Scarsdale Agency, and Ferns Recordings. He resides in Seattle.
This picture disc LP has been released in an edition of 233 copies.
Total running time: 30 minutes" [label info]
www.elevatorbath.com
"The other record is by Matt Shoemaker, who seems to be always present, with his regular releases on labels as Ferns and The Helen Scarsdale Agency. His work recently shifted a bit more towards that of working with field recordings, but on this LP it all seems to be electronic again. I have no idea wether these are the result computers working overtime or meters and meters of cable connecting one synthesizer to another, and once connected start playing themselves, almost, as it were. Shoemaker layers the results of whatever process he applies on a multitude of tracks and does some highly creative mixing with those sounds. Highy atmospheric (obviously! I'd say) of course, but Shoemaker's work is also a bit more experimental than the usual drone minds (UK, USA, otherwise). Shoemaker knows how to put in a strange angle in his work, that makes it just a bit different than the ordinary drone record. Partly based in the seventies cosmic tradition, partly drone and partly serious avant-garde, but with a long, stretched time signature. Great record." [FdW/Vital Weekly] |
2010 |
€17.50 |
|
| |
Tropical Amnesia Two & Three |
do-CD |
"In November of 2007 I was part of a group of eleven sound artists who journeyed to Brazil to participate in the Mamori Sound Project, an annual residency/workshop under the direction of Francisco López that convenes in an isolated area of lowland lakes and rainforest, perhaps around 4 hours' journey outside of Manaus, right in the heart of Amazonia.
I had some very limited experience with tropical rainforests from travels in South East Asia, but nothing like the immersion that was central to what Francisco had organized: direct access to a staggeringly diverse bioacoustic environment unmatched anywhere else on Earth.
Over the course of the two weeks we spent at Mamori lake exploring and recording, there was never a pause in the stream of curious animal sounds.
Not even during sleep, as the nighttime would roar to life and pass into dreams. I had come prepared with the equipment that I could afford to bring: a pair of condenser microphones, several homemade contact microphones, and a single hydrophone. With these I was able to capture all of the sounds used to make the three Tropical Amnesia parts.
While assembling the field recordings, I was immediately drawn toward the idea of imagining the rainforest, and the bodies of water contained within, as an unfathomable void of sorts, and something beyond thescope of enduring memory. Reflecting on my own memories from Mamori Lake and the surrounding area, I can of course picture the individual ant or frog, but it is the sheer multitudes and abundance of life that persists in my mind as a consuming, evolving abstract." - Matt Shoemaker - March, 2010
Nine years later after the release of Tropical Amnesia one, Ferns Recordings is proud to be able to discover the rest of this trip with a certain sadness. Ferns Recordings wanted to pay a tribute to Matt Shoemaker by not letting these magnificent recordings remain in oblivion.
All sound recorded November 2007 in/at/around Mamori Lake, Amazonas, Brazil.
Material culled and assembled December 2007/January 2008 in Seattle.
https://mattshoemaker.bandcamp.com/album/tropical-amnesia-two-three
"In 2017, Matt Shoemaker passed away and yet somehow there is still new music from him to
be released, which is a good thing. Ferns already released the first instalment of Tropical Amnesia (not reviewed in these pages), and maybe they had the second and third part from Shoemaker, but not yet the resources to release it earlier. These two discs contain sounds recorded in the Amazon area in Brazil in November 2007 and in December of that year and
January 2008 this has been used to create the two-hour works that span these discs. I couldn't
tell if these works were made out of single events, or perhaps also with the help of loops; I assume there has been sort of layering of sound events in both these pieces. It works in two different ways here. 'Tropical Amnesia Two' is a rather straight forward work, once the ball gets rolling; from there on it stays in a fairly loud and oppressing volume but throughout it changes and moves through what I think is probably the whole range of animal life; insects, frogs, birds. In 'Tropical
Amnesia Three' there is a less straight forward approach and while the piece moves through
the same animal sounds, there is a different build-up, within one point birds leaping out of the choir of cicadas and ending with something that is close by the microphone making a popping
sound, as if Shoemaker was close to the pond in a rowing boat. Towards the end of it all, there
is a sign of human life and perhaps also the best example of this being construction of organized sound, rather than straightforward documentation of an event. This, I thought, was very delicate work, even in all it's considerable presence, volume-wise that is. It reminded me of the movie 'Monos' about the life of guerrilla’s in the Colombian rain forest and which I thought was one of the best movies I saw this year." [FdW/Vital Weekly]
|
2019 |
€15.00 |
|
| SIGILLUM S |
23/20 |
do-LP |
Seit über 20 Jahren gibt es das italienische Industrial- & Elektronik-Trio SIGILLUM S, um die es in den letzten Jahren sehr ruhig wurde. Diese do-LP ist eine Kollektion mit vielen Remixen und Kollaborationen in fantastischer Aufmachung und deckt eine unglaubliche Bandbreite ab zwischen pumpenden "old school" rhythmic Industrial Sounds, dunklem death & ambient Industrial und abenteuerlichen eher am Song-format orientierten Stücken mit Vocals & Gitarreinsatz und gar dubbigen Einflüssen.... ein mächtiger Bastard, hervorragend produziert!
Das Vinyl hat z.T. andere Tracks als die CD-Version!
"More than ever, fringe culture methods and cutting edge acoustic science mate for the generations of endless layers and bursts of sonic pleasure - voices and drones clans across plans and peaks, fishing for universal tremors and sensorial catastrophes. iconic translations of lost symbols flow like pathogenic lava into temporal sequence and weather forecasts become performances for alien audiences.\ The 20th anniversary album from post-industrial noise alchemists SIGILLUM S, \ 23/20\ , features (together with the original line up of Eraldo Bernocchi, P.NG5361.Bandera and Luca Di Giorgio) sound contributions from long time collaborators and friends, such as Bill Laswell, Toshinori Kondo, Professor Shebab, SH Fernando / WordSound, Martino Nicoletti, Lorenzo Esposito Fornasari, ZU, Xabier Iriondo, Ephel Duath, Karyn Crisis and various members of the same band , Mark Solotroff, Thomas Fehlmann, Gudrun Gut, Andrea
Marutti, Claudio Agostoni and many others.\
23/20\ is available as two radically different and complementary formats, a digipack CD and a limited edition gatefold double vinyl, with different track lists and sequences for each format - nine tracks are on both formats, while others (seven per format) can only be found either on CD or vinyl (sixteen tracks per format, twenty three in total)." [label press release]
www.sigillum-s.com
|
2007 |
€28.00 |
|
| SILK SAW |
Parallel Landscapes |
LP |
"Limited edition of 300 copies with unique artwork made by Russian street artist (Grisha), which were carefully adapted to sleeve design by Mikhail Myasoedov. The vinyl LP contains 4 selected tracks from the full 8-track album.
After 9 years of silence, here’s the 11th album from the unclassifiable Brussels-based duo. With their usual tamping drums (just mention the two parts of “The Decision to Exist” or “Same Area”, led by a ferocious 808), a regular bass guitar hammering, some bare minimum poor voices, threatened violins, skinbound flute and oboe here and there, a distorted furious piano everywhere and finally some tiny cautious optimism (the extra-human guitar in “Enough Slaps”), the whole is carefully assembled in order to obtain an accurate picture of life on Earth. “Pain” and “Pleasure” are different aspects of the same mental construction." [label info]
www.kotaerecords.com
|
2015 |
€18.00 |
|
| SILVERMAN |
State of Union |
CD |
Wiederveröffentlichung der CDR die 2001 auf dem LPD eigenen "Terminal Kaleidoscope"-Label erschien, jetzt mit 21minütigen Bonus-Track, in der schönen "Black Series" von Beta-Lactam.
"The Silverman is one of the two remaining founding fathers of The Legendary Pink Dots and this release serves partly as a sketch book of ideas and stuff he did on a solo tour with the addition of a new 20 minute bonus track. The music by The Silverman only has a far away resemblance of the Legendary Pink Dots, like just one layer is distilled and used as the backbone of an entire new world. It could be described by that dreaded term ambient, but it doesn't justify it. The sounds inside this release are at times far too alien to be filled under ambient. It moves along many different territories, ambient, cosmic, but it takes out the best elements and it is presented in a rather own way. Music that is like a disturbing dream, not a nightmare but a surrealistic dream." [FdW / Vital Weekly]
www.blrrecords.com
|
2007 |
€15.00 |
|
| |
Blank for your own Message |
CD |
"Available late Feb. 2008. First ed. of 500 copies in a full color book bound case. Silverman should be given a degree in bio-melodics. This most recent body of collaged constructions pulsates with aspects of a living system. Slurred drones rush sonic corpuscles through electronic capillaries, imparting breath to each track. An obscured, parenthetical heart beat occasionally comes through as an unexpectedly metallic panging in the background, mostly drowned out by the fluid dynamics of localized subsystems playing out their various vital functions. Perhaps each one of us DOES sound a little like a Javanese gamelan orchestra inside if you hit the right spot. Cutting to find out is not advocated. Silverman’s fantastic voyage sounds like a spiritual dissertation on degrees of scale. The musical camera obscura sometimes finds purchase on an atomic level, aurally zooming into the humming orbits of individual atoms and even creeping up on the sounds of the electrons, protons and neutrons themselves. With this beautifully ambient series of orchestral maneuvers in the dark, Silverman may have found a tonal replacement for Gray’s Anatomy." [label info]
"The Silverman aka Phil Knight is one of my favorite musicians in the experimental ambient/drone scene. Over the past decennium he has been responsible for some of the most beautiful ambient/meditative music I've ever heard. His previous LP/CD for BLRR Nature Of Illusion is one of the best albums in this genre I have heard in many-a-year. The Silverman's solo albums have always been slightly overshadowed by his work for the Legendary Pink Dots. This is a shame, as his solo work deserves a place of its own. Perhaps this new CD Blank For Your Own Message will do the trick. Starting off life as a "zen-opera" in seven parts, the music here is more varied than Nature Of Illusion. BLRR drops the term "bio-melodics". For once I have to agree. This actually fits the music and the world of The Silverman. Although the music has seven parts, the 43 minutes that make up this album are programmed into one track. It is hard to tell the origin of some of the sounds; there are traffic tapes and acoustic sounds (percussion, cow bells) of a more ethnical nature, all mixed up with synthetic sounds. These combined make up a very strong album. Packed in one of those typical BLRR deluxe hard-carton sleeves, this is a great addition to the already great discography of The Silverman." [FK / Vital Weekly]
www.blrrecords.com
|
2008 |
€15.00 |
|
| SION ORGON |
Dust |
LP |
Limited edition 12' Vinyl.
Sion Orgon's 5th album featuring Thighpaulsandra, Richard Johnson, Claudio Gian and many other guests.
or a number of years now, Sion Orgon has been crafting music that fuses abstract electronic mulch with the kind of bright melodies one would expect from a shiny pop group. Using avant-garde sensibilities and a vision partly shaped by his affiliation with both Thighpaulsandra and Coil, the Welsh producer/musician has never been afraid to push these into areas most artists of a similar disposition would never be bold enough to touch. At once catchy, psychedelic, filmic and disturbed, Sion Orgon's work has a very distinctive feel to it that only arrives from a craftsman firmly locked on to his own path. 'Dust' is the very latest collection of work, comprising six new tracks featuring Thighpaulsandra (Coil, Spiritualised, Julian Cope) on half of them and a number of other guests, including Claudio Gian, Lara Ward and Richard Johnson (Splintered, Theme). Somewhere amongst the many convoluted folds of often weird 'n' wonderful sounds are texts spoken by a number of random Finnish and Latvian people, further enhancing the multi-dimensional stealth attack of any one of the songs presented here. Like, again, his regular collaborator Thighpaulsandra's work, Sion's is enmeshed in rich layers and tangents so disparate they'd never make sense in anybody else's hands, and despite the countless such claims put forward by those essentially creating music permanently stuck in first gear this truly is aimed at those who demand far more from their listening experience. Limited to 300.
https://sionorgon.bandcamp.com/album/dust
"Welsh man Sion Orgon was always somewhere on the wider boarder of my radar due his regular involvement with Thighpaulsandra and also occasionality with Peter Christopherson of Coil. Supporting his artist career as Sound Designer, Studio Technician and Music Producer for Film, Theatre and Animation this is actually his 5th solo album.
"Dust" was first published as limited Vinyl LP (300 copies only) via Lumberton Trading Co. last Autumn and is now also available as CD with identical tracklisting.
Honestly I didn't expect him to be such an stylistic versatile musician - within these 6 tracks he moves seamlessly from noisy indie rock, abstract ambient to and back, with a grand finale of heartfelt and moving psychedelic rock.
Starting with "Spat Out Of Dust", co-written and featuring Richard Johnson of Splintered he immediately catches your attention with a relentless beat and guitar pushing forward the cynic vocals until it fades organically into an open structure. After this track which reminds me positively of current Ministry "Ornament Centipode" is a dramatic soundtrack-ish piece, musique concrete with an experimental and psychedelic edge. Besides it's also one of the three tracks featuring Thighpaulsandra on modular synthesizers.
Followed by "Head Bomb" the setted mood continues at first but steadily gains intensity until a psychotic rage can be imagined which is lived out to the fullest. Supported only by Claudio Gian on Bass and Chey Davis on Percussion & field recordings Sion Orgon leaves no nerves untouched here.
'Who Do You Think You Are?' (co-written by Thighpaulsandra) gets back into indie-rock post punk mood with dramatic interferences, a switch suddenly into melodic progressive metal excursions and backwards into field recordings filled post punk deserts.
"Disintegration" is the straightest alternative rock song imaginable here, paired with a hip-hop beat and surprising merciless vocals. This one leaves me puzzled, an outburst of energy to be resolved only through the final epic "The Mouth That Has No Face" which is an astonishing homage to early psychedelic rock, light-hearted, playful and even with a catchy melodic refrain before it slowly fades into field recordings which leave you at peace with the world.
While this release basically lasts only 6 tracks in barely 40 Minutes it really kicks ass, ashes and dust at once." [CHAIN D.L.K.]
|
2021 |
€20.00 |
|
| SKULL DEFEKTS |
The Drone Drug |
LP |
Endlich sprichts mal jemand aus: DRONES haben Drogenwirkung! Die schwedische Band SKULL DEFEKTS ist eigentlich nicht unbedingt für lupenreine Drone-Musik bekannt, aber hier sind sie ganz auf der "Analog Synth Drone"-Schiene, sehr trocken, sehr vibrierend und kratzend und knarzend, mit inhärenten wellen- und vibratohaften Bewegungen, keine endlosen hallenden Räume sondern spürbare Reibung und Vibration sind das Thema...
"In their own words, Sweden's Skull Defekts are "all about rhythm, repetition, and all energies in sound." The concept manifests itself in two distinctly different forms. On 2007's Blood Spirits and Drums Are Singing, the band showcased their more "rock"-based sound described by Julian Cope as an amalgamation of Chairs Missing-period Wire, Audionom, and '70s German proto-metallers Tiger B. Smith. However, the DFX, as they're sometimes known, also have an alter-ego under which their sound becomes a harsh wall of droning noise and psychedelic industrial bowel churn. It is that persona that is embodied on The Drone Drug.
Drone is often associated with music that is essentially ambient in nature. While The Skull Defekts do create an ambient aura, The Drone Drug has more in common with the terrifying atmospheres created by noisier cohorts like Prurient then the minimalism of Tomas Koner. The sound is grim, black, and abrasive; mechanical, filthy, and unnerving. This limited-edition LP is the first of two by the DFX to be released by Actual Noise, with the second, Skull, coming in the near future.
A recent appearance at No Fun Fest, an Eastern US tour in October, an upcoming split with Prurient, and a new release on Important Records, all make 2008 a very productive and successful year for The Skull Defekts." [label info]
" NOW ON VINYL!! Limited to 500 silkscreened copies. With a coupon for free digital download of the album, with an extra track, one we're pretty sure was included on the prior cd version of this on Release The Bats, which we reviewed thusly: Holy drone!! This is not at all what we expected from these guys, but then, most Skull Defekts records tend to confuse or confound. Which is pretty much why we love them so. And who are we to turn up our noses art a sonic surprise, especially when that surprise is DRONES. Big thick buzzy snarling crumbling blown out low end buzzing writhing brain melting, ear drum crushing, rib cage rattling, speaker destroying drones. Skull Defekts are no stranger to the drone, and the fact that they called this record Drone Drug, should have been a clue, but the band, who in the past have been heavily rhythmic, have discarded pretty much everything except for the drone. No beats, no riffs, no recognizable instruments, nothing but deep dark drones. This is a seriously heavy record. Dense and brutal, four extended tracks, each an exercise in tension, long form extended tones, but within these, stretched out sounds, much like dronelord Phill Niblock, the various layers are surprisingly active, throbbing and pulsing, and twisting and slithering and buzzing and whirring and shimmering, the sounds rough and raw, bits crumbling and emitting grit, slipping into fuzzy drift and then slipping back into a solid endless throb. The power of the drone is divine, and when harnessed, like this, with volume, and texture, and timbre, the music is a physical presence. Headphones come to life and encase your head in an organic black cocoon of sound, speakers unfurl thick flows of sonic tar, laying supine, eyes closed, you're soon buried alive, beneath layers and layers of resonant rumbling sound. And it is divine.This is powerful, earth shifting, massive minimal music. Not sure if these sounds come from synths or guitars, electronics or sine wave generators, malfunctioning effects pedals or a microphone lowered into the center of the Earth (we're leaning toward the latter), the result is something so primal and organic, so primeval and timeless, the act of listening seems to alter the listener's molecular structure, transporting the listener to an alternate universe, made entirely of sound, where our bodies are transformed into sound waves, our souls escape their mortal shackles and reveal themselves to be pure, deep drones. So awesome." [Aquarius Records review]
www.actualnoise.net
|
2008 |
€15.00 |
|
| SKULLFLOWER / MASTERY |
split |
LP |
"SKULLFLOWER presents a trinity of sombre meditations evoking Europe after the rain, drowned ruins, sunken dreams: spiders run across harpsichords in deserted schlosses and chateaus, doors slam and phantom demon choirs are summoned at seances by Blatavskian crones, whose impenetrable china blue dolls eyes open onto Tibetan vistas, terrible, ancient and remote…
MASTERY is improvised one man cosm(ag)ick from Ephemeral Domignostika. Total berzerker black metal, rooted in the tradition of true grim blackness, but filtered through Mastery’s cracked perception, transforming this into something beyond true; a droned out and damaged, outsider blackness, that sounds pretty much unlike almost any other black metal.
Ltd x 500 copies.
Standard edition: 400 copies on purple vinyl.
Special edition: 100 hand-numbered copies on green vinyl through Cold Spring mailorder only!" [label info]
" 'We offer an invocation to, and an evocation of the hidden, averse, heathen power that seethe within our native soil. Come leave your timid gelded civilised masks, bow down and rise up, reborn, within our whirlwind', schreibt SKULLFLOWER-Mastermind MATTHEW BOWER unter der Überschrift „Skullflower: What we are ...“ in seinem Blog und vermittelt so eine Ahnung des – ich nenn' es mal – ganzheitlichen Aufforderungscharakters, den er mit der Musik seiner, 1987 gegründeten und 1988 mit der 12'' Skullflower-Birthdeath/release/142281">"Birthdeath" auf BROKEN FLAG debütierenden Band verbindet. Kurzum, der Mann hat Sendungsbewusstsein, und das nicht ohne Grund.
Bis zum, durch interne Streitigkeiten zwischen den Mitgliedern verursachten Bruch im Jahre 1996 handelte es sich bei SKULLFLOWER, ungeachtet ihrer Einbindung in die klassische englische Industrial-Szene der frühen 80er Jahre, um eine Band im engeren und bei ihrer Musik um Noise Rock, im – nun ja – sehr weiten Sinne. Dies änderte sich, als Gründungsmitglied MATTHEW BOWER SKULLFLOWER 2003 als Quasi-Soloprojekt ins Leben zurück rief. Zwar umfasst das derzeitige Line-Up immer noch die Mitstreiter SAMANTHA DAVIES und LEE STROKE, man tut den beiden aber sicherlich kein Unrecht, wenn man in ihnen eher Begleitmusiker für die Realisierung von Visionen sieht, die in allererster Linie BOWER'scher Provenienz sind. Der Sound verschob sich von Album zu Album nachdrücklicher in den Bereich des Noisig-Atonalen, bisweilen auch Dronigen – wobei man sich das, was hier behelfsmäßig als "Drone" bezeichnen wird, im Falle von SKULLFLOWER selbstverständlich dezidiert unbehaglich vorzustellen hat. Den bisherigen Gipfelpunkt dieser Entwicklung bezeichnet zweifellos das, 2011 bei COLD SPRING erschienene Album "Fucked On A Pile Of Corpses", mit dem BOWER ein infernalisches Noise-Monster abgeliefert hat, das sich in der Brutalität und Kompromisslosigkeit seiner musikalischen Umsetzung dem überaus charmanten Albumtitel als absolut ebenbürtig erweist.
Umso überraschter – und das durchaus positiv – ist man nun, auf der vorliegenden, ebenfalls auf COLD SPRING veröffentlichten Split-LP wieder eine Rückwendung in vergleichsweise strukturiertere musikalische Territorien zu verzeichnen. Der Begriff skullflowertruth.blogspot.de/2012/07/black-psychedelia-one-of-these-days-im.html">"black psychedelia", den BOWER in seinem Blog auf das Side-Project VOLTIGEURS anwendet, scheint mir für die Beiträge auf der vorliegenden Split-LP wahrlich nicht minder passend: Was für ein Getöse! Was für eine Wucht! Wer den jüngeren Output bis hin zum besagten, Nerven und Gehör gleichermaßen zerschreddernden Meisterwerk von 2011 ebenso zu schätzen weiß wie ältere, tendenziell „rockigere“ (Anführungszeichen sind hier durchaus angebracht) Veröffentlichungen wie Skullflower-Obsidian-Shaking-Codex/master/54292">"Obsidian Shaking Codex" von 1993, der wird von diesen drei Stücken begeistert sein. Zur Darbietung gelangt eine Melange aus den beiden zentralen stilistischen Betätigungsfeldern der umtriebigen Band aus London – das Beste aus beiden Welten sozusagen. Wie auf den meisten späteren SKULLFLOWER-Veröffentlichungen kommt man komplett ohne den Einsatz von Drums bzw. ganz generell ohne irgend einen Beat aus: Der Sound baut sich alleine aus schneidend-knirschenden, durch Verzerrer und Effektgeräte gemarterte, im aktuellen Fall – passend zum compagnon de guerre auf der B-Seite – ziemlich Black-Metal-lastig tönenden Gitarrenriffs auf, die in der Gesamtschau etwas generieren, das man wohl am treffendsten als apokalyptisches Noisedronehochamt umschreiben könnte. Letztlich mündet der Versuch einer konkreteren Charakterisierung der Musik von SKULLFLOWER fast zwangsläufig in ein Ringen um wohlfeile Worte, denn seit die Band nach ihrer Interimsauflösung im Jahre 1996 und der Wiederauferstehung im Jahre 2003 wieder auf Kurs ist, oszilliert der "typische" SKULLFLOWER-Sound irgendwo im Niemandsland zwischen Gitarrenwänden, Feedbackexperimenten und brutalem Noise – und ist überdies immer im Fluss, will heißen, der Schwerpunkt, um den herum sich die Musik jeweils kristallisiert, ändert sich von Veröffentlichung zu Veröffentlichung.
Die Atmosphäre der drei Stücke der Split-LP ist getragen, man könnte sie schon fast ein wenig pathetisch – nicht im abwertenden Sinne – nennen, doch mag das der Thematik geschuldet sein, die sie laut Promotext umkreisen, es handelt sich nämlich um "a trinity of sombre meditations evoking Europe after the rain, drowned ruins, sunken dreams". Im Übrigen darf es, wer für einen derartigen Alleszermalmer wie das mehrfach angesprochene Vorgängeralbum verantwortlich zeichnet, guten Gewissens mal ein wenig ruhiger und getragener angehen – gar kein Problem. Das sei MATTHEW BOWER und uns, dem enthusiasmierten Publikum, von ganzem Herzen gegönnt. Zumal "ruhig" in diesem Fall ohnehin nur sehr, sehr bedingt etwas mit dem landläufig üblichen Verständnis von ruhig zu tun hat. Langer Rede kurzer Sinn: Großartiger Beitrag – Musik, die im Raum steht wie ein schwarzer Monolith.
Und damit kommen wir zur B-Seite und ... äh ... MASTERY. – Vorweg sei das Eingeständnis ausgesprochen, dass ich mich in der schillernden Welt des Black Metal keiner allzu fundierten Sachkenntnis erfreue, obgleich ich dem Genre im Laufe der letzten Jahre zunehmend mehr Sympathie entgegenbringe. Der geneigte Leser möge meine folgenden Worte also als subjektive Meinung eines Interessierten und keinesfalls als kanonisches Urteil eines Eingeweihten – oder eines solchen, der sich dafür hält – interpretieren.
Denn in der Tat: So lange ich mich bei der A-Seite aufgehalten habe, so kurz kann ich mich bei der B-Seite fassen: Laut discogs handelt es sich bei MASTERY um ein, seit 2005 aktives Ein-Mann-Black-Metal-Projekt aus der Gegend um San Francisco; die Musik beschreibt der Promotext als "[t]otal berzerker black metal, rooted in the tradition of true grim blackness, but filtered through Mastery's cracked perception […]; a droned out and damaged, outsider blackness, that sounds pretty much unlike almost any other black metal." Nun ja. Meiner unmaßgeblichen Meinung nach wäre hier ein wenig mehr Bescheidenheit unbedingt am Platze gewesen: "Blood Electric" ist summa summarum eine ebenso brutale wie uninteressante Uptempoprügelnummer, dominiert von einer Stimme, die irgendwo zwischen genretypischem BM-Krächzgeschrei und Death-Metal-Gegrowle changiert. Und aufregend, geschweige denn "droned out and damaged outsider blackness", geht nun wirklich anders. Nicht nur, dass man dergleichen schon x-mal anderswo und obendrein besser gehört hat – wenn auch nicht unbedingt auf knapp 18 ununterbrochene und mit Fortschreiten der Laufzeit zunehmend nervigere Minuten ausgedehnt. Man fragt sich zudem, worin eigentlich das verbindende Glied zwischen SKULLFLOWERs grandiosem Opus auf der A-Seite und diesem mediokren Gekloppe bestehen soll – und zwar ebenso in qualitativer wie in stilistisch-formaler Hinsicht. Ich jedenfalls bin einigermaßen davon überzeugt, dass so ziemlich jeder, der – mit absoluter Berechtigung! – von der SKULLFLOWER-Seite begeistert ist, die MASTERY-Seite mit einem Gähnen quittieren wird – et vice versa.
Doch sei's drum: Allein für den beispiellosen musikalischen Furor, den SKULLFLOWER auf der A-Seite entfalten, lohnt sich die Anschaffung allemal." [Endsal für nonpop.de]
|
2013 |
€23.00 |
|
| SKY BURIAL |
Spectrehorse |
CD |
Das Seitenprojekt von FIRE IN THE HEAD mit einnehmenden doom / ritual / noise-drone der visionären Sorte, eine Vermählung von Zeitlupenbeats, stechenden Soundschleifen, verstörenden Geräuschen & rauhen Gitarrenfeedbackwänden..
"....Sky Burial was different. Sky Burial was a sonic revelation and one I whole heartily embraced. Sky Burial is, in reality and so far, a dark ambient / drone / experimental sound sculpture side project. A world apart from FITH. "Spectrehorse" is the first official CD to be released and Michael composed the music, and I quote: "using field recordings from temples and caves in Laos with additional material from various studio sessions between 1996 to the present". Michael has that written large on his website so I for one will not question any of those facts.
The nine tracks sees Michael on fire playing around and manipulating sounds into ever increasingly complex patterns within a variety of different ways. He inhibits a sort of netherworld of darkest spatial ambience... but isn't afraid to introduce a touch of melody, post rock or even, gulp, old fashioned noise into the mix to bring these sounds to a fitting climax. Whilst the drone purists may baulk at some of the extravagances he employs, the rest of us can but admire the fruits of his labour. The spectacle of claustrophobic entrapment is never far away as he toys and plays around with the senses. There is this undeniable feeling of cold isolation that is prevalent and cannot be shaken off. An ominous and stark realisation that forms a knot in the stomach as the music repeatedly builds in intensity. That isn't to say that "Spectrehorse" isn't without its lighter, more serene, moments. Even then though you feel this is an illusion and you patiently wait for the true evil, that must surely lurk beneath, to be revealed in all its ugly glory. I generally hate comparisons to this artist / group or that, although I have been guilty of doing this myself in the past, but to say someone sounds like someone else is a disservice to all the artists concerned. After all Michael, like all artists, didn't deliberately set out to mimic someone's style. He created what he's created. The fact it falls within certain musical spectrums is neither here nor there and so comparisons become invalid and inconsequential. Treat "Spectrehorse" for what it is. A glorious, and mostly sonically bleak, exhilarating musical adventure that is the other side of the coin to FITH by being far more accessible in every respect. I can but hope he continues down this path for many years to come...." [Aural Pressure]
www.collectivexxiii.com/sky
|
2006 |
€12.00 |
|
| SKYSCAPER |
Atmospheric Stratification (Rescape) |
CD |
"Skyscaper is one of the many aliases belonging to none other than gterma's longtime mastering wizard Anders Peterson. Rescape is a reinterpretation of the original Atmospheric Stratification album (originally released on Anders' own Ghost Sounds label in 2012) with the help from several well known artists usually found in the dubtechno field. Imagine ascending into the heavens during a slowly building stormfront as immesurable walls of energy are about to be unleashed."
https://gterma.bandcamp.com/album/atmospheric-stratification-rescape
|
2020 |
€12.00 |
|
| SLAVES, THE |
Ocean on Ocean |
do-LP |
"The mystical drone-folklorist Jon Porras introduced us to the luminous sound of The Slaves, so we thought it fitting that he should expound upon their radiant shoegazing heaviness. Here speaks Mr. Porras:
"A shadow moves beneath the water. Ocean On Ocean: two abysmal surfaces echoing into one another. Mutually reflecting an endless geologic score to a post-apocalyptic litany. Planes of ambivalence obliterated by light, voices eclipsed by devotional low end, synthesized stereography spiraling from an eternal core. Hovering above the weighted disposition of Doom and below the consolation of Shoegaze, the duo transmit a burdened grace that unfolds like a radiant mammal writhing in black water. We discover an object heavy and obtuse until placed into the sea. Lines of light swell and dissipate behind hushed lyrics. Feedback and whitenoise ebb and flow, the mammal's breath hollowed, tumbling below the surface. The hum offset and displaced by water that surrounds. Holographic accord materialized by invalidated hopefulness. We are unsure and skeptical of what this optimism holds. What lies waiting at the depths carved between these two reflective surfaces? Ocean On Ocean implies a tangible province exists between these mirrored planes. A staircase built from reflective feedback, extending horizontally into bliss. A bliss that is fleeting and simultaneously petrified in the present. A paradox realized by the duo's distillations of urgent ambiance and luminescent melancholy. Conjuring environments that billow out from instrumental restraint, Ocean On Ocean is an exercise in disciplined abstraction.
Initially a cd-r, Ocean On Ocean reaches its supreme possibility today. An acoustic artifact cast into alchemical tangibility, these recordings are finally at peace on vinyl. Now the relics hidden between these Oceans can be crystallized."
The Slaves are Barbara Kinzle and Birch Cooper, who hail from Portland, Oregon and who have released other works on Digitalis and Paradigms to considerable acclaim, drawing favorable comparisons to the likes of Grouper, Slowdive, Earth, and Barn Owl. The 2LP of Ocean On Ocean is limited to 400 copies, and the recordings were mastered for vinyl by James Plotkin." [label info]
www.helenscarsdale.com
"Fuck, yeah! Here, we have the double lp reissue of the aQuarius favorite Ocean On Ocean by The Slaves, the Portland duo of Birch Cooper and Barbara Kinzle. We got the cd-r of this album back in early 2011, upon the enthusiastic request from the former aQ-staffer Jon Porras, known to some as one half of of drone-doom duo Barn Owl. The rough sound of the cd-r has been considerably improved via remastering by James Plotkin, with the vinyl cut at 45 rpm so that all the heavy / dreamy / shoegazy loveliness is even richer and more radiant. Still one of our favorite albums, made even better!
We love bands whose music-making formula appears, on the surface, simple and intuitive, yet the sounds they create are huge, engulfing and seemingly complex. Using two synthesizers and echoing vocals, The Slaves inhabit a sound that is as lush and dense as it is mysterious and minimal. Their debut album, Ocean on Ocean, is the perfect showcase of a group that can conjure up bountiful sounds within a restrained approach. Honestly, we can’t get enough of Ocean on Ocean, something about those enormous, dreamy, engulfing songscapes just leaves us wanting more. Their oozing brew of minimal pop melts and blurs with the melodic thickness of MBV's Loveless or early Slowdive, but surrenders to a contemplative mode that falls somewhere between Gregorian hymn and pagan ritual. The duo spin a radiant web of sustained vocals and heavy synth, each chord drawn out and smeared into a neon haze while indecipherable lyrics suggest longing, loss and submission to oblivion.
"Seventeen" unfolds with a slow arching chord progression that grows and dissipates like a coastal tide. Female vocals creep into the oceanic haze while fluttering noise and cosmic wash hover in obscurity. And though the rhythm-less wash may appear to be aimless improv, a close listen reveals a defined structure beneath the veil of long tones and heavy atmospherics. And yes, The Slaves are heavy. And it's not a "down-tuned guitars through a wall of amps" kind of heavy. It’s more evident in the slow movement of the songs, and the visceral effects felt by each musical gesture. The duo have perfectly crafted a searing offering of "soft doom", so gorgeous and mesmerizing we’ve had Ocean on Ocean on repeat for the past week. "Shadows" is another noteworthy track. We love the push and pull of heavy synth and whispery vocals, whirls of female voice echo into the night then dissipate into huge swells of HEAVY distorted synth. Crumbling low end amid ethereal dream chants, what else could we ask for?? One of our favorite records in recent memory and highly recommended!" [Aquarius Records]
|
2012 |
€22.50 |
|
| SLOWDIVE |
Everything is Alive (Crystal Clear vinyl) |
LP |
Sechs Jahre nach dem monumentalen Comeback mit dem selbstbetitelten Album, finden slowdive - bestehend aus Rachel Goswell und Neil Halstead (beide Vocs und Git.), Christian Savill (Git.), Nick Chaplin (Bass) und Drummer Simon Scott - auf "everything is alive" immer mehr Konturen ihres eindringlichen, elementaren Sounds. Das fünfte Album der Shoegaze-Giganten enthält die Dualität einer vertrauten inneren Sprache, gemischt mit der Exaltiertheit von Neuanfängen. "everything is alive" ist transportierend, suchend und leuchtend, das Werk einer klassischen Band, die ihre unverwechselbare Stimme weiter in die Zukunft richtet. Das neue Album begann mit Halstead in der Rolle des Autors und Produzenten, der zu Hause an Demos arbeitete. Halstead experimentierte mit modularen Synthesizern und stellte sich "everything is alive" ursprünglich als ein "minimaleres elektronisches Album" vor. Die kollektive Entscheidungsfindung von slowdive führte die Band schließlich zurück zu ihren charakteristischen, mit Hall durchtränkten Gitarren, aber dieses erste Konzept sickerte in die Kompositionen ein. "Wenn wir als Band alle damit zufrieden sind, ist das tendenziell das stärkere Material. Wir sind immer aus leicht unterschiedlichen Richtungen gekommen, und die besten Stücke sind dort, wo wir uns alle in der Mitte treffen", sagt Halstead. "slowdive ist vor allem die Summe seiner Teile", fügt Goswell hinzu. "Wenn wir fünf in einem Raum zusammenkommen, passiert etwas Undefinierbares." Der mehrjährige Aufnahmeprozess begann im Herbst 2020 im Courtyard Studio, wo die Band schon immer aufgenommen hat, setzte sich dann in Oxfordshire und in der umliegenden Heide von Lincolnshire fort, um dann wieder zurück in Neils eigenes Studio in Cornwall zu gelangen. Anfang 2022 holte die Band Shawn Everett (The War On Drugs, Alvvays, SZA) ins Studio, um sechs der acht Tracks des Albums abzumischen. "everything is alive" ist genau das, was der Titel andeutet: eine Erkundung der schillernden Natur des Lebens und der universellen Berührungspunkte darin. Mit seinen psychedelischen Klanglandschaften, pulsierenden 80er-Jahre-Elektronik-Elementen und John Cale-inspirierten Reisen wirkt das Album sofort wie etwas, das für die Zukunft gemacht ist; das passt, denn die Fangemeinde der Band ist im Laufe der Zeit immer jünger geworden, und ihr Einfluss auf vorwärts denkende Musik-Künstler*innen ist ungebrochen. Für ein Genre, das oft als spalterisch angesehen wird und oft Introspektion rechtfertigt, zeigen slowdive hier, dass sie ihr Handwerk beherrschen, indem sie es über das Singuläre hinaus vorantreiben; das Endergebnis ist eine Platte, die sich ebenso emotional und kathartisch wie optimistisch anfühlt.
The fifth album from shoegaze giants Slowdive contains the duality of a familiar internal language mixed with the exaltation of new beginnings. everything is alive is transportive, searching and aglow, the work of a classic band continuing to pitch its unmistakable voice to the future. Six years after the group’s monumental self-titled album, everything is alive finds Slowdive—vocalists and guitarists Rachel Goswell and Neil Halstead, guitarist Christian Savill, bassist Nick Chaplin, and drummer Simon Scott—locating evermore contours of its immersive, elemental sound.
The new record began with Halstead in the role of writer and producer, working on demos at home. Experimenting with modular synths, Halstead originally conceived of everything is alive as a “more minimal electronic record.” Slowdive’s collective decision-making ultimately drew the group back towards their signature reverb-drenched guitars, but that first concept seeped into the compositions. “As a band, when we’re all happy with it, that tends to be the stronger material,” Halstead says. “We’ve always come from slightly different directions, and the best bits are where we all meet in the middle.” The convergence of five unique characters has made the sound. “Slowdive is very much the sum of its parts,” Goswell adds. “Something unquantifiable happens when the five of us come together in a room.”
The group’s projected studio sessions for everything is alive, in April 2020, were naturally scrapped, and when the group finally did meet up, six months later, at Courtyard Studio, where they’ve historically recorded, the mood was jubilant. (Finally, they had a proper reason to leave the house.) That was the beginning of a multi-year recording process, which moved from Oxfordshire and into the Wolds of Lincolnshire and back to Neil’s own Cornish studio before extending into February 2022, when the band brought in mixer Shawn Everett (The War On Drugs, SZA, Alvvays) to mix six of the record’s eight tracks.
Owing to their deep history, there’s a palpable familial energy to Slowdive in 2023. everything is alive is dedicated to Goswell’s mother and Scott’s father, who both died in 2020. “There were some profound shifts for some of us personally,” Goswell says. Those crossroads are reflected in the many-layered emotional tenor of Slowdive’s music; everything is alive is heavy with experience, but each note is poised, wise, and necessarily pitched to hope. Its unique alchemy subtly embodies both sadness and gratitude, groundedness and uplift. Reflecting on “kisses,” which may be Slowdive’s surest pop moment yet, Halstead said, “It wouldn’t feel right to make a really dark record right now. The album is quite eclectic emotionally, but it does feel hopeful.”
everything is alive, is exactly what the title suggests: an exploration into the shimmering nature of life and the universal touch points within it. Spanning psychedelic soundscapes, pulsating 80’s electronic elements and John Cale inspired journeys, the album lands immediately as something made for the future; which figures, as their fanbase has grown younger and younger as time has gone on, and their influence on forward thinking musical artists continues to prevail.
For a genre that is often thought of as divisive, and often warrants introspection, here Slowdive show their craft as the masters of it by pushing it outwards, beyond the singular; the end result being a record which feels as emotional and cathartic as it is optimistic.
https://slowdive.bandcamp.com/album/everything-is-alive
|
2023 |
€26.50 |
|
| |
Everything is Alive |
MC |
Sechs Jahre nach dem monumentalen Comeback mit dem selbstbetitelten Album, finden slowdive - bestehend aus Rachel Goswell und Neil Halstead (beide Vocs und Git.), Christian Savill (Git.), Nick Chaplin (Bass) und Drummer Simon Scott - auf "everything is alive" immer mehr Konturen ihres eindringlichen, elementaren Sounds. Das fünfte Album der Shoegaze-Giganten enthält die Dualität einer vertrauten inneren Sprache, gemischt mit der Exaltiertheit von Neuanfängen. "everything is alive" ist transportierend, suchend und leuchtend, das Werk einer klassischen Band, die ihre unverwechselbare Stimme weiter in die Zukunft richtet. Das neue Album begann mit Halstead in der Rolle des Autors und Produzenten, der zu Hause an Demos arbeitete. Halstead experimentierte mit modularen Synthesizern und stellte sich "everything is alive" ursprünglich als ein "minimaleres elektronisches Album" vor. Die kollektive Entscheidungsfindung von slowdive führte die Band schließlich zurück zu ihren charakteristischen, mit Hall durchtränkten Gitarren, aber dieses erste Konzept sickerte in die Kompositionen ein. "Wenn wir als Band alle damit zufrieden sind, ist das tendenziell das stärkere Material. Wir sind immer aus leicht unterschiedlichen Richtungen gekommen, und die besten Stücke sind dort, wo wir uns alle in der Mitte treffen", sagt Halstead. "slowdive ist vor allem die Summe seiner Teile", fügt Goswell hinzu. "Wenn wir fünf in einem Raum zusammenkommen, passiert etwas Undefinierbares." Der mehrjährige Aufnahmeprozess begann im Herbst 2020 im Courtyard Studio, wo die Band schon immer aufgenommen hat, setzte sich dann in Oxfordshire und in der umliegenden Heide von Lincolnshire fort, um dann wieder zurück in Neils eigenes Studio in Cornwall zu gelangen. Anfang 2022 holte die Band Shawn Everett (The War On Drugs, Alvvays, SZA) ins Studio, um sechs der acht Tracks des Albums abzumischen. "everything is alive" ist genau das, was der Titel andeutet: eine Erkundung der schillernden Natur des Lebens und der universellen Berührungspunkte darin. Mit seinen psychedelischen Klanglandschaften, pulsierenden 80er-Jahre-Elektronik-Elementen und John Cale-inspirierten Reisen wirkt das Album sofort wie etwas, das für die Zukunft gemacht ist; das passt, denn die Fangemeinde der Band ist im Laufe der Zeit immer jünger geworden, und ihr Einfluss auf vorwärts denkende Musik-Künstler*innen ist ungebrochen. Für ein Genre, das oft als spalterisch angesehen wird und oft Introspektion rechtfertigt, zeigen slowdive hier, dass sie ihr Handwerk beherrschen, indem sie es über das Singuläre hinaus vorantreiben; das Endergebnis ist eine Platte, die sich ebenso emotional und kathartisch wie optimistisch anfühlt.
The fifth album from shoegaze giants Slowdive contains the duality of a familiar internal language mixed with the exaltation of new beginnings. everything is alive is transportive, searching and aglow, the work of a classic band continuing to pitch its unmistakable voice to the future. Six years after the group’s monumental self-titled album, everything is alive finds Slowdive—vocalists and guitarists Rachel Goswell and Neil Halstead, guitarist Christian Savill, bassist Nick Chaplin, and drummer Simon Scott—locating evermore contours of its immersive, elemental sound.
The new record began with Halstead in the role of writer and producer, working on demos at home. Experimenting with modular synths, Halstead originally conceived of everything is alive as a “more minimal electronic record.” Slowdive’s collective decision-making ultimately drew the group back towards their signature reverb-drenched guitars, but that first concept seeped into the compositions. “As a band, when we’re all happy with it, that tends to be the stronger material,” Halstead says. “We’ve always come from slightly different directions, and the best bits are where we all meet in the middle.” The convergence of five unique characters has made the sound. “Slowdive is very much the sum of its parts,” Goswell adds. “Something unquantifiable happens when the five of us come together in a room.”
The group’s projected studio sessions for everything is alive, in April 2020, were naturally scrapped, and when the group finally did meet up, six months later, at Courtyard Studio, where they’ve historically recorded, the mood was jubilant. (Finally, they had a proper reason to leave the house.) That was the beginning of a multi-year recording process, which moved from Oxfordshire and into the Wolds of Lincolnshire and back to Neil’s own Cornish studio before extending into February 2022, when the band brought in mixer Shawn Everett (The War On Drugs, SZA, Alvvays) to mix six of the record’s eight tracks.
Owing to their deep history, there’s a palpable familial energy to Slowdive in 2023. everything is alive is dedicated to Goswell’s mother and Scott’s father, who both died in 2020. “There were some profound shifts for some of us personally,” Goswell says. Those crossroads are reflected in the many-layered emotional tenor of Slowdive’s music; everything is alive is heavy with experience, but each note is poised, wise, and necessarily pitched to hope. Its unique alchemy subtly embodies both sadness and gratitude, groundedness and uplift. Reflecting on “kisses,” which may be Slowdive’s surest pop moment yet, Halstead said, “It wouldn’t feel right to make a really dark record right now. The album is quite eclectic emotionally, but it does feel hopeful.”
everything is alive, is exactly what the title suggests: an exploration into the shimmering nature of life and the universal touch points within it. Spanning psychedelic soundscapes, pulsating 80’s electronic elements and John Cale inspired journeys, the album lands immediately as something made for the future; which figures, as their fanbase has grown younger and younger as time has gone on, and their influence on forward thinking musical artists continues to prevail.
For a genre that is often thought of as divisive, and often warrants introspection, here Slowdive show their craft as the masters of it by pushing it outwards, beyond the singular; the end result being a record which feels as emotional and cathartic as it is optimistic.
https://slowdive.bandcamp.com/album/everything-is-alive
|
2023 |
€11.50 |
|
| SMALL CRUEL PARTY |
Hσυχασμός / Hesychasmus |
10inch |
"Small Cruel Party's rebirth is complete and has found a home with Ferns Recordings, who have already released a few of his works. Here's a new one (actually a re-issue of a cassette from 2019 by Banned Productions), with a Greek title, 'Ἡσυχασμός', which means 'thank
you' (according to Google translate). Each side contains one ten/eleven-minute piece of music. 'Propagation d'un phénomène ondulatoir' (meaning 'Propagation of a wave phenomenon') and 'Quemadmodum cevi ad fortes aquarum' (meaning 'In the same way I came to the strong waters'). The thank you's on the cover are also in Latin, and I think it also says that he recorded the music last year. As always, everything with Small Cruel Party things is very cryptic here. A nightmare for the reviewer but also a good part of the fun. Everything becomes a form of poetry within the whole body of work that Small Cruel Party presents. The first piece consists of rhythmic flickering that finds its way through various delay pedals, which, as these things go with delay pedals, go in overdrive. I assume many musicians would find this out as unwanted distortion, but William Ransome, mister Party, leaves such things in; all part of the minimal process of the music, I assume. The minimalism of the other side works differently. On the first side, these are waves followed by quieter parts, but on the second side, the minimalism is continuous, with a slow variation. The music does a very slow phase-shifting, and further on in the piece, there is also a loop of percussive sound (a metal cup being struck) and the delay pedals working their magic over time again. Music that is the result of direct action or, perhaps, part of a ritual that happens to also involve music? I don't know, but as with so many works by Small Cruel Party, I found this fascinating music, and it could have easily had an LP-sized length." [FdW/Vital Weekly] |
2023 |
€16.50 |
|
| SMITH, CHAS |
An Hour Out of Desert Center |
CD |
Auf dem aktuellen Werk klingt SMITH wesentlich leichter und soft-ambienter als zuvor, eine Nähe zu VIDNA OBMANA ist unverkennbar, aber mit stärker metallischem Einschlag. Sphärenklang, der IST.
"An Hour Out of Desert Center is scored for pedal steel guitars, composer-designed-and-built crotales and sound sculptures, zithers, and a 1948 Bigsby lap guitar (a one-of-a-kind instrument that was owned by famed steel player Joaquin Murphey, who played with Spade Cooley, Tex Williams, Sons of the Pioneer, and other classic country artists). Here, Smith’s musical texture, evolving slowly and continuously over the course of the piece, is without dramatic flourishes. Like the spare landscapes around Desert Center, California, it simply exists in its muted beauty. Absence of Redemption and Albuquerque 5402 are scored for the same instruments as the first work, but with the addition of Smith’s self-designed-and-built three-neck steel guitar, "guitarzilla," which he prepares (a la John Cage’s prepared piano) with metal rods and plays with hammered dulcimer hammers. Absence develops in the linear fashion of the first piece. Albuquerque 5402 is a large-scale, two-movement piece constructed from dense, shifting textures that slowly taper away in the first movement and interweave in the next. " [label description]
|
2003 |
€14.00 |
|
| SMITH, STEVEN R. |
Old Skete |
LP |
"Eleven stark performances on hand-made electric guitar by the man also known as ULAAN KHOL, HALA STRANA and ULAAN MARKHOR, and for work with THUJA, MIRZA and Amsterdam-based clarinetist GARETH DAVIS. Absence of overdubs, loops, samples and delay pedals leaves Old Skete open and unadorned, a spare work akin to Smith's 'Kohl' (Jewelled Antler 2002). Edition of 500." [label info]
www.worstward.com
"Multi-instrumentalist, musician, and printmaker Steven R. Smith's fifteenth solo album (from a staggeringly extensive discography of almost 40 releases) presents the artist at his most raw and vital: an album comprised entirely of solo guitar, with no edits, overdubs, loops, or studio trickery. The result is a haunting minimal record that retains the common thread of modal, droney, Eastern European folk-inspired chord progressions and movements that Smith is known for, while simultaneously giving his compositions appropriate room to breathe. Since the artist himself recorded the album live, there is an intrinsic candid and intimate nature to this release that is both intangible and captivating. Old Skete could very well be considered Smith's sketchbook; the intuitive nature of the pieces provide a glimpse into Smith's process. The works presented are not perfect in terms of performance or duration, but they are immediate, emotive, and vibrant. There are few times where more instrumentation is missed, but towards the end, when Smith starts banging out chords and allowing the pieces to crescendo (especially on the final track), you can't help but think how a killer rhythm section could close this record out perfectly." [James Woodard] |
2011 |
€14.50 |
|
| |
Spring |
LP |
"Long into his varied, restless recording life, Steven R. Smith continues to deliver moments of wonder. Spring, like much of his very best, explores small notions that shift and expand to reveal a private sort of grandeur. Joining Smith on Spring is Gareth Davis, the Amsterdam-based bass clarinetist and occasional collaborator of Machinefabriek, Merzbow, Elliot Sharp and Smith himself, and his presence here is crucial. The restrained interplay between Smith (on guitar, piano, percussion etc.) and Davis create a warmth and intimacy akin to Mark Hollis' masterful eponymous solo LP. Steven R. Smith has been a quiet force in underground psych/post-punk circles since the mid-90s. In addition to a handful of classic releases under his own name, Smith is perhaps better known for the material releases under various pseudonyms (e.g. Hala Strana, Ulaan Khol, Ulaan Markhor, etc.) or as a member of cult acts like Mirza and Thuja. Spring is the latest entry point into his own particular version of cinematic composition."
https://worstward.bandcamp.com/album/spring
|
2022 |
€25.00 |
|
| SOLMANIA |
Highdrophobia |
LP |
Solmania is a Japanese noise music project founded in 1984 by Masahiko Ohno. The hallmark of this amazing artist, who builds his experimental electric guitars from spare parts, is his freakish ability to use the stringed instrument by generating absolutely unique sounds, both in his live performances and recordings. The guitars used by Masahiko Ohno are multi-neck guitars and harp guitars and take on extremely bizarre shapes, using unconventional body shapes, extra-necks, strings and pickups in unusual places, and various extraneous gadgets such as mics or tweets. Pushing far beyond expectations of free improvisation, Solmania weaves blistering passages that incorporate touchstones from progressive , punk, metal, noise, and drone, into more intricate movements of dystopian avant-gardism, culminating as a strikingly forward-thinking expanse of sonic creativity that pushing toward uncharted ground. Still, in all this, his advanced technical and interpretive skills are always evident, and his sense of lyricism in all music, quite profound.
Traveling through the winding and jagged grooves of modified noise guitar, we come across Highdrophobia. Recorded and mixed in September 1986 and released the following month on cassette on Fatagaga Tapes FTC-08 in an extremely limited edition, this rare gem finally rear its ugly head in a new analog version on 12" vinyl. With his stunning modified guitar, Solmania uses tape, radio, metal, turntable and vocals creating three incredible sound tracks of wild noise madness, offering the listener an excellent overview of his music’s development. From side A single session, with its gumtree-shaking shimmer and mottled chords, through to the wildly sophisticated free noise sculpting of side B, divided into two tracks, where a horse-galloping guitar figure transform and uplift it from standard to something deeply original.
A sublime, noisy effort of left field DIY minimalism constructed from recurring guitar pieces, vocal and a peppering of diverse object as turntables, radio and invisible effects, Highdrophobia illuminates a hidden but remarkable legacy of a great performer at the begin of his creativity and consciousness in the mid of the 80s.
Highdrophobia is a masterpiece of guitar drone, its dense harmonics and overtones induce trance-like states, providing one of the most creatively thrilling, immersive experiences that we can call to mind.
https://urashima.bandcamp.com/album/highdrophobia
|
2023 |
€24.00 |
|
| SOLO ANDATA |
same |
CD |
"12k presents Australian duo Solo Andata along with their second album, self-titled. Translated literally from the Italian as 'one way,' Solo Andata portrays the theme of a one-way journey that moves from (and represents a thread between) water and land, fluid/stasis, cold/hot. Following Solo Andata's debut album Fyris Swan (Hefty, 2006) and their 12k inception on Live in Melbourne, Solo Andata presents us with an ambient affair, with dark drones coupled with ethereal sonic environments. It could be said that Solo Andata is carefully sequenced to a narrative structure: beginning on boat in the cold, arctic night of 'Ablation,' and then ending on foot in the hot wilderness of 'Woods, Flesh, Bone.' However, concepts and narratives that seem clear to the artists are often left oblique to the listeners. This is perhaps why Solo Andata represented this narrative in a strict sense by recording what the titles literally refer to. For example, 'Woods Flesh, Bone' presents us with sweltering woodlands, the sound of a fresh carcass being torn apart and the clattering of bones. The same can be said of 'Hydraulic Fluctuations,' 'Canal Rocks,' 'Ablation' and 'In the Light Storming.' These organic sources, then, help tie music and concept together. Solo Andata utilizes very little, if any, electronic instruments. Acoustic guitar, piano, cello and the natural resonances of organic materials (usually by way of a violin bow, pluck, or home-made contraption) become their main instruments, and as their live shows often attest to, Solo Andata can turn almost any object into an instrument capable of producing beautiful, other-worldly music." Includes a 12-page booklet with photographs by Taylor Deupree." [label info]
|
2009 |
€14.50 |
|
| |
Ritual |
LP |
"After the highly praised “Fyris Swan” (Hefty) and “S/T” (12K), Solo Andata return with “Ritual”, a meticulously-crafted album emphasizing an engagement with the unknown.
‘Ritual’ is Solo Andata’s third full-length album and also the inaugural release for the Buffalo-based label, ‘Desire Path Recordings’. This limited edition 12”LP consists of four glorious sonic ‘topographies’ that are altogether spellbinding, eerie, visceral and energetic. ‘Ritual’, similar to Solo Andata’s self-titled album on 12k, is fundamentally made up of organic sounds, such as primitive gongs, bells and bowls, wildlife and environmental recordings, sacred chants, the vibration of human cancerous cells, cleavers, and prepared piano. These four pieces seem to work toward a repetition or ‘ritual‘ between disparate elements so as to transport us, via a magical spell, to dense otherworldly habitats. In fact, the title of the twenty-minute piece Incantare translates as ‘to chant’ (a magical spell upon), which derives from ‘in’, into, unto and ‘cantare’, to sing. For the eight-minute piece Carving, there exists a ‘ritualistic’ image similar to that of Kafka’s In the Penal Colony, where an intricate carving device inscribes the Condemned prisoner’s sentence onto his flesh. The whole affair of ‘Ritual’ is bound to leave listeners mesmerized by its vividness and bewitched by its intensity."
www.desirepathrecordings.com
|
2010 |
€19.50 |
|
| SOLTAU, THORSTEN |
Gewächse im Zwielicht |
CD |
full press release:
This Friesian multi media artist with two works on one CD: his compositions combine drone-ambient and electroacoustic elements and passages in a wonderful way (sometimes spheric, sometime bizarre, sometimes
melancholic) = various instrumental, vocal and electronic sources are building a hypnotic and poetic web, very complex and with many unexpected twists and surprises in the mix... this album is like a little wonder!
The CD combines two complete works by the artist: "Gewächse im Zwielicht", consisting of 4 pieces (2019-2021), dedicated to the hidden phenomena becoming recognizable only after closer examination, and "An End. An One Another" (2021-2022), an installation work for the art gallery 'De Groen' in Arnhem, Netherlands, for this he worked with a choir. Five long pieces with a total time of over 62 minutes, revealing many details with repeated listening...
as the author notes: "My goal is the creation of rich sounds with layers only reachable by multiple listening. Each work exposes itself over time with each consciously made playback / perception: Repetition becomes a reward for the listener."
listen to a track:
https://soundcloud.com/drone-records/thorsten-soltau-das-begehren
###########################
THORSTEN SOLTAU: Self-taught artist since 2006. Working under his given name as well as Femurl [ˈfiːmjuːl].
Strong interest in sonic disintegration, conceptualism and dualism (philosophy / gender).
Thorsten Soltau is a citizen of KonungaRikena Elgaland-Vargaland. He resides in Friesland, Lower Saxony.
MUSIC.ART.MORPHOSIS.
A reflection.
I call myself a listening person – I am constantly listening to and into environments. This has lead to a refined sense able to picking up things that may slip the attention of others. My ears are trained to scan the places I visit – crowded metropoles, remote spots in nature or even familiar surroundings of office or home. My way of listening can be divided in two modes: the perception of sound on an unconscious level or the deliberate focus on sonics.
Becoming a sort of scanning antenna had a profound effect how I compose. The experience of my listening is reflected in my sound works. As an example several compositions feature barely noticeable overdubs. They can only be heard with specific settings of loudness and spatial room (and are therefore easy to recognize with headphones) or equalizer settings. Another example is the creation of dense clusters of sound resembling information streams or (over-)crowded places.
My goal is the creation of rich sounds with layers only reachable by multiple listening. Each work exposes itself over time with each consciously made playback / perception:
Repetition becomes a reward for the listener.
On sounds.
My compositions are either electronic or electroacoustic. A commonly used sound is the human voice or excerpts of complex synthesis. As a composer I choose my source material wisely. The starting elements have to inhabit the desired mood and intensity later formulated into full compositions. Nevertheless I am open for developments by surprise or error during sound design.
One important factor is randomness. Sounds or sound manipulating factors are mapped to random forces which allows for unexpected results. Some of my composing techniques are deliberately executed against their primary intention as well. This allows for an ever-morphing character of my works until the final touch is added.
On sonic morphosis.
My compositional ethic has strong ties to morphosis. To reflect different degrees of sonic shifting / transformation / transitions I apply several techniques and methods. As explained above the use of complex treatments and randomness allows for a sound that constantly shapes into an liquid and organic sculpture. The sonics I create are further exposed to imperfections and errors – like body and mind aging or perishing over time.
Errors are integral and welcome. Most of them occur as a glitch in the analogue or digital domain during sessions or setup changes. They give a further layer to the music resembling small failures made by the composer – adding a human touch despite their virtual origin.
On concepts.
My solo work has always been underlined by concepts. My canon includes albums with apparent or less apparent concepts. Often works can be seen as cornerstones of things I research at that time of their genesis. Several compositions reflect situations from personal life. Thus all works can be seen as intimate and highly personal sonic artifacts. Conception can be seen as the base of each work without outweighing the listeners experience. Each of my pieces can be explicitly heard as a sole composition as well.
https://thorstensoltau.de |
2022 |
€13.00 |
|
| SONIC YOUTH |
EVOL |
LP |
2022 repress; LP version, includes free download code. "The third studio album by Sonic Youth, originally released in May 1986 on SST Records, shows the first signs that the band was ready to transform their no wave past into a greater alternative rock sensibility. 'EVOL ... mark[s] the true departure point of Sonic Youth's musical evolution,' says Pitchfork, who place the album in the #31 slot of their Top 100 Albums of The 1980s. 'In measured increments, Thurston Moore and Lee Ranaldo ... bring form to the formless, tune to the tuneless, and with the help of Steve Shelley's drums..., [impose] melody and composition on their trademark dissonance.' Stereogum likewise praises the album as one that is 'full of suspense..., the cornerstone [of] the Sonic Youth sound..., ground zero for the combination of chiming guitars and atonal skronk... [and] muggy delirium.... The virile "Tom Violence" sounds less written than coaxed from a cauldron, the sort of song that fogs windows. The offkilter [droning love song] "Starpower" ... is sung [by Kim Gordon] in a frosty [Nico-evoking] monotone. "In The Kingdom #19," featuring Mike Watt on bass and ... vocals [by Ranaldo]..., is a harrowing story of a highway wreck over a suitably edgy instrumental backing punctuated by ... live firecrackers into the vocal booth.' 'EVOL slithers into the unconscious,' notes Popstache. 'Once the [detuned melodies and haunting riffs and] final whispers of feedback [of "Expressway to Yr. Skull"] depart from the speakers..., the music [leaves] a faded footprint, forever reeling the listener back for another strange trip.'"
|
2022 |
€26.00 |
|
| SORIAH |
Chao Organica in A Minor |
CD |
Kontemplation pur von diesem obskuren Künstler! Orgel-Oberton-Drones und gutturale Gesänge, esoterisch & spirituell, aufgenommen in einer Kirche in Portland.
“Like a bolt from the blue, the saccharine rich organ drone sets the supper for this winding piece of esoterica. Take equal parts Messiaen organ atones and the beguiling, echoed baritone moans of a disembodied spirit (with just a dash of pungent myrrh pouring over a cup of the very thickest Turkish coffee) and the environs of Soriah are partially breached. This magnificent choral suite for antique church organ is paired with a second vocal suite for Tuvan throat singing. The bone trembling multi-timbres of Soriah's commanding throat singing crack open and become a cathedral as the rumbling is pulled through a wash of electronic effects. Of chaos is a new religion erected. Soriah's crushing passion play becomes a bombastic bodhisattva that leaves all average messiahs staying indoors for the second coming. Also sprach Soriah! For fans of drone, Mirror, Coleclough, Af Ursin and avant-garde that stands the test of time.
From out of the fir-lined mists of the Pacific Northwest's primordial musical soup is spawned the singular performance and sound sculptor Soriah. Spilling initially from a rock and roll womb, but building on years of intensive studies in Tuvan throat singing and classical Indian raga chanting, Soriah both subverts and elevates tradition by weaving the avant-garde into the ancient. Whether backed by hand percussion, or accompanying himself on organ, or with electronics, or wailing a cappella, a thick, echoing, thaumaturgic atmosphere is carved out of the thin, vibrating air that rushes between vocal chords. Performance is an integral part of Soriah's Choa-sphere. Concerts played in haunted tunnels, from trees, in the desert, in churches and other far-flung venues are more the rule than the exception. Elaborate costumes, often incorporating authentic head-dresses and other tribal garments and totems, are another hallmark. The costumes are worn partly in beatific reverence and partly for the sake of how they move. Soriah's grounding in the study of butoh, yoga and other physically based rituals completes the circle of the experimental shaman; a circle which will continue to propagate as the only constant with Soriah is change. After numerous home and hand made releases Soriah is finally poised to light out into the world at large through his first recording on Beta-lactam Ring Records.” [label press release]
|
2006 |
€13.00 |
|
| SORIAH (FEAT. ROEDELIUS & NORMAN WESTBERG) |
Lumina |
10inch |
Available exclusively on 10" clear with white smoke vinyl, this ambient and avante garde collaborative album from world renown throat singer Soriah features prepared guitarist, Norman Westberg (SWANS) and the venerable and seminal German artist, Hans Joachim Roedelius (CLUSTER). The SIDE A track "Alba Via" featuring the later, incorporates the pipe organ housed in the Berlin philharmonic and harkens back to Soriah's first release "Chao Organica in A Minor" with a prepared sense of harmonics and majestic pipe organ whirls. "Mirrored in Amber" featuring the former gives a floating peace and dark vastness expressed in Westbergs heaviy effected guitar and Soriah's spacial expansiveness. This work intends on bringing peace to lost souls of those who have recently passed, a common overarching theme of Soriah's work.
https://soriah.bandcamp.com/album/lumina
"A long time ago, in Vital Weekly 603, FK reviewed a CD by Soriah, then from Portland, featuring his throat singing and other instruments. Today, I heard his music for the first time, and now it is in collaboration with two others, one per side. The A-side contain 'Alba Via', which is the Latin translation of the Tuvan saying meaning "white road") and is collaborating with Hans Joachim Roedelius, now in his 88th year and still a musical force, always open to working with new musicians. He recorded the pipe organ at the Berlin Philharmonic, which he sent to Soriah (preferred spelling is SoRIAH). I don't know if any processing was done to the Roedelius recordings. I couldn't tell. If entirely unprocessed, the pipe organ is played only at the very low end of the register and very few tones. It takes some time before Soriah's voice comes in, and I think there is also a flute-like sound. Even though I am not an expert on overtone singing, I believe the actual overtone singing happens later in this piece. The overall mood is tranquil, and while there is development throughout, it slowly grows with more sounds and, as with so many parts of ambient music, an all-too-quick ending.
I had not heard of Norman Westberg before; my bad, I know, but I was never a fan of the Swans. That's where his main claim to fame is. Unlike Roedelius, whose work I listened to a lot and found a natural match for Soriah, I never heard any of his solo work. But Westberg delivers the goods. Apparently, all on guitar and, at least that's what I think, a lot of effects. Westberg creates a massive drone, slowly developing and changing, and Soriah's throat singing rolls majestically in and out of the mix. For some strange reason, there is a mid-track, fade out, and fade in, like there is a first and a second part, but there isn't much difference. Here, the development is also slow but stays within the number of sounds used. Unlike the other side, which seems to add sounds as the piece goes. Both pieces are about twelve minutes each, and that's not enough for me. Both could have been twenty and make up for a great LP, or both could have been thirty, and it would be an excellent CD; I prefer the latter because flipping a record also takes the listener out of the flow. It's fantastic music, albeit way too short." [FdW / Vital Weekly] |
2023 |
€29.50 |
|
| SORRY FOR LAUGHING |
See It Alone |
CD |
"Sorry For Laughing is a project by Gordon H. Whitlow who is also a member of legendary US avantgarde collective Biota, formerly Mnemonists or Mnemonist Orchestra. Their music is a mixture of modern classical, experimental sounds, noise, industrial, avant-garde, songwriting and free jazz. Their releases were published by their own self-produced label Dys between 1981 and 1986. By 1985 the group had split off into separate groups for visual and audio work. From that time, Mnemonists operated only as a visual arts collective while the musical activity was taken over by a new group called Biota that featured a few of the musicians involved with Mnemonists as well as many new members. In 1986, Gordon H. Whitlow released a cassette under the name Sorry For Laughing: 'The compositions stem from my beginning days with the avant-garde recording ensemble Biota, shortly after completion of the Bellowing Room LP.' The album was re-issued on CD by Klanggalerie in 2018 and is still available. Now, Gordon reactivated the project and changed it from a solo effort into a new supergroup: he is joined on See It Alone by Edward Ka-Spel of Legendary Pink Dots fame, and Martyn Bates of Eyeless In Gaza. Also contributing is Denver guitarist Janet Feder and Patrick Q. Wright, Kiyoharu Kuwayama and Nigel Whitlow. Together, these musicians created an exceptional album of tender music where stunningly beautiful vocals float around ambient soundscapes and minimal classical music."
"This is Gordon H. Whitlow’s project, who has a long discography in his more than 30 years of musical career, he is also a member of the legendary American avant-garde collective Biota.
For “See It Alone”, two renowned artists such as Edward Ka-Spel from Legendary Pink Dots and Martyn Bates from Eyeless In Gaza join forces, two fundamental groups of psychedelic, post-punk and avant-garde music.
In this intimate album with bucolic passages that flirts with folk, along with violin, organ and field recordings arrangements. The interpretation of the songs is in a melancholic and sober tone. When Bates sings like a crooner I can't help but remember the beautiful songs from Eyeless In Gaza that alternate with Ka-Spel's velvety voice.
This album is a gift that moves for its simplicity and intimacy that are found in gems such as “Obsolesce”, “Seven Stormy Oceans”, “Anti-Hymn” and “Fate Stars”.
[Guillermo Escudero / LOOP]
|
2021 |
€15.00 |
|
| |
same |
CD |
The Sorry For Laughing album was released in 1986 on cassette only. It is a project by Gordon H. Whitlow who is also a member of legendary US avantgarde collective Biota, formerly Mnemonists or Mnemonist Orchestra. Whitlow composed and recorded the album all by himself.The accompanying artwork for the original cassette release was made by several members of Mnemonists, the visual department of Biota. Sorry For Laughing has a different sound though. It is more varied, there are elements of post punk as well as elements of contemporary classical music. Somehow though you can hear Biota in there as well. Les Disques du Crepuscule is in the air. After all, the idea was to make a Christmas album. Whitlow says that when he lived in Colorado and worked in a bakery a homeless drifter used to come to the shop and buy the same stuff every day. With Christmas approaching, he interviewed the guy and got his Biota mates involved. Piano parts were recorded at a wealthy house-sit in Denver, others at Mulberry Street Studio, home of Biota's Bill Sharp who also co-produced the album. A most interesting album that's been lost for a long time. We are glad to bring it back into the world, remastered by Martin Bowes of Attrition. Gordon Whitlow says about it: "This is a solo musical project recorded in the winter of 1985-86 and self-released on cassette in a very small edition in 1986; this was followed by a modest limited edition cassette release on the ADN label in Italy in 1989. It has never been released to the public on any medium other than cassette. The compositions stem from my beginning days with the avant-garde recording ensemble Biota, shortly after completion of the Bellowing Room LP. The recordings feature a handful of Biota players contributing to compositions that fall outside the group’s activities. Vienna-based label KlangGalerie has expressed interest in reissuing the project as a CD. As you will hear from the initial spoken word (interview) passages, the project has a quasi-Christmas theme, but it is not overt in that sense. Rather, it is a collection of instrumentals whose moods and atmosphere are founded on largely repetitive melodic passages accompanied by “found” atonal elements. It is intended to be minimalistic with sparse arrangement (and on one track, some distant vocalization), aiming for a sense of nostalgia, isolation/loneliness, and childlike muse
https://www.klanggalerie.com/gg289
|
2019 |
€15.00 |
|
| SPIEGEL, LAURIE |
Expanding Universe |
do-CD |
"The Expanding Universe is the classic 1980 debut album by composer and computer music pioneer Laurie Spiegel. The album is reissued here for the first time in a massively expanded two-CD set, containing all four original album tracks plus an additional 15 tracks from the same period, nearly all previously unreleased. Some of the already well-know works included in this set are Patchwork, the complete Appalachian Grove series, and Kepler's Harmony of the Worlds, which was included on the golden record launched on board the Voyager spacecraft. The pieces comprising The Expanding Universe combine slowly evolving textures with the emotional richness of intricate counterpoint, harmony, and complex rhythms (John Fahey and J. S. Bach are both cited as major influences in the original cover's notes), all built of electronic sounds. These works, often grouped with those of Terry Riley, Phil Glass, Steve Reich, differ in their much shorter, clear forms. Composed and realized between 1974 and 1977 on the GROOVE system developed by Max Mathews and F.R. Moore at Bell Laboratories, the pieces on this album were far ahead of their time both in musical content and in how they were made. Each of the included works broke new ground, pioneering completely new methods of live interaction with computer-based logic - ways of creating music that are now reaching the heights of their popularity with Ableton Live, Max
MSP and other interactive music software entering mainstream music production. The package also includes an extensive 24-page booklet with notes by Laurie Spiegel and period photos." [label info]
www.unseenworlds.net
"And yet again does Unseen Worlds provide us with something Unheard, at least over here. From the world of minimal and electronic music they find those interesting gems that are from really rare releases - of the kind you don't even see on the most outsider/underground blogs. I never heard of Laurie Spiegel or her album from 1980 on Philo Records. We are dealing here with some highly computerized music from a time when computer where not things for your desk or your lap, but apparatus that filled rooms. Its all told in the booklet, albeit with a lot of technical speak that perhaps sometimes may elude the uninitiated. But the whole text breathes 'another time, another world', even if you don't understand what it is all about. It is about limitation with those early big computers to create music, and perhaps that's the real surprise if you hear it. Take for instance a piece like 'Drums', which sounds like Pan Sonic or Goem, with a bouncing back and forth rhythm. The booklet tells us, about these pieces, that Spiegel has a folk influence, but that's hard to hear (well, that, or more inside knowledge is required). In other pieces there is perhaps something that we would call these days 'cosmic music'. Spiegel's music is not of a plink-plink nature that one perhaps would associate early computers with. Instead she plays long form, sustaining pieces, which slowly develop. Now, here she is clearly been influenced by the world of minimal music. Various of her pieces start out with with a bouncing single note which slowly expand - 'get longer' - and then starts to build slowly. The length of a piece is usually five to ten minutes with some being well over that, such as the title piece which is close to thirty minutes (which was also pressed in this length onto vinyl, so a CD version is more than welcome, I should think). No doubt with some of this music one could easily think its too simple and with my laptop running live you could easily do the same results in a few minutes, but I prefer to take the historical position: wow, with such limitations, these results! Spiegel's discography is rather small, and this double CD contains the entire debut LP, various pieces from later works (such as 'Drums' and 'Appalachian Grove I-III'), but also many pieces that are here for the first time. I can imagine that close to three hours of this music is perhaps all bit much to take in, but this is yet another remarkable re-issue on Unseen Worlds. Boy, what a great label so far, what surprises they have next for us?" [FdW/Vital Weekly]
|
2019 |
€18.00 |
|
|
Unseen Worlds |
do-LP |
Laurie Spiegel's second full-length album, Unseen Worlds, arrived just over ten years after her debut album. Having realized the pieces found on The Expanding Universe (1980) on an instrument no longer available to her, the GROOVE System at Bell Laboratories, Spiegel moved on to composing and developing for the Alles Machine, alphaSyntauri, McLeyvier and various other instruments before creating an instrument entirely her own. Spiegel created Music Mouse - An Intelligent Instrument on a Macintosh 512k so that she could have an instrument that was not general purpose but a small, specialized, and well defined musical instrument for and by her that she did not have to compromise on or risk losing access to it. While it was a very personal instrument for Spiegel, demand among friends and colleagues nevertheless grew until Music Mouse - An Intelligent Instrument became a commercial product for the Macintosh, Amiga, and Atari personal computers with a devoted popular following that continues to this day, despite the obsoletion of those platforms. At the time of her Unseen Worlds album's original release in 1991, the issuing record label turned out to be going out of business, dissolved and disappeared, sending the album immediately into obscurity. Outside of a private CD edition issued by Spiegel on her own Aesthetic Engineering label in 1994, this new edition represents the first proper commercial release of Unseen Worlds. "Unseen Worlds is not so much based on melody and rhythm as it is on textures, pulses, and sonic environments. Sometimes dark, sometimes light, its drama pulls in the adventurous listener who wants to take a musical journey. Using computer software she wrote in order to implement a unique musical vision, Unseen Worlds blends the artistic and the technical, the cerebral and the sensual, and revives the virtually abandoned tradition of electronic music. Unseen Worlds is the work of a sonic explorer whose music can both challenge and caress. Those looking for other worlds of sound can put on headphones and find them here" - Craig Anderton
|
2019 |
€33.00 |
|
| |
The Expanding Universe |
3 x LP |
The Expanding Universe is the 1980 debut album by computer music pioneer Laurie Spiegel. The original album is reissued here as a massively expanded 3LP/2CD set, all four original album tracks plus an additional 15 tracks from the same time period, many making their first appearance on vinyl in this brand new edition. Since this album's first CD reissue in 2012, it has gone on to be widely established as a classic of 20th century electronic music. Some of the well-loved works included in this set are "Patchwork", the "Appalachian Grove" series, "East River Dawn" and "Kepler's Harmony of the Worlds", which was included on the Golden Record launched on board the Voyager spacecraft. The pieces comprising The Expanding Universe combine slowly evolving textures with the emotional richness of intricate counterpoint, harmony, and complex rhythms (John Fahey and J. S. Bach are both cited as major influences in the original cover's notes), all built of electronic sounds using the GROOVE system at Bell Laboratories during the 1970s.
https://unseenworlds.bandcamp.com/album/the-expanding-universe
|
2019 |
€42.00 |
|
| SPK (S.P.K.) |
Zamia Lehmanni (Songs of Byzantine Flowers) |
LP |
Originally released by Side Effects in 1986, “Zamia Lehmanni” was the third (and final) core SPK album and was Graeme Revell’s first truly solo project. He was in a period of transition, somewhere between the industrial noise of the early years and his later award-winning soundtrack work. On the day before this was first released, this style of music, now ubiquitous (especially in soundtracks), did not exist.
After “Information Overload Unit” cleared a space for subsequent explorations, and the environmental percussion and anchored mutilated sound collages of “Leichenschrei”, the “body without organs” was fully eviscerated. Graeme felt ‘industrial music’ was becoming ossified and needed to be taken into radically new territories: ‘post-industrial’.
The track “In Flagrante Delicto” (mastered as originally intended here) was later used by Revell for his work on the soundtrack for the 1989 film “Dead Calm”, which won him Best Original Score from the Australian Film Institute.
Unavailable in any format since Mute’s 1992 CD edition, we now present this landmark album on newly remastered CD, and on vinyl for the first time since 1986. Approved by Graeme Revell, this release comes with new artwork by Abby Helasdottir and is remastered by Martin Bowes (The Cage).
LP on sumptuous 180gm black or limited edition gold vinyl, presented in a 350gsm gatefold sleeve.
CD in a 6-panel digipak. The track “The Doctrine Of Eternal Ice” appears on CD only, but is included on the digital download for vinyl.
Both formats feature new liner notes from Graeme Revell, 2019.
https://coldspring.bandcamp.com/album/zamia-lehmanni-songs-of-byzantine-flowers-csr274cd-lp
|
2019 |
€23.50 |
|
| STAPLERFAHRER & SIGTRYGGUR BERG SIGMARSON |
Two Lost Souls |
CD |
"Korm Plastics is proud to present the twenty-sixth release in the Brombron series (missing numbers will follow later this year). Originally a co-production between Staalplaat and Extrapool, it is now hosted by co-curator Frans de Waard. In the year 2000 Frans de Waard and Extrapool started the Brombron project. Two or more musicians become artists in residence in Extrapool, an arts initiative in Nijmegen, The Netherlands, with a fully equipped sound recording studio. These artists can work in a certain amount of time on a collaborative project; a project they always wished to do, but didn't have the time or the equipment to realize.
Here we have Sigmarson, who is since long part of Icelandic Stillupsteypa and a regular collaborator with BJ Nilsen on some of the more dark ambient records of a refined nature. Less known perhaps is that he is also working as a composer in his own right and a reknowned visual artist. He teams up with Steffan de Turck, better known as Staplerfahrer. He was a member of 4DaLadiez and has been creating weird and wonderful lo-fi electronic music on his nearly broken equipment since fifteen years. The two took advantage of the material in the studio - synths, organ, effects - to create music that is dark, mysterious, ambient, drone based, scary and even a bit rhythmic from time to time. Hardly lost at all, we'd think.
Design by astrid Florentinus." [label info]
www.kormplastics.nl
|
2013 |
€10.00 |
|
| STAR TURBINE |
Sandwich Music |
CD-R |
ACLE 1010: CD-R in folded cardboard sleeve, limited edition of 50 copies
The improvising duo of Claus Poulsen and Sindre Bjerga are back on attenuation circuit with a new album. It retains the combination of electroacoustic drones and the percussive possibilities of amplified objects, but adds some surprising new elements that create a truly colourful mosaic of sounds.
The playful element that characterises this album and that sets it apart from more moody, somewhat “darker” releases by Star Turbine, is exemplified by the sample of Martin Klapper playing toys and amplified objects in Part 2. This not only expands the range of available sound sources, but also changes the pace of the improvisation from a duo to a trio situation, with the two live players having to work with the sounds from the recorded third player.
File under: Improvisation, ambient
www.attenuationcircuit.de
"This trio of new releases on Attenuation Circuit kicks off with Star Turbine, the ongoing duo of Sindre Bjerga and Clous Poulsen (the latter also from Small Things On Sundays); as such they tour Europe infrequently and do releases on CDR. On the 'Sandwich Music' release they receive help from Martin Klapper playing toys and amplified objects in the middle of the third tracks. From both of their solo releases and perhaps their other collaborations as well, we know they love long stretched sounds, electronic hands-on manipulation of sounds, played in a improvised way, and somehow a bit lo-fi also. On this release we find three pieces of which the opening piece is the longest. All of their pieces are relatively long and take their time to develop a bit; or not, whatever they feel like doing. Sometimes the 'no-development' scheme is part of whatever it is that they are doing. Especially in the second piece - with Klapper - it seems to be an endless stream of sounds, rather than a deliberate composition. It works well, especially since they use lots of sound effects, which sort of smears it all together and suggests space and atmosphere, where it perhaps is not always there. For whatever they do, they do with some style and dark elegance." [FdW/Vital Weekly]
|
2014 |
€8.00 |
|
| STARGAZER'S ASSISTANT |
Mirrors & Tides, Shivers & Voids |
CD |
"Eyes closed, ears wide open, we are given freedom to dream the void. Sweeping, intricate, sometimes ominous yet always exuding a warmth and depth of emotion, The Stargazer’s Assistant produces pure cinema of sound. For this record David J. Smith (Guapo) is joined by Circle vocalist Mika Rättö’, who sings on the heartbreaking “Coral Butterfly”. David also had the honour of playing the late Finnish jazz drummer Edward Vesala’s Sound & Fury collection of unique metal percussion. Ancient forests, vast plains, billowing clouds, rusted metal hulks, wet rock walls, light flickering in dark: these are the subtle visions of The Stargazer’s Assistant.
Originally released on Utech Records in 2013 as a double 10” vinyl this recording is now available for the first time on CD.
David J. Smith, perhaps best known as the band leader & drummer of avant garde rock group Guapo, formed The Stargazer’s Assistant in 2007. Originally a solo recording project set up to provide soundtracks for his work as a visual artist, it has since grown to encompass live concerts and collaborations with film makers and performance artists. The group is at present a trio comprising: David J. Knight (Danielle Dax, Lydia Lunch) with whom Smith also performs in the group UnicaZürn (together with Stephen Thrower - Coil, Cyclobe) and Michael J. York (Coil, Cyclobe, Teleplasmiste). Smith & York have collaborated since working together from 2012 in the live incarnation of Stephen Thrower and Ossian Brown’s group Cyclobe. 2018 saw the latest release Resurgam I, Resurgam II on House Of Mythology (the follow up to their 2016 debut for the label - the double LP Remoteness Of Light). Smith is currently working on a film for the Resurgam pieces with artist Maurice Burns.
https://zoharum.bandcamp.com/album/mirrors-tides-shivers-voids |
2019 |
€13.00 |
|
| STIEBLER, ERNSTALBRECHT |
Kanon / Torsi |
LP |
"Ernstalbrecht Stiebler (b. 1934) is a German composer of minimalist and reductionist contemporary music. His name is still most closely associated with his long-time position as radio editor and producer for New Music at the Hessian Broadcasting Corporation (Hessischer Rundfunk), but his own compositional oeuvre – beginning in 1955 and continuing until now – has in the recent years attracted more attention with various concerts and several releases.
Having attended the Darmstadt International Summer Courses for New Music from 1958 onwards, Stiebler decided in 1963 to leave serial music behind and instead opt for his own reductionist style built on minimalist structures and repetitions, though not in any way related to the so-called Minimal Music but rather influenced by Minimalism in visual art. In terms of composers of his time, the closest stylistic relationship that could be drawn is that to Morton Feldman. Stiebler's approach is best summarized in his own words: "Music is too important to burden it with emotions."
This LP pairs two organ-based works: "Kanon" (1980) for organ, electric organ and wind instruments, and "Torsi" (2002) for organ in three movements: "Torso", "Organa minima" and "Cantus". The latter recording, made at St. Stephen's Church in Konstanz (organ: Hans-Peter Schulz), was previously released on CD by m=minimal. "Kanon" is so far unreleased. Edition of 300 in gate-fold sleeve including an extensive interview conducted by Jens Strüver about Stiebler's compositional views and techniques."
www.edition-telemark.de
|
2017 |
€20.00 |
|
| STOLLERY, PETE |
Un son peut en cacher un autre |
DVD-A |
"Onset-Offset (1996). Peel (1997). Shioum (1994). Altered Images (1995). Shortstuff (1993). ABZ-A (1998). Vox Magna (2003).
When I first became involved in electroacoustic music, I was fascinated with the way that technology could allow the composer to work directly with sound, in a similar way to how a sculptor or potter works with his-her materials. The ability to manipulate material at this basic level is a central aspect of my music and this can be seen most obviously from pieces which are concerned with the interplay between the meanings associated with sounds and these sounds as pure sonic material, divorced from any mimetic connotation. There is little in my music which can be likened to broad brush-work - attention to detail and the exact positioning of sound objects within composed space is of the utmost importance to me. This allows the listener to become aware of the intrinsic qualities of the sounds themselves, and how they behave. There are many uses of, and references to, real-world sounds in the pieces on this disc; the key in the lock opening the door at the beginning of Onset-Offset is, on one level, metaphorical, but at the same time, provides an opportunity for the listener to enjoy the spectro-morphological behaviour of this gesture. Playing with the potential ambiguities of listening is central to all these pieces; a door slides open to reveal a new sound space, but at the same time, the listener dwells on the texture and shape of that slide; a street scene is recognised initially, but with the subtle inclusion of other sounds, and gradually mutates into the unrecognisable - the boundaries between what is known and what is unknown become blurred. A roulette wheel is stretched and the outer surface peeled back to reveal new sounds beyond.'
Pete Stollery studied composition with Jonty Harrison at the University of Birmingham, where he was one of the first members of BEAST (Birmingham ElectroAcoustic Sound Theatre) in the early '80s. He now composes almost exclusively in the electroacoustic medium, particularly acousmatic music. He has collaborated with practitioners from other artistic disciplines, particularly dance and sculpture and has produced music and sound design for a number of UK visitor attractions including Dynamic Earth in Edinburgh, Magna in Rotherham and St Patrick's World in Downpatrick (Northern Ireland). He is Reader in Composition and Electroacoustic Music and Director of the Electroacoustic Music Studio at the University of Aberdeen (Scotland), delivering courses on the creative applications of technology in music and music education to students, schoolchildren and the general public. He is a board member of Sonic Arts Network (SAN), the national organisation promoting electroacoustic music in the UK, which he chaired in 1996-99 and again in 2002-03. In 1996, along with Alistair MacDonald, Robert Dow and Simon Atkinson, he established the group invisiblEARts whose aim is to perform acousmatic music throughout Scotland and to promote Scottish acousmatic music to a wider audience, both within Scotland and abroad." [label info / credits]
www.empreintesdigitales.com
|
2006 |
€12.00 |
|
| STRAFE F.R. (STRAFE FÜR REBELLION) |
The Bird was stolen |
CD |
"Based in Düsseldorf, Germany, Strafe F.R. is a long-term collaboration between the artists Bernd Kastner and S. M. Syniuga, which started in 1979. After a long period of hibernation, The Bird Was Stolen marks their return to Touch following four previous releases in the 80s and early 90s.
From their early connection with the local punk and new wave scene, centered around the Ratinger Hof in Düsseldorf, Strafe went on to develop a unique and influential form of sound sculpture that pioneered the use of field recordings alongside home-made instruments and the use of the studio as a performance space.
A new track, ‘Virgin’, which appeared on the recent Touch Movements CD/book, gave an early indication that they are back at the peak of their powers. The Bird Was Stolen presents 14 new compositions that push the signature sound of Strafe F.R."
|
2018 |
€15.00 |
|
| STROM.EC |
Divine Legions Beyond Psyche |
CD |
"With their fifth full length CD, Finlands Strom.ec continue to further explore the far regions of power electronics, challenging the
confines and stretching the boundary of the genre, sculpting new and innovative creations that are uniquely their own. Having been
under construction for over seven years, Divine Legions shows Strom.ec with a majestic control of their craft, offering 8 tracks (including one 21 minute epic to close the CD out!) of powerful and explosive industrial music, full of volatile frequencies, brain bending, enigmatic atmospheres, hallucinatory noise, and the trademark vocal assault that few acts can rival. Presented in a luxurious 8-panel DVDigipak, designed by Jerome Nougaillon, Divine Legions Beyond Psyche represents Strom.ec at their finest, most creative form, having reached a pinnacle in an already illustrious." [label info]
www.malignantrecords.com
|
2008 |
€13.00 |
|
| SUBINTERIOR / SELAXON LUTBERG |
The Meeting |
do-LP |
"Stunning 4-part collaborative series between these 2 Italian ambient artists, released together in one glorious 2xLP set! Originally released on Selaxon Lutberg's own label, Cold Current Productions, each part is dedicated to a season and was released separately on 3"" CD-R in an edition of only 50 copies. We (denovali + murkhouse) just thought this was too good to be heard by so few people and limited to the CD-R format, though. Beginning with Winter Meeting and going through the seasons in order to end with Fall Meeting, each part will be given one side of 12"" vinyl. The mood on each part is slightly different, reflective of the mood or feel of its respective season, ranging from cold, icy textures to warm, soothing ambience. comes with an amazing artwork on thick printed innersleeves, thick gatefold cover and 180g vinyl. Limited to 500 pieces in total and no repress!" [label info]
www.denovali.com
www.myspace.com/selaxonlutberg |
2010 |
€22.50 |
|
| SUBOTNICK , MORTON |
Silver Apples of the Moon |
LP |
"Re-issued on vinyl for the first time since its original 1967 release! Morton Subotnick's truly visionary electronic master piece 'Silver Apples Of The Moon' on an audiophile 180gr LP, especially mastered for vinyl. As composer, musician and initiator of the San Francisco Tape Music Center which he co-founded with Pauline Oliveros and Ramon Sender in 1961, Morton Subotnick (born 1933) has propelled the progress of electronic music in several significant ways. From 1963 on he worked with Don Buchla on the development of the early synthesizer 'Buchla Series 100' before moving to New York where the artist-in-residence at the newly established Tisch School Of The Arts of the New York University was enabled to set up his own studio. That's where Subotnick's most popular work 'Silver Apples Of The Moon' was commissioned by Nonesuch as the first electronic composition ever that was especially conceived for a vinyl release (in opposition to the common practice of performing live). Till the current day this seminal album has not lost his visionary power, has since long been considered one of the essential milestones in electronic music with great effect on later generations of artists - starting from the cult formation Silver Apples to Laika who titled their debut 'Silver Apples Of The Moon' too. Now for the first time since its original 1967 release, Subotnick's masterpiece (which was selected for the Library Of Congress in 2009) has finally been made available on vinyl at last: a new audiophile 180gm LP that was cautiosly remastered for vinyl. Limited to 500 items worldwide!" [label info]
www.karlrecords.net
|
2014 |
€20.00 |
|
| SUDDEN INFANT |
Earwash |
CD |
Crazy Swiss noise consisting of all kinds of garbage-sounds, screams, feedbacks, belches, Schwyzerdütsch-talking and shouting people, alp-horn-sounds, bass & trombone and all kinds of concrete-noises and effects, with titles like “ZOMBIE LULLABY” and a cover-version of JACQUES BRELs “Ne me quitte pas” this shows JOKE LANZ at its best!
“feat: Joke Lanz - turntables, noise toys & voice, Franz Lieberherr - trombone & yodeling,
Christian Weber - bass & substructural noises.
ultra sonic,Scatter it,Scatter it.! really noisy!! Noisy cut-up avantgarde. wonderful composition and a humor sense.” [label info]
|
2004 |
€13.00 |
|
|
Things that happened |
LP |
"We are proud to present the new LP by the very known Sudden Infant (Joke Lanz)!
"Joke Lanz aka Sudden Infant creates an unique blend of physical sound-poetry and dadaistic vocals, using contact microphones, prerecorded soundloops and noises. The result is abrupt Musique Concrète juxtapositions of spasmodic gibbering and a battery of disorienting electronics. It's a fragmented field of sound that comes to its own autonomy!" [www.suddeninfant.com]
Two great live recordings which shows more the competence of Joke Lanz then the most studio recordings!
Edition of 300 copies on coloured vinyl.
3 colours are availabel: blue, red, green!
A small part of the edition comes 2-coloured: blue/red or red/green.
Artwork by St.Martin of Margitt Holzt." [label info]
www.reduktivemusiken.com
|
2011 |
€16.50 |
|
|
Wölflis Nightmare |
LP + CD |
"JOKE LANZ aka SUDDEN INFANT ist Extreme Body Culture Performance Art NOISE und BLUES INDUSTRIAL in simpler Form.
Joke wurde 1965 in Basel geboren und lebt heute in Berlin. Seid 1985 ist er aktiv mit unzähligen Bands wie Jaywalker, SCHIMPFLUCH-Gruppe, Catholic Boys in Heavy Leather, WAL - wo er seine Hass/Liebe zur extremen Körperkult-Performance und den brachialen Industrial Noise in einfachster und eindrücklichster Art und Weise zelebriert.
Er arbeitete u.a. als Müllmann, Schallplatten Verkäufer, Chocolatier oder Fahrrad Kurier und komponierte Musik für Filme und Theater oder auch für das Wiener Radio Symphony Orchester, die Schweizer Noise Pioniere VOICE CRACK, Peter Kowald , Shelley Hirsch, Strotter Inst oder Christian Wolfarth.
Wie man sieht ist das definitiv kein typischer Voodoo Rhythm Künstler und eben genau deshalb ist er es doch; er ist anders, er überrascht und hinterlässt in deinem Hirn ein endloses Chaos, denn er schreibt Songs wie es ein Blues Musiker machen würde: SUDDEN INFANT ist kraftvoll, direkt in die Fresse und bleibt in deinem Hirn hängen und lässt dich nicht mehr los.
Für das Album WÖLFLIS NIGHTMARE, dem Berner Art Brut Künstler Adolf Wölfli (1864---1930) gewidmet, hat er zusammen mit den Schweizer Musikern Christian Weber (bass) und Alexandre Babel (drums) ROLI MOSIMANN (Mitbegründer der New Yorker No---Wave Bewegung Anfangs 80'er, produzierte The Swans, New Order, Marilyn Manson, The Young Gods, etc.) aufgesucht und in seinem Studio in Polen das neue Album eingespielt, die heute wohl brutalste und destruktivste Voodoo Rhythm Platte." [label info]
www.voodoorhythm.com
|
2014 |
€15.50 |
|
| |
Lunatic Asylum |
CD |
Joke Lanz and Sudden Infant once again return in their razor-sharp trio setting whereby the absurdist nature that Joke's work is already cut with is reconfigured in a gnarled and beefy punk-fucked contorted rock setting. Short bursts of angular flex are heavily propelled by depth-charge rhythms, wry lyrical musings on modern living, and sensibilities hatched from years of experience in the worlds of sound art, abstract music, industrialised junk-noise and related areas have manifested in the perfect follow up to 2018's Buddhist Nihilism album on Harbinger Sound. Aided by Christian Weber on bass and Alexandre Babel on drums, Joke lays on a battery of electronics, loops, field recordings and samples to complement mostly semi-spoken vocals that appear like they've been swept from the overflowing gutters of a shopping centre into a huge ball of malaise that can only be laughed at as world leaders look on perplexed. Exactly as the title suggests, 'Lunatic Asylum' depicts a world in absolute disarray as the seams binding it together slowly fall apart to reveal jesters whose best attempts to glue everything back in place are built on bigger lies more transparent than ever. Meanwhile, citizens of the developed world turn on each other for the stupidest of reasons or grow fatter with their descent into an ignorance nourished by half-baked cultural nuggets pre-packaged and sold as great and awe-inspiring work. And everything has to be recorded, photographed and shared as brain cells are decimated by false ideals, propaganda, exaggerated lifestyles and a huge tub of popcorn swimming in indiscernible yellow gloop. Such are the snapshots that resonate as Lunatic Asylum takes some well-aimed swipes at the human condition of the 21st Century. Featuring a fantastic guest appearance by Franz Treichler (The Young Gods) on ' Il y a des Enfants', each of the 14 songs that constitute Lunatic Asylum are bold, heavy, playful and rife with surprising twists and turns Joke's mostly English splatter-poetry helps guide into a space that's about as accessible as the outer reaches of rock can get. In a perfect world, this is the stuff even daytime airwaves should be pregnant with but, since the world is presently tripping over its own feet more so than ever, we will have to suffice with wherever this can nudge with the help of Fourth Dimension Records. One day, hopefully, more will catch up. Please note that a vinyl version of Lunatic Asylum will appear later, but due to continuing heavy delays at the pressing plants this won't be available to pre-order till June. In the meantime, the CD features two bonus tracks.
https://suddeninfant.bandcamp.com/album/lunatic-asylum
|
2022 |
€14.00 |
|
| SUMMONS OF SHINING RUINS |
Masami Ssi, Dangsin Ui Him E Su Eobs-eoseo Mian Haeyo. Naneun Dangsin Eul Ij-ji Anhseubnida. Gamsahabnida. |
mCDR |
"summons of shining ruins is one of the aliases of japanese composer shinobu nemotu. past works were issued by various labels like install (milieu/brian grainger's own imprint), resting bell, analog path or his own moufu rokuon. bearing the longest title ever on taâlem, "masami ssi..." was created by using electric guitar and tape recorder to make a beautiful, eerie and nostalgic soundscape." [label info]
www.taalem.com
"And we end this trip with the music of of Shinobu Nemofu, who works as Summons Of Shining Ruins, among various other names. He has had releases on Install, Resting Bell, Analog Path and his own Moufu Rokuon label and here has a crazy long title to offer here and I have no idea what it means - Google translate offers no help. The music is created with an electric guitar and a tape recorder and is a beautifully low humming affair. One of slow, minimal development; it's there for sure, but Summons Of Shining Ruin works on a slow curve to unfold his story. Or, perhaps, unfold is not the right term; only towards the end things get louder, but that's in the twenty-third minute only, and we seem to be left with the residual sounds of the guitar and the tape-recorder on repeat with itself. I was reminded of Chihei Hatakeyama's music in this area, and maybe also of Machinefabriek, but perhaps Summons Of Shining Ruin was a bit darker than usual. Not really a big surprise, but surely a great piece." [FdW/Vital Weekly]
|
2014 |
€5.00 |
|
| SUN OF THE SEVENTH SISTER |
Farben Raum |
CD |
Das totale Freak-Orchester aus Australien, bis zu 25 Mitspieler! Diese Aufnahme stammt vom Februar 2007, ein vielschichtiges Impro-Chaos, welches aber recht gemächlich und "slow" bis düster daher kommt (und teils mit deutschen (!) Sprechgesang in FAUSTischer Manier. Für Freunde von NIHILIST SPASM BAND, BORBETOMAGUS, AMM,...
auf dem RATS WITH WINGS-Label!
"Following on from their 2007 New Zealand tour triple lathe cut LP, and 6 cassette boxset on Breakdance The Dawn, comes Farben Raum, the debut CD by Sun of the Seventh Sister. This floating line-up, mushroom fuelled free-psych woolly mammoth often consists of a phalanx of between 10 and 25 players: multiple drummers, multiple electrified chordophones, horns, vocals, oscillators etc. Imagine half a dozen freak-folk ensembles congealing into a psychedelic din of Borbetomag-ian proportions. On this occasion SSS comprised members of xNoBBQx, UnAustralians, Arse Lunch, Cock Up Shitting Whore, Rats With Wings, Stasis Duo and others. The CD consists of 3 immense tracks, taken from a 3 hour straight session, lovingly recorded by the Pulled Out mobile unit, with mastering analysis for Heard Worse Records by DJ Beefcurtains." [label notes]
"Sun of the seventh sister is a collective of artists-musicians from Australia and New Zealand ranging in number from 10-25 players. Their rack of instruments is pretty immense including multiple drummers, electrified chordophones, horns, vocals, oscillators, electric guitars and pretty much everything they can put their hands on. This hord of nomad musicians reminds me of the nomadic artists of the middle-ages with everything that this brings to mind, the madness, the immersion into music, the ecstatic ceremonies. This is not just a free-jam as you might imagine or a free-folk cult (chic). This is a gigantic psychedelic beast that roars and screams and calms and bursts and back to the start featuring members of xNoBBQx, UnAustralians, Arse Lunch, Cock Up Shitting Whore, Rats With Wings, Stasis Duo (featured in our own deconstructive music triple cd compilation) and others.
This cd on heard worse records includes 3 long length nameless of course tracks and a total run time of almost 80 minutes of bodily absorbed orchestrated pray and prophecy or what you might imagine that it should sound like. Ranging from free form improvisation to ecstatic jazz and ecstatic folk this is not a record but an experience I wish I could have lived live. It worth every single second, especially the third track that is unbelievably intense!" [Random E-Zine]
|
2007 |
€13.00 |
|
| SUN RA |
Disco 3000 |
do-CD |
"first release of the full concert recording.
This is a reissue of one of the great Sun Ra albums - documenting a rare outing for a small ensemble comprising John Gilmore, Michael Ray (trumpet) and Luqman Ali (drums). June Tyson is also credited on the sleeve.. Ra himself plays piano and electronic keyboards - including the mysterious Crumar Mainman (undocumented by the company itself), which Ra describes as 'like a piano, organ, clavichord, cello, violin and brass instruments' in one, and which offers, in addition, pre-programmed bass-lines and electronic percussion - used to great effect in this small grouping, and seldom, if ever, used by Ra elsewhere. This fact alone makes these this release especially interesting. The LP version was an ear-opener when it came out, and amongst the LPs we most frequently had pressed for us at the time by Ra - alongside Media Dream, Black Horizon and The Sound Mirror). Most of the material is outside the familiar repertoire - another feature that singles this session out. The newly mastered double CD contains the entire concert from which Disco 3000 was taken, adding more than an hour of previously unheard material, setting the LP selections in their original context. There are also excellent new sleevenotes by trumpeter Michael Ray who describes Ra's work method and reminisces about the tour and the recording session. Nicely packaged." [label notes]
www.rermegacorp.com
|
2007 |
€20.00 |
|
| |
Media Dreams |
do-CD |
"This is the companion to Disco 3000, made on the same classic Italian quartet tour with John Gilmore, Michael Ray (trumpet) and the minimal but perfect Luqman Ali (drums). Ra himself plays piano and electronic keyboards, including the mysterious Crumar Mainman, which Ra describes as ‘like a piano, organ, clavichord, cello, violin and brass instruments’ and which also, importantly, has a facility for pre-programmed bass-lines and electronic percussion, which Ra uses constantly and to great effect in this small ensemble setting and seldom, if ever, elsewhere. The best of this collection (most of CD1) is luminous: very electronic, often rhythmical and melodic, always economical and making every sound count. These tracks are like no other jazz ensemble and, although recognisable as Ra – who else could think of, and then get away with, this – unlike any other Ra ensemble either. Ra makes the machines do amazing, visionary things while the band exercises restraint, remaining always in focus. In between, there are piano, saxophone, trumpet and drum vignettes, fresh and perfectly judged; this real was a fine band. This places the original vinyl release (and related releases, Sound Mirror and Disco 300) back into the context of the concerts, from which they were drawn. An important addition to the Sun Ra canon, since it is a rare document of an unusual Ra project that produced three classic late ‘70s LPs. Beautifully packaged and well annotated." [label info]
www.rermegacorp.com
|
2008 |
€17.50 |
|
| SUN RA (AND HIS INTERGALACTIC MYTH SCIENCE SOLAR ARKESTRA) |
Sleeping Beauty |
CD |
"Originally released by Saturn in 1979, this is a studio recording by a large ensemble (including, unusually, electric guitar and bass). These are the first recordings of the titles included (though they were played live a few months earlier on German radio). Springtime Again is a floating, sonically open composition, with a distant sung ostinato, interestingly mixed. The door of the Cosmos, which features June Tyson, is a relaxed groove-driven piece in which electric piano, guitar and bass function as ground, over which events drift in and out, while Sleeping Beauty is a chaotic, swirly masterpiece with lots of effects added to the instruments, interestingly mixed. As an ex-LP, it's LP length." [label info] |
2008 |
€14.00 |
|
| SUN RA (AND HIS SOLAR ARKESTRA) |
On Jupiter |
CD |
"A big band studio recording made a month before Sleeping Beauty and released by Saturn in 1979 consisting of three quite different pieces: On Jupiter, which is a vocalised, relaxed, swing trance piece, UFO - Sun Ra's unashamed approach to disco, layering big band events over a funky beat and chunky chants -, and Seductive Fantasy, which lurches along in classic Ra fashion, very easygoing and with a good high-definition recording quality. It's nice to hear the oboe and bassoon, often lost in live recordings, so prominent, Again, the mixing is unusually sophisticated. As an ex-LP, it's LP length." [label info]
|
2008 |
€14.00 |
|
| SUNCHARIOT |
Fictio |
CD-R |
Another new project from Russia, creepy drones and slow-motion pulses, mechanic & cold sounds, little harmonies appear in the acoustic dust... intense dark & visionary stuff, on Moscow's ABGURD-Label.
"A project of a sculptor and an ethnographer Denis Shapovalov from the city of Rostov-on-Don, who is also the one and the only member of ADRIVA, ENMERKAR and MATTER. "Fictio" calls to self-dependent comprehension of forms by sublimation of clods of clay and granite monoliths with alchemy of archaic Drone Ambient, giving birth to resonances and fluctuations of Time. As deep stone strata that move by one millimetre in a thousand years, humming and drifting drones spread over the body, moving away all the vanity and fuss.
The release consists of two 35+ minutes parts, one of which was released as the same-named CDr on Observatory records in an edition of 40 copies." [label info]
label website: www.abgurd.com
|
2007 |
€9.00 |
|
| SUNDIN, RONNIE |
Hägring |
CD |
TraumLogik-Musik, geboren aus der Faszinationen heraus für Wachträume, aurale Halluzinationen & und dem „Gedächtnis“ von Klang. Sehr ruhig und schwelend, aber nicht einlullend, entfalten sich hier „unfassbare“ Soundfetzen aus verschiedenstens Quellen, extreme Frequenzen und concrete-sounds brechen herein, verschwinden wieder, erzeugen einen nur verschwommenen Eindruck...
Erstes Album des Schweden für das griechisch-spanische Label !
“Hägring is the third and final part in the Hypnagogic trilogy that started with Sleepwalk and Morphei which is based upon a fascination for wake dreaming, auditory hallucinations and the memory of sound. Composed using delicate field recordings, computer processed sounds, vibrating piano and guitar strings to create a sensitive dreamlike state. Or was it just a mirage? all mirages emergedduring 03-04 in Malmö, sweden. special thanks to Dimitris. Drawings by Ronnie. Cover by Lasse” [liner notes]
“The press notes of this CD talk about "mirages" and I truly believe this is a more than adequate description of Ronnie Sundin's music. Although the impalpable, mesmerizing phantom reverberations present over the whole course of the record are sometimes broken by sudden crunches and sick discharges, the Malmö-based composer follows paths of forgotten memories and unquiet sleeps, letting us have just a small fraction of a glimpse of "what could be following" after discarding pulse and "regular" structures in favour of thick strata of metallic nothingness and concrete ruins in an abandoned factory. This sort of aural trip is also finely composed: the sonic events suceed in perfect correlation, there is no room for anything to shine while murmuring frequency rumbles expand the altered state of our perceptivity during immobile reminiscences worthy of Mirror or Brent Gutzeit. All in all, "Hägring" is punctuated with mastery touches of decaying sounds; without being modernist at all costs, Ronnie Sundin has given us the gift of ethereal detachment from false beauty. Let these manifestations take their place around you, see what strange light they're emitting, listen to what those mirages have to teach.” [Touching Extremes]
|
2004 |
€14.00 |
|
| SUNN O))) |
Pyroclasts |
LP |
"The Pyroclasts album is the result of a daily practice which was regularly performed each morning, or evening during the two week Life Metal sessions at Electrical Audio during July 2018, when all of the days musical participants would gather and work through a 12 minute improvised modal drone at the start and or end of the day's work. The piece performed was timed with a stopwatch and tracked to two inch tape, it was an exercise and a chance to dig into a deep opening or closing of the days session in a deep musical way with all of the participants. To connect/reconnect, liberate the creative mind a bit and greet each other and the space through the practice of sound immersion. The players across the four pieces of Pyroclasts are Tim Midyett, T.O.S., Hildur Gudnadóttir, and as always Stephen O'Malley & Greg Anderson.
'PURPLE IN ORANGE' col. VINYL
LP IN STOUGHTON JACKET, PRINTED INNERS, OBI STRIP WITH FOUR OF SAMANTHA KEELY SMITH'S INCREDIBLE CONSCIOUSNESS MEMORY LANDSCAPES GRACING THE ALBUM SLEEVE.
https://sunn.bandcamp.com/album/pyroclasts
|
2019 |
€23.50 |
|
| |
Life Metal (Pinwheel green and purple vinyl) |
do-LP |
SUNN O))) are pleased to present Life Metal, their first new studio album in four years, due for release on Southern Lord in April 2019. The album will be supported by their first European tour since 2016, including their first ever French tour - dates and details below.
At the very beginning of 2018 SUNN O))) co-founders Stephen O'Malley & Greg Anderson set out on a path toward a new album production. They were both determined to create new music and a new method of working in the studio, without forgetting the long and proud history of production and studio accomplishments forged during their first two decades of existence (and the members' own musical experiences out of the band's). One long term goal was completely clear: to record Sunn O))) with Steve Albini in his Electrical Audio studio. Steve took the call, said "Sure, this will be fun. I have no idea what is going to happen."
Greg and Stephen gathered twice that spring for writing, conceptualising and riff woodshedding in the very building where the band was formed: Downtown Rehearsal in Los Angeles. Sonic cosmoses, flashes of abstract colour (synthetic and objective) and themes emerged from the mastered depths of saturation and circuits between the two players and their mountains of gear. Themes developed in terms of brightness and energy, while visionary cues pointed toward subconscious areas of practice and the pair realised they were exploring other zones of consciousness via sound/time and sound/energy manipulation. In early summer a pre-production session with full backline, as a trio with T.O.S. on Moog, was recorded at Dave Grohl’s 606 studios, Northridge, California.
In July 2018 SUNN O))) spent just over two weeks in Chicago at Electrical Audio (Studio A) with Steve Albini at the helm. The results are astounding: there is breadth and luminosity of colour, it sounds vast. The sessions were impeccably recorded, authentically represented and completely accurate. The spectrum cracked the firmament open in clarity. An all analogue technique was used, they recorded and mixed on tape, providing a creative gateway for SUNN O))) to evolve their production methods into stronger, confident, performance based and a more logical executive process. The album was mastered and lacquers cut from tape in October by SUNN O))) ally Matt Colton at Alchemy in London. The LP version is a AAA album, recorded and mixed on tape via a completely analogue production, from the input of the band's amplifiers and the air coming off the speakers in front of the microphones to needle touching the pressed vinyl on your turntable.
Continuing one of the main currents of the SUNN O))) concept, depth of exploration within collaboration, brought forth Hildur Guðnadóttir to the Sunn O))) constellation. Hildur is a sometime live collaborator of Sunn O))) and a renowned film music composer, former member of the bands Múm, Pan Sonic and Angel. She was a long time collaborator with the composer Jóhann Jóhannsson (RIP). Hildur lent her incredible attitude, as well as her voice, breath and electric cello, and the enigmatic haldorophone to the proceedings, culminating in the epic composition/concerto "Novæ". The cosmos clearly expands.
Tim Midyett, a close friend of Greg and Stephen since the Seattle days of the early 90s (and member of Silkworm, Bottomless Pit and Mint Mile), joined in a foundational role tying earth to sound with wicked performances on aluminium neck bass and baritone guitars: instruments he helped pioneer playing back in the 90s (alongside Steve and Shellac of course). Dark matter is reality.
Prolific new music composer Anthony Pateras arranged and recorded an incredible contribution of pipe organ for a piece titled "Troubled Air" (titled after an essay by author Aliza Shvarts, who also penned the liner notes for Sunn O)))’s Kannon) at Schlosskappelle, Schloss Solitude, Stuttgart. String theory of space.
The resulting album is titled Life Metal. It is fully realised and completely real. The record was produced by the core of Stephen & Greg & arranged by the greater constellation Sunn O))). Paintings by visual artist Samantha Keely Smith graciously adorn the sleeve and provide a perfect suitable mask to the proceedings. They collide ideas of 19th century romanticism & late 20th abstract expressionism (mysticism) with Sunn O)))’s approach to metal (via reference points of Arbo, Turner, Delville, Richter, Turrel, Wou-Ki). Photographer Ronald Dick shot them in baths of light colour representing depth of sound pressure in the work.
SUNN O)))
Life Metal
(sunn300, Southern Lord)
1. Between Sleipnir's Breaths
2. Troubled Air
3. Aurora
4. Novae
There is a second more meditative LP titled Pyroclasts, also recorded by Steve Albini in parallel, and which will be revealed in the autumn 2019 (more later) with all music performed by Stephen, Greg, T.O.S., Tim Midyett, and Hildur Guðnadóttir.
|
2022 |
€35.00 |
|
| SURVIVAL RESEARCH LABORATORIES |
same |
CD |
Das legendäre Projekt S.R.L. aka Mark Pauline aus San Francisco wurden bereits Ende der 70er bekannt durch extreme Performances, in der sich selbstgebaute Roboter gegenseitig zerstören und dabei Rauch, Feuer und einen Höllenlärm verursachen...hier 4 Soundtracks von GX JUPITTER-LARSEN (THE HATERS), die bei SRL-shows in Graz, Austin und San Francisco eingesetzt wurden und sich mit den live-sounds vermischten..
“ MARK PAULINE is a Californian artist, sculptor and robot-machine builder. he creates since late seventies some of the most destructive event ever imaginated. he and his screw organize generally, in the desert, battles of intelligent machines until their final auto-destruction. what we propose here is all the destructive mood of these shows. including complete booklet with texts, explanations and unpublished photos.” [label info]
|
2001 |
€13.00 |
|
| SUSTAINED DEVELOPMENT |
same |
CD-R & object |
"ACL 1001: Limited edition of 50 in hand-painted unique packaging
AC 1001: Unlimited edition in plastic sleeve
This drone project combines microtonal layering (inspired by Phill Niblock) of organ, harmonium, and voice sounds with field recordings and creates aural textures combining brooding atmospheres and minimalist audio conceptualism.
The five tracks are dominated by layers of long tones and extensive sheets of sound which at first appear as static as sound sculptures before one becomes aware of the microtonal goings-on beneath the surface. Hence the project name which not only refers to the “sustained” character of the tones, but also to the implied process of listening. Inspired by the so-called John Cage Organ in the German town of Halberstadt, on which the world’s longest (and slowest) piece of music started being performed in 2001 (samples of the performance can be heard on the album), as well as by the compositional methods of Phill Niblock (see the liner notes of the limited edition for more information on the conceptual background), “Sustained Development” is an attempt to approach the concept of the drone thorugh a variety of means including layering of instrumental sounds, digital stretching of recordings, and collage. Free jazz musician and audio artist Hartmut Geerken describes it as “a special kind of experience” to “dive into the thrilling and exciting drones in which more goes than one might think at first. While listening, I had a brief visit from La Monte and my old friends, the Dagar Brothers; at full volume, I was worried my almost 40-year-old speakers might break, and the whole thing was concluded by cut-ups I quite liked.” " [label info]
www.wix.com/attenuationcircuit/attenuation-circuit
|
2011 |
€11.00 |
|
| |
same |
CD-R |
"ACL 1001: Limited edition of 50 in hand-painted unique packaging
AC 1001: Unlimited edition in plastic sleeve
This drone project combines microtonal layering (inspired by Phill Niblock) of organ, harmonium, and voice sounds with field recordings and creates aural textures combining brooding atmospheres and minimalist audio conceptualism.
The five tracks are dominated by layers of long tones and extensive sheets of sound which at first appear as static as sound sculptures before one becomes aware of the microtonal goings-on beneath the surface. Hence the project name which not only refers to the “sustained” character of the tones, but also to the implied process of listening. Inspired by the so-called John Cage Organ in the German town of Halberstadt, on which the world’s longest (and slowest) piece of music started being performed in 2001 (samples of the performance can be heard on the album), as well as by the compositional methods of Phill Niblock (see the liner notes of the limited edition for more information on the conceptual background), “Sustained Development” is an attempt to approach the concept of the drone thorugh a variety of means including layering of instrumental sounds, digital stretching of recordings, and collage. Free jazz musician and audio artist Hartmut Geerken describes it as “a special kind of experience” to “dive into the thrilling and exciting drones in which more goes than one might think at first. While listening, I had a brief visit from La Monte and my old friends, the Dagar Brothers; at full volume, I was worried my almost 40-year-old speakers might break, and the whole thing was concluded by cut-ups I quite liked.” " [label info]
www.wix.com/attenuationcircuit/attenuation-circuit
|
2010 |
€5.00 |
|
| SUTCLIFFE JUGEND |
Offal |
CD |
Post Industrial pioneers Sutcliffe Jugend take everything to a new level with the beautifully packaged album “Offal”. Available on deluxe double vinyl in a gatefold sleeve, and CD in a gatefold digisleeve, featuring monochrome paintings by Kevin Tomkins.
With printed lyrics included for the first time, we get to the heart of Sutcliffe Jugend at their euphoric and vilifying best. Words that will make you question what it is to be truly human and not the conformist PC neo-liberal slave so prevalent and encouraged in the modern era.
The production on the album sounds massive compared to previous releases, giving the carefully constructed songs an intense, brutal and relentless environment not heard before. Kevin Tomkins’ vocals are pushed to new extremes, doing battle with Paul Taylor’s vicious guitar and synth work.
“Offal” features four epic tracks (55 minutes) of naked emotional release that will leave the listener breathless and gasping for more.
Watch the video for Crawl: youtu.be/jmg9hVk4UCM
coldspring.bandcamp.com/album/offal-csr209cd-lp
|
2016 |
€12.00 |
|
| |
Offal |
do-LP |
Post Industrial pioneers Sutcliffe Jugend take everything to a new level with the beautifully packaged album “Offal”. Available on deluxe double vinyl in a gatefold sleeve, and CD in a gatefold digisleeve, featuring monochrome paintings by Kevin Tomkins.
With printed lyrics included for the first time, we get to the heart of Sutcliffe Jugend at their euphoric and vilifying best. Words that will make you question what it is to be truly human and not the conformist PC neo-liberal slave so prevalent and encouraged in the modern era.
The production on the album sounds massive compared to previous releases, giving the carefully constructed songs an intense, brutal and relentless environment not heard before. Kevin Tomkins’ vocals are pushed to new extremes, doing battle with Paul Taylor’s vicious guitar and synth work.
“Offal” features four epic tracks (55 minutes) of naked emotional release that will leave the listener breathless and gasping for more.
Watch the video for Crawl: youtu.be/jmg9hVk4UCM
coldspring.bandcamp.com/album/offal-csr209cd-lp
|
2016 |
€23.50 |
|
| SUZUKI, AKIO |
A I Sha / あいしゃ |
LP |
"Needless to say, Akio Suzuki is one of the representative sound artists in Japan. Many of his previous releases are sometimes interpreted as the work of a hermit or wizard creating beautiful sounds with his self-made musical instrument called 'Analapos,' glass harmonica (De Koolmees), and stone flute, but the title of Suzuki's first sound piece, aidan ni Mono wo Nageru (Throwing Things at the Stairs) at Nagoya Station in 1963, reflects his perspective on the noises in his work. This LP consists of two 2009 performances created with the use of radio. 'Howling Objects,' with reverberation of a large museum space, and 'a i sha,' in which the radio moves throughout the museum, can be noise itself, but they exist in accordance with the method of 'Oto-date' and 'Tadori' for which Suzuki has been continuously searching. Here, an approach to Suzuki's hardcore sound in his nature is surely concentrated. 'It was at a solo exhibition in the Minamigaro gallery in Nihonbashi, Tokyo in 1976 when I held the premiere showing of 'Howling Objects'. When I inserted the microphone into the cylinder of the stand type Analapos, and played echo sound, I was surprised to cause a howling. From that incident, I arranged iron 'wappa' boxes (cylindrical containers formed by bending a thin plate), inserted two wireless microphones with echoes in the boxes and moved the position of the boxes to search for a sound. ... In the performance I did at the 21st Century Museum of Contemporary Art, Kanazawa, I used roll papers, microphones and radios to revisit 'Howling Objects'. These radios and microphones used from the 1970s have been increasingly degraded in recent years, so this performance has become the last one. 'a i sha' is a performance in which the two radios used in 'Howling Objects' are loaded onto a small dolly and moved around the museum. After setting the radios to AM, selecting the noise wavelengths and tuning the two radios to be able to hear an interesting rhythm, I adjust the volume to an appropriate level and start. As the sound landscape changes by the directionality of radio by moving over to a corridor, wide space and a window, I share the sound field with the people who happen to be there by chance and the people chasing the dolly'. Akio Suzuki Full-color cover photo on sleeve. New liner notes in Japanese and English by Suzuki. Limited edition of 250." [label info]
omega-point.shop-pro.jp |
2015 |
€32.00 |
|
| SUZUKI, AKIO & LAWRENCE ENGLISH |
Boombana Echoes |
maxi-CD / art-print |
"I had the pleasure to meet and record with Akio Suzuki late in 2005. Having discovered his work a good few years before that, I had always been impressed with his clear passion for the expressive nature of sound - not merely as a vibrational art form, but also for its mystic, perhaps even spiritual qualities. His many experiments with sound, space and environment were a great inspiration for me and still to this day fill me with a great sense of wonder (no doubt a result of Suzuki's magician like quality, after all he is a shaman). These recordings are edits from a series of both site specific and situation specific encounters we developed together during a short performance based residency in Brisbane. The first recordings we made together were site specific, and the title of this edition reflects the location in which we began working on the project together. Boombana is an area of forest that shifts from open eucalypt woodland to sub-tropic rainforest within a matter of 500 metres. It's located on route to Mt Nebo and not far from there, the view stretches all the way to Moreton Bay. I recorded Suzuki-san during high summer, the forest sizzling with an eerie electronic fizz of cicadas and leaf hoppers, occasionally interrupted by screeching Sulphur Crested Cockatoos. It was these recordings that form the inspiration for the duet published here. Returning to Brisbane, Suzuki and I recorded a series of pieces late one evening. Suzuki played his remarkable Analapos and I used a some hand percussion and a range of small electronic devices that in many ways reflected on the initial sessions we recorded in Boombana - the cicadas replaced by tone generators and filters. The titles of each work also directly link back to Boombana, its distinctive flora and fauna. Coming back to these recordings more than half a decade after they were created, I'm still captivated by Suzuki's remarkable use of his unique instrument the Analapos and I'm inspired to this day by his mastery of sound as an art form. I dearly hope you enjoy these pieces.' Lawrence English. 2 color letterpress die cut sleeve. 3 letterpress printed inserts of drawings by akio suzuki. designed and printed by ben owen. akio suzuki - analapos. lawrence english - field recordings, drum, electronics. recorded live at 121, December 2005." [label info]
www.windsmeasurerecordings.net
|
2012 |
€20.00 |
|
| SVARTE GREINER |
Kappe |
CD |
"Wer dachte, dass das Debüt von Erik K. Skodvin alias Svarte Greiner schon eine ziemlich düstere Angelegenheit war, sollte Kappe besser nicht im Dunklen hören. Denn die vier Tracks gehören zum verstörtesten und düstersten Dark-Ambient, das ich seit langem gehört habe. Vier Kompositionen in unterschiedlicher Länge, von denen der fast schon ironisch betitelte Opener Tunnel of Love noch das kürzeste Stück darstellt, auch wenn es den anderen in Sachen Intensivität in Nichts nachsteht: angetrieben von einem permanenten, metallenem Geräusch von rasselnden Ketten, braut sich im Hintergrund langsam ein kolossaler Sturm zusammen, ehe man in tiefe Drones und undurchdringendes Rauschen abdriftet. Dagegen wirkt der Anfang von Where Am I geradezu friedlich, doch auch hier setzt bald klaustrophobische Enge ein, weicht auch der letzte Kerzenschimmer totaler Dunkelheit. Immer wieder brechen Fragmente durch, die entfernt Stimmen und Schreie sein könnten, dekonstruierte Instrumente, Gitarrenfetzen und vermummte Saxophonklänge quellen aus der hallenden Weite hervor und verlieren sich wieder. Der fast schon sakrale Unterton wirkt zunehmend wie der Soundtrack des letzten Gerichts. Und doch ist Kappe keine willkürliche Ansammlung verstörender Sounds, sondern erstaunlich gut durchkonzipiert. Trotz der scheinbaren Monotonie, die die 16 Minuten von Candle Light Dinner Actress durchzieht, schafft es Skodvin, trotzdem die Aufmerksamkeit hoch zu halten, auch oder gerade wenn sich einem zuweilen die Nackenhaare aufstellen. Kappe ist ein 45-minütiger Horrortrip, und damit auch ein Album, das an den Nerven und der Ausdauer der Hörer zehrt. Ein Album, das aus den tiefsten Wäldern Norwegens zu kommen scheint, und genau dorthin auch wieder verschwindet, ohne dass man genau weiß, was einen getroffen hat. Eine Unheimliche und vor allem unheimlich dichte Angelegenheit. Wahnsinnig, im doppelten Sinne." [Eikman, The Last Beat]
"This is Erik Skodvin's (one-half of Deaf Center) second full-length release for the Type label as Svarte Greiner. His debut Knive was a milestone in doom music. Taking a surprisingly acoustic route, he kick-started a sub-genre as he used cello, violin and rattling miscellanies to conjure up blood-curdling soundscapes. Kappe continues Skodvin's blackened underworld cruise, furthering his mysterious, cinematic sound. Through incessant touring, Skodvin has built up a distinctive live technique since the release of Knive and it is this which works as a spirit guide on Kappe. Travelling the dark corners of the world, Skodvin has explored every shadowed alleyway in his grasp, built up a collection of broken glove-puppets and potion-filled medicine bottles and trapped many a stifled scream in the process. Some of these disparate adventures were captured to cassette tape (Penpals Forever, Digitalis Limited) and wax disc (Til Seters, A Room Forever), but the most evil moments were set aside for this full-length record; four fated psalms in honor of the dark Northern lords. The album's opener "Tunnel Of Love" may be the noisiest piece Skodvin has produced to date with a death-rattle of chains accompanying his patented maritime bass drone. It sounds something like Death's gondola gliding through purgatory, gradually building into a dense, chattering cloud of torment before dropping into bleak stillness. Skodvin is joined by Ultralyd saxophonist Kjetil Møster who adds a disarmingly terrifying squeal to the horrifying detuned strings on "Candle Light Dinner Actress." The most startling change here is his incorporation of the electric guitar -- "Mystery Man" sees Skodvin harness the feedback into loops of distressing, pained melancholy, bringing to mind Skullflower or a slow-motion Sonic Youth at times. Kappe, however, is very much its own beast, and followers will already know that nothing sounds quite like Svarte Greiner. You won't find a more unsettling record this winter." [label info]
"... another mysterious missive, broadcast as always from some dark sonic underworld, courtesy of the man known as Svarte Greiner (Erik Skodvin to his mother), following the equally haunting and mysterious Man Beard Dress lp from the end of last year. As we've mentioned before, this is doom. But not doom as you know it. Not heavy and crushing and downtuned and distorted, instead, spectral and ghostlike, abstract and ambient, doom in vibe, intention, spirit, as much as in sound. It's not about riffs or beats, it's about mood and space and soul, and taking a cold hard look through the cracks into the crumbling wasteland that lies inside all of us... " [Aquarius Rec]
|
2009 |
€16.00 |
|
| SVARTSINN |
Traces of Nothingness |
CD |
Reissue, for the first time on vinyl as a double LP in Matt Laminated Gatefold Sleeve, in standard Black as well as Grey in Black Marble Special Edition, and also available as a limited Digipak. Both formats include 4 bonus remixes by Lamia Vox, Triarii, Letum and Gydja. Also features all new artwork by Dehn Sora.
The 3rd offering from Norway's Svartsinn could be acknowledged as the end of a trilogy, the first opus "Devouring Consciousness" was an album containing stories made during what the artist explains as being some difficult and rough times. The second offering, "Of Darkness And Re-Creation", was the process of trying to deal with these struggles and reflect on them. "Traces Of Nothingness" is simply the reaction, result and the path ahead in this ongoing, seemingly endless darkness. A slightly more melodic, sad and obscure side of Svartsinn that still keeps the cold and dark atmosphere that defines his sound.
CD Edition of 300 copies in 4 panel Digipak, Matt Lamination. 12 Tracks. Running time; 74:56
https://cycliclaw.bandcamp.com/album/traces-of-nothingness
“....Beatless, desolate dark ambient soundscapes. Traces of Nothingness opens with the words "It lives ... in the dark ... something in the dark" - an appropriate introduction to this collection of brooding thunderclouds. Whale-like groans and distorted, distant impacts populate this world of shadow and bubbling ooze - there is at times the sound of a colossal drum pounding a broken beat, there are huge air movements and amorphous disturbances. On a number of tracks tonal material bleeds in briefly toward the end - drones, strings, humming textures - strikingly beautiful against the vast bleakness of the background atmospheres....” [Morpheusmusic]
|
2021 |
€13.00 |
|
| SVASTI-AYANAM |
Sanklesa |
CD |
Wer sich schon immer eine Melange aus tibetischer Ritual-Musik und perkussiver ambient Industrial-Trance und dunklen Maschinen-Drones gewünscht hat, liegt bei SVASTI-AYANAM genau richtig ! Dies ist die Wiederveröffentlichung eines lange vergriffenen Albums von 1998 vom RAISON D'ETRE-Seitenprojekt, enthält 2 Bonus-Tracks!
"Svasti-ayanam is Peter Andersson's foray into dark, Tibetan-Nepalese ambience. Andersson is well known for his work as Raison D'etre, Atomine Elektrine etc. In this incarnation, his signature Raison D'etre sound has been modified in an incredibly pronounced, and effective way. Sanklesa is marked by strong tribal rhythms that draw the listener into distant, foreign, ritual soundscapes. Andersson has released a prolific catalogue of music, that includes many CD's, limited vinyl and countless compilation appearances. Album incl. 2 exlusive bonus-tracks." [label info]
www.eternalpride.ru
|
2007 |
€13.00 |
|
| SWANS |
The Seer |
do-CD |
"MICHAEL GIRA, Bandleader der SWANS, merkt zum neuen Album an: "THE SEER nahm 30 Jahre in Anspruch. Hierin gipfelt nicht nur jedes bisherige SWANS Album, sondern auch jegliche Musik, die ich jemals gemacht habe, an der ich beteiligt war und die ich mir jemals vorstellen konnte.
Und dennoch ist es unvollendet, wie die Songs selbst. Es ist ein einziger, lose schwankender, Rahmen, welcher verschwimmt, sich vermischt und letztendlich verschwindet.
Am Anfang der Lieder war nur eine Akkustikgitarre, dann kam die (unschätzbare) Hilfe meiner Freunde hinzu.
Anschließend wurden die Songs weiter gequält, während der Proben, der Live - Konzerte und im Studio verführt und nun erwarten die Lieder ein weiterer zwangsernährender Kannibalismus, weil wir uns darauf vorbereiten, einige davon live zu spielen.
An diesem Punkt werden sie entweder weiter mutieren oder für eine Weile zur Seite gelegt.
Egal, was ihr vielleicht gehört habt oder mutmaßen mögt, mein Anliegen ist, Licht und Freude in dieser Welt zu verbreiten.
Meine Bandkumpanen sind alle ausgezeichnete Menschen. Ohne sie bin ich bloß ein kleines Kätzchen.
Unser Ziel ist und bleibt das gleiche: Ekstase!" +++ Das Zustandekommen der Songs beschreibt GIRA wie folgt: "Auf THE SEER, AVE.
B BLUES, AVATAR und APOSTATE hört man den Songs an, dass wir uns während der Proben und den Tourneen ganz natürlich zu einer Gruppe entwickelt haben.
Die Songs haben während der letzten SWANS - Touren konstant entwickelt, was wiederum während der Studioaufnahmen eingefangen und abgöttisch liebevoll umgesetzt.
Die für das Album übriggebliebenen Songs wurden von Grund auf im Studio entwickelt. Unter Teilnahme und Einsatz aller beteiligten Musiker wurde alles von einer unsichtbaren Hand geführt. //
The Seer took 30 years to make. It’s the culmination of every previous Swans album as well as any other music I’ve ever made, been involved in, or imagined. But it’s unfinished, like the songs themselves. It’s one frame in a reel. The frames blur, blend and will eventually fade.
The songs began on an acoustic guitar, then were fleshed out with (invaluable) help from my friends, then were further tortured and seduced in rehearsals, live, and in the studio, and now they await further cannibalism and force-feeding as we prepare to perform some of them live, at which point they’ll mutate further, endlessly, or perhaps be discarded for a while.
Despite what you might have heard or presumed, my quest is to spread light and joy through the world. My friends in Swans are all stellar men. Without them I’m a kitten, an infant. Our goal is the same: ecstasy! —Michael Gira " [label info]
www.younggodrecords.com |
2012 |
€20.00 |
|
|
The Glowing Man (special ed.) |
do-CD & DVD |
The final album by the Swans. Finally, Peace.
www.mute.org
"Swans neuestes Studioalbum, The Glowing Man, erscheint Mitte Juni via Mute auf 2CD+DVD, 2CD und 3LP+MP3. Der Veröffentlichung des neuen Albums, die Sänger und Swans-Kopf Michael Gira als letztes Album der Swans in ihrer "gegenwärtigen Inkarnation" verstanden wissen will, wird eine extensive Welt-Tournee folgen, die die Band auch in unsere Breiten führt. Die Band formierte sich 1982, löste sich 1997 auf und fand ab 2010 erneut zusammen. In ihrer letzten Phase veröffentlichten sie die Alben "My Father Will Guide Me Up A Rope To The Sky" (2010), "The Seer" (2012) und "To Be Kind" (2014). Das neue Album wurde zum Großteil in El Paso, Texas aufgenommen, weitere Aufnahmen entstanden in Seattle und Berlin, abgemischt & gemastert wurde es in New York.
- 2CD inklusive Bonus DVD (Swans Live 2015) im Digipak!
- Standard 2CD im Digipak!
- 3LP im Doppel-Gatefold inklusive Poster & Downloadcode!" [german press info] |
2016 |
€20.00 |
|
|
Leaving Meaning |
do-CD |
SWANS Leaving Meaning is the band’s fifteenth studio album, the follow up to 2016’s The Glowing Man and due for release by Mute / Young God Records (N America) on 25 October 2019. Leaving Meaning will be released on double vinyl in a brown chipboard sleeve, double CD in a brown chipboard digipack and digitally.
Listen to the first track from the album, ‘It’s Coming It’s Real’:
https://youtu.be/3ZVZo30M8Lc
Written and produced by Michael Gira, the album features contributions from recent and former Swans, members of Angels of Light as well as Guest Artists Anna and Maria von Hausswolff, Ben Frost, The Necks, Baby Dee, and a Hawk and a Hacksaw – full personnel list below.
Michael Gira explains, “Leaving Meaning is the first Swans album to be released since I dissolved the lineup of musicians that constituted Swans from 2010 – 2017. Swans is now comprised of a revolving cast of musicians, selected for both their musical and personal character, chosen according to what I intuit best suits the atmosphere in which I’d like to see the songs I’ve written presented. In collaboration with me, the musicians, through their personality, skill and taste, contribute greatly to the arrangement of the material. They’re all people whose work I admire and whose company I personally enjoy.”
“Here below are the primary contributors to Leaving Meaning:
Michael Gira – Vocals, words, acoustic/electric guitar, production. I started Swans in NYC in 1982 and have been the primary songwriter, singer and producer throughout the years. In the early years I played bass, but later switched to guitar. During the years of Swans hiatus (1999 – 2010), I released several albums by and toured with a group called Angels of Light.
Kristof Hahn – Lap steel, various guitars throughout, backing vocals, generous and insightful advice on mixes and arrangements. Kristof first became involved with Swans in 1989, was a principal contributor to Angels of Light, and a core Swans member 2010 – 2017. Kristof’s other musical ventures have included the Rock ‘n’ Roll Noir band Les Hommes Sauvages and Kool Kings (with Alex Chilton). He’s currently working on an instrumental record for Lawrence English’s label, Room 40. He holds a master’s degree in Political Science, and when Swans doesn’t pay the bills, he translates books for a living. Kristof’s presence, on and off tape, is pivotal to this record. Kristof lives in Berlin, Germany.
Larry Mullins – Drums, vibes, orchestral percussion, Mellotron, various keyboards, backing vocals. Larry (AKA Toby Dammit) is a trained symphonic percussionist and all-around consummate musician. He played through the 90s with Iggy Pop and later with The Stooges. He played with Swans in the late 90s and was a main contributor to Angels of Light. He is rumored to have been involved with The Residents. His varied and numerous credits also include a stint with Silver Apples as well as recently, Shakespears Sister. His current main job is playing keyboards with Nick Cave and the Bad Seeds. I decided immediately to ask Larry to contribute to Leaving Meaning after watching the German TV series Babylon Berlin, and suddenly, unbeknownst to me, there was Larry as the main focus of various cabaret scenes, drumming behind a huge kick drum in his inimitable style. After laughing in shock for perhaps half an hour, I decided to contact him. We hadn’t been in close touch for a long time and I’m elated I reached out. Larry lives in Berlin, Germany.
Yoyo Röhm – Electric bass, double bass, various keyboards, piano, backing vocals. Yoyo came to my attention through his work with Kristof and Larry in Berlin. In addition to his excellent bass playing, Yoyo’s ears were invaluable in helping to sort out many of the arrangements. Yoyo plays with numerous left field musicians around Berlin and also works with Mick Harvey on his Serge Gainsbourg recordings and tours. Yoyo, Larry, Kristof and I rehearsed in Berlin for 3 weeks prior to recording. Yoyo is a true Berliner – gruff and determined on the outside, a marshmallow inside. He was a great musical resource for this record.
The Necks – (Chris Abrahams – piano, organ; Tony Buck – drums, percussion; Lloyd Swanton – double bass). I have been an avid Necks fan since I first saw them perform at a Big Ears Festival in 2010. They subsequently played with Swans at a few shows in Australia. Their live performances and recordings are just about any superlative you can think of – mesmerizing, transcendent, sublime. Their music is entirely improvisational – it’s my understanding that they have no idea what they’re going to play before they start. And yet, mostly using rudimentary jazz trio instrumentation, they manage to fashion burgeoning and ever-evolving, immersive clouds of sound that utterly envelop the listener as the music unfolds. I’m beyond honored and humbled that they agreed to perform the basic tracks for 2 of my songs (The Nub and Leaving Meaning). Their performances were then delicately, and (I hope!) tastefully further orchestrated upon in Berlin. Tony lives in Berlin, and also played drums on the song Some New Things.
Anna and Maria von Hausswolff – Choral backing vocals. Anna is blessed with a soaring voice, lyrical acuity and increasing facility with the church organ. I was impressed recently to learn that she often travels around Europe and visits churches unannounced, where she talks her way into being allowed to use the resident organ – some of them rather massive, I imagine – and plays and explores for hours. Her searing records and live shows reflect the courage of her imagination and have garnered her increasing, much deserved recognition. Maria is an accomplished Swedish cinematographer and director of photography. In 2017 I heard Anna and Maria singing together at a sound check for a special song they were doing in Anna’s set, was instantly enthralled, and resolved at that moment to ask them to participate together on a Swans recording. I’m delighted they agreed to come to Berlin and record for me. They were a joy to work with! They live in Scandinavia.
Ben Frost – Guitar, synthesizers, sound manipulations. Ben’s adventurous sound-craftings, sometimes harrowing and sometimes delicate and quite musical, and his powerful live shows, have afforded him much recognition of late. I’ve also been highly impressed with his soundtrack work for the HBO series, Dark. He’s an extremely talented arranger and composer. His mission for this record was intentionally ill defined. I basically wanted his ears and sensibility, with no particular part or instrument in mind. I arrived at his studio in Reykjavik, Iceland, put up the songs, and he played what he thought a song needed. I was pleasantly surprised to discover his unique approach to the electric guitar as well as his synth work. Ben also was quite helpful with arrangement and mixing ideas. Ben lives in Iceland.
Baby Dee – Lead vocal on The Nub, supported by her friends Fay Christen and Ida Albertje Michels, and Jennifer Gira. Dee has released numerous records (one produced by Bonnie Prince Billie, I think), and if you don’t know them, you should! The first time I saw her she was riding a unicycle in circles outside the now-defunct Avant club, Tonic, in NYC, playing a ukulele (or accordion?) and singing with great mirth. I saw her set that night and was won over. She’s since toured with Swans several times. Her music could loosely be called neo cabaret, but more accurately she’s totally unique and a great performer and songwriter, graced with a powerful voice and high-end ability on the piano, accordion and more. I wrote The Nub specifically for her to sing. I was stymied for words to the main guitar figure to the song, and suddenly she popped into my mind, floating through the universe in diapers, sucking milk from the stars. The song wrote itself. Dee lives in The Netherlands.
Jeremy Barnes and Heather Trost – Jeremy: Santur, hi-hat, fiddlesticks, accordion, engineering; Heather: Stroh violin, violin, viola, fiddlesticks, engineering. Together, Jeremy and Heather comprise the band A Hawk and a Hacksaw. (Jeremy played at one time with the bands Neutral Milk Hotel and Beirut). Again, if you don’t know their music, you should! They’ve released several records. It’s Balkan/Gypsy influenced, somewhat psychedelicized, with great singing, playing and melodies. They’re each multi-instrumentalists and they intrepidly travel the world, both touring and simply exploring the Balkans, in search of adventure and master musicians of the region, some of whom they simply befriend, others whom they record. They toured with Swans a while ago, and I’ve had it in the back of my mind to ask them to record on a record since. I travelled to their home studio in Albuquerque, New Mexico, presented the songs, and did the same thing I did with Ben – I said, “Now what?” You can hear them on several songs on the record, sometimes subtly, at other times more pronounced. In any event, it’s great to have such a pair of wonderful humans on the record.
ADDITIONAL MUSICIANS:
Dana Schechter – Dana played bass on the song ‘Some New Things’. Dana was a core member of Angels of Light. Her current band is Insect Ark. It’s rather heavy and great. Will be working with Dana more soon in the future and very pleased we reconnected recently.
Jennifer Gira – Backing vocals throughout and cameo vocal on Sunfucker. Jennifer has sung backing vocals on the past few Swans albums as well as lead vocal on the song When Will I Return? on the last Swans album, The Glowing Man. She’s also of invaluable help on mixing and arrangement decisions.
Cassis Staudt – Accordion and harmonium. Cassis was a core member of Angels of Light. She moved to Berlin some time ago and we lost touch. Cassis is a composer of music for films in Berlin. I’m very happy to be working with her again.
Norman Westberg – Electric guitar. Norman played on a few key moments on this record. Norman has been in and out of Swans since the beginning (mostly in) and was a core Swans member in 2010 – 2017. We’ll continue to work together into the future, absolutely. Norman releases solo instrumental records through Lawrence English’s Room 40 label. We’re touring (each solo) together in Eastern Europe soon.
Christopher Pravdica – Bass guitar, sounds. Chris played at pivotal moments on this record. He was a core Swans member in 2010 – 2017. We’ll continue to work together in the future, absolutely. Chris has recently been enlisted by Jamie Stewart for his band Xiu Xiu.
Phil Puleo – Phil played hammer dulcimer on the song Amnesia. This might be considered a severe underutilization of his considerable talents as a drummer, but there’s more to come quite soon. Phil was a core member in Swans 2010 – 2017 and played as a member of Swans in the late 90s and contributed to Angels of Light.
Thor Harris – percussion, trumpet, clarinet, sounds, bells, gizmos, additional vibes. Thor drove up from Austin to record for me at Heather and Jeremy’s place in Albuquerque. Always a highpoint to be in the presence of this committed musician and friend. Thor was a core member of Swans in 2010 – 2016 as well as Angels of Light. Certainly, more to come! Thor has his own happening combo, Thor and friends, and they make seductive and beautiful records and tour often. He also has recently been recruited by Jamie for Xiu Xiu.
Paul Wallfisch – Paul played piano to great effect here and there on the record. Paul was a touring member of Swans in 2017. He works with the glorious human chanteuse Little Annie. He’s also a musical director for theater productions in Germany, and recently landed a very fancy-pants job as musical director/composer for a theater production at a historical theater in Vienna.
Thanks to All!!!!
MG”
|
2019 |
€18.50 |
|
|
Where Does A Body End? |
DVD |
"Die Anfang der 80er Jahre in New York gegründete Band Swans gilt als eine der härtesten, lautesten Live-Bands der Welt. Einen Einblick in ihre Intensität, ihre wechselhafte Geschichte liefert Marco Porsia mit seiner intimen Dokumentation ,Swans - Where Does a Body End?", für die der Regisseur jahrelang Teil des inneren Zirkels der Band war. Gerade deswegen: Ein Film für Fans. Anfang 2020 im Kino, nun als US-Pal/Region 0 DVD/BD/2BD, Sprache Englisch, Untertitel Englisch mit Altersfreigabe 12 Swans gilt als eine der radikalsten Bands der letzten 40 Jahre. Ihre Konzerte gleichen noch immer ekstatischen Ritualen. Gegründet 1982 als streitlustige Post-Punk-Band erregten Swans erste Aufmerksamkeit in der New Yorker No-Wave-Szene, feierten währen der Indie-Welle der 90er unerwarteten Mainstream-Erfolg, verursachten Chaos auf und jenseits der Bühne, erlebten Bandauflösung und Wiedervereinigung. Swans war immer eine Ansammlung von wechselnden Einzelperformern - mit einer einzigen Konstante: Sänger, Songwriter und Mastermind Michael Gira. Sein Lebensweg vom Problemteenager zum Enfant Terrible seiner Kunsthochschule, Alkoholiker und schließlich Familienmensch sind der rauen, progressiven Musik seiner Band eingeschrieben. Filmemacher Marco Porsia hat Swans und Gira über fünf Jahre lang begleitet und beim Songschreiben, im Probenraum und auf Tour gefilmt. Er erhielt unbegrenzten Zugriff auf Giras Archiv mit hunderten Stunden von unveröffentlichten Videos und Tonaufnahmen. Neben Swans-Mitgliedern Jarboe und Thor Harris erklärten sich zahlreiche Wegbegleiter*innen und Fans wie Amanda Palmer, Blixa Bargeld und Thurston Moore für Interviews bereit. ,Swans - Where Does A Body End?" ist eine musikalische Zeitreise, ein filmisches Tour-Tagebuch, ein epischer Konzertfilm. Vor allem aber ist er das Porträt eines besessenen Musikers, Michael Gira, der sein Leben radikal der Kunst gewidmet hat. ,Michael ist kein furchtloser Mensch", erklärt Bandkollege Harris, ,aber er ist ein furchtloser Künstler." Zitate: "There really is no other force of music like Swans. Swans stand alone, integral, drenched in pathos. A band to end all bands." _Thurston Moore/Sonic Youth Presse: Director Marco Porsia delivers an intense, comprehensive documentary of the band that is every bit as massive as their recordings. That he captured their many faces to this extent is an astounding achievement in its own right, but then to build something both captivating and informative from such split personalities is pure cinematic magic. _ Film Threat A comprehensive portrait of Gira and his musical endeavors... Fans should love this raw exploration of their legacy.
'Under the Radar There is considerable opportunity to see how Swans' performances have developed over time, with plenty of variously brutal, abrasive, shamanistic and ecstatic concert footage.' The Arts Desk "
"Where Does a Body End? is an intimate portrait of the band SWANS, from their roots as a brutal, confrontational post-punk band that emerged from the same early 1980s era NYC that gave us Sonic Youth (and, somehow, Madonna) through their ill-fated bid at mainstream success in the '90s indie-rock gold rush, through breakups and chaos (on and offstage) to their odds-defying current status as one of the most accomplished and ambitious bands in the world, one whose concerts are more like ecstatic rituals than nostalgic trips back through their most popular songs. SWANS has always been a collection of singular performers, but there's been one constant since its formation in 1982 -- singer, songwriter Michael Gira. With unfettered access to hundreds of hours of Gira/SWANS archives of never-seen-before recordings, videos, and photographs, the film brings us along the path they needed to carve for themselves. The film is many things, a musical history, a time-capsule, a tour diary, a concert film, but mostly it's the story of a life in the arts, frequently difficult, spanning decades without a safety net, creating the work because Gira says 'What else am I going to do?' As bandmate Thor Harris notes, 'Michael is not a fearless person, but he is a fearless artist.'"
https://mvdshop.com/products/swans-where-does-a-body-end-dvd
|
2020 |
€15.00 |
|
|
Where does a Body end? (deluxe ed.) |
2 x BLU-RAY |
Die Anfang der 80er Jahre in New York gegründete Band Swans gilt als eine der härtesten, lautesten Live-Bands der Welt. Einen Einblick in ihre Intensität, ihre wechselhafte Geschichte liefert Marco Porsia mit seiner intimen Dokumentation ,Swans - Where Does a Body End?", für die der Regisseur jahrelang Teil des inneren Zirkels der Band war. Gerade deswegen: Ein Film für Fans. Anfang 2020 im Kino, nun als US-Pal/Region 0 DVD/BD/2BD, Sprache Englisch, Untertitel Englisch mit Altersfreigabe 12 Swans gilt als eine der radikalsten Bands der letzten 40 Jahre. Ihre Konzerte gleichen noch immer ekstatischen Ritualen. Gegründet 1982 als streitlustige Post-Punk-Band erregten Swans erste Aufmerksamkeit in der New Yorker No-Wave-Szene, feierten währen der Indie-Welle der 90er unerwarteten Mainstream-Erfolg, verursachten Chaos auf und jenseits der Bühne, erlebten Bandauflösung und Wiedervereinigung. Swans war immer eine Ansammlung von wechselnden Einzelperformern - mit einer einzigen Konstante: Sänger, Songwriter und Mastermind Michael Gira. Sein Lebensweg vom Problemteenager zum Enfant Terrible seiner Kunsthochschule, Alkoholiker und schließlich Familienmensch sind der rauen, progressiven Musik seiner Band eingeschrieben. Filmemacher Marco Porsia hat Swans und Gira über fünf Jahre lang begleitet und beim Songschreiben, im Probenraum und auf Tour gefilmt. Er erhielt unbegrenzten Zugriff auf Giras Archiv mit hunderten Stunden von unveröffentlichten Videos und Tonaufnahmen. Neben Swans-Mitgliedern Jarboe und Thor Harris erklärten sich zahlreiche Wegbegleiter*innen und Fans wie Amanda Palmer, Blixa Bargeld und Thurston Moore für Interviews bereit. ,Swans - Where Does A Body End?" ist eine musikalische Zeitreise, ein filmisches Tour-Tagebuch, ein epischer Konzertfilm. Vor allem aber ist er das Porträt eines besessenen Musikers, Michael Gira, der sein Leben radikal der Kunst gewidmet hat. ,Michael ist kein furchtloser Mensch", erklärt Bandkollege Harris, ,aber er ist ein furchtloser Künstler." Zitate: "There really is no other force of music like Swans. Swans stand alone, integral, drenched in pathos. A band to end all bands." _Thurston Moore/Sonic youth Presse: Director Marco Porsia delivers an intense, comprehensive documentary of the band that is every bit as massive as their recordings. That he captured their many faces to this extent is an astounding achievement in its own right, but then to build something both captivating and informative from such split personalities is pure cinematic magic. _ Film Threat A comprehensive portrait of Gira and his musical endeavors... Fans should love this raw exploration of their legacy. _ Under the Radar There is considerable opportunity to see how Swans' performances have developed over time, with plenty of variously brutal, abrasive, shamanistic and ecstatic concert footage. _ The Arts Desk
https://mvdshop.com/products/swans-where-does-a-body-end-dvd
|
2020 |
€23.00 |
|
| |
The Beggar |
do-LP |
listen: https://swans.bandcamp.com/album/the-beggar
https://younggodrecords.com/products/the-beggar
SWANS have announced details of their sixteenth studio album, The Beggar, due for release on Mute / Young God Records (N America) on 23 June 2023. In addition, Swans have announced further dates for a tour across the UK, Europe and North America – full details below. The Beggar is released as double vinyl in a brown chipboard sleeve with a download card for accessing an additional 44 minutes of music (a 44 minute piece of music called The Beggar Lover (Three) that is included on the CD), and as a double CD in a brown chipboard digi-pack.
The Beggar was recorded and mixed at Candy Bomber Studio, Berlin, engineered by Ingo Krauss and mastered by Doug Henderson at Micro-Moose, Berlin. The album was written and produced by Michael Gira and features contributions from recent and former Swans, members of Angels of Light, as well as Guest Swan Ben Frost.
“After numerous pandemic-induced cancellations of tours for the previous Swans album leaving meaning, and an apparent bottomless pit of waiting, waiting, waiting, and the strange disorientation that came with this sudden but interminable forced isolation I decided it was time to write songs for a new Swans album and forget about everything else. They came relatively easily, always informed by the suspicion that these could be my last. When I finally was able to travel, songs in hand, to Berlin to work with my friends recording this record, the feeling was akin to the moment in The Wizard of Oz when the film changes from Black and White to Color. Now I’m feeling quite optimistic. My favourite color is pink. I hope you enjoy the album.” – Michael Gira
Primary contributors to The Beggar:
Michael Gira – Vocals, words, acoustic guitar, production. Gira started Swans in NYC in 1982 and has been the primary songwriter, singer and producer throughout the years. During the Swans hiatus (1999 – 2010), he released several albums by and toured with a group called Angels of Light. Gira recently published a book of his short stories, journals, and words for music, called The Knot. He lives in New Mexico.
Kristof Hahn – Lap steel, various guitars, vocals. Kristof first joined Swans in 1989 and was a principal contributor to Angels of Light, and a core Swans member 2010 – 2017. Kristof’s other musical ventures have included the Rock ‘n’ Roll Noir band Les Hommes Sauvages and Kool Kings (with Alex Chilton). When not making music Kristof translates books. He lives in Berlin, Germany.
Larry Mullins - Drums, vibes, orchestral percussion, Mellotron, various keyboards, backing vocals. Larry is a trained symphonic percussionist. He played through the ‘90s with Iggy Pop and later with The Stooges. He played with Swans in the late ‘90s and was a main contributor to Angels of Light. His current main job is playing drums with The Bad Seeds. Larry lives in Berlin, Germany.
Dana Schechter – Bass guitar, lap steel, keyboards, vocals, piano. Dana played bass in and was a core member of Angels of Light. She subsequently released music and toured as Bee and Flower. Her current band is the power-duo, Insect Ark. Dana is also an animator and designer in the film industry and currently lives in Berlin, Germany.
Christopher Pravdica - Bass guitar, sounds, keyboards, vocals. Chris played bass as a core Swans member in 2010 – 2017. Chris has played with the bands, The Gunga Din, Flux Information Sciences, Xiu Xiu, Yonatan Gat and Medicine Singers and has a project of his own called We Owe. Chris is a sound designer and lives in Brooklyn, NY.
Phil Puleo – Drums, percussion, vocals, piano, exotic wind instruments. Phil played drums with Swans in the late ‘90s and was a core member in Swans 2010 – 2017 and contributed to Angels of Light. Phil’s early NYC musical venture was Cop Shoot Cop and has since played with Human Impact, among others. Phil is an extremely talented illustrator and lives in Chicago, IL.
Ben Frost - Guitar, synthesizers, sound manipulations. In his own work, Ben’s adventurous sound-craftings are sometimes harrowing and sometimes delicate and quite musical. His numerous albums and his powerful live shows have afforded him much recognition. He is also an accomplished composer and arranger of music for film and television. Ben lives in Reykjavik, Iceland.
Backing vocals are provided by Jennifer Gira, Lucy Kruger and Laura Carbone.
Organ illustrations by Nicole Boitos
The Beggar 2CD tracklisting
CD1:
The Parasite (8:27)
Paradise is Mine (9:23)
Los Angeles: City of Death (3:29)
Michael is Done (6:08)
Unforming (5:55)
The Beggar (10:15)
No More of This (6:55)
Ebbing (11:04)
Why Can\\\'t I Have What I Want Any Time That I Want? (7:38)
CD2:
The Beggar Lover (Three) (43:51)
The Memorious (8:38)
The Beggar 2LP tracklisting + The Beggar Lover (Three) included on download card
Side A
Paradise is Mine (9:23)
The Beggar (10:15)
Side B
Los Angeles: City of Death (3:29)
The Parasite (8:27)
The Memorious (7:53)
Side C
Michael is Done (6:08)
Why Can\\\'t I Have What I Want Any Time That I Want? (7:41)
Unforming (6:10)
Side D
Ebbing (11:25)
No More of This (6:55)
|
2023 |
€45.00 |
|
| SYNCHRE |
Requiem |
CD |
All instruments and compositions _ Luca Canciello & Lorenzo Brusci
Vocals _ Movement 2, The Zimbabwebird; Movement 1 and 3, Sosta Palmizi
Text, Movement 2 (by Zimbabwebird, in Zulu and Shona, 2015): "Thuma mina, mweya mutsvene.
Unditumeo" [Send me, pure spirit. And then send me.]
Lorenzo Brusci, 1966, co-founder of MUSSTDESIGN.com, managing partner at the music robot start up MUSICFIT (musicfit.ch).
He launched over the last 20 years prestigious adventures in the audio and sound space design field as the sound and interactive design studio GIARDINO SONORO (giardinosonoro.com) and the architectural speakers manufacturer ARCHITETTURA SONORA. He has been composing music for various ensembles, theatre, television and radio since the early ’90s (He founded TIMET.org in 1993).
Lives between Berlin, Tuscany and Krakow.
www.lorenzobrusci.com
www.soundcloud.com/lorenzo-brusci
Luca Canciello, Italian born, Berlin based.
Multi-instrumentalist, composer, sound designer, he performs experimenting with live electronics, instruments and sounds.
www.soundcloud.com/climnoizer
His musical journey and inspiration have brought him into various fields and art disciplines, working solo or collaborating with other artists and bands.
His interest for other art forms, in particular dancing, leads him composing musical pieces for theatre, dance companies, experimenting the various natures of rhythm in music .
On sound design, he’s been involved on projects linked to international cultural heritage and architectural media mapping.
The mechanism of individual and collective memory and its rituals, are the central inspiration of our Requiem. It’s not a formal Mass; our intention was to harvest and express the community’s need of sharing and binding its ties while facing the experience of death.
A deep sense of community - religo in latin, binding in english - inspired our structural research. Requiem becomes then the concerting moment that asks for “holding back”, a desperate request of time suspension, the ultimate demand for re-living, re-experiencing, re-loading, re-gaining, now, in this very ritual and public moment what will be lost forever.
Through a free attitude in music composition and expression - our syncretism - we designed a process of electroacoustic layering, consolidating in 3 compositional areas the process and destiny of organic life.
- Living Elegy - the enchantment for life and its many endangering gates: the movement is subdivided in (living) Articulation, (ritual)Transition and (pathological) Abandon;
- Nostalgia - the seeking for the integral time suspension and life preservation;
- Transfiguration - where we depict the organic reaction to danger and biological faith, subdivided in (furious and ultrabiological) detachment, (regenerating) intimate power, (coding the) extended mind, (persuing a new form of) immanency.
https://emerge.bandcamp.com/album/requiem
"Lorenzo Brusci (Timet, Climnoizer, Giardino Sonoro) & Luca Canciello gestalten als SYNCHRE mit ihrem Requiem (ACU 1009, CD) aus Drones, Breakbeats und dunkel grollenden Blechbläsern (oder Orgelpfeifen) einen Dreisatz aus 'Living Energy', 'Nostalgia' und 'Transfiguration'. Als einen Übergangsritus, mit einer zart flehenden Gesangseinlage von Tozim Madzima aka Zimbabwe Bird, zu plonkenden Lauten aus dem Innenklavier. Danach wieder rauschend sich wälzende, zittrig verzerrte und knarrende Synthie- und Gitarrensounds, mit Vogelgezwitscher durchsetzt und erst zeitlupig gedehnten, dann wieder zuckenden Beats. Und zuletzt auch wieder der dunklen Bläserpracht, zu der sich diese grandiose Musik der brausenden Verwandlung entgegen stürzt. Wer braucht noch eine Leitkultur, nach so einem Durchgang ins weiße Licht?" [Bad Alchemy] |
2016 |
€10.00 |
|
| SYNDROME |
Now and Forever |
LP |
"Mathieu Vandekerckhove, mostly known for his work with Amenra. For years the self-taught musician learned and studied his craft of songwriting and sound scaping, mainly as a means to self exploration, meditation and attempts at channelling negative into positive energy, this while staying below the surface at all times.
Now 2012 marks a turning point for Mathieu Vandekerckhove and Syndrome as he steps forward, with the epic 28 minute long “Now And Forever”. Dedicated to his son Wolf, this track offers words of guidance and will grant you a look into the heart and soul of the artist. Close your eyes and hear the beating heart of pure artistic freedom.
First 75 orders will get an extra booklet with photography by Mathieu Vandekerkhove."
hypertensionrecords.com
"Gent in Ostflandern, Heimat AMENRAs und somit auch die von Mathieu Vandekerckhove. Der AMENRA-Gitarrist ist ebenso wie seine Kollegen ein Vielbeschäftigter. Die belgische Ausnahmekapelle und ihr ganzheitlicher Ansatz wussten im letzten Jahr gemeinsam mit NEUROSIS live dergestalt zu überzeugen, dass der amerikanische “Headliner“ an jedem Abend Vollgas geben musste, wollte die Band nicht von Vandekerckhove und den Seinen in den Schatten gestellt werden. Wer NEUROSIS kennt, weiß, dass sie diese Form der Herausforderung suchen und lieben.
Dass Eindruck zum Ausdruck wird, ist ein Wesenszug kreativen Wirkens. Die Belgier indes verzahnen künstlerischen Ausdruck und das eigene Leben eng. Nicht umsonst wird bei keiner Veröffentlichung auch nur ein Aspekt dem Zufall überlassen. Gleiches gilt für alle Projekte der in Gent Beheimateten – gleiches gilt somit auch für SYNDROME. Es geht die Geschichte, dass Vandekerckhoves Projekt einem Zuhause Experimentieren entsprungen sei, vor ca. sieben Jahren. Mit “Now And Forever“ liegt die mittlerweile dritte Veröffentlichung vor, ein Track mit einer Spielzeit von 28 Minuten. Das Stück bildet den Wandel ab, der sich in SYNDROME eingeschrieben hat und setzt sich aus Ambient, Drone, Doom und ja – Folkelementen zusammen. Unterstützung erfährt der Belgier von Bandkollegen Colin H. van Eeckhout und Josh Graham. Letzterer sollte als NEUROSIS-Mitglied und A STORM OF LIGHT-Kopf keiner weiteren Vorstellung bedürfen.
“Now And Forever“ startet mit einer eindringlichen Akkordfolge, die sanft von einem Drum durchklopft wird. Der vormals erwähnte Wandel drückt sich immer wieder in einer hohen Verdichtung der einzelnen Sounds aus, schnappt Versätze beinahe beiläufig und schichtet diese sorgsam auf, bereitet so auf das Hervorbrechende und Anstürmende vor, besänftigt diese und überführt sie kurz darauf wieder in mindestens zweimalige, versetzte Wiederholungen desselben Motivs. Die Intervalle des Motivs ändern sich stetig und befördern so den rauschhaften Charakter. Ab Minute neun gesellen sich Vandekerckhoves Brummvocal hinzu, um schließlich durch Colins helle Gesangsparts abgelöst zu werden. Immer bleibt die Gitarre leitend und gleicht dabei aber auch einem Katalysator. Sie senkt nicht nur die Aktivierungsenergie, sie überführt auch Dunkles in Klingendes, Tönendes. Reaktant dabei ist das Niederringende des Alltags, dass in das Ergebnis namens “Now And Forever“ expediert wird. Im Vergleich zu AMENRAs Wirkweise des “Hervorbrechens“ steht bei SYNDROME eher das Aufbrechen im Vordergrund. Wo dort die Ausdehnung, das Treiben und das Herauskommen definiert werden, geht es hier eher um ein Öffnen, ein Aufschließen und Durchstoßen. Das Ein- und Aufweichen von Strukturen geschieht entlang des beschriebenen Wandels.
Dabei findet der Hörer AMENRAs die anderen Projekte der Mitglieder in die Wertvorstellungen der Hauptband gut verfugt. Nicht umsonst haben die Belgier mit der CHURCH OF RA eine Form der Herangehensweise gewählt, die in Glaubenssystemen wurzelt. Ernsthaftigkeit ist dabei das Credo, fernab von Dogmen und Hierarchien der Entstehungsgrundlage, sondern vielmehr Basis für eine bedingungslose Hingabe, die Ergebnisse erschließt wie das vorliegende. Dort, wo eine Deckungsgleichheit von Handlungen erzeugt wird, entsteht eine Überzeugungsgemeinschaft, eine, die gemeinsam einen Pfad beschreitet, der an den wenig begangenen Weg Robert Frosts erinnert. Das, was dabei betreten wird, ist gesäumt von einem Streben nach Ganzheitlichkeit in Bild und Ton. Das dort im Verborgenen Schlummernde wird Stück um Stück freigelegt, hoch ist der Aufwand für dieses Abringen, jetzt und für immer." [S.L./Black Magazine]
"Nearly a decade ago, Syndrome came into the world through the Belgian mind of one Mathieu Vandekerckhove due to his need for a meditative vehicle through which he could release the negative energy in his life and transform it into something more constructive. This vehicle obviously existed in obscurity, laying dormant in silence for many years before taking on the attributes of droning post-rock and finding a home in 2011 with Belgian label ConSouling Sounds where Vandekerckhove has spent his entire career under this moniker to this point. Life was officially given to Syndrome when “Floating Veins” was released last June, finding availability in both a 12″ and a CD limited to 500 copies, of which the first 100 came with a bonus DVD-R of material. Other than that and “Now and Forever” here, the only other existing official Syndrome release is a three-way split with Monotonos and Sequences entitled “Fall of Man”. Outside of Syndrome, Vandekerckhove is otherwise known for his work as guitarist for sludge doom bands Kingdom and, more importantly, Amenra whom found a decisive home in Neurot Recordings a year ago. Unfortunately it seems that, despite a promised release of the new studio album “Mass V” a few months after signing, nothing has yet been unleashed.
This slow pace on Neurot may be what has freed Vandekerckhove to pursue his solo project in such depth, and that depth has found him constructing a one-track, 28 minute opus in dedication to his son, Wolf, for this release. What few words are present here exist as a guiding light for his son towards finding himself, finding strength, helping others, and knowing no matter how distant the expanse, be it physical or ethereal, his father is there in spirit. It’s an intimate portrait of the proverbial handing of the torch in blood, primal if not tribal in spirit. A tribal nature is in fact how this album opens, with a subtle light percussive notion — the only place on the entire album where you’ll find any hint of bombast behind the epic, weaving feedback drones that shimmer harmoniously before washing away in tides of a deeper, less tenuous drone that is textured lightly by gentle noise and guitar tones. These moments will eventually give way to the heart of the track that contains the lyrical content and the most desolate production within the release to give space for the vocals to express their stern, yet inert fragility. The deep performance here, both literally and emotionally, immediately reminds of efforts from several artists including Steve von Till and later Ulver, and whose building ethereal guitar nature is uncannily reminiscent of the gut-wrenching dreamy style that Love Spirals Downwards once achieved.
Other than the obvious emotions associated with succeeding at bringing a child into this world, there has to be something incredibly special on an entirely different, subconscious level about implementing those emotions into a dedication through music. It was a decade ago, this year, that Green Carnation released their acclaimed “Light of Day, Day of Darkness” album which was inspired by, at least in part, by the birth of Tchort’s son and the death of his daughter. Obviously there is a greater sense of melancholy in that record, but there is a very distinct yet undefinable emotion that accompanied that album — an emotion that is also present in full force here. It certainly isn’t melancholy, but it is reserved all the same — focused and incontrovertibly sincere. That said, it’s difficult to place the particular portion of the painting by Matthieu Ronsse, “Bateau”, that as used as the album cover, in regards to it’s significance to the subject matter at hand. It certainly fits in with the ethereal music of “Now and Forever”, and there are certainly ties in sound to the sea, but it is certainly cryptic at best in relation. The figure pictured has a ship’s flags linked to the inside corners of the eyes, almost representing tears, while the sail itself covers the mouth. The ship itself is on fire. There are many obvious lines of thought, but they seem to contradict one another once their paths cross.
Perhaps this is an explanation best saved for another article at another time. Regardless of the cryptic artwork though, it’s hard to imagine an album of this style achieving a level of perfection that rises above this. There’s simply such an incredible amount of intensity, love, and musical prowess at work in “Now and Forever” to find any kind of negative attributes within." [Sage/Heathen Harvest]
|
2013 |
€20.50 |
|
| SZMT |
Parvenu |
CD |
Parvenu is a work about authoritarian structures and developments.
The narrative is abstract, all sounds are concrete. Every single sound on this recording is based on recordings from three bee hives.
Track List:
Sometimes She Had Melancholic Memories of Her Larval Stage – 11:48
His Primary Role Was to Mate with the Fertile Queen – 9:04
The General Skepticism of the Constitutional Monarchy Was Justified as New Forms of Authority Surfaced – 15:11
The Surviving Virgin Queen Hid in the Shadows of Her Former Kingdom – 11:37
www.gruenrekorder.de
"Behind szmt (no capitals needed) is Tobias Schmitt, better know, I think, as Suspicion Breeds Confidence, but also an improviser and organiser of concerts. As szmt he “contextualizes seemingly contradictory material and techniques. All input is equal and will be formed into a coherent but nevertheless open to misinterpretation result by means of improvisation and composition” and for
‘Parvenu’ we read that it is a “work about authoritarian structures and developments. The narrative is abstract, all sounds are concrete. Every single sound on this recording is based on recordings from three bee hives”, in which context I guess the whole authoritarian structures becomes funny. When I played this yesterday for the first time I didn’t look any of this up, nor could I really decipher the font
on the cover and decided to give it another try, another day, which turned out to be today. Now that I know I am hearing the processed sound of bees, it sounds like something very obvious, but I guess that’s always the case. I assume that Schmitt is armed with a laptop and sound processing tools that lie within those machines to compose the four pieces on this CD. It is shimmering, quiet, sometimes loud, sometimes very processed, beyond recognition and then sometimes it seems to be fairly close to
what is really a recording of a bee. Most of the times it sounds like the work of microsound, that active music force from a decade ago, but in the case of szmt that is perhaps 2/3 of the story. In “The General Skepticism of the Constitutional Monarchy Was Justified as New Forms of Authority Surfaced” (all four
titles are that weird, indeed), Schmitt let’s his bees do a dance, and while not really techno music, or perhaps something we could or should dance too, there is surely some kind of groove to be detected.
Schmitt’s work reminded me of Roel Meelkop, Marc Behrens and that posse, but he added his own
twist by allowing a more loop based structure, working his processing around those, calling for
minimalist developments within each piece. It’s these perhaps not so big differences that actually made it stand out from the microsound as it was before and made it into something he can call his." [FDW/Vital Weekly]
"Gruenrekorder recordings are often filled with surprises, and szmt’s Parvenu is no exception: the brainchild of Tobias Schmitt, the forty-eight-minute release was created entirely using sounds derived from three bee hives. Given the szmt description provided, Schmitt, who also issues material under the Suspicion Breeds Confidence alias (e.g., The Fauna and Flora of the Vatican City) and has contributed to a number of releases on the label over the years, would appear to be somewhat of a provocateur. szmt, we’re told, “contextualizes seemingly contradictory material and techniques” such that all input is “formed into a coherent but nevertheless open-to-misinterpretation result by means of improvisation and composition.”
In the case of Parvenu, four long-form explorations are presented, each carrying with it a wordy title, the lengthiest “The General Skepticism of the Constitutional Monarchy Was Justified as New Forms of Authority Surfaced.” The material’s predictably abstract and amenable to interpretation, the listener free to conjure any number of possible interpretations in response. Occasional moments of insect swarm and buzzing do surface, but for the most part Schmitt’s treated the original recordings like so much raw material ready to be liberally shaped and transformed.
As the recording plays, it’s impossible to predict what direction it’ll take; at one juncture, a writhing, industrial-inflected rhythm pattern begins to assert itself before a swathe of smears abruptly takes its place. Elsewhere, amplified chirping, grinding, and warbling noises suggest a microphone moving in closely on the hive and its inhabitants, with rutting sounds of indeterminate origin implying activity of some (re)productive kind occurring within. Tinged with sci-fi bleeps, a few ambient-like episodes arise that one would perhaps misidentify as synth-generated were one unaware of the production methodology involved, and strange though it might sound, that aforementioned track, especially when it features clattering beat elements, threads sequences into its fifteen-minute frame that aren’t unlike what one might encounter in an early Autechre experiment.
A number of possible descriptions come to mind, but experimental soundsculpting might be the best and simplest fit for what’s going on here. Such experimentation is business as usual at Gruenrekorder central, of course, as long-time followers of the label already know. As strange to outsiders as Parvenu will be, to Gruenrekorder fans such weirdness is nothing more than standard operating procedure." [Texture] |
2017 |
€13.00 |
|
| SZYMCZUK, MACIEK |
Clouds |
CD |
"The next Maciek Szymczuk album Clouds sees the light of the day on 28th February and it is a logical and perfect continuation of contemplative motives from its predecessor called Ways. Although the cover shows only Maciek's name, the album is filled with guest appearances which add energy and ideas to the 14 compositions gathered here.
The music on Clouds is changeable, just like the nature of this weather phenomenon. At one point it is delicate and ethereal, when at the other it is stormy and dark (as signified on the cover.) With all its diversity, all the tracks form one coherent whole which helps to relax and meditate a bit. With more focus on atmosphere than bouncy rhythms, Clouds is more of a soothing experience.
The release date is not insignificant - it is the birthday of Maciek. But it is the listeners we are having presents for. The first 100 copies of Clouds will include a special bonus CDR called Rare Species Vol. 1 which will contain renditions of Clouds tracks (prepared by Andrew Lagowski, Blare For A, Dead Factory, Michael Hoffmann and Xenoton), remixes by Maciek Szymczuk (done for kIRk and Echoes of Yul among the others) and, apart from those, compilation and unreleased tracks.
All together gathered on one disc, so it is quite a treat." [label info]
www.zoharum.com
|
2013 |
€12.00 |
|
| TAKAYANAGI, MASAYUKI |
Action Direct |
CD |
„Takayanagi, ebenso wie Frith oder Rowe ein „Alter“ an der Gitarre zwischen Improvisation und Komposition, entwickelte sein hier vorgestelltes Tischgitarrenkonzept in den frühen 80er Jahren. Diese Wiederveröffentlichung einer längst vergriffenen Live LP von 1985 zeugt von einem wiederum ganz eigenen Stil in dieser Spielart. Zwei Walkmen, Mixer, Effektgeräte und zwei Gitarren, eine mit Kontaktmikrophonen bestückt und eine auf dem Tische liegend, Buttermesser, Säge, Streicherbogen etc. zur Bearbeitung, Zuspielbänder mit Stimmen von Mishima Yukio, Hitler und anderen Märschen, Eimert, Wagner sowie Industriesounds dienen Takayanagi zur Herstellung seiner Collagen/ Montagen. Trotz der Fülle an Mitteln, ist sein Stil druckvoll und wohl überlegt. Man hat die Gitarre stets vor Augen und „sieht“ beim Hören doch mehr und weiter. Jeder seiner Eingriffe, jede neue Geräuschlage wirkt hochkonzentriert und bar jeder Hektik. Gitarrenimprovisationen jenseits von Jazz und/oder Neuer Musik. Schönes Foldout-Cover und ein Minibooklet mit Linernotes von Alan Licht und Johan Wellers./
Like Frith or Rowe, Takayanagi is an „oldtimer“ on guitar playing between improvisation and composition. He developed his concept of table guitar in the early 80ties. This rerelease of a long time sold out live LP from 1985 shows his very own style in this genre. 'The instrumentation (...) consisted out of two walkmans, a mixer, various effect pedals and two guitars, of which one was wired up with contact microphones, while the other was stretched out across the table, manipulating its sound with effects while using a bowstring and other utensils like butterknifes and chains (...) modulated tapes of music by Wagner, Eimert and Eissler, snippets and fragments of of speeches by Mishima Yukio, Hitler and accompanying Nazi marches, pieces of a Richard Wagner opera, Sergei Prokofiev’s second symphony and sound bits of industrial machinery and other heavy industries were put to use'(from the linernotes) to create the sonic collages/ montages. In spite of the abundance of sound sources his music is powerful and well-considered. Always the guitar in your eye while listening you „see“ more and further. Every step, every noise layer seems high concentrated and cool. These are guitar improvisations beyond Jazz and/ or New Musik. Nice foldout jacket included a small booklet with linernotes from Alan Licht and Johan Wellers.” [Peter Schlewinski for Drone Records]
"The CD version is carefully crafted and housed in a deluxe fold out sturdy carton mini-LP styled record sleeve (hand numbered) complete with fully detailed and extensive liner notes by Alan Licht and Johan Wellens." [label info]
|
2005 |
€20.00 |
|
| TALVIHORROS |
And it was so |
LP |
"Talvihorros is London based composer Ben Chatwin's study of guitar and electronics. Numerous techniques are used to coax a myriad of sounds from both acoustic and electric guitars. Home-made and vintage electronic equipment are used to loop, process and manipulate improvised material into dense and dark sound collages. What started out as a personal challenge to make an album in 7 days grew into something else entirely. Over a year in the making, and expanding his trademark guitar sound with drums, strings, bells, organs and synthesisers, 'And It Was So' features contributions from fellow label mates Field Rotation (violin) and Petrels (cello) along with tour partner Jordan Chatwin (drums/percussion) and long time collaborator Anais Lalange (viola). If last years album 'Descent Into Delta' was reminiscent of plunging into the murky depths, his latest offering 'And It Was So' evokes the expansiveness, dynamicism and density of the cosmos. Attempting to find order in chaos is something Talvihorros has been striving to achieve over the past three albums and he has never balanced these elements so beautifully. Merging the textural noise of Tim Hecker with psychedelic, guitar sound-sculpters such as Barn Owl and Sun Araw.
Vinyl: thick sleeves + thick printed inner sleeves; 180g vinyl; free download code." [label info]
www.denovali.com
|
2012 |
€20.00 |
|
| |
And it was so |
CD |
"Talvihorros is London based composer Ben Chatwin's study of guitar and electronics. Numerous techniques are used to coax a myriad of sounds from both acoustic and electric guitars. Home-made and vintage electronic equipment are used to loop, process and manipulate improvised material into dense and dark sound collages. What started out as a personal challenge to make an album in 7 days grew into something else entirely. Over a year in the making, and expanding his trademark guitar sound with drums, strings, bells, organs and synthesisers, 'And It Was So' features contributions from fellow label mates Field Rotation (violin) and Petrels (cello) along with tour partner Jordan Chatwin (drums/percussion) and long time collaborator Anais Lalange (viola). If last years album 'Descent Into Delta' was reminiscent of plunging into the murky depths, his latest offering 'And It Was So' evokes the expansiveness, dynamicism and density of the cosmos. Attempting to find order in chaos is something Talvihorros has been striving to achieve over the past three albums and he has never balanced these elements so beautifully. Merging the textural noise of Tim Hecker with psychedelic, guitar sound-sculpters such as Barn Owl and Sun Araw. Cd: nice digipak packaging." [label info]
www.denovali.com |
2012 |
€14.50 |
|
| TAMING POWER |
Selected Works 2001 |
CD-R |
"There was a time when Vital Weekly reviewed a lot of vinyl and cassette releases by Taming Power, the musical project of Askild Haugland. That's what I wrote back in Vital Weekly 711 too, when he released a double LP of his work following an extensive gap before and, as we know now, after that. He never released many CDRs, but he did so in 2001, when he released this CDR which is now re-issued, which was to promote his music to concert organizers, as back then he was interested in playing studio pieces in between bands, rather than having a DJ on. It was intended to have this released on vinyl and maybe some day it will. Apparently I call Haugland a 'liar' as he wrote me 'please DO NOT once again call me a liar', but that seems a bit of a harsh word for me to use. I don't recall exactly but maybe I had some doubts about how he generated some of his drone like pieces. He writes also that the 'music was made entirely and exclusively from tape recorder feedback. Sounds and sequences
were generated on a reel-to-reel tape recorder and then edited to a 4 track recorder'. I am not going to argue with that, he's the creator, he's right. I must admit I didn't hear much of his music again, but these ten shortish pieces (lasting thirty minutes) are quite nice works for multiple layers of feedback, creating moody and occasional harsher textures and defies the easy goin' drone music. I like the fact that these are almost pop-like length pieces and each piece is a rounded set of improvisations, disguising themselves as compositions. I am not sure if these should be re-released again on vinyl, but this is perhaps a fine reminder that Taming Power should do some new music." [FdW/Vital Weekly] |
2013 |
€6.00 |
|
| TAMING THE OUTBACK |
1986-1989 |
CD |
"TAMING THE OUTBACK...
OK ... you probably haven’t heard of this 1980’s UK band before – but they really are worth it ...
Taming The Outback were a three-piece from Southend-on-Sea (Essex, UK) who were active from 1986 to 1989 (hence the title of this retrospective compilation). While they spent most of their time playing outside of the town itself and bemoaning the R&B traditions of the area, they were very much a Southend band. The three members of the original line-up formed after crisscrossing each other’s musical paths in South East Essex in the early 1980s. Melbourne-born drummer Daryl Amos and bass player Jason Sherwin first played together in local band A Wreath For Brezhnev, later meeting-up with guitarist/singer Tony Sampson (who played with Playground) to form Taming The Outback – band characterized by an aggressive, driven rhythm section, strong self-penned songs with a rich, echo-saturated guitar.
Playing live became a primary focus for the band but the endless gigging, drinking and the failure to release the aforementioned second single and the LP (already recorded) probably marked the beginning of the end of the band. Taming The Outback itself played their last gigs in 1989 with the aggression being turned inwards between personnel and instruments.
This limited edition retrospective CD collects the unreleased LP, their 7” single and the cassette EP, along with demos and some rare live recordings – all carefully and professionally remastered by Sting Davies at Big Noise, one of the UK’s top audio restoration engineers. Their music has never sounded better. The deluxe packaging pays homage to those lovely old vinyl gatefold sleeves and has an information-packed 24-page full colour booklet and inner sleeve (initial copies also come with a 2-sided mini-poster with more press cuttings and a sticker). Check out our web page for videos, more images and (aging and fading) press cuttings." [label info]
www.chronoglide.com/equation.html
"Every now and again I find a band or artist that I just am absolutely in love with, only to find upon further research, that they have fallen to obscurity and little to no more material exists to be had. That is very much the case with Taming the Outback. Being a big fan of the post-punk movement as a whole, I was certainly excited to give this disc a spin, but I had no idea what was in store. A 'definitive' collection, culled from the entirety of their 3 year lifespan, '1986-1989' may just be one of the most quintessential post-punk records I've experienced. From the opening notes of 'Fire & Smoke' to the moving, dramatic leads of 'Mistrust' to the final notes of 'American Dream' this cd is a near flawless listen. So many classic influences are channeled throughout this disc, while not a single one of them can quite be used for comparison. The Outback were able to draw from these influences and really put their own stamp on it all. From bass sounds very reminiscent of the Cure's 'Disintegration' album, coupled with certain melodies containing the ghosts of Joy Division's early work to the angst of Killing Joke and hint of the western vibe of Fields of the Nephilim (with whom The Outback shared the stage for a tour) to the tension building vocals of Echo and the Bunnymen and Mission UK'¦ The list just goes on and on, yet I can't stress enough, that at no point does it sound like any of these bands have been recycled in any way. Taming the Outback had something so magical that this world just couldn't accept it, and after just three short years, tensions grew to a head, and the magic was no more. Lucky for us the trio, after 2 decades, decided to release this retrospective of singles originally slated for an abandoned LP, demos, and live tracks. While the quality of some of the live tracks isn't 100% pristine, some of the almost inaudible tape noise, really at its worst just adds a warm, nostalgic feel the latter half of the album. Even the packaging is impressive. A thick, heavy, double gatefold style cardboard sleeve is adorned with the band's infamous crucifixion publicity shot, and comes with a poster, and full 24 page booklet containing lyrics, interviews and reprints of more than a few press clippings about the band; and a second edition limited to just 75 copies (which at last inspection were still available) comes with the same, as well as 4 badges, a mini reprint of 'Alive and Kicking' fanzine from 1987 featuring the band, and an original copy of their only 7' in a picture sleeve. Once again, just a phenomenal record in every way; go out of your way if you must, just make sure you get this one under your belt before you die." [Barton Graham / Chain DLK] |
2011 |
€13.00 |
|
| TAPE LOOP ORCHESTRA |
Interiors Two |
LP + CD + BOOK |
New impressionistic, metaphysical investigations from Andrew Hargreaves’ Tape Loop Orchestra.
Taking his cues from found photos and a hopeless romantic sensibility, Tape Loop Orchestra’s entropic drift carries him thru rooms 7-13 of his ‘Interiors’ trilogy, taking all the time he needs to ponder the questions: “Are there invisible entities left adrift when a room is unoccupied, sounds forever reverberating beyond the life of the body? Is there a way for us to access this library written in the air?”Across the LP he typically divines a moire of ephemeral emotive nudges swept up in ferric swells, while the bonus CD supplies an intimate audience with TLO recorded live at Manchester’s Partisan venue on a chilly sunday evening in winter 2018.
In a transition from fading daylight to darkness, the music on the LP inhabits richly melancholy headspace. Initially clear, plangent keys and choral sighs almost subliminally begin to fray at the edges as their signals become reiterated in outwardly spiralling feedback loops. Across the front the sound connotes a late summer light ebbing away into dusk, gradually allowing the ear’s eye to adjust to the low luminosity of the B-side, where a chill of night seeps into the near-static scenes, fringed by the meridian sound of distant cars or the shiver of spirits accreted in soft furnishings and peeling wallpaper, eventually slowing down to a stark solo piano pulse and even Carpenter-style atmospheric noir.
Leading on beautifully from the LP’s solemn ending is TLO’s live set recorded for an event organised by Tom Houghton at Partisan, a listed building in a historic quarter of Manchester city centre. We were lucky enough to be lulled to a soporific state by said set, and we can assure listeners it’s lost none of its enchanted appeal on the CD.
|
2019 |
€34.00 |
|
| TARAB + ARTIFICIAL MEMORY TRACE |
Obex |
MC |
"To start AMT and Tarab exchanged materials and objects. AMT exchanged a single sound sculpture for Tarab’s collection of small objects. This material exchange led to activity. AMT manually manipulated, Tarab also, but more often than not he placed the sculpture in situations and let them work on it. Once again exchanges took place, this time of audio material. Elements where then selected and arranged and further rearranged; some left untouched and some where transformed.
Tarab explores re-contextualised collected sounds and tactile gestures formed into dynamic, psycho-geographical compositions inspired by discarded things, found things, crawling around in the dirt, junk, the ground, rocks, dust, wind, walking aimlessly, scratchy things, decay and most if not all the things he hears and sees. More than simply documenting a given site, Tarab is interested in a direct engagement with our surrounds, teasing out half narratives, visceral sensation, false leads and heightened awareness.
Artificial Memory Trace is a project by Slavek Kwi, a sound-artist, composer and researcher interested in the phenomena of perception as the fundamental determinant of relations with reality. He has a longstanding fascination with sound-environments, developing what he terms “electroacoustic sound-paintings”, that oscillate between sound-only works and interdisciplinary works exploring social, spatial and temporal processes." [label info]
"The other new Cronica Electronica release is a collaboration between Tarab from Australia and
Artificial Memory Trace from Ireland. From both of them we reviewed quite some work, even when
Tarab is not as active as Artificial Memory Trace. Both of them use a lot of field recordings. The latter reworks these extensively on his computer, while retaining some of the original and Tarab “explores re-contextualised collected sounds and tactile gestures formed into dynamic, psycho-geographical compositions inspired by discarded things, found things, crawling around in the dirt, junk, the ground,
rocks, dust, wind, walking aimlessly, scratchy things, decay and most if not all the things he hears and sees” (I couldn’t have said it better). Together they exchanged “materials and objects’, rather than a bunch of sounds. Artificial Memory Trace sends a sound sculpture down while Tarab send up a collection of small objects. Things were manually manipulated, recorded and transformed, all noted on the cover, but maybe also adding to the mystery of it. And mysterious it surely is. I quickly lost my way here, already on the first side of this cassette. I had no clue which piece I was hearing, or who did what. The Bandcamp version only shows a limited amount of pieces, so hardly any help. There is lots of obscure rumble of objects, and equally a lot of processing without any telling what these objects are.
It could as easily be one piece per side anyway and for some obscure fun it is listed as a bunch of pieces. It is a fascinating listening experience, and unlike Delplanque’s work, it is clearer defined as a composition. I would think there are strings attached to these objects, that they are used in a percussive way and sometimes it sounds like they are destroyed. It is very acoustic yet also electrical. Sometimes
small drone sounds are formed and then sometimes it builds, but as easily seems to be falling apart making this quite odd but thoroughly captivating stuff." [FdW/Vital Weekly]
|
2018 |
€10.50 |
|
| TARKATAK |
I II III IIII |
CD |
Die 4 Titel auf / // /// //// sind in ihrem Ursprung auf Reisen entstanden, an unterschiedlichen Orten oder auf dem Weg. Dann weitergeführt in unterschiedlichen Situationen an diesem festen Ort hier bis sie eine endgültige Form angenommen haben, die sich aber erst nach vielen Stimmungsschwankungen gefunden hat. Ein manchmal langer Weg dessen Resultat nur aus der Stimmung entscheidet, die die Musik in diesem Moment entgegenbringt.
Tarkatak
Ende 1981 war der Anfang: Punk und die Kassettenszene machten alles möglich. Unter dem Namen „Der Pilz“ erschienen die Geräusch-Collagen aus selbst geschnittenen Tonband-Loops und Kassetten-Overdubs. Das Harsche blieb bei „Der Pilz“, das Ruhige wurde zu „Tarkatak“, mit der ersten Kassette „slow“ (1999). Die Quellen und Wege blieben gleich (hören, sammeln, schneiden, unkenntlich machen), das Medium wurde Digital, obwohl es oft noch immer nach Kassette rauscht. Und immer wieder geht es tief in das dunkle, zähe Unbekannte – um sich dann vom Klang irgendwo erfüllt und umschlossen zu verlieren.
Neben zwei Kassetten, einer LP, div. 7“s bei Drone Rec. (z.T.Features mit Klangwart und Deep), CD/Rs (u. a. zusammen mit Anemone Tube und Florian Filsinger) und ein bisschen Digitales, gab es Konzerte oder Live-Kollaborationen mit Troum, A Thousand Vows, Melt Banana, Christina Kubisch, Kapotte Muziek, EA 80 etc."
https://aufabwegen.bandcamp.com/album/i-ii-iii-iiii
"You could think that is a label that hands me two new CDs, and one of these is new work by Asmus Tietchens, that would be the one first to hear. But a new CD by Tarkatak! Hold on. I can't remember I last heard or reviewed his music. I have known the musical project from Lutz Pruditsch since he started it in 1992. Before that, he had a cruder, industrial act, Der Pilz. As Tarkatak, he plunges into the world of ambient and industrial. 'I II III IIII" is his first release since the 2007 release 'Mormor' (not reviewed). There are four long pieces on this CD: ' I', 'II', etc. The pieces are from 2011, 2012, 2015 and 2017/2021. I have no idea what kind of instruments Tarkatak uses; only the piano is recognizable in 'IIII'. Otherwise, I think he uses electronics, effects, guitars, synthesizers and such. There is a robust drone approach in these pieces, of slowed-down tapes and rusty sounds, slowly evolving. With pieces between thirteen and twenty minutes, there is enough time to let them grow and develop naturally. This works best in the longest of the four pieces, 'II'. Tones arrive from nowhere, make a few slow and majestic moves and then disappear, replaced by new ones. The resulting music is dark, atmospheric and ambient. It ticks all the right boxes for me; I have been a fan since the early days, even when I am ashamed to say I haven't played many in recent years. Oddly enough, the one that didn't work well for me was 'IIII', with the piano sounds. Whereas the other was akin to amorphous clouds, the musical element of the piano, slightly unorganized, banging out slow
tones against a drone background, became after a while a bit boring. But a good hour of great music has passed by then, so nothing to complain about. Let's hope we don't wait another fifteen years for the next album." [FdW / Vital Weekly]
" „I II III IIII“ ist das erste neue Album von Tarkatak seit dem 2007 erschienen Album „Mormor“ auf Genesungswerk. Ende 2021 erschien ein starker Track auf einer Compilation. Die hier enthaltenen Aufnahmen entstanden zwischen den Jahren 2011 und 2021, geremixed wurden sie im Frühjahr 2021. Lutz Pruditsch, dessen Werk in den 80ern/90ern als Der Pilz stark von der Industrial Culture beeinflusst war und der das kleine Label Trümmer Kassetten betrieb, macht als Tarkatak eine ziemlich variantenreiche Musik, die sich im Drone verorten lässt.
Konzipiert während des Reisens und Unterwegsseins, bekommt man vier lange Tracks, die sich fortwährend entwickeln: So kommen auf “I” im Laufe der 16 Minuten zu dem in der Ferne anschwellenden Drone immer weitere Elemente hinzu, die sich nach und nach verdichten. Das ist eine sich langsam entwickelnde, aus zahlreichen Schichten bestehende Musik: Zwischendurch wird man an eine Sirene erinnert, Dissonanzen tauchen auf, es pulsiert, brummt und irritiert (und das ist durchaus positiv zu verstehen). “II” wirkt anfangs von der Stimmung wesentlich positiver, weniger dunkel. Man kann sich diesen weitgehend sehr melodischen Track zur Untermalung eines Sonnenaufgangs vorstellen. In der Ferne erklingen Pianotöne, die verhallen, im Rauschen gerade noch erahnbar sind. Dann glaubt man, Wellen schlügen gegen das Ufer, dann setzen dunkle, unheilschwangere Drones ein, um dann am Ende doch hoffnungsvoll zu enden. “III” ist wesentlich reduzierter, beginnt fast unhörbar, dann kommen seltsam-melodische Passagen dazu. Dem Track haftet ein Moment des Mysteriösen an, bevor der Rest Schweigen ist. Der das Album abschließende Track “IIII” beginnt dunkel, tastend, dann kommen Klavierpassagen dazu, die wesentlich dominanter als zuvor sind.
Diese vier langen, organisch wirkenden Tracks loten aus, was der Drone alles kann. Sehr schöne, auf 200 Exemplare limitierte Veröffentlichung mit einem zum Poster ausfaltbaren Siebdruckcover." [MG / African Paper]
"An edition of 200 copies only in silk-screened hand numbered poster-cover sounds nice and lovely but is in fact a bit unhandy, the poster folds out to more of the organic structure in bronze / brown / black. Thankfully a regular booklet is included here so at least some basic infos can be gained from the artwork.
Tarkatak is actually no new name to me, it's a project by Lutz Prueditsch (who was active as Der Pilz, run his experimental tape label Trümmer Cassetten and later Dachstuhl a.o. activities) I've listened to in awe years ago already when his album 'Mormor' appeared on the much missed Genesungswerk label, in a cardboard box with a CD on felt. Ambient drones for the thinking man or something like that I wrote back then. At least back then he gave the tracks some titles but for this collection, recorded between 2011 and 2021 and finally mastered in 2021 even those have left and the tracks are titled as the release, just four numbered sections. Well, freedom of speech, association or of thought or both this is.
The most recognizable instrument used here in small doses is a piano, spreading a few melodic highlights throughout these organic drones, built from field recordings and found but altered sounds and voices. Reworked over and over again the continuos movement and the flow hardly ever stops until everything is dissolving.
The mood is shifting from brooding to wallowing in various stages of post-romantisicm not completely unlike contemporaries Troum (f.e. with 'Mare Morphosis'). Maybe also reflection of a period of travels and changes in the artists life. A pleasure to listen to. Dreamy Movements in a deep wakefulness sleep." [CHAIN D.L.K.]
|
2022 |
€13.00 |
|
| TATE AND LILES |
Without Season |
CD |
Feine Collaboration der ORA-Hälfte DARREN TATE mit dem aufsteigenden Brightoner ANDREW LILES. TATE hat wieder field recordings beigesteuert (z.B. Holz- oder Bootknirschen, leises Bachrauschen, Äthersounds, Vögel & andere Tiere, Laufgeräusche, Unterholz-knispern), die unverarbeitet im Mix auftauchen, während ruhige drones und Instrumentalklänge (Piano, Akkordeon) das ganze konstrastieren... WITHOUT SEASON klingt überwiegend getragen, dunkel und etwas bedrohlich & ist von einer gewissen surrealistischen Bizarrheit, irgendwas „stimmt hier nicht“ oder lauert im Geäst...
“There is a playful madness, an eccentricity running through the veins of this recording. Disembodied sounds flit around the margins of our consciousness, barely recognisable, separated from obvious meaning, snatches of the almost familiar. We’re nearly home, but not quite. It’s more dreamlike, a perverse version of home, where something isn’t quite right, something is out of place. Our sanity perhaps?
‘In that direction,’ the Cat said, waving its right paw round, ‘lives a Hatter: and in that direction,’ waving the other paw, ‘lives a March Hare. Visit either you like: they’re both mad.’
‘But I don’t want to go among mad people,’ Alice remarked.
‘Oh, you can’t help that,’ said the Cat: ‘we’re all mad here. I’m mad. You’re mad.’
‘How do you know I’m mad?’ said Alice.
‘You must be,’ said the Cat, ‘or you wouldn’t have come here.’
Quote from Alice In Wonderland by Lewis Carroll
Sonically flawless and wrapped in superb visuals, this is some of the strongest work from either artist.” [press release]
|
2005 |
€14.50 |
|
| |
Without Season |
CD-R |
"Feine Collaboration der ORA-Hälfte DARREN TATE mit dem aufsteigenden Brightoner ANDREW LILES. TATE hat wieder field recordings beigesteuert (z.B. Holz- oder Bootknirschen, leises Bachrauschen, Äthersounds, Vögel & andere Tiere, Laufgeräusche, Unterholz-knispern), die unverarbeitet im Mix auftauchen, während ruhige drones und Instrumentalklänge (Piano, Akkordeon) das ganze konstrastieren... WITHOUT SEASON klingt überwiegend getragen, dunkel und etwas bedrohlich & ist von einer gewissen surrealistischen Bizarrheit, irgendwas „stimmt hier nicht“ oder lauert im Geäst..." [Drone Rec. info 2005]
“There is a playful madness, an eccentricity running through the veins of this recording. Disembodied sounds flit around the margins of our consciousness, barely recognisable, separated from obvious meaning, snatches of the almost familiar. We’re nearly home, but not quite. It’s more dreamlike, a perverse version of home, where something isn’t quite right, something is out of place. Our sanity perhaps?
‘In that direction,’ the Cat said, waving its right paw round, ‘lives a Hatter: and in that direction,’ waving the other paw, ‘lives a March Hare. Visit either you like: they’re both mad.’
‘But I don’t want to go among mad people,’ Alice remarked.
‘Oh, you can’t help that,’ said the Cat: ‘we’re all mad here. I’m mad. You’re mad.’
‘How do you know I’m mad?’ said Alice.
‘You must be,’ said the Cat, ‘or you wouldn’t have come here.’
Quote from Alice In Wonderland by Lewis Carroll
Sonically flawless and wrapped in superb visuals, this is some of the strongest work from either artist.” [press release Twenty Hertz]
|
2015 |
€10.00 |
|
| TATE, DARREN |
Ghost Guitars |
CD-R |
DARREN TATE is still (re)-searching on the weird side! Over 45 minutes of at times quite rough experiments with a "squeeze box", piano, keyboards, guitars, accordian & field recordings, strange electronic sounds all over the field(s)... and near silence....
...created with help from D. SUZUKI and K. VANCE
|
2006 |
€12.00 |
|
| TATTERED KAYLOR |
Selected Realities |
CD & DVD |
" ʻSelected Realitiesʼ is a collection of captured, spatialised and composed sounds as discovered within unique sonic environments by australian sound artist Tessa Elieff AKA Tattered Kaylor. Each composition presents the observer with the audible identities of a time/place/space – as interpreted by Kaylor through immersive sound composition. The works provide a passage by which listeners experience an alternative to our everyday realities, causing us to question our observations we regard as being absolute.
Spaces portrayed include underground drainways, Inner city multi-level stairwells and hidden basements – housing the mechanical organs as used to transform theatre configurations. Each space was chosen not only for the unique sounds as to be found within their boundaries, but also for their provocation of sound – the ways in which their architecture manipulates and interacts with the physicality of the sound wave. Sonic phenomena such as standing wave forms, resonances, beating and flutter are all objects of desire within the recordings and sounds have been captured and spatialised so as to portray these unique artefacts. Characteristics of environments are presented using blunt gestures. The visceral qualities of sounds are neither exaggerated nor swept aside but rather - brought to light - their brutal exposure proving to support the sonic reveal.
Recording methods utilised in the capture of the sounds include Mono, Stereo, MS and self developed surround-recording techniques. Assorted microphones are placed in nonconventional configurations and calibrated individually so as to each present their own recorded sounds as equal to the others – in volume and in sensitivity. Where most audio purists insist on uniformity in microphone (brand and model), Kaylor indulges and exploits the attributes each microphone possess, working by the same ethos as is abided by throughout the selection of each unique space.
The official european release presentation of MOOZAK #005 will be held at the second edition of MOOZAK FESTIVAL on September 21st/22nd, 2012. Tessa Elieff aka Tatterred Kaylor will present a special 5.1 surround sound concert which will definetly sharpen all listeners perception. MOOZAK #005 will be available at the festival's merchandise table in a special package (festivalpass + release)." [label info]
www.moozak.org
|
2012 |
€13.00 |
|
| TAUMEL |
In Pieces - Volume One |
10inch |
"in pieces - volume one" - taumel trifft das ensemble adapter
- - -
im winter 2016 haben sich 'taumel' und das 'ensemble adapter' zu mehreren improvisativen sessions getroffen um einen musikabend zu entwickeln, bei dem die gegensätze und grenzen zwischen komposition und improvisation, freiheit und festlegung, chaos und struktur verschwimmen oder kollidieren. im mittelpunkt der sessions stand die entwicklung einer spezifischen, klang-gestischen musiksprache. jeder musker hat gewissermaßen auf seinem instrument einen charakter und seine jeweils eigene spezifische klang-gestik entwickelt. diese sessions haben wir mitgeschnitten und für "in pieces" als grundlage genommen. "in pieces" besteht aus den remixes dieser sessions, sowie zusätzlich von taumel produziertem studiomaterial.
"in pieces" kann als sureales klanggedicht verstanden werden, als eine abstrakte klang-geschichte, die durch die verschiedensten zustände wandert - von größtem glück bis hin zu raserei und wahnsinn. in den 2 mutierenden klangfeldern kreist die assoziative geschichte um das thema der sprachlichen unveräußerbarkeit und damit auch um das thema 'chaos und ordnung'. diese doppelbödigkeit, der versuch zur schönheit und dessen umkippen in zerstörung und versagen. schreibversuche, sprechversuche, gestammel, gestotter, geschrei, einengung, wegdriften, gesumme... in der mutation der zustände treffen heterogene klangereignisse aufeinander oder werden vermengt zu einer neuartigen masse zwischen lied, sprechen, melodie, harmonie, geräusch, beats, riffs, wort, elektronik und verfremdung. die aktion des instrumentalisten (das instrumentenspiel) steht auf der gleichen ebene wie jede andere klangerzeugende handlung oder stimmliche veräußerung sowie jede elektronische klangerzeugung und ist immer gestisch gedacht, performativ, als handlung, als akustischer tanz.
"volume one" ist der erste teil eines als zweiteiler geplanten musikalischen zusammenhangs ("in pieces - volume two). in zwei klangteilen (seite a, seite b) ist "in pieces - volume one" kein liederzyklus wie unsere anderen serien, z.B. TRAUM, sondern eher ein musikalischer 2-akter, später insgesamt 4-akter. hier teilt sich die gesamtform der musik-serie nicht auf in alben und songs, sondern in alben und deren a+b seiten, wie akt 1, 2, 3 und 4. vielleicht kann man daher "in pieces" auch als akustisches theater hören, oder als hörspiel ohne worte, oder als soundtrack ohne film, oder als film ohne bild, oder eben einfach als eine ordnung sich verändernder klangereignisse.
"off the record"
in "off the record" trifft taumel auf andere musiker und entwickelt alben in kolaboration. hier können verschiedenste formen der musikalischen interaktion ausprobiert werden. in diesem fall von "in pieces" bestand die zusammenarbeit mit dem "ensemble adapter" in den besagten sessions, die das grundgerüst und skelet für das gesamte album bilden.
- - -
INFORMATION:
"in pieces - volume one"
by taumel and ensemble adapter
label: dronerecords
https://www.dronerecords.de
taumel: jakob diehl / sven pollkötter
https://www.taumel.net
publisher: https://www.la-chunga.com/en/
ensemble adapter: Kristjana Helgadóttir / Ingólfur Vilhjálmsson / Gunnhildur Einarsdóttir / Matthias Engler
http://ensemble-adapter.de
instruments: voice, drums, percussions, guitars, tipewriter, flutes, harp, clarinets, prepared piano, keyboards, synthesizer, loops and samplings, electronics, fxs on instruments.
- - -
- - -
"in pieces - volume one" - taumel meets ensemble adapter
in winter 2016, 'taumel' and the 'ensemble adapter' met for several improvisational sessions to develop an evening of music in which the contrasts and boundaries between composition and improvisation, freedom and determination, chaos and structure were to blur or collide. the sessions focused on the development of a specific, sound-gestural musical language. in a way, each musician developed kind of a character on his instrument and its own specific sound-gesture. we recorded these sessions and used them as a basis for "in pieces. "in pieces" consists of the remixes of these sessions, as well as additional studio material produced by taumel.
"in pieces" can be understood as a sureal sound poem, an abstract sound story that wanders through the most different states - from greatest happiness to frenzy and madness. in the 2 mutating sound fields, the associative story revolves around the theme of linguistic inalienability and thus also around the theme of 'chaos and order'. this ambiguity, the attempt at beauty and its overturning into destruction and failure. attempts at writing, attempts at speaking, stammering, stuttering, screaming, constriction, drifting away, humming... in the mutation of states, heterogeneous sound events meet or are mixed to a new kind of soundmash between song, voices, melody, harmony, instruments, noise, beats, riffs, words, electronics and alienation. the action of the instrumentalists (the instrument playing) is on the same level as any other sound producing action or vocal expression as well as any electronic sound production and is always meant gesturally, performatively, as action, as acoustic dance.
"volume one" is the first part of a musical context planned as a two-part work ("in pieces - volume two). in two sound parts (side a, side b) "in pieces - volume one" is not a song cycle like our other series, e.g. TRAUM, but rather a musical 2-act, later altogether 4-act. here the overall form of the musical series is not divided into albums and songs, but into albums and their a+b sides, like act 1, 2, 3 and 4. perhaps, therefore, "in pieces" can also be heard as an acoustic theater, or as a radio play without words, or as a soundtrack without a film, or as a film without a picture, or simply as an order of changing sound events.
"off the record"
in "off the record" taumel meets other musicians and develops albums in collaboration. here different forms of musical interaction can be tried out. in this case of "in pieces" the collaboration with the "ensemble adapter" consisted in these sessions, which form the basic framework and skeleton for the whole album.
https://soundcloud.com/drone-records/taumel-in-pieces-vol-one
"For various reasons, this is an oddball release for the Drone Records' subdivision of Substantia Innominata. Firstly, because one of the musicians is a relatively well-known actor, who played a role in the excellent German TV series 'Dark', a must-see if you like that sort of thing with time travel. He's also a composer for various films. With Sven Pollkötter, he is the duo of Taumel. I am sure Diehl's participation will raise a few unusual eyebrows in the direction of this record. More importantly, the music is not what we know from this series, a subdivision of Drone Records, which, by and large, deal with the more droney end of the musical spectrum, music for the subconsciousness. Taumel teams up with Ensemble Adapter, a four-piece group of percussion, clarinets, flute and harp, along with a ton of effects, tapes, and voices. The six of them recorded a couple of improvisations, which served as the basis of further mixing, remixing and processing by Taumel (who play keyboards, voices, guitars, typewriter, tapes, percussion, sampler, and such like). On this record, there are eight pieces, which in itself is also a thing you don't see a lot with releases on this imprint. The result is still much rooted in improvised music than you would think or even jazz, but with that streak of darkness, that is more common here. A most remarkable record, I'd say, and one that took some time here before it sank in. The resulting pieces of music are just that, pieces of music, rather than soundscaping or long-form pieces. There is excellent clarity here regarding the instruments, which are all pretty well defined within the result. However, the four pieces per side can be seen as one long story, moving from place to place, albeit a more abstract one, of course, but maybe I am distracted by the fact that there is an actor at work here. Also, it has an excellent film character. I can easily imagine visuals to go along with this, and it comes close to the world of soundtracks. Perfect record, but not one that quickly reveals its secrets." [FdW/Vital Weekly]
|
2021 |
€16.00 |
|
| TAZARTES, GHEDALIA |
Gospel et le Rateau |
LP |
"Ghédalia Tazartès left us in February 2021 when we had just finalized the editing and the cover art of his new album with him. Unfortunately he will never see the finished object. This record is therefore particularly important for us. He opened his archives to us so that we could select unpublished pieces with him and organize them in two long suites (indexes have been made on the CD for a more convenient listening) . This work took almost two years (finding the pieces among dozens of sometimes very old CD-Rs, checking that these pieces had not already been published, processing the sound to obtain an aesthetic unity and a coherent order, etc). This record is therefore a melting pot of unreleased tracks which cover a large part of his career. You can hear a few guests perform on some of the tracks (mostly vocals parts). As for the lyrics, apart from Ghédalia's own personal poetry, he wrote music for two texts by different poets, that he performs himself in a more or less comical way or on the contrary very intense (the final on a text by Antonin Artaud)!
About the cover. During an art exhibition in 2018, Ghédalia really loved a series of photographs by Isabelle Magnon and immediately asked to use them for the cover of a future album. It is therefore these three photos (two for the LP version) which illustrate Ghédalia Tazartès' final album."
https://bisourecords.bandcamp.com/album/gospel-et-le-r-teau
|
2022 |
€23.00 |
|
| |
Gospel et le Rateau |
CD |
"Ghédalia Tazartès left us in February 2021 when we had just finalized the editing and the cover art of his new album with him. Unfortunately he will never see the finished object. This record is therefore particularly important for us. He opened his archives to us so that we could select unpublished pieces with him and organize them in two long suites (indexes have been made on the CD for a more convenient listening) . This work took almost two years (finding the pieces among dozens of sometimes very old CD-Rs, checking that these pieces had not already been published, processing the sound to obtain an aesthetic unity and a coherent order, etc). This record is therefore a melting pot of unreleased tracks which cover a large part of his career. You can hear a few guests perform on some of the tracks (mostly vocals parts). As for the lyrics, apart from Ghédalia's own personal poetry, he wrote music for two texts by different poets, that he performs himself in a more or less comical way or on the contrary very intense (the final on a text by Antonin Artaud)!
About the cover. During an art exhibition in 2018, Ghédalia really loved a series of photographs by Isabelle Magnon and immediately asked to use them for the cover of a future album. It is therefore these three photos (two for the LP version) which illustrate Ghédalia Tazartès' final album."
https://bisourecords.bandcamp.com/album/gospel-et-le-r-teau
|
2022 |
€14.00 |
|
| TEAR GARDEN, THE |
The Brown Acid Caveat |
do-LP |
"It's been nearly 50 years since the first Brown Acid Caveat was issued to a million hippies in a field at the first Woodstock Festival. In these dark , more-knowing times The Tear garden felt it was the perfect moment to mark their 30th Anniversary with a similar warning , especially as their first album back in 1987 bore the declaration , "We Will Pour Our Jars in Reservoirs" on the cover. In fact , we were joking. Despite the madness you may perceive all around you right now, those jars were stashed on the highest shelf of a kitchen cupboard and the key was tossed into the ocean. Our sole wish is to introduce beauty to the medieval landscape we appear to be trapped in right now.There will be no brown paint splashed around. Beauty survives , even underneath the ugliest, heaviest rock. This is The tear Garden's 8th record and is testimony to an enduring friendship that spans the aforementioned ocean. After 8 years, The Tear Garden (the psychedelic/experimental/electronic project of Edward Ka-Spel of The Legendary Pink Dots & cEvin Key of Skinny Puppy) return with "The Brown Acid Caveat", the culmination of the duo's 31 years of working together. Psychedelic electronic melancholia , fearless experimentation & improvisation combine to take the intrepid listener on a mesmerizing voyage of the mind. Feel the Love. Don't touch the brown acid."
"How to characterize The Tear Garden, the more than 30 year collaboration between Skinny Puppy’s Cevin Key and The Legendary Pink Dots’ Edward Ka-Spel? The threads that make up their discography aren’t hard to identify; there’s a baleful wit couched in heartbreak and a melancholic psychedelia that are easy to spot on every LP, EP and non-album track with few exceptions. But just being able to identify those repeated moods and ideas doesn’t get us any closer to understanding the essence of what these two friends have together, or how their divergent musical paths keep leading them back together to make such lovely music.
The Brown Acid Caveat is the first LP of new material since 2009′s Have a Nice Trip and in contrast to that record’s jammy experimentalism (a thing both Edward and Cevin excel at unsurprisingly), the songs here feel more purposeful and concise. Even when the songs stretch out past the seven minute mark, their deliberate construction hearkens back to the latter era-Nettwerk Tear Garden albums, when many of LPD’s members were involved in the project. Probably not coincidentally, some former Dots – guitarist Martijn De Kleer and dub maestro Ryan Moore – are present here, although it’s unclear to what extent they pitched in or influenced the proceedings. That said, opener “Strange Land” hearkens back to 2000′s underrated Crystal Mass, playing out as a sad travelogue through places real and imaginary, all carried by delicately strummed guitars and Ka-Spel in the wounded sage persona he’s been growing into since his very earliest recordings.
Indeed, while the group has always thrived on a mix of straight songwriting and trippy outer space journeys, Ka-Spel and Key are working hard to reconcile those ideas here. Functionally that means you get more than a few songs, like “On With the Show” and “Kiss Don’t Tell”, that start fully formed before slowly unravelling into ambient tapestries of modular synthesizer, samples and reverb. And while every song feels as though it could go in that direction, The Tear Garden do show some restraint, allowing the lovely repeating synth figure of “A Private Parade” to play itself out fully before swapping in a solo that lands somewhere between a violin and a theremin. Especially pleasant is the excellent “Calling Time” (which features one of Ka-Spel’s best bits of contemporary wordplay “I’ll serve until it’s time/I’ll serve until this bar runs dry”) which marries a propulsive bassline with off-kilter mechanical percussion and a bubbling lead, all delivered in a relatively trim 4:29.
Still, while this is unmistakably a Tear Garden record, from the dubby half-spoken “Sinister Science” to the cathartic exotica of the string-infused “Seven Veils”, we’re no closer to insight beyond simply identifying familiar components. And maybe that’s where some of the magic comes from really. It occurs while listening Ka-Spel crack a little while he partakes in cute rhyming games on plinky-plunky closer “Object” that the Tear Garden is almost an in-joke, an insular and obscure province charted by two long-time friends who found a creative unity many years ago and have never let it go. It’s their trip, but we still have the privilege of being guests, and that can’t help but still feel somewhat special."
[idieyoudie.com] |
2017 |
€34.00 |
|
| TEHOM |
Live Assault + Extra Assault |
pic-LP + mCD |
TeHÔM brought a new LP album "LIVE ASSAULT" with live audio recordings of the performance at the well known BRUTAL ASSAULT Festival @ "Keep Ambient Lodge" in Czech Republic on 12th August 2016. and was released through spanish based label LA ESENCIA Records (LER016).
This edition comes presented in a 12" LP vinyl picture disc with the bonus CD "EXTRA ASSAULT" that contains extra and unreleased studio material only available on this set in physical version, a A4 printed sheet and a set of 3 nice postcards, one of them in magic chrome paper with metalic effect mirror.
. “Kolaps” track from bonus CD is ultra rare never released track from 1991. All 3 "Extra Assault" tracks are recorded at CO.EX Studio.
Live was recorded both, through the mixing board as well as from two room microphones to capture glimpses of the live experience. Vocals and special drone sounds are made live with a tube instrument for this occassion and extra sounds are added in the live set.
Tracks are slower than the original studio album versions to give them even more sense of dense and organic ritual to the performance.
This album is dedicated to the memory of beloved
JOHN RUSSEL MURPHY (11 July 1959 – 11 October 2015)
https://tehom.bandcamp.com/album/live-assault-lp-extra-assault-cd-3-postcards
|
2017 |
€18.50 |
|
| TELEPHERIQUE VS. S-CORE |
Past-Art |
mCD-R |
Neben der Wiederveröffentlichung der alten mail-art collab MC (Kokeshidisk) gibt es auf Taalem auch zwei neue Remixe von TELEPHERIQUE mit rauhen, unwirklichen, grottigen Granular-Dronescapes... dunkel, verstörend, aufregend arrangiert...
"telepherique remixed/reworked a s•core 7" released in 1995 for a unique result, perfect mix of weird sounds & atmospheres. full-colour printed 3" cd-r with artwork by delphine ancelle-b." [label info]
www.taalem.com
|
2007 |
€5.00 |
|
| TELETOPA |
Tokyo 1972 |
3 x LP |
"Geoffroy Collins, flute, percussion, electronics. Peter Evans, percussion and electronics. David Ahern, violin, percussion and electronics. Roger Frampton, percussion, electronics and saxophone. Splitrec is honoured to release a legendary recording from 1972. In 1968 the young Sydney composer David Ahern studied in Germany with Stockhausen where he met Cornelius Cardew. The next year he travelled onto London attending Cardew's classes in Experimental Music' at Morley College and - in a mammoth seven-hour concert at the Roundhouse on 4 May - participated (with Cardew) in performances of La Monte Young's String Trio and also took part in the realisation of Paragraph 2 of Cardew's The Great Learning which proved to be the catalyst for the formation of the Scratch Orchestra. These were revolutionary and defining moments in C20th music. Returning to Sydney in 1970, one of his aims was to set up an electro-acoustic improvisation group - Teletopa was founded in Sydney in late 1970 by Ahern, Peter Evans and Roger Frampton. Tokyo 1972 - 3LP or 2CD release - features two 50min improvisations from a radio session at NHK studios Tokyo. The group was Ahern, Frampton, Evans and Geoffrey Collins and they were completing a 1972 world tour. The group broke up on their return to Sydney. Only a small example of their work has ever been released before. The Liner notes will be a manifesto by David Ahern from a 1971 pamphlet, and there is an insert, a newly penned Potted History of Teletopa by Geoffrey Barnard, who had been a member of the group from September 1971 until July 1972. The tapes have sat in boxes for 42 years. With this release we can hear that Sydney in the early 1970's had a group at the forefront of musical experimentation with a unique take on free improvisation. This document is not just important for Australian music - it should establish them posthumously as one of the most interesting developments in experimental music anywhere in the world at this time." [label info]
www.splitrec.com
"There is, I'm sure, tons of stuff buried in archives, garages, attics waiting to be heard when someone at least finds it. Stuff from people I never heard of, like Teletopa. David Ahern, Peter Evans and Roger Frampton in Sydney founded this group in late 1970. By 1972 Geoffrey Collins was also a member. Ahern studied in Germany in 1968 with Stockhausen, and he met Cornelius Cardew, with whom he performed in London later on, such as in 'The Great Learning'. We can see Teletopa along the lines of such legendary improvisation bands AMM (especially them) and MEV, but less electronic than they were. Here we have improvisation and no rules, even when the band also performed pieces by Cardew, Stockhausen and themselves, following visual scores. The instruments are flute, percussion, electronics (Collins), percussion and electronics (Evans), violin, percussion and electronics (Ahern) and percussion, electronics and saxophone (Frampton), but they also incorporated non-musical instruments. As Teletopa they never released much work, but in 1972 in Tokyo they recorded two fifty-minute pieces of improvised music. Tapes of these recordings have been unearthed recently and now released on this double CD with some excellent liner notes about this group. The music is very strong. It's not very silent, but very loud and perhaps also not very musical, in the traditional sense of the word. Sometimes all of this seems closely to feedback, with lots of scrapings on the violin and the saxophone sounding like a balloon being rubbed on end. The second disc is perhaps a bit more introspective than the first disc, at least for the first thirty or so minutes, allowing space between the notes, before the overall sound gets a bit more thicker and richer. Here Teletopa seems to be in almost Zen like mode. This is some strong 100 minutes of improvised music. Music that comes like an endless stream sound, subconsciously improvised on a wide variety of instruments and objects. If AMM and MEV were already on your list, then this double CD by Teletopa should not be missed. An essential historical release." [FdW/Vital Weekly]
|
2014 |
€38.50 |
|
| TEMPLUM N.R. |
Spectrum DCXCIII: Poison Portals |
CD |
On one hazy night I met an elderly man sitting in an old wooden chair. He was wearing an elegant white suit and I could not help noticing the simple white lines in his fore- and middle fingers. In the remaining fingers he had circles. The pitch-black sand of the shore absorbed all the light from the sky. Regardless, I saw fifty-meter-high waves crashing down behind him – and at the same time, they remained static.
‘Spectrum DCXCIII: Poison Portals’ has a luring, fatal beauty of its own. Redirecting, throbbing analog electronics, slowly swallowing droning textures and sinuous rhythms are accompanied with eternal, eerie melodies – all reeking of the primordial pleasures. Obscure radio transmissions and telepathic resonances are emerging from the parallel universes and will sink you even deeper into the ignorance of your very self or towards the ravishing beauty of transformation.
The other worlds and realities are present both in sound and vision; A triple-bladed iron dagger, brought to this world through trancework. Assume its form, pass the Poison Portals, and continue until the opposites intermingle and known territories vanish beneath the colossal waves.
This CD version also includes the previously limited ‘The Mass Rattle’ ep with tracks ‘The Viscous Tomb Liquid’ and a Telepath Remix of the ‘I am His Sacrifice’.
The album is enclosed in a customised and screen printed Sublunar series cardboard covers, including five two-sided insert cards. Limited to 300 copies.
|
2018 |
€13.00 |
|
| TENHORNEDBEAST / MARZURAAN |
split |
CD |
Zwei lange Stücke auf dieser Split der Bands aus UK. Unfassbar weiten & mächtigen, fast halbstündigen DOOM-DRONE produzieren TENHORNEDBEAST, die früher als ENDVRA aktiv waren. MARZURAAN ist die zweite Inkarnation von RYN, und sie rocken hier weniger metallisch-krachig, sondern in wunderbarer ultra-minimaler JESU-Manier... Spezielles ausgestanztes Cover.
"Aurora Borealis is proud to present this split CD by two of the lesser known greats from the Northeast of England. TENHORNEDBEAST is the dark vision of Christopher Walton, part of the much feted ENDVRA, masters of 90s dark and occult ambient. 'Law of the needle', clocking in at over 28 minutes, is an oppressive opus of doomed drone, both monolithic and multifaceted. Pure power. "elongated, sinister drone, ...distant, echoing string resonance from bowed guitars and cold, steely walls of distortion" think the good folks at Boomkat, as well they may. MARZURAAN contribute 'Into countless battles', 13 minutes of narcotic guitar haze. I think this is my favourite of anything they have done to date. So good, you never want it to end. The gruff metal grunts of the 'Solid Wood' LP have been replaced by a subdued, almost crushed vocal, totally stands out. "acres of textured guitar, low end pressure and brooding drums" say Boomnkat. Can't wait to hear more from MARZURAAN - this is epic, like a bassier, looser, Mogadon dosed JESU with a man past caring roped in to give his thoughts on where its all gone wrong. Pete from MARZURAAN did the artwork and layout. Printed on heavy textured card and with 2 diecut runes. Comes in a pvc bag." [label info]
" Every once in a while, someone will release a record, and we can't help but feel like it was made specifically for us. And for you. Some records just perfectly speak to the aQ aesthetic, as undefinable as that seems to be. This is another one of those cases. Someone thought it would be a perfect combination to match up UK one man ambient drone outfit Tenhornedbeast, with UK slow motion doomlords Marzuraan. And it is perfect. And a fantastic idea, but just because something is a great idea, doesn't always mean someone thinks of it. And we're not saying we had been thinking someone should get these two bands together specifically, we're just glad they did, and we sort of wish we HAD thought of it. But that's neither here nor there. The important thing is that it happened, and now we can all luxuriate in the deep dark heaviness both of these bands explore. And while the bands are indeed different, their aesthetics are not all that far removed. The both exist in some blackened nether region, haunting sonic realms, where heaviness can be expressed in both utter darkness and extreme force, sometimes
both, and once in awhile neither.
Tenhornedbeast offer up a nearly 30 minute long sonic ritual, beginning as a bit of swirling black minimalism, but slowly building to a truly intense wall of doomdrone, the sound thick and textured, a churning cauldron of low end buzz and downtuned disembodied riffs, all brought to a boil and poured out in a viscous black torrent, left to flow like some subterranean river. But these deep drones are laced with melodies, and keening high end shards, allowed to shine forth occasionally, but often swallowed up before they can fill those caves with their unnatural light. The track continually changes shape, sound and timbre, various shades of grey and black, lightening and darkening as the landscape changes, a haunting journey through some lost world, where sound replaces sight, allowing us to navigate ever deeper.
Marzuraan counter with what must be one of their prettiest tracks ever. It's still sludgey and doomy, but the notes ring out, the melodies almost soar, the sound fuzzy and glimmering, almost like these guys have caught the shoegaze bug as well. Washed out and blissy, super melodic and melancholy, but the coolest part is that the track seems to warble and waver, almost like someone is manually adjusting the tape speed, so the notes sound drunken and drugged, the track lurches and weaves drunkenly, only adding to the haunting and off kilter beauty. Part way through, the riffs get a little more riffy, and then the vocals come in, a moaning distant croon, and we're most definitely in serious Jesu territory, but that weird speed shifting hitch, keeps it from sounding too pretty, or two blissy. But if these guys keep heading in this direction, they could definitely give Jesu, and Nadja and other metallic shoegazers a run for their money.
The packaging is super swank, a three panel gatefold, each of the front panels diecut with each band's symbol, printed inside and out, housed in a thick plastic sleeve with a sticker affixed to the front." [Aquarius Records review]
www.aurora-b.com
|
2008 |
€13.00 |
|
| TESENDALO |
Entwurf (SOLD OUT) |
7 |
released in July 1994 in an edition of 200 copies on white vinyl. Nice and always different patterns of colours on each Coverside.
Press-Information: "The open ambient project TESENDALO of Peter Schuster, founder of the long-existing tape-label PRION TAPES, charms you with magical ambience you will possibly drown into and forget your selves in. The two tracks "Entwurf I + II" work with similar elements (drones, guitars, effects + nature-recordings) to create slightly different dreamy soundscapes that will dip you and your environment into emotional atmos-spheres. This is in our opinion a perfect example what ambience is able to express... We'd also like to recommend the wonderful debut-LP of TESENDALO which cam out on Marginal Talent (a sub-label of Empty Records) recently."
|
1994 |
€ |
|
| TESTCARD |
# 17 : SEX |
BOOK |
Inhaltsverzeichnis
Kimiko Leibnitz:
Anything Goes? Sexualität, Medien und die Verschiebung von Tabugrenzen.
Georg Seeßlen:
Die nackten Wilden des Kapitals. 10 Ungebote von Sexualität und Marktwirtschaft.
Dagmar Brunow:
Im Bett mit Marcuse. Sexualitätsdiskurse in der radikalen Linken. Im Gespräch mit Massimo Perinelli.
nói:
Knoten und Jogginghosen. Besuch bei einem Japanbondage-Workshop.
Mick Schulz:
Mit Lust gegen die Gesellschaft! Oder: Was man heute noch aus alten Bravo-Heften lernen kann.
Tim Stüttgen:
»Nicht alle empfinden das Gleiche über Sex.« Im Gespräch mit Laura Maria Agustin über MigrantInnen, die Sex verkaufen und diejenigen, die ihnen angeblich helfen wollen.
Michaela Wünsch:
Sexuelle Arbeit. Im Gespräch mit Renate Lorenz.
Ron Steinke:
Schwule Frauen, lesbische Männer. Geschlechternormen im deutschen Transsexuellengesetz.
Jasper Nicolaisen:
Liebe_Machen. Sex und Transbeziehungen.
Mike Laufenberg:
The Trouble With Nature. Über homosexuelle Körper und das Dilemma der Identitätspolitik.
Klaus Walter:
Sprechen über Aids. Im Gespräch mit Brigitte Weingart.
Projekt L (Berlin):
Shrek, Tokio Hotel und der nicht-virtuelle Körper. Notizen zum Projekt (anti)lookism.
Ladyfestwien Sex-AG:
Ladyfest goes Sexparty.
Dorothee Krings:
»Man ist schon anders erzogen, wenn man durch die SM-Schule gelaufen ist.« Ein Gespräch mit zwei BDSMlerInnen.
Martin Büsser:
For your pleasure. Fragmente einer Porno-Komparatistik.
Kerstin Stakemeier:
Come. Möglichkeiten eines GEILEN Pornos.
Tjark Kunstreich:
»Ich hätte nie dazu gehört.« Der Porno-Star Michael Lucas über Europa, Israel, Amerika und die Schwulen.
Barbara Eder:
From Hard-Core to Post-Porn. Sex, Gender und der kalte Blick aufs nackte Fleisch.
Matthias Schönebäumer:
pop that ass. Über Detroit Ghettotech als pornographische Karikatur.
Torsten Nagel:
»This is not a love song.« Der ganz alltägliche Pop-Sexismus.
Chris Wilpert:
No Sex, Please! Auf der Suche nach Sex im deutschsprachigen Indie/Pop/Punk. Eine Leerstelle …
Andreas Richter:
Wer sXe sagt, muss auch Sex machen. Über Straight Edge und die verpassten Chancen.
Jens Thomas:
Ich bin nicht schwul, und das ist auch cool so. Homophobie im deutschen HipHop: Sexismus in Reinform oder Fiktion nach Maß?
Martin Büsser / Sonja Eismann:
The L-Underground. LESBIANS ON ECSTASY.
Benedikt Köhler:
KIDS ON TV. Unmixing Business and Pleasure – Zwei Lesarten einer Löschung.
Katja Peglow:
Goodbye Schmuddelecke! Das Jungsheft. Ein Porträt.
Ann Pellegrini:
Höllentheater. Sünde und Abschreckung – das Phänomen der Hell Houses.
Atlanta Athens:
Wie war dein bester Orgasmus? Der Film Shortbus plädiert dafür, sexuelle Verhandlungsräume zu erweitern.
Julia Reifenberger und Marcus Stiglegger:
»Wenn die Hölle eine Anatomie hätte, wäre es der weibliche Körper.« Das feminine Kino der Cathérine Breillat.
Ernest Mathijs:
To Die For. Der Fan und die Rezeption von Sexualität und Horror in den frühen 1980ern.
Ivo Ritzer:
Histoire(s) de la sexualité. Der Film-Regisseur Russ Meyer als Bild-Philosoph.
Jonas Engelmann:
»Lieber aufrecht sterben, als auf den Knien leben!« Battle In Heaven – Ein Film von Carlos Reygadas.
Simon Dickel:
Black Men Loving Black Men and other Revolutionary Acts. Positionen zu Begehren und Sexualität in schwarzer schwuler Kultur.
Hendrik Lakeberg:
»Vor 50 Jahren konnte man als Homosexueller in der arabischen Welt freier leben als im Westen.« Im Gespräch mit Joachim Helfer.
Birgit Binder:
Das binärgeschlechtliche System angreifen. Im Gespräch mit Lynn Breedlove.
Annika Nickenig:
Ein Raum, der nicht für uns gedacht ist. Virginie Despentes und die ›selbst verschuldete Vergewaltigung‹.
Franziska Meifert:
Pornologie. Liebe, Lust, Laster. Eine Bücherschau.
Frank Apunkt Schneider:
monochroms bewährtes Rezept zur Herstellung von »1 Einh. technol. Innovation«. Oder: Die Quintessentialisierung eines Quintessentialismus.
Rezensionen
www.ventil-verlag.de
|
2008 |
€14.50 |
|
|
# 11 : HUMOR |
BOOK |
HUMOR in der Kulturindustrie – im Spannungsfeld zwischen der „Festigung der bestehenden Verhältnisse“ und dem „Humor als Subversion, als strategische Destabilisierung herrschender Verhältnisse oder als Grundwerte zerschmetternder, deren Falschheit nach außen kehrender . Mit Beiträgen u.a. zu „Witz in der Kulturindustrie“, Naiv-Pop von JAD FAIR bis MOLDY PEACHES, KLF, GOLDENE ZITRONEN, HELGE SCHNEIDER, FRAUEN UND HUMOR in der Popmusik, EMOCORE, HARALD SACK ZIEGLER, ASMUS TIETCHENS, LAURIE ANDERSON, Reviews, Buchtips, etc etc.
Inhaltsverzeichnis
»Alles geht kaputt und ich lach, ha, ha, ha!«
Roger Behrens über die Entstehung des Humors in der bürgerlichen Gesellschaft und den Witz in der Kulturindustrie
Sie sind so niedlich. Sind sie?
Martin Büsser über die Naiv-Pop-Tradition von Jad Fair bis zu den Moldy Peaches. Mit einem Abstecher zu Eugene Chadbourne, John Zorn und »Radical Jewish Music«
Is this what The KLF is about?
Ina Beyer verfolgt die Irrwege der eigenartigsten Band dieses Planeten
Was ist Humor?
Knarf Rellöm spricht sich für die Humor-Strategie der Goldenen Zitronen aus
Helge Schneider für Kinder
Frank Apunkt Schneider erklärt, warum Helge Schneider und die Postmoderne untrennbar zusammengehören
Frauen? Humor? Popmusik?
Tine Plesch mit einer großen Materialsammlung von Liliput bis Princess Superstar
smashing the omniverse with a smile
Evi Herzing zeigt anhand von Chris Bickel und dessen Band Guyana Punch Line, daß »Emocore« nicht immer ernst und betroffen sein muß
Harald »Sack« Ziegler
Christian Keßlers Hommage an den Kölner Ausnahmemusiker und Minimalpoeten
Spaßgeselle in der Ernstgesellschaft
Hans-Jürgen Lenhart portraitiert Asmus Tietchens als einen der wenigen humorvollen Musiker im Industrial/Geräusch-Kontext
Engel in der Arena-Gesellschaft
Peter Kempers Interview mit Laurie Anderson
Verträumt, berauscht und doch berechnet
Martin Büsser über él Records, Pop-Charme und britischen Witz
Das Ding mit Ming
Conny Lösch stellt den Künstler, Musiker und Poeten Sexton Ming vor
Killer Traktor
Sexton Ming in his own words
One and One is
Stephanie Bunk über den Unterschied zwischen Disco und »Spaßgesellschaft«
Lauwarm geduscht
Humor in Fanzines? Gibt es das noch? Oliver Uschmann hat nachgesehen
Humor ist, wenn man nicht trotzdem lacht, sondern gerade darum
Luka Skywalker über die Verarbeitung des 11. Septembers in Witzen
»Ulkiger Erzählonkel« – gereift & altersweise?
Enno Stahls Thomas-Kapielski-Portrait
We are queer, we are here and we gonna have a look on jokes
Therese Roth über Strategien von Queer Humor
Watch British: Angloasiatischer Kanak Chic erobert den Mainstream
Dagmar Brunow über die BBC-Comedy-Serie Goodness Gracious Me
Stand Up!
Michael Gruteser zur Lage der Stand Up-Comedy
Generation X'd
Andreas Rauscher über die Filme von Kevin Smith
does humor belong into art?
Tine Plesch im Gespräch mit Andreas Kragler über Humor in der zeitgenössischen Kunst
Zu Hause und im Wald
Annette Emde zum photographischen Werk von Anna und Bernhard Johannes Blume
Die Geburt der Postmoderne aus dem Geist der Polemik
Christian Welzbacher zum fragilen Verhältnis zwischen »Pop«-Architektur und Humor
Wenn man trotzdem ...
Franziska Meifert mit einer großen Bücherschau über Humor in Praxis und Theorie
Rezensionen (Tonträger/Bücher)
www.testcard.de
|
2002 |
€10.00 |
|
|
#18 : REGRESS |
BOOK |
" »testcard« reagiert auf den reaktionären Wandel unserer Gesellschaft – polemisch, analytisch, kämpferisch, aber nicht resigniert.
1968 ist dieses Jahr in aller Munde. Aber wie steht es mit unserer gegenwärtigen Gesellschaft? Nahezu alle im Zuge von 1968 erkämpften Errungenschaften werden derzeit wieder schrittweise abgeschafft. »testcard« #18 wirft einen kritischen Blick auf den reaktionären Backlash, den die westlichen Gesellschaften in den letzten Jahren erfahren haben. Dies betrifft die Renaissance von Religionen aller Art, spirituelle und irrationale Lebensmodelle, die erstarkte Bedeutung der Kleinfamilie und von traditionellen Geschlechterrollen, Neoromantik und Eskapismus in der Kunst und Musik und den Abbau von Bürgerrechten.
Die neue Stimme der Reaktion kommt jedoch nicht einfach nur »von oben«. Phänomene wie flächendeckende Kameraüberwachung werden von einem Großteil der Bürger begrüßt oder sogar ausdrücklich gefordert. Filme wie »Keinohrhasen« oder Bücher über spirituelle Erlebnisse auf dem Jakobsweg feiern deshalb so große Erfolge, weil sie den regressiven Nerv der Zeit treffen. Doch wie konnte es zu einem solchen Mentalitätswandel kommen? Warum gehen Prekariat und zunehmende Entrechtung nicht mit Protesten einher, sondern mit der Flucht in Denk- und Lebensmodelle, die den Anschein erwecken, es habe das Projekt Aufklärung nie gegeben?
»testcard« #18 vermeidet einseitige Schuldzuweisungen und versammelt erstmals in einer Anthologie kritische Analysen zu einem Rückschritt, der alle gesellschaftliche Bereiche erfasst hat.
Inhaltsverzeichnis
Dietmar Dath:
Das große Abschaffen.
Anne Roth:
Dringend tatverdächtig. Die Verhaftung des Soziologen Andrej Holm.
Ron Steinke:
Genug gekuschelt. In der Debatte um »Erziehung« werden andere Saiten aufgezogen.
Enno Stahl:
This is the end of the world as we know it. And I feel bad ... Der Faktor Arbeit – stirbt aus ...
Thomas Waitz:
Der große Gesundheits-Check. Die Dicken, die Armen und das Fernsehen.
Jens Thomas:
Machs Dir selbst. Do it yourself. Über den Wandel eines Begriffs.
Johannes Ullmaier:
Basiswissen Regression.
Nicolas Dierks:
Mitwohnzentrale für Weltbilder.
Sascha Seiler:
Believing the Western Canon. Kanonbildung in der Popmusik.
Wolfgang Seidel:
Zukunftsmusik. Wie das Zukunftsversprechen des Pop vom Rückschritt abgelöst wurde.
Didi Neidhart:
Kein Pop ist auch keine Lösung.
Klaus Walter:
New Musical Apartheid.
Matthias Rauch:
Die Notwendigkeit der Subversion. Die Analyse des global Populären in den Cultural Studies.
Martin Büsser:
Zu zart für diese Welt. Woher kommt der Hass auf Emos?
Chris Wilpert
Gustav. »Wie fühlst du dich als Mann auf der Bühne?«
Holger Adam:
Der Ruf der Sirenen. Zur (regressiven) Rezeption der »Folk-Elfe«.
Ellen Wesemüller
Das IKEA aller Festivals? Feminismus und Subversion in der Ladyfestbewegung.
Jörg Nowak:
»Feminismus der Besserverdienenden und Familie fürs Volk«
Torsten Nagel:
Her mit der schönen (Sozio)Kultur?
Gabriel Kuhn:
»Rewilding« or »Regressing«? Zum US-amerikanischen (Anarcho-)Primitivismus
Dieter Bott:
Der Fan als idealer Staatsbürger.
Stephan Loichinger:
Partnervermittlerin Claudia Püschel-Knies.
Jan Gerstner:
Ein unverzichtbares Land. Der deutsche Familienroman und die Nation.
Atlanta Athens:
Sich Raum nehmen, solange die anderen lächeln?
Andreas Rauscher:
Indiestream. Der amerikanische Independent-Film zwischen Nische und Backlash.
Kimiko Leibnitz:
Der reaktionäre Kern von I Am Legend.
Christian Hißnauer:
Von der Entmythologisie-rung zum neuen Mythos. Die Entpolitisierung der RAF im medialen Diskurs.
Martin Büsser.
Im Beichtstuhl des Grauens. Der Filmemacher Wenzel Storch.
Benedikt Frank:
Ausgetauschte Tonspur. Das heute ungenutzte Potenzial der filmischen Montage und Zweckentfremdung.
Ivo Ritzer:
Nicht versöhnt. Der Regisseur John Milius – ein progressiver Reaktionär?
Frank Apunkt Schneider:
Warum früher nicht alles besser gewesen sein darf. Zur Krise des poptheoretischen Gegenwarts-Dogmas.
Franziska Meifert:
Störenfriede – Strategien gegen die Regression. Eine Bücherschau.
Ewgeniy Kasakow:
Jegor Letow (1964–2008). Nachruf auf eine umstrittene Schlüsselfigur des russischen Undergrounds."
www.testcard.de
|
2009 |
€14.50 |
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#23: TRANSZENDENZ - Ausweg, Fluchtweg, Holzweg? |
BOOK |
In der avancierten Popkritik genießt Transzendenz keinen guten Ruf. Im frühen Punk wurde ein explizites Transzendenzverbot ausgerufen; das bewegungslinke Lager denunzierte das »Ausklinken« als konterrevolutionär oder verklärte es im Reggae zum »antiimperialistischen Befreiungskampf«.
Als der moderne Pop in den 1950ern entstand, war er das Immanenteste überhaupt geschaffen für das reine Diesseits. Das Jenseits, die Transzendenz, tauchte lediglich ironisch gebrochen, als Diskurs zweiter Ordnung auf. Erst ab den 1960ern lassen sich explizite Transzendenz-Momente im Popkosmos finden. Und gleichzeitig wurde Kritik laut: Was ins Jenseits ausgreift, ist entweder kein Pop oder schlechter Pop. Doch Pop störte sich nicht daran, brachte das Transzendente als Leerstelle zum Schwingen und füllte diese mit Schlagworten aus dem Fundus von Esoterik, Raumfahrt und Psychedelic.
Kurz darauf wurde das Transzendente offensichtlich gemacht. Christlicher Rock und der islamisierte Cat Stevens wollten den Pop missionieren, Heavy Metal verklärte ein negatives Christentum. Und im Krautrock, im Jazz und in der experimentellen Musik diente ein Spiritualitätsgestus stets der Abgrenzung zu den Niederungen der Popkultur. In den 1990ern wurde die Transzendenz dann rehabilitiert, zumindest solange sie nicht mit säkular-moralischen Normen in Konflikt geriet. Dem Jenseits brachte man dieselbe diffuse Toleranz entgegen, wie den meisten anderen Pop-Phänomenen auch.
Heute bedienen Neo-Drone und Neo-Psych ein bestimmtes Marktsegment unter vielen gleichwertigen. Und damit macht sich Sprachlosigkeit breit. Wie reden wir über spiritistischen Neo-Folk oder Hauntology, wenn die politisch inspirierten Kategorien der Vergangenheit ebenso wenig greifen wollen wie diejenigen der Weltflucht? Und was genau ist das Transzendente an der gegenwärtigen Entgrenzung der Stile?
Inhaltsverzeichnis
Johannes Ullmaier:
Worüber man nicht reden kann, darüber. Transzendenz und ihre Rolle in Musik und Popkultur
Roger Behrens:
Der Geist der Utopie
Thomas Hübener:
Notizen zur Transzendenz im Säkularpop
Martin Niederauer:
»If you find earth boring …«. Spiritualität und Religiosität im Jazz und die Interpretationen des Unbestimmten
Holger Adam:
Spirituelle Neuorientierung jenseits von Krautrock und Neuer Musik. Peter Michael Hamels Musik der 1970er-Jahre
Volker Zander:
Moondogs Oberton-Kontinuum
Wolfgang Brauneis:
»Ich lebe in meinem eigenen Königreich«. Zu Michael Buthes Kunst der 1970er-Jahre
Tim Stüttgen:
Sun Ra: Kosmischer Noise. Eine quare Lesart von Sun Ras musika-lischer und performativer Praxis im Schatten der Sklaverei-Geschichte
?Move On Up. Die große Transzendenz-Diskografie
Frank Apunkt Schneider / Didi Neidhart:
Discotranszendenz & Distant Thunder … Transpirationen am Tag danach
Franziska Meifert:
Turn on, tune in, drop out! LSD, Musik, Transzendenz
Alexander Nym:
Vom Pilzkult zur Popkultur. Entheogene im Dienst des kulturellen Wandels
Michael Horowitz:
Tickets zur Transzendenz
Sascha Hommer / Martina Lenzin:
Parolen aus der Stadt. Abenteuer eines Wolfes. Episode zwei
Christian Werthschulte:
»Wir leben in einer Nicht-Zeit«. Ein Gespräch mit Mark Fisher über die Geister der Zukunft
David Schwertgen:
Was soll denn eigentlich verschwunden sein? Vaporwave und die Leere hinter der Oberfläche
Raphael Smarzoch:
Schwellenakustik. Liminale Klanglandschaften in und jenseits von Pascal Laugiers Martyrs
Flora Könemann:
Text, Ton, Stimme, Frequenz. Transzendenz? Das (un-)stimmige der (eigenen) Stimme
Hendrik Otremba:
Tobias Gruben und die Wahrheit. Zur Erinnerung an einen fast Vergessenen
Wolfgang Buechs / Jonas Engelmann / Jens Meisenheimer: Jurpolp From an Unknown Planet. Sun Ra antwortet
Marius Henderson:
Soft Berry Metal. Eine »häretische« Annäherung an Black Metal Theory
Gerald Fiebig:
(Verheißungs-?)Volle Dröhnung. Dronemusik und spätmoderne Zeiterfahrung
Peter Scheiffele:
Vodou. Eine politisch-religiöse Praxis zwischen Revolution und Überlebenskampf
Sandro Holzheimer:
Yeah Science!? Die Transzendenz des neuen Atheismus
Jasper Nicolaisen:
Wir sind hier nicht in Wittenberg, Martin … 95 Thesen zur Möglichkeit einer emanzipatorischen Religion
Rezensionen Tonträger
A. K. KLOSOWSKI & PYROLATOR: Home-Taping Is Killing Music
AARON DILLOWAY: Siena
AARON MOORE & THIERRY MUELLER: Today Is Yesterday’s Tomorrow
ALAHUTA: First Connexion
ANDREAS DORAU: Ärger mit der Unsterblichkeit / Demokratie
ANDY STOTT: Luxury Probelms
ANIKA: EP
ANNE-JAMES CHATON / ANDY MOOR: Transfer
ASHLEY PAUL: Line The Clouds
ASH WEDNESDAY: Love And Other Numbers
BEAK>: Beak>> / Beak>> Bonustracks / 0898/Welcome To The Machine
BORIS HEGENBART & 19 ARTISTS: Instrumentarium
BRENDA RAY: D’Ya Hear Me: Naffi Years 1979–83
BROADCAST: Berberian Sound Studio
BRR: s/t Buch
BUDHADITYA CHATTOPADHYAY: Eye Contact With The City
BUKE AND GASE: General Dome
CANDELILLA: Heart Mutter
CHAD VANGAALEN & XIU XIU: The Green Corridor II
CHARLATAN: Isolatarium
CHARLATAN MEETS THE NORTH SEA: Emerald Eyes
CHICALOYOH: Thébaïde Des Pierres Bleues / In My Garden Shed/Vol. 2 / Les Fantômes Sortent Des Racines
CHRISTINE SUN KIM / WOLFGANG MÜLLER: Panning Fanning
CHUZPE: 1000 Takte Tanz
CLASSLESS KULLA & ISTARI LASTERFAHRER: Auf & Zustände
COLIN STETSON: New History Warfare Vol. 3: To See More Light
CONRAD SCHNITZLER: rot / blau / Consequenz / CON 3
CROCODILES: Endless Flowers
DAGOBERT: Dagobert
DAVID FENECH: Grand Huit
DAVID ROTHENBERG: Bug Music
DEMDIKE STARE: Testpressing #1 und #2
DER PLAN:: Die letzte Rache
DER PLAN: Geri Reig / Normalette Surprise / Die Letzte Rache / JaPlan
DIE NERVEN: Fluidum
DIE TÖDLICHE DORIS: Losspielen
DIVERSE: Noise of Cologne 2
DOLDRUMS: Lesser Evil
DRACULA LEWIS: Permafrost EP
DROPOUT PATROL: s/t
EKKEHARD EHLERS: Adikia
EMIL RICHARDS: Stones – Journey to Bliss
ENSEMBLE PEARL: S/T
FIELD ROTATION: Fatalist: The Repetition Of History
FREIBURG: Aufbruch
GEOFF BARROW/BEN SALISBURY: Drokk: Music Inspired By Mega-City One
GHOST TIME: Ghost Time
GIANNI GUIBLENA ROSACROCE: La Piramide Di Sangue / La Mia Africa
GRAFZAHL: Der Rückzug ins Private
GRAVETEMPLE: Ambient/Ruin
GROUPER: Dragging A Dead Deer Up A Hill / The Man Who Died In His Boat
HAFTBEFEHL: Blockplatin
HANS W. KOCH / THOMAS LEHN / BEN PATTERSON / JOSEF CSERES: Requiem For A Baby Grand. Final Piano Music For 8 Hands And Tools
HECKER: Chimerization (english) / Chimerization (farsi) / Chimerization (deutsch)
HOTEL MORPHILA ORCHESTER: Schwarze Energie
IANNIS XENAKIS: GRM Works 1957–1962
IGOR WAKHÉVITCH: Logos / Hathor / Docteur Faust / Nagual / Les Fous d’Or / Let’s Start
ILLUSION OF SAFETY: Sweet Dreams
JACK DICE: Block Motel
JENNIFER VEILLEROBE: Luftlöcher
JESSIKA KENNEY & EYVIND KANG: The Face Of The Earth
JE SUIS LE PETIT CHEVALIER: An Age Of Wonder
JOHN FAHEY: Voice Of The Turtle / Transcendental Waterfall: Guitar Excursions 1962–1967
JOHN ZORN / MOONCHILD TRIO: Templars – In Sarcred Blood
JUKEBOX MAMBO: Rumba And Afro-Latin Accendet Rhythm & Blues 1949–1960
JUSTIN TIMBERLAKE: The 20/20 Experience
KETTCAR: Zwischen den Runden
KIASMOS: Throwna EP
KIKO C. ESSEIVA: Drôles d’oiseaux
KLUSTER: Klusterstraße 69–72
KOFELGSCHROA: Kofelgschroa
KOMMANDO SONNE-NMILCH: You Pay I Fuck
KUUPUU: Sous Juju / Sisar
LAURIE SPIEGEL: The Expanding Universe
LORD HURON: Lonesome Dreams
LORD TANG: Lord Tang
LUBOMYR MELNYK: Corollaries
LUNAR ABYSS DEUS ORGANUM: Atanimonni Aitnatsbus
MARCUS WIEBUSCH: Hinfort ! Feindliche Macht
MARK LORENZ KYSELA: Eins+
MATS GUSTAFSSON / PAAL NILSSEN: Love / I Love It When You Snore
MATT CARLSON: All Moments
MICHAEL PRICE: A Stillness
MILES: Faint Harted
MODERN PETS: Excessive/Organic Kidneys
MOON DUO: Circles
MUTTER: 25
MV&EE: Fuzzweed / Zebulon Residency
NATHAN BOWLES: A Bottle, A Buckeye
NEIL ARDLEY: A Symphony of Amaranths
NILS FRAHM: Screws
NILS WOGRAM / SIMON NABATOV: Moodes And Modes
NORBERT MÖSLANG: Indoor_Outdoor / The Sound of Insects
ONEIROGEN: Kiasma
ORBIT THE EARTH: Aphelion
OTIS G. JOHNSON: Everything – God Is Love 78
P16.D4: Passagen (6CD+)
PALAIS SCHAUMBURG: Palais Schaumburg
PELT: Effigy
PETER BRODERICK: These Walls Of Mine
PETRELS: Onkalo
PRSZR: Equilibrium
PTTRNS: Body Pressure
PYROLATOR: Inland / Ausland / Pyrolator’s Wunderland / Pyrolator’s Traumland / Neuland
RACHUT/LANDSCHIER: Blinder Mond
RAINER VEIL: Struck
RED MATH: Obsolete Systems
ROBBIE BASHO: Seal Of The Blue Lotus
RUTH FEAT. MUSHY: Far From Paradise
SAFFRONKEIRA: Tourette
SCHORSCH KAMERUN: Der Mensch lässt nach
SELVHENTER: Fricka B. Fricka / s/t
SLEAFORD MODS: Austerity Dogs
SPRINGINTGUT: Where We Need No Map
STEPHEN MALKMUS AND FRIENDS: Can’s Ege Bamyasi
SUN PAPA & THE FAN CLUB ORCHESTRA: An Insane Portrait
SUUM CUIQUE: Ascetic Ideals
SUZANNE CIANI: Seven Waves / Lixiviation Ciani/Musica Inc. 1969–1985 / Voices of Packaged Souls
SWEET VALLEY: Stay Calm / Eternal Champ / Jenova
THE BLACK TWIG PICKERS: Rough Carpenters
THE COSMIC JOKERS: The Cosmic Jokers
THE EX & BRASS UNBOUND: Enormous Door
THE NORTH SEA: Grandeur & Weakness
THE PETER BRÖTZMANN CHICAGO TENTET: Concert For Fukushima, Wels 2011
THE SCHWARZENBACH: Farnschiffe
THE SOUND OF GERI REIG. Düsseldorf – San José 1979. The Original Tapes
UN-KOMMUNITI: Black Dwarf Wreckordings 83–85
URBAN HOMES: Centres
V. A.: Personal Space – Electronic Soul 1974–1984
VARIOUS: Drone-Mind // Mind-Drone Vol. 2
VARIOUS ARTISTS: Your Victorian Breasts
VATICAN SHADOW: Ornamented Walls
VIRGIL MOOREFIELD: No Business As Usual / Five Ideas About the Relation of Sight and Sound
VLADISLAV DELAY: Kuopio / Espoo
WEISSER WESTEN: Weisser Westen
WILLIAM SHELLER: Lux Aeterna
WOLD: Freemasonry
WOLF EYES: No Answer: Lower Floors
XUL ZOLAR: Eternal Love/Goa Bay / Hex
YOSHI WADA: Earth Horns With Electronic Drone / Singing In Unison / Off The Wall / The Appointed Cloud / Lament For The Rise And Fall Of The Elephantine Crocodile
ZS: Score / Grain
Rezensionen Papier
DIDI NEIDHARDT / HANS PLATZGUMER: Musik ist Müll
HEINRICH DEISL: Im Puls der Nacht. Sub- und Populärkultur in Wien 1955–1976
KARL MEYERBEER / PASCAL SPÄTH: Topf & Söhne – Besetzung auf einem Täterort
CHRISTOPH WAGNER: Der Klang der Revolte
TIMME ROSENKRANTZ / FRADLEY HAMILTON GARNER: Harlem Jazz Adventures. A European Baron’s Memoir, 1934–1969
DEREK ANSELL: Sugar Free Saxophone. The Life and Music of Jackie McLean
MARKUS HEIDINGSFELDER: System Pop
PAULA-IRENE VILLA / JULIA JÄCKEL / ZARA S. PFEIFFER U. A. (HG.): Banale Kämpfe? Perspektiven auf Populärkultur und Geschlecht
JAMES KENNAWAY: Bad Vibrations. The History of the Idea of Music as a Cause of Disease
JENNIFER SHRYANE: Blixa Bargeld and Einstürzende Neubauten: German Experimental Music ›Evading do-re-mi‹
NIKOLAOS KOTSOPOULOS (Hg.): Krautrock. Cosmic Rock and its Legacy
HUNTER HUNT-HENDRIX / NICK RICHARDSON / BRANDON STOSUY: Black Metal. Beyond the Darkness
THERESA BEYER / THOMAS BURKHALTER (HG.): Out of the Absurdity of Life. Globale Musik
CORNELIUS VON JACKHELLN (Hg.): GewaltKunstWerk
STAN HAWKINS (Hg.): Pop Music And Easy Listening
ANTONIO GRAMSCI: Literatur und Kultur
DIETMAR DATH / BARBARA KIRCHNER: Der Implex. Sozialer Fortschritt: Geschichte und Idee
SONJA EISMANN (Hg.): Absolute Fashion
DIRK BRAUNSTEIN / SEBASTIAN DITTMANN / ISABELLE KLASEN (HG.): Alles Falsch. Auf verlorenem Posten gegen die Kulturindustrie
URSULA MARKUS / TANJA POLLI: Das Geschlecht der Seele. Transmenschen erzählen
ALEXANDER KARSCHNIA/MICHAEL WEHREN (Hg.): Kommando Johann Fatzer (Ringlokschuppen. Mülheimer Fatzerbücher 1)
CORNELIA VISMANN: Das Schöne am Recht
NIKLAS LUHMANN: Macht im System
WERNER FULD: Das Buch der verbotenen Bücher
DAVE MONROE (Hg.): Philosophie für Verdorbene – Essays über Pornografie
SVEN LEWANDOWSKI: Die Pornographie der Gesellschaft
CHRISTIAN KESSLER: Die läufige Leinwand – Der amerikanische Hardcorefilm 1970–1985
STEFAN SCHELER: Cumshots – Höhepunkte der deutschen Pornofilme 1 + 2
STEFANIE VOIGT / MARKUS KÖHLERSCHMIDT: Die philosophische Wollust – Sinnliches von Sokrates bis Sloterdijk
MYRON HURNA: Späte Gegenwart. Zur Historisierung des Holocaust
ALEXANDER KLUGE: »Wer ein Wort des Trostes spricht, ist ein Verräter«. 48 Geschichten für Fritz Bauer
ANNIKA SCHEFFEL: Bevor alles verschwindet
SARAH DIEHL: Eskimo Limon 9
VLADIMIR JABOTINSKY: Die Fünf
SARA STRIDSBERG: Darling River: Doloresvariationen
JOSEF WINKLER: Wortschatz der Nacht / Mutter und der Bleistift
BRIAN WOOD / MARK BROOKS / ROLAND BOSCHI: 100% Marvel 64: Wolverine und die X-Men. Alpha & Omega
WENZEL STORCH: Arno & Alice
ANKE FEUCHTENBERGER: Die Spaziergängerin
SOPHIA MARTINECK: Hühner, Porno, Schlägerei
MARC-ANTOINE MATHIEU: 3 Sekunden
TONTO (Hg.): Noise
SASCHA HOMMER (Hg.): Orang # 10: Heavy Metal
HENNING WAGENBRETH / R. L. STEVENSON: Der Pirat und der Apotheker
ATAK / MARK TWAIN: Der geheimnisvolle Fremde
CHRIS WARE: Jimmy Corrigan. Der klügste Junge der Welt
THOMAS VON STEINAECKER / H. J. BALMES u. a. (Hg.): Neue Rundschau: Comic – Form und Inhalt
KERI SMITH: Mach Mist!
MEL GOODING / JULIAN ROTHENSTEIN (Hg.): Psychospiele – Persönlichkeitstests, Spiele und Fragebögen
JÖRG VÖLLNAGEL: Alchemie – Die königliche Kunst
HARTMUT KRAFT (Hg.): Ecce BLALLA! Abstürze und Höhenflüge
PAULE HAMMER: Welt-Enzyklopädie
DIETMAR DATH / HEIKE AUMÜLLER: Verbotene Verbesserungen
CHRISTIANE ZU SALM (Hg.): Manifesto Collage
GISELA VETTER-LIEBENOW (Hg.): Karikatur & Zeichenkunst
TOBIAS G. NATTER / ELISABETH LEOPOLD / LEOPOLD MUSEUM (Hg.): Nackte Männer – Eine Entdeckungsreise
LENTOS KUNSTMUSEUM LINZ / LUDWIG MUSEUM (Hg.): Der nackte Mann
DOX PRAGUE (Hg.): Amor Psyche Aktion – Wien. Das Feminine im Wiener Aktionismus
MUSEUM MODERNER KUNST STIFTUNG LUDWIG WIEN (Hg.): Wiener Aktionismus – Kunst und Aufbruch im Wien der 1960er-Jahre
HANS-PETER WIPPLINGER (Hg.): Padhi Frieberger – Glanz und Elend der Moderne
HANNAH PILARCZYK (Hg.): Ich hatte die Zeit meines Lebens. Über den Film Dirty Dancing und seine Bedeutung
KONRAD KLEJSA/SCHAMMA SCHAHADAT/MARGARETE WACH (HG.): Der polnische Film. Von seinen Anfängen bis zur Gegenwart
CHRISTIAN SCHIFFER (Hg.): WASD – Texte über Games. Vol. 2 »Select System – Games und Politik«
GEORG SEESSLEN: Träumen Androiden von elektronischen Orgasmen? / Garten der Lüste / Future Sex in Queertopia (Sex-Fantasien in der Hightech-Welt I–III)
WOLFGANG MÜLLER / AN PANHUYSEN (Hg.): Gebärde, Zeichen, Kunst
WOLFGANG MÜLLER: Subkultur Westberlin 1979–1989. Freizeit
[Verlagsinfo]
www.ventil-verlag.de/katalog/testcard
|
2013 |
€15.00 |
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#24: BUG REPORT. Digital war besser |
BOOK |
" »Wie würden Sie das Internet beschreiben?«
»Als die Hölle in bunt, mit Nullen und Einsen. Eine binäre bunte Hölle.«
– Bernd das Brot
Bei kaum einem Medium fallen Theorie und Praxis so wenig in eins wie bei Computern und dem Internet. Wir lesen Blogs, auf denen in einer Breite und Tiefe über nischenhafte Popmusik gesprochen wird, wie es im »goldenen Zeitalter« des Pop-Journalismus niemals möglich gewesen wäre. Wir halten unsere Plattensammlungen mit Datenbanken, die von ihren NutzerInnen gefüllt werden, auf dem neuesten Stand. Gleichzeitig steht uns ein Großteil der Musikgeschichte mit ein paar Suchanfragen zur Verfügung – womöglich illegal, auf jeden Fall aber kostengünstig. Auch die testcard-Redaktion selbst, die sich zwischen drei Großstädten und einer bayerischen Universitätsstadt aufteilt, wäre ohne das Netz kaum koordinierbar.
Trotzdem hört man gerade in sub- und gegenkulturellen Kreisen Klagen, die weit über die Kritik an der Datensammlung durch Regierungen, Geheimdienste und Medienkonzerne oder mickrigen Spotify-Einnahmen hinausgehen. Von »digitaler Erschöpfung« ist da die Rede oder von »kommunikativem Kapitalismus«, von einer Verschränkung von Liberalismus und Kybernetik, der Herrschaft der Algorithmen oder vom »fucking Internet«. Zeit für eine Bestandsaufnahme jenseits von kalifornischer Ideologie und »Disruption«, aber ausdrücklich nicht auf der Seite derjenigen, die mit aller Macht ihren Einfluss von den alten Medien in die neuen herüberretten wollen.
Vielleicht sprechen wir letztlich über ein altes Problem: Was ist die Basis, was der Überbau, wie verhalten sie sich zueinander? Das Sprechen über Digitalisierung und das Netz fällt uns vielleicht deshalb schwer, weil die Form von Technologie nicht ohne ihren polit-ökonomischen und sozialen Rahmen zu denken ist. Oder sind ein anderes Computing und ein anderes Netz möglich?
Aus dem Inhalt: Sounds der Digitalisierung >> Verschaltete Welt >> Kleine Genealogie des Computers >> Digitales ABC >> Zustand und Zukunft des Webcomics >> Digitale vs. analoge »Gegenwart« >> Nathan Jurgensons Webtheorien >> Mensch-Maschinen und Roboter >> Erzählen in der Digitalisierung >> Altern der digitalen Ästhetik >> Retrospieleboom >> Ungegenstand der Musikinformatik >> Let’s Player >> Indie-Computerspiele >> Ästhetik des Post-Digitalen >> ...
Inhaltsverzeichnis
Christian Werthschulte:
(right now, please). Warum die digitale Gegenwart irgendwie auch nicht besser als die analoge geworden ist
Roger Behrens:
Digital ABC
Roger Behrens:
Digitale Frist. Computer. Pop. (Beta-Version)
eve massacre:
Network of blood. Von »Augmented Reality« bis zum »Liquid Self«: Nathan Jurgensons Webtheorien
Waltraud Blischke:
Bugs, Big Data und die UnverNETZbaren. Ein Gespräch mit Peter Bittner, Stefan Hügel und Julia Stoll vom FIfF
Marco Schröder:
Eine Maschine für alle Maschinen. Kleine Genealogie des Computers mit Implikationen für seine Anwendung in Philosophie und Musik
Raphael Smarzoch:
Rumorende Algorithmen. Die Sounds der Digitalisierung
Flora Könemann & Chris W. Wilpert:
Part of your distortion. Effekte im Zeitalter ihrer Re-Auratisierung
Julian Rohrhuber:
Dienst nach Vorschrift. Über den Ungegenstand der Musikinformatik
Waltraud Blischke:
t-cardcomp. Die Musikliste zur ungeregelten Geschmacksynthese
Jonas Engelmann:
In Love With the Modern World. Ein virtueller Roundtable über Zustand und Zukunft des Webcomics hierzulande
Carl Wiemer:
Das schnelle Altern der digitalen Ästhetik. Samuel Beckett und der Zenit ?ästhetischer Modernität
David Schwertgen:
Der Autor im Zeitalter seiner technischen Reproduzierbarkeit
Johannes Ullmaier:
Human Trouble. Transhumane Anthropologie im Turing-Test
Hommer / Lenzin:
Parolen aus der Stadt. Abenteuer eines Wolfes. Episode 3
Bettina Wilpert:
Guided by Voices. Erzählen in der Digitalisierung
Waltraud Blischke:
»Wenn man damit Geld verdienen kann, muss das ja salonfähig sein.«
Ein Gespräch mit dem Let’s Player SgtRumpel
Philipp Eichhorn:
Technology in our hands. DIY als Totengräber des Fortschritts anhand des Retrospielebooms
Fiona Sara Schmidt:
Die Geschichte muss das Medium notwendig machen. Die Spieledesignerin Lea Schönfelder über Autorenspiele, Zensur und perfekte Posen
Benedikt Frank / Thomas Schröder:
Wo andere Urlaub machen. Arbeit im Spiel, Spiele als Arbeit
Rezensionen Tonträger:
20.SV: The Great Sonic Wave
ADDISON GROOVE: Turn Up The Silence
ALOA: s/t
ALTE SAU: s/t
ALVARIUS B: Chin Spirits
AMANDA FEERY: Spells From The Ice Age
AME ZEK: Rostfrei
AMON DÜÜL II: Düülirium
ANDROMERDA MEGA EXPRESS ORCHESTRA: Live on Planet Earth
ASTRAL SOCIAL CLUB: Medow Mechanicals
BANANA PILL: Weave
BANKS: GODDESS
BART DE PAEPE: Rhode
BEYONCÉ KNOWLES: s/t
BILL ORCUTT: Daddy’s Got A Spice Rack
BILL ORCUTT: Fantomas ? Le Faux Magistrat
BIRD PEOPLE: King Of the Grove / Nightshades
BOHREN UND DER CLUB OF GORE: Piano Nights
BRIDGET HAYDEN: Just Ideas/The Night’s Veins
BUCK GOOTER: Molescules
BULBUL: Hirn Fein Hacken
CATHY LANE: The Hebrides Suite
CHRIS PETIT: The Museum of Loneliness
CHRISTINA KUBISCH UND ECKEHARD GÜTER: Mosaïque Mosaic
CICADA DREAM BAND: Bug Music
CRASH COURSE IN SCIENCE: Signals from the Pier Thirteen
DANIEL BACHMANN: Orange Co. Serenade
DANIEL BLINKHORN:Terra Subfónica
DAS WEISSE PFERD: Inland Empire
DATASHOCK: Keine Oase in Sicht
DEUTSCHE TRINKERJUGEND: Scheissegal
DIE HEITERKEIT: Monterey
DIE PARTEI La Freiheit des Geistes
DIVIL A’ BIT: In Deference To The Squeamish
DJ RASHAD: Rollin’ EP / Double Cup / We On 1
DJ SARDENA: The Voice: Studio Sardena
DJ SLUGO: King Of Ghetto House
DSR LINES: Spoel
EEK: Live At The Cairo High Cinema Institute
EIKO ISHIBASHI: Imitation Of Live
EMBRYO: Message From Era Ora
FENNESZ: Bécs
FENSTER: The Pink Caves
FILIPE FELIZARDO: Volume II ? Sede e Morte ? Guitar Variations For The Thirsty And The Dead
FKA TWIGS: LP1
GONZÁLEZ & STEENKISTE: Dimly Lit
GÜNTER SCHLIENZ: Contemplation
HAILU MERGIA: Shemonmuanaye
HALSABSCHNEIDER: Havelmusik 1982?1984
HEIN SCHOERS: The Sounding Museum: Box Of Treasures
HELEN: Witch/Zanzibar
HELLVETE: Ode
HONIGRITTER: Kellergeister in unserem Haus
IF, BWANA: Live at the Logos Tetrahedon
INEZ LIGHTFOOT: Sleep By Day / Fly By Night
ISLAJA: S U U
JA, PANIK: Libertatia
JAMMIN GERALD: Factory Funk
JASON LESCALLEET: Much To My Demise
JEFF & JANE HUDSON: Flesh
JIM O’ ROURKE / PAAL NILSSEN-LOVE / LASSE MARHAUG: The Love Robots
JIM O’ ROURKE: Old News / No.?9 / No.?5 / No.?7 / No.?6 / No.?8 / FIRE! WITH JIM
JOSHUA BURKETT: Xavier’s Birds
JUMPING BACK SLASH: Namhlanje EP
KELIS: Food
KEMIALLISET YSTÄVÄT: Alas Rattoisaa Virtaa
KILLERLADY: s/t
KK NULL + THE NOISER: s/t
KLINISCH SAUBER: Kommerz Krieg Mond!
KREIDLER: ABC
KREISKY: Blick auf die Alpen
KRISSI B: The Duke
LANA DEL REY: Ultraviolence
LASSE-MARC RIEKS: Helgoland
LAU NAU: Valohiukkanen
LEAST CARPET: Back Alley
LIEVEN MARTENS MOANA: Os Canais
LILY ALLEN: Sheezus
LIMPE FUCHS / VIZ MICHAEL KREMITZ: Kugel Haus Musik
LOS MICROWAVES: Life After Breakfast
LOUIS SARNO: Song From The Forest
LOVE A / KOETER: Split
LUKE FOWLER: Fowl Tapes II
MAMMANE SANI: La Musique Électronique Du Niger / Mammane Sani And The Workstation / Taaritt
MANY ARMS: Suspended Definiton
MARCELLUS PITTMAN: Do You Like Music EP / 1044 Coplin
MARION, FRANZISKA UND ARNULF MEIFERT: Incredible Familiar Music / Absolute Relative Music
MARK PRITCHARD: You Don’t Know Me
MARY OCHER: Eden
MERZOURGA: 52°46’ North 13°29’ East. Music For Waxcylinders
METABOLISMUS: Sus
MOUSE ON MARS: Spezmodia EP
MURENA MURENA: Ghoaster Coaster
MUTTER: Text und Musik
MY BLOODY VALENTINE: mbv
NOXAGT: Brutage / Collection 1
O’ ROURKE / Steamroom
OLIMPIA SPLENDID: Nuttu Nurin
ORACLES: Stanford Torus EP
OREN AMBARCHI, KEIJI HAINO & JIM O’ ROURKE: Imikuzushi / Now While It’s Still Warm Let Us Pour In All The Mystery
ORPHAN FAIRYTALE: My Favourite Fairytale
PANABRITE: Wasteland Cycle
PARRIS MITCHELL: Project EP
PART WILD HORSES MANE ON BOTH SIDES: Aulos’ Second Reed
PASCAL NICHOLS: Nihilist Chakai House
PATRICK COWLEY: School Daze
PETER MICHAEL HAMEL / THOMAS GUNDERMANN: Coincidence
PETER MICHAEL HAMEL:Voice Of Silence
PHARRELL WILLIAMS: G I R L
RAMBLING BOYS: True To Blue
RASHAD BECKER: Traditionel Music of National Species Vol. 1
RAUM: Event Of Your Leaving
RAZEN: Reed Bombus LFO
RODOLPHE ALEXIS: Morne Diablotins
RP BOO: Legacy
RUARI O’ BAOIGHILL: The Faceless One
RYLEY WALKER: All Kinds Of You
SCHREIN: Einszweinschrein
SIR RICHARD BISHOP: Solo Acoustic Vol. 8
STAER: Daughters
STEVE GUNN / MIKE COOPER: Cantons de Lisboa / Way Out Weather
STOSSTRUPP REVIVAL DUETT: s/t
SUN RA: Mix-Tape
SUNROOF!: Rock Power
SWANS: To Be Kind
TENSES: Howard
THE SPACE LADY: The Space Lady’s Greatest Hits / »Major Tom«/»Radar Love« / Recorded Live in San Francisco / Songs in the Key of Z. Vol. 2
THE YOUNG MOTHERS: A Mothers Work Is Never Done
THEO PARRISH: Footwork / American Intelligence / Theo Parrish’s Black Signature
TOM WU: s/t
TRAXMAN: Da Mind Of Traxman / Da Mind Of Traxman 2 / Westside Boogie Traxy Vol. 3
TREK WITH QUINTRONIC: Landing Plus
VALERIO TRICOLI: Miseri Lares
VAPOUR THEORIES: Split-LP
VENN RAIN: Crepuscular Raze
VARIOUS ARTISTS: Keine Bewegung!
VARIOUS ARTISTS: Pulsating Strings: A Collection of Psychedelic Asian Guitar Music
VARIOUS ARTISTS: 10 Year Anniversary Hybrid Vinyl Series
VARIOUS ARTISTS: Cassette Van Antwerpen
VARIOUS ARTISTS: La Psicotropia
VILLAGE OF SPACES: Gathering
WESTBAM: Götterstrasse
WILLIAM ONYEABOR: Who Is William Onyeabor?
WILLIAM TYLER: Impossible Truth
WOOG RIOTS: From Lo-Fi to Disco
ZEA: The Swimming City
Rezensionen Papier:
ALBERTINE SARRAZIN: Astragalus
ASTRID KUSSER: Körper in Schieflage. Tanzen im Strudel des Black Atlantic um 1900
BENJAMIN STEIN: Das Alphabet des Rabbi Löw
BLACK HAWK HANCOCK: American Allegory. Lindy Hop And The Racial Imagination
BRECHT EVENS: Die Amateure
CHRISTIANE BAREITHER, KASPAR MAASE, MIRJAM NAST (HG.): Unterhaltung und Vergnügung. Beiträge der Europäischen Ethnologie zur Populärkulturforschung
CHRISTOPHE BLAIN: Gus: 1. Nathalie / 2. Schöner Bandit / 3. Ernest
CLAUDIA BOSSE (Hg.): Cheap Method Edition #1. Struggling Bodies In Capitalist Societies (Democracies)
DANIEL CLOWES: Der Todesstrahl
DAVID BUCKLEY: Kraftwerk. Die unautorisierte Biographie
DAVID PRUDHOMME: Einmal durch den Louvre
DAVID SIMONELLI: Working Class Heroes. Rock Music and British Society in the 1960s and 1970s
DENNIS EICK: Digitales Erzählen. Die Dramaturgie der Neuen Medien
DIEDRICH DIEDERICHSEN: Über Pop-Musik
DIETER MERSCH: Ordo ab chao ? Order from Noise
DIETMAR DATH / OLIVER SCHEIBLER: Mensch wie Gras wie
DIETMAR DATH: Feldeváye ? Roman der letzten Künste
DOUGLAS RUSHKOFF: Present Shock
EKKEHARD KNÖRER: Battlestar Galactica
ENNO STAHL: Diskurspogo. Über Literatur und Gesellschaft
ERIKA SCHMIED: Peter Kurzeck ? Der radikale Biograph
ERWIN IN HET PANHUIS: Hinter den schwulen Lachern. Homosexualität bei den Simpsons
FANNY BRITT / ISABELLE ARSENAULT: Jane, der Fuchs und ich
FLORIAN CRAMER: Exe.cut(up)able statements. Poetische Kalküle und Phantasmen des selbstausführenden Texts
GUNNAR HINDRICHS: Die Autonomie des Klangs
HANS BLUMENBERG: Präfiguration. Arbeit am politischen Mythos
HANS-CHRISTIAN DANY: Morgen werde ich Idiot. Kybernetik und Kontrollgesellschaft
HEIKO KOCH: Casa Pound Italia. Mussolinis Erben
IAN F. SVENONIUS: 22 Strategien für die erfolgreiche Gründung einer Rockband
JAN SÜSELBECK (HG.): Familiengefühle. Generationengeschichte und NS-Erinnerung in den Medien
JOE SACCOS: Der Erste Weltkrieg ? Die Schlacht an der Somme
JONAS ENGELMANN: Gerahmter Diskurs ? Gesellschaftsbilder im Independent-Comic
JÜRGEN SCHMICH: Plattensüchtig. Expeditionen in eine andere Welt. 7 Schallplattensammler im Interview
JÜRGEN ZIMMERER: Kein Platz an der Sonne. Erinnerungsorte der deutschen Kolonialgeschichte
KATIA FOUQUET: Jonas oder der Künstler bei der Arbeit
KITTY KRAUS: Lidschlag
LINDER STERLING: Frau/Objekt
LUCIUS BURCKHARDT: Der kleinstmögliche Eingriff
MAGNUS KLAUE: Verschenkte Gelegenheiten. Polemiken, Glossen, Essays
MAISHA EGGERS / GRADA KILOMBA / PEGGY PIESCHE / SUSAN ARNDT: Mythen, Masken und Subjekte. Kritische Weißseinsforschung in Deutschland
MANUEL MENRATH: Afrika im Blick. Afrikabilder im deutschsprachigen Europa 1870?1970
MARIA JANION: Die Polen und ihre Vampire. Studien zur Kritik kultureller Phantasmen
MARK BUTLER: Das Spiel mit sich. (Kink, Drugs & Hip-Hop). Populäre Techniken des Selbst zu Beginn des 21. Jahrhunderts
MARTIN NIEDERAUER: Die Widerständigkeiten des Jazz. Sozialgeschichte und Improvisation unter den Imperativen der Kulturindustrie
MERCEDES BUNZ: Die stille Revolution. Wie Algorithmen Wissen, Arbeit, Öffentlichkeit und Politik verändern, ohne dabei viel Lärm zu machen
MICHAEL PETRY (HG.): Nature Morte ? Stillleben in der zeitgenössischen Kunst
MICHAEL PHILIPP / BUCERIUS KUNSTFORUM (HG.): Dionysos. Rausch und Ekstase
OSWALD WIENER: die verbesserung von mitteleuropa
OUMAR DIALLO / JOACHIM ZELLER: Black Berlin. Die deutsche Metropole und ihre afrikanische Diaspora in Geschichte und Gegenwart
PETER KURZECK: Bis er kommt / Angehalten die Zeit
SPRING: The ABC of Tragedy / Wunder
STEFFEN SCHOLL: Musik ? Raum ? Technik. Zur Entwicklung und Anwendung der graphischen Programmierumgebung »Max«
STEPHAN PACKARD (Hg.): Comics & Politik
STUART HALL: Ausgewählte Schriften
SUSAN ARNDT / ANTJE HORNSCHEIDT: Afrika und die deutsche Sprache. Ein kritisches Nachschlagewerk
SUSAN ARNDT / NADJA OFUATEY-ALAZARD: Wie Rassismus aus Wörtern spricht. (K)erben des Kolonialismus im Wissensarchiv deutsche Sprache
THOMAS MEINECKE: Analog. Kolumnen
TOBIAS GOLL / DANIEL KEIL / THOMAS TELIOS (HG.): Critical Matter. Diskussionen eines neuen Materialismus
VARIOUS ARTISTS: In 50 Comics um die Welt / Comics zur Lage der Welt
VOLKAN ÇIDAM: Die Phänomenologie des Widergeistes. Eine anerkennungstheoretische Deutung von Marx’ normativer Kritik am Kapitalismus im Kapital
VOLKO KAMENSKY / JULIAN ROHRUBER (HG.): Ton. Texte zur Akustik im Dokumentarfilm
WENZEL STORCH: Die Filme
WERNER SCHWAB: Fäkaliendramen
WOLFGANG HERRNDORF: Arbeit und Struktur"
[Verlags / website info]
www.ventil-verlag.de/katalog/testcard
|
2014 |
€15.00 |
|
| THE BRAIN |
All Human is Error |
LP |
Created in early 2020 by American graphic artist Scott Summers and German-born guitarist/electronics engineer Karl Gottlaus, Workshop of Filthy Creation is a small privately funded record label that serves as the "official" production and distribution node for The Brain. Workshop of Filthy Creation also exists as a platform for the release of projects by other artists whose music exists somewhere in that vast gray area where experimental music and improvisational electronic music intersect. Workshop of Filthy Creation also intends to re-release works by various artists from the 1970s and 1980s whose music was either neglected or underappreciated during their time.
All Human Is Error is the second full-length album by German expatriate (now living in Portland, Oregon) The Brain (aka Karl Gottlaus), and continues his exploration of harsh electronics and violent guitar, this time accompanied by Japanese drummer/percussionist Body Hammer. Utilizing neither sequencers nor digital samplers, neither MIDI technology nor computer-based recording/production techniques, All Human Is Error returns the listener to the mindfields of Germany's post-1960s man-machine blitzkrieg and France's "after the barricades" cold wave vanguard. Featuring a battery of analog synthesizers, audio generators, and tape machines, as well as slashing, angular guitar and thunderous drums, All Human Is Error takes the molten past of 70s-era "kosmische musik" as an aural starting point before erupting into a volcanic hailstorm seething with calculated menace and mayhem. As a whole, All Human Is Error heralds an uncertain future where the ever present threat of war, environmental collapse, viral apocalypse, and global genocide becomes more probable each day.
Available in LP/DD formats. For more information and orders, contact Scott Summers or Karl Gottlaus.
Artist: The Brain
Title: All Human Is Error
Catalog #: WLP04
Release Date: March 2022
https://thebrainshop.bandcamp.com/album/all-human-is-error
|
2022 |
€23.00 |
|
| |
Experiments for Guitar + Machines |
LP |
About Workshop of Filthy Creation
Created in early 2020 by American graphic artist Scott Summers and German-born guitarist/electronics engineer Karl Gottlaus, Workshop of Filthy Creation is a small privately funded record label that serves as the "official" production and distribution node for The Brain. Workshop of Filthy Creation also exists as a platform for the release of projects by other artists whose music exists somewhere in that vast gray area where experimental music and improvisational electronic music intersect. Workshop of Filthy Creation also intends to re-release works by various artists from the 1970s and 1980s whose music was either neglected or underappreciated during their time.
The Brain's debut release Experiments for Guitar + Machines is also the debut release on Workshop of Filthy Creation, a label devoted to the exploration of noise, sound and music in an uncertain world. The Brain's initial album, available on vinyl and as a digital download, is a collection of experimental guitar/electronic soundscapes that recall the early work of Heldon, Cyborg-era Klaus Schulze, and the surreal kling-klang blitzkrieg of Conrad Schnitzler. Mesmerizing analog synthesizer drones collide with abrasive guitar textures to create dense sound collages that blur the distinction between industrial mayhem and ambient calm. If the true essence of music lies in its inherent unpredictability, then The Brain's initial release fully captures this anarchistic spirit. It is an approach to music that has been nearly abandoned in this new sterile age of MIDI and the endless programming of beats, where music has become merely a commodity for mindless consumption and perfunctory excretion.
Available in LP/DD formats from Bandcamp at www.thebrainshop.bandcamp.com and directly from Workshop of Filthy Creation. For more information and orders, contact Scott Summers or Karl Gottlaus.
Artist: The Brain
Title: Experiments for Guitar + Machines
Catalog #: WLP02
Release Date: August 2020
|
2022 |
€23.00 |
|
| THE FLOATING WORLD |
The Wood beyond the World |
CD |
"The Japanese term ‘ukiyo,’ translated as ‘the floating world,’ was used to describe the pleasure seeking urban culture of Edo Japan. When alternately rendered as ‘sorrowful world’ the term took on Buddhist connotations, indicating the transitory nature of human experience, the ephemerality of existence. These two seemingly opposed yet sympathetic concepts have always heavily informed the music of The Floating World and each album has been created with these as central themes. Named for a novel by William Morris, The Wood Beyond the World is The Floating World’s latest album and an attempt to capture the journey from the mundane to the illusory made by the novel’s protagonist – a journey that reflects the hunt for the temporal and intangible the band’s name intimates. With the addition of Neddal Ayad (guitar; Desolation Singers/Great Attractor) and Grey Malkin (drones, bells, piano; The Hare and the Moon), as full members who have brought additional nuance to the music, this ambition is more fully realized. Amanda’s delicate, melancholy flute parts now weave in and out of Neddal’s hazy guitar and Grey’s eerie and dissonant accompaniments – the whole underpinned by various rough field recordings used to compliment and counterpoint the music. Roy Felps (Korperschwache) also guests on the album, adding drifting acoustic guitar to a song. Amanda has also collaborated with Lacus Somniorum, New Risen Throne, Far Black Furlong, Dodson and Fog, The Joy of Nature and The Hare and the Moon. She and Neddal have another band together, Secrets to the Sea, as well. Released as part of our Eclipse Series.
Edition of 500 copies in 4 panel digi sleeve. 8 Tracks. Running Time 54:00" [label info]
www.cycliclaw.com
"The Floating World‘s The Wood Beyond the World is the brightest of Cyclic Law’s three October releases, apparent from the very first seconds. The chimes of Vortex and the waves of Taphephobia are joined by the flute of Amanda Votta. This convergence of sounds is not the only factor that ties these releases together. As with all of Votta’s work, The Wood Beyond the World is steeped in Buddhist concepts. The band’s name was inspired by the Japanese ukiyo, which can refer to either a pleasure-seeking culture or the ephemeral nature of existence. Votta’s project exists in tension, as do the preceding projects; and while all may possess different timbres, all approach the same subject: the overload of the modern era. The press release even echoes that of Tapephobia: “a journey from the mundane”. Yet Votta and her new bandmates exude no animosity, only holy contemplation. If nothing is permanent, should one turn a blind eye to suffering? Or might one seek the lessons of a higher plane? The protagonist of William Morris’ 1894 adventure novel of the same name leaves home to avoid trouble, only to find it elsewhere. We carry our potentials within us – good and evil, dead and alive – as if each of us were Schrödinger’s cat. The album sounds like the choice before it is made, the promise before it is spoken, the mandala before it is disturbed. The fuller cast of guitar, piano and field recordings enriches the wood like children among the trees." [A Closer Listen]
|
2013 |
€13.00 |
|
| THE LAWLESS |
Habit Forming |
CD |
"Do you know the feeling when a tune sounds totally familliar to you, even though you never heared it before? When I first heared the HABIT FORMING demo, I was certain it must have been sampled from some 60s/70s B-movie soundtracks by e.g. ENNIO MORRICONE that QUENTIN TARANTINO did not exploit yet. Or a unknown JAMES BOND movie. So, I really couldn't believe it when the artist, Ross McLean, told me these were his genuine recordings, and i instantly knew I found something very rare. Over a period of more than 2 years he not only composed and produced the entire album all by himself, he also played almost all of the instruments: Bass, Guitar, Drums, Piano, Keyboards, Accordeon, Flutes, Glockenspiel, Percussion and backing Vocals.
HABIT FORMING instantly gets you with it's mysterious, charming and warm atmosphere. The catchy but decent melodies are rather breathed than sung by Fifi Dewey, wordless and unisono with the instruments, which sometimes creates a almost oriental and 60s feel. The extremely rich orchestration makes you discover more little details every time, and recording the instruments with a lot of 'room' or 'air' makes the sound even more lively.
All in all, you can't help thinking this MUST be a soundtrack... - maybe to the next Tarantino movie? The only sad thing about HABIT FORMING is that it is the best album i will ever release… -Marcus Gabler (A&R Mille Plateaux), November 2011.
HABIT FORMING introduces the new MILLE PLATEAUX ORGANIC label. It expands the range of MILLE PLATEAUX's sounds by (electro)acoustic, avant-pop or, simply put, non-electronic productions." [label info]
www.mille-plateaux.com
|
2011 |
€13.00 |
|
| THE ONE ENSEMBLE OF DANIEL PADDEN |
Oriole |
LP |
" 'oriole' is the new album by the one ensemble. bolder and more dynamic than previous albums, it showcases the one ensemble's ability to combine thrilling live playing with compositional elegance, shifting between hard-nosed rhythmic workouts and string miniatures, between wayward waltzes and open-throated song. oriole features the core quartet of shane connolly (drums and percussion), peter nicholson (cello), daniel padden (guitar) and aby vulliamy (viola and accordion). the one ensemble started life as the solo project of volcano the bear's daniel padden, but after two albums it became a live band, taking padden's experimental folk and expanding it into a fuller, more orchestrated sound. under padden's leadership, the ensemble developed a curious and strident brew of eastern european folk, chamber music, a pinch of robert wyatt and some kind of earthy psychedelic primitivism."
www.altvinyl.com
"This LP sees Daniel Padden's One Ensemble laying down some Eastern European-sounding folk business with accordions and fiddles and stuff. It's all quite dusky and repetitive and there's sometimes some vocals. It's not a straight folk record by any means, though, with the ensemble free to play around in more jazzy and experimental territory when they want to. It's not a million miles away from Leeds's finest chamber jazz-folk troupe 7 Hertz actually, and there's shades of A Hawk and a Hacksaw in its warm, bubbling fusion vibes, and Phil reckons there’s a bit of an Alexander Tucker-esque medieval feel here too, and when they take it down a notch like in ‘Chicken on a Raft’ it’s reminding me of Lungfish’s Dan Higgs.
Padden is of course best known for his work with Brit oddballs Volcano The Bear, and that's no surprise listening to this record either, as the band he's put together seem perfectly happy to switch from bustling gypsy folk to disorienting neoclassical to even more disorienting free expression without so much as a hiccup, and some of the most effective moments see them taking repeato-rock ideas and throwing folk textures all over them.
It works really well and is thoroughly charming, with the physicality of the traditional instruments really shining through in the strained, warm tones. In fact I think as far as charm and listenability go it’s the equal of his other band. Well worth investigating." [Norman Records]
|
2012 |
€16.50 |
|
| THE PICKLE FACTORY |
Our Anthems |
LP |
"the pickle factory is karla borecky and scott foust from the idea fire company plus long-time collab-orator mike popovich. they were actice in the mid- to late-1990s and released the album »our pledge« on swill radio at the time. »our anthems« was recorded in 1996 but remained unreleased until now. the sound is somewhat similar to ifco, although within at least some sort of a song structure. the 12 pieces on the lp present themes and sketches of atmospheric musical beauty created by synths, haunting voices and guitars with percussive elements, minimal rhythms and, of course some radio static!" [label info]
"Now this was reviewed not so long ago, even when the music is much older. In Vital Weekly 699 we discussed a CDR version of this released by Scott Foust's Lessons About History. The Pickle Factory no longer exist! I wrote in Vital back then: "There have been an album and a CD, and 'Our Anthem', recorded in 1996 was supposed to be the second LP. The Pickle Factory we find Karla Borecky (keyboard, voice, tapes, synth), Scott Foust (guitar, synth, tapes, voice, radio, bass) and Mike Popvich (bass, voice, drums, percussion, radio, guitar, keyboard). Idea Fire Company plus a guest? Hardly. In all the various bands Foust is (or was) involved in, there is always a distinct sound of its own. The Pickle Factory might be called 'popmusic': rhythm machines, a nice bass line and additional sounds to go along in order to form a short song, rounded off like a song, as opposed to a 'piece'. True, also The Pickle Factory can play a bit of droney mood music, but not with the long curves as is usually
with Idea Fire Company. A damn fine varied record of experimental music. Which brings up the question: why wasn't this excellent record never properly released on a LP?" That answer can not be given, as there is so much great music out there which is never properly released in any format, but the good news is that 'Our Anthems' is now released by Germany's Twisted Knister (best known from their business card CDR releases in cigarette boxes) and quite rightly so. Even after fifteen years this remains great music. It sounds as fresh as it was back then, and so we can still wonder: why wasn't this properly released on a LP before, say in 1997? Thank god for fine small labels like Twisted Knister and their persistence to release such fine music." [FdW/Vital Weekly]
|
2011 |
€14.00 |
|
| THE TREE PEOPLE |
same |
CD |
Japanische Re-Edition einer Acid-Folk Ausgrabung aus dem Jahre 1979 !!
"Tiliqua Records is psyched about being able to present a whole new audience and generation with the lysergic beauty of the Tree People's sole recorded artifact, a privately released acid folk gem out of 1979. In times when people are all getting excited about media-created scenes like “New Weird America” and “Freak Folk”, they seem to overlook the fact that such music was already being created decades ago. The Tree People is evidence of such a splash of creativity that sadly enough was doomed to disappear within the cracks of obscurity. Until now. Tiliqua was granted the opportunity to restore this gem and with the kind collaboration of Mr. Cohen of the Tree People, who provided me with the master tapes and a seemingly unlimited support, Tiliqua was able to prepare this reissue. To me, this album is one of the singular most beautiful gems to have crossed my path and words always fall short in an attempt to describe the aural sensation it unleashes. “Upon listening today this hushed and intimate feeling still resonates through the music – the record possesses an extraordinarily potent atmosphere that still intoxicates the senses after so many years. Over a combustible backing dominated by shimmering strings, bone-shaking hand percussion rhythms, and quivering sensuous threads of eastern-toned flute playing, the group succeeded in concocting up a syncretic combination of meditative Indian raga, western folk stylings and idiosyncratic melodic ideas. The music breathes out intimacy and communicates with a rare directness - hooking you instantly with sheer aural bliss derived from the melody, from the flowing beat, from the sound of the words and syllables and of all those separate elements interacting with each other, rendered into a concentrated, gracious flow of lunar notes. The album's compositions have so many hidden qualities, all breathing out deep and affectionate sentiments that reveal, just like a lotus flower centered on the axis with its petals unfolding towards the circumference, a streamlined adhesion towards the group's' own singular creed. Listen to it and you may feel like awakening from a deep slumber, your unconsciousness leaking away as aspects of reality slowly mix in with the rest of your already blurred mindset.” First time ever official reissue, housed in a sturdy mini-LP styled gatefold sleeve." [Beta Lactam]
|
2006 |
€19.50 |
|
| THE [LAW-RAH] COLLECTIVE & CINEMA PERDU |
Invocation |
CD |
"in our lives we meet various people and we get to spend some quality time with a couple of them. depending on who we spend our time with and in what state of mind the time together is spent, we talk about friendship. and the more honest and unconditional this friendship is, the more it adds to the quality of our respective lives. it's a rare thing when you meet someone and right from the first moment you know you add to each others lives. it only happens a few times - and maybe not even that often - but we have all been there and we all recognize those moments; as well as the people it concerns. and yes, those times bring back a warm and fuzzy feeling. but then there are the many ways a friendship can end: a wrongfully interpreted word, a misunderstood thought, incompatible visions or simply because it started to cost more energy then it gave back. as incomprehensible a friendship can begin, it can also end. sadly there are also true and deep friendships that have never ended, even when said friend has left this dimension. the feeling that we're left with is just about the worst feeling ever ... with 'invocation' the [law-rah] collective and cinema perdu present a split album with personal views and interpretations of the emptiness that remains. finding closure in a process of grief. not the most happy of feelings, but it's a feeling we all recognize, an emotion we can all relate to and maybe the one thing we all have problems with giving it a place in our lives. the process of composing, writing, producing and finishing 'invocation' has helped us seeing things in perspective again after loosing loved ones. 'invocation' - simply to have that final conversation, to share that final drink, or just to say you care ..." [label info]
"So today we will be looking at (and listening to, of course) some darkly pulsing ambient and asking, “just what is it about this music that makes it so great for processing inarticulate emotions?” Well before I answer that, and while I try not to ‘zone out’ entirely, let me just articulate my feelings right now by saying: This... Is... Great. And, furthermore, it pulses darkly and in all the right places. Ahhh…
It’s a collaborative effort, this, between The [Law-Rah] Collective (Bauke van der Wal) and Cinema Perdu (Martijn Pieck) -- each performing and contributing two individual tracks and a fifth track wherein they combine their compositional efforts. Opening track, ‘1’, by [Law-Rah], pleasantly and gently throbs like the aural equivalent of a deep red Rothko painting. For musical touchstones, think Nurse With Wound and Locust. His second individual track, ‘5’, drones slightly more ominously and is accompanied by a glitchy ‘popping’ sound which is not unlike that made earlier when we were preparing the post here at Norman and a trolley rolled over a long sheet of bubble wrap. These sounds phase in and out and pan woozily to leave the listener a little disorientated.
Cinema Perdu similarly explores the empty psychological spaces which remain once you are all cried out. Really, this is perfect for the final part of the day when this reviewer has precious little more strength to muster. The two tracks Martijn Pieck brings to this disc are as sublime as the previous two by Bauke, in that the music is the contemplative, irresistible, seemingly boundless evocation of space, of internal conflicts easing and resolving themselves outside of time. Plus, his second track features metallic chiming under mallets. I’m a sucker for resonating metal and mallets.
Martijn and Bauke’s collaborative track, ‘4’, is possibly the most affecting of all. What sounds like a sample from a long lost choral masterpiece is used as a bed for found sounds and plucked electroacoustic instruments, with an industrial throb underpinning it all… there’s an organ playing. For a minute there, I thought it was coming from the cathedral in my mind. Then silence. The CD whirrs its death throes and I feel a little more alive." [Norman Rec.]
"THE [LAW-RAH] COLLECTIVE ist ein mehr oder weniger loser Zusammenschluss von Künstlern rings um den niederländischen Musiker BAUKE VAN DER WAL, der das Projekt mit dem enigmatischen Namen um das Jahr 2000 herum gründete. Bevorzugt tummelt man sich im Experimental-, Drone- und Dark Ambient-Sektor, zeigt aber auch keine Berührungsängste mit harscheren, ja dezidiert noisigen Spielarten, was exemplarischen Ausdruck in Kollaborationen mit NAVICON TORTURE TECHNOLOGIES (Box Edition von "The Gospels Of The Gash" und "Your Suffering Will Be Legendary") findet. Überhaupt ist man, was die stilistischen Details betrifft, um relativen Abwechslungsreichtum bemüht, und so reicht das bei discogs aufgespannte Genre-Spektrum von "Elektronik, Pop" über "Experimental, Abstract" bis hin zu "Dark Ambient, Drone". Seiner Grundrichtung bleibt das Kollektiv nichtsdestoweniger treu; nicht umsonst hat man schließlich – nomen est omen – der eigenen Homepage die Adresse "darkambient.net" verpasst. Entsprechend gerne arbeitet man freilich mit stilistisch benachbarten Künstlern wie CISFINITUM oder eben CINEMA PERDU zusammen. Der Mann dahinter, MARTIJN PIECK, ist langjähriger Freund VAN DER WALs, seit 2008 Vollmitglied von THE [LAW-RAH] COLLECTIVE und seit 2011 unter dem nom de guerre CINEMA PERDU aktiv, unter dem er bislang mehrere Alben im File- und Tape-Format veröffentlicht hat.
Die vorliegende CD "Invocation" ist nach dem gemeinsamen Split mit WOODBNDR, "Blue Ruins Under Yellow Skies" von 2014, die zweite dezidierte Zusammenarbeit mit CINEMA PERDU und folgt stringent jener kontemplativen Drone-Programmatik, die im Großen und Ganzen das Leitmotiv für die Arbeit VAN DER WALs mit dem [LAW-RAH] COLLECTIVE abgibt, hier allerdings in ganz besonders vielschichtiger, facettenreicher Form zelebriert wird. Das Thema der CD fordert eine gewisse Besinnlichkeit freilich nachgerade heraus, beschäftigt sich die inhaltliche Ebene von "Invocation" doch mit dem Zerbrechen, Erlöschen, in jedem Fall aber mit dem Ende intensiver Freundschaften und enger Beziehungen, sowie insbesondere mit jener gähnenden Leere, die eine solche, mehr oder weniger gewaltsame Trennung einer tiefen emotionalen Verbindung nach sich zieht – egal, ob sie "nur" einem menschlichen Zerwürfnis, einer individuellen, existenziellen Krise oder gar dem physischen Ableben eines der Beteiligten geschuldet ist: "Invocation" versteht sich, so führt der Promotext aus, als "split album with personal views and interpretations of the emptiness that remains. Finding closure in a process of grief." Vor diesem Hintergrund erschließt sich denn auch ganz zwanglos der Hintersinn jener Sentenz, die sich auf der Innenseite des CD-Kartonschubers findet: "Some things were never meant to change but here we are" ...
Das beim Berliner RAUBBAU-Label erschienene Album enthält sechs unbetitelte, lediglich durchnummerierte Tracks zwischen knapp acht und knapp zwölf Minuten Länge – etwas Zeit, Muße und Geduld sollte der interessierte Hörer also schon mitbringen, möchte er sich mit dieser, ohne Worte auskommenden, "conversation about what really matters" auseinandersetzen. Wer nun allerdings vom leidlich bekannten, sich über die komplette Laufzeit spannenden, mediokren Einheitsgebrumme ausgeht, das so betrüblich oft unter der Bezeichnung "Dark Ambient" firmiert, wird erfreulicherweise eines besseren belehrt: Lediglich das erste und das letzte Stück, beide von THE [LAW-RAH] COLLECTIVE eingespielt, präsentieren sich als ausgesprochen dronige, tiefenentspannte, einzig durch allerlei Rascheln, Knistern und anderweitige Störfrequenzen in minimale Regung versetzte, dabei jedoch niemals langweilige Soundmeditationen, während die von CINEMA PERDU beigesteuerten Beiträge 2 und 3 deutlich experimenteller und collagenhafter daherkommen – streckenweise fühlte sich der Rezensent durchaus ein wenig an NURSE WITH WOUND erinnert. Die eigentliche Zusammenarbeit zwischen den beiden Outfits, Track Numero 4, gibt denn auch das interessanteste Stück des Albums ab und entwickelt sich, ausgehend von einem sakralen, durch rotorartiges Flattern fragmentierten Choraleinstieg, hin zu einem, schon fast treibend-rhythmischen Mittelteil, um schließlich in einem amorphen, alle Strukturen wieder einschmelzenden Klangbad zu verhallen. Nicht alles auf "Invocation" ist also gar so meditativ, wie es auf den ersten Eindruck und nach Lektüre des zitierten Begleittextes scheinen mag – nach einigen Hördurchgängen entpuppt sich das versammelte Material in der Gesamtschau vielmehr als erfreulich abwechslungsreich und immer wieder für das eine oder andere überraschte "Oho!" gut.
Fazit: THE [LAW-RAH] COLLECTIVE & CINEMA PERDU legen mit "Invocation" ein rundum gelungenes Werk vor, das routiniert mit den Genregrenzen spielt, sie ausweitet und bisweilen beinahe transzendiert, ohne dabei jemals bemüht zu klingen, sich in Beliebigkeiten zu verheddern oder in akademischen Frickeleien zu verlieren. Beide Projekte interagieren perfekt miteinander und realisieren so ein bemerkenswertes, ebenso meditativ-hypnotisches wie dramatisch dichtes Album, das durch seine implizite Programmatik und die unprätentiöse Art & Weise, in der diese präsentiert wird, noch zusätzlich punktet: "the process of composing, writing, producing and finishing 'invocation' has helped us seeing things in perspective again after loosing loved ones. we hope it can do the same to you." – Irgendwie ist die ganze Veröffentlichung ... einfach ... sympathisch. Und wer kann schon etwas gegen sympathische Musik haben? Der Autor dieser Zeilen jedenfalls nicht." [Endsal/NON-POP]
|
2016 |
€13.00 |
|
| THEE SILVER MOUNTAIN REVERIES (SILVER MOUNT ZION) |
play |
CD-EP |
Neue mLP der Gruppe deren Name sich mit jedem Release stets leicht ändert – poetischer PostRock der besonderen Sorte, diese mLP trieft nur so vor einnehmender Melancholie... immer wieder herzzereissende Streicher & hypnotische Instrumental- und Gesangsstrukturen.... Anklänge an GODSPEED, RACHEL’s, SET FIRE TO FLAMES....
“The "Pretty Little Lightning Paw" E.P., originally available (on CD only) at shows during The Silver Mt. Zion Memorial Orchestra & Tra-La-La Band European tour in Winter 2004, will be released to shops on both formats in May 2004. The E.P. contains all new songs, with a total running time of just over 30 minutes.
"More Action! Less Tears!" opens the record - a noisy clarion call of chiming instrumental rock driven by a long wraparound riff & recorded live off the floor during the This is Our Punk-Rock... (cst027) sessions. This cut finds various Mt. Zion players trading/switching instruments for the rockout, with cascading tape treatments added by Efrim in the mixdown. Three more songs follow which Efrim began recording in sporadic late-night sessions at the hotel2tango in Montreal over Summer and Fall of 2003. All three were built up from Efrim's initial vocals and guitar, with co-founding Mt. Zion member Thierry collaborating closely on instrumental & backing vocal arrangements and Jessica working up violin and vocal parts as well. A four-voice choir (including two members of Frankie Sparo) lends additional vocal support.
What began as studio sketches, evolved, through a few intensive drunken nights, into a beautiful, unfettered, unbelaboured trio of songs that confirms Mt. Zion's ongoing re-invention as a vocal-driven outfit and reveals Efrim's growing strength as a lyricist. The results are deeply moving and utterly original in both poetics and sonics - songs that explicitly invoke a tender and hopeful collective consciousness wrought from mythic/mystic themes, motivated by the tiny graces and tragic failures of our contemporary communities and cultures.” [label description]
|
2004 |
€13.50 |
|
| THEE SILVER MT. ZION MEMORIAL ORCHESTRA |
Fuck off get free we pour Light on everything |
LP |
"THEE SILVER MT. ZION haben über sieben Alben seit 1999 hinweg einen stacheldrahtbewehrten Bogen der Protest Music gespannt. Erst kürzlich haben sich THEE SILVER MT. ZION MEMORIAL ORCHESTRA auf nur fünf Musiker zurückgestutzt. Menucks massive E-Gitarre fungiert hier als Rückgrat, um das zwei Geigen, ein Bass (dieser Tage öfter elektrisch als akustisch) und das Schlagzeug rotieren. "Fuck Off Get Free We Pour Light On Everything" ist das erste definitive Dokument des neuen Sounds und Stils der Band als Quintett. Das Kernstück des Album, ,Austerity Blues" mit seiner Abschlusszeile "Lord let my son live long enough to see that mountain torn down" gesungen in verschiedenen Spielarten über die zweite Hälfte des 14-minütigen Epos, personifiziert den unerschrockenen Blick Menucks auf eine Welt voller Erbärmlichkeit, Gier und Ungerechtigkeit, betrachtet durch die Linse von Elternschaft, Sterblichkeit, Durchhaltevermögen und Trotz. Dies ist keine fröhliche Musik, aber sie kann auch nicht einfach so als apokalyptisch und weltmüde abgestempelt werden. ,Fuck Off Get Free" wütet voller Zorn und Hoffnung und ist zugleich absolut leidenschaftlich und bewusst unromantisch. THEE SILVER MT. ZION MEMORIAL ORCHESTRA zeigen einmal mehr, das es so viel gibt, gegen das sich kämpfen lässt. Im Unterschied zu anderen Bands haben THEE SILVER MT. ZION die passenden Kampfsongs im Gepäck. //
Thee Silver Mt. Zion Memorial Orchestra (SMZ) has traced a barbed-wire arc of genre-defying protest music since its inception in 1999. Formed by Efrim Menuck, with Thierry Amar and Sophie Trudeau, the initial iteration of the band was a predominantly instrumental trio that forged a more intimate and ragged chamber-punk than Godspeed You! Black Emperor, the other group in which all three founding SMZ members also played (and continue to play). Through seven albums from 2000-2010, SMZ expanded its line-up and shifted towards an increasing use of lead and group vocals, with Menuck penning politically-charged lyrics to anchor long-form multi-movement compositions that juxtaposed electrified guitars against a 4-piece string section of violins, cello and contrabass.
Most recently, SMZ has pared back to five players, with Menuck's massive spectrum-spanning electric guitar sound emerging as the spine around which two violins, bass (now more often electric than acoustic) and drums are deployed. SMZ have managed a handful of short tours in the past couple of years (in the gaps between GYBE commitments) and as anyone who has seen the band in its recent incarnation can attest, their current sound is more honed, laser-guided and bone-rattling than ever, melding hardcore, blues, garage and dark metal influences that have nothing to do with anything so quaint as “post-rock” (a tag the group has always and rightly rejected).
Fuck Off Get Free We Pour Light On Everything is the first definitive document of the band's newfound sound and style as a quintet. It’s also their first single LP-length work since the band’s debut record as a trio almost 15 years ago, and features road-tested pummeling rock-outs “Fuck Off Get Free (For The Island Of Montréal)”, “Take Away These Early Grave Blues” and “What We Loved Was Not Enough” alongside the previously unheard lullabyes/minuets “Little Ones Run” and “Rains Thru The Roof At Thee Grande Ballroom (For Capital Steez)” and the album centerpiece “Austerity Blues” with its closing lyric “Lord let my son live long enough to see that mountain torn down” sung in varying incarnations throughout the second half of this 14-minute epic.
This lyric in many ways encapsulates Menuck's unflinching take on a world replete with shabbiness, greed and injustice, seen through the lens of parenthood, mortality, endurance and defiance. There are few other musicians who deliver social critique with the courage and honesty of lines like “All our cities gonna burn / All our bridges gonna snap / All our pennies gonna rot / Lightning roll across our tracks / All our children gonna die”. Feel-good music this is not; but neither can it reductively be tagged apocalyptic or world-weary. Fuck Off Get Free rages with scorn and with hope, utterly passionate but pointedly unromantic. Thee Silver Mt. Zion once again demonstrates, like few other bands working today, that there is much to fight for and against, and plenty more fight songs to sing." [label info]
www.cstrecords.com
|
2014 |
€21.00 |
|
| |
Fuck off get free we pour Light on everything |
CD |
"THEE SILVER MT. ZION haben über sieben Alben seit 1999 hinweg einen stacheldrahtbewehrten Bogen der Protest Music gespannt. Erst kürzlich haben sich THEE SILVER MT. ZION MEMORIAL ORCHESTRA auf nur fünf Musiker zurückgestutzt. Menucks massive E-Gitarre fungiert hier als Rückgrat, um das zwei Geigen, ein Bass (dieser Tage öfter elektrisch als akustisch) und das Schlagzeug rotieren. "Fuck Off Get Free We Pour Light On Everything" ist das erste definitive Dokument des neuen Sounds und Stils der Band als Quintett. Das Kernstück des Album, ,Austerity Blues" mit seiner Abschlusszeile "Lord let my son live long enough to see that mountain torn down" gesungen in verschiedenen Spielarten über die zweite Hälfte des 14-minütigen Epos, personifiziert den unerschrockenen Blick Menucks auf eine Welt voller Erbärmlichkeit, Gier und Ungerechtigkeit, betrachtet durch die Linse von Elternschaft, Sterblichkeit, Durchhaltevermögen und Trotz. Dies ist keine fröhliche Musik, aber sie kann auch nicht einfach so als apokalyptisch und weltmüde abgestempelt werden. ,Fuck Off Get Free" wütet voller Zorn und Hoffnung und ist zugleich absolut leidenschaftlich und bewusst unromantisch. THEE SILVER MT. ZION MEMORIAL ORCHESTRA zeigen einmal mehr, das es so viel gibt, gegen das sich kämpfen lässt. Im Unterschied zu anderen Bands haben THEE SILVER MT. ZION die passenden Kampfsongs im Gepäck.//
Thee Silver Mt. Zion Memorial Orchestra (SMZ) has traced a barbed-wire arc of genre-defying protest music since its inception in 1999. Formed by Efrim Menuck, with Thierry Amar and Sophie Trudeau, the initial iteration of the band was a predominantly instrumental trio that forged a more intimate and ragged chamber-punk than Godspeed You! Black Emperor, the other group in which all three founding SMZ members also played (and continue to play). Through seven albums from 2000-2010, SMZ expanded its line-up and shifted towards an increasing use of lead and group vocals, with Menuck penning politically-charged lyrics to anchor long-form multi-movement compositions that juxtaposed electrified guitars against a 4-piece string section of violins, cello and contrabass.
Most recently, SMZ has pared back to five players, with Menuck's massive spectrum-spanning electric guitar sound emerging as the spine around which two violins, bass (now more often electric than acoustic) and drums are deployed. SMZ have managed a handful of short tours in the past couple of years (in the gaps between GYBE commitments) and as anyone who has seen the band in its recent incarnation can attest, their current sound is more honed, laser-guided and bone-rattling than ever, melding hardcore, blues, garage and dark metal influences that have nothing to do with anything so quaint as “post-rock” (a tag the group has always and rightly rejected).
Fuck Off Get Free We Pour Light On Everything is the first definitive document of the band's newfound sound and style as a quintet. It’s also their first single LP-length work since the band’s debut record as a trio almost 15 years ago, and features road-tested pummeling rock-outs “Fuck Off Get Free (For The Island Of Montréal)”, “Take Away These Early Grave Blues” and “What We Loved Was Not Enough” alongside the previously unheard lullabyes/minuets “Little Ones Run” and “Rains Thru The Roof At Thee Grande Ballroom (For Capital Steez)” and the album centerpiece “Austerity Blues” with its closing lyric “Lord let my son live long enough to see that mountain torn down” sung in varying incarnations throughout the second half of this 14-minute epic.
This lyric in many ways encapsulates Menuck's unflinching take on a world replete with shabbiness, greed and injustice, seen through the lens of parenthood, mortality, endurance and defiance. There are few other musicians who deliver social critique with the courage and honesty of lines like “All our cities gonna burn / All our bridges gonna snap / All our pennies gonna rot / Lightning roll across our tracks / All our children gonna die”. Feel-good music this is not; but neither can it reductively be tagged apocalyptic or world-weary. Fuck Off Get Free rages with scorn and with hope, utterly passionate but pointedly unromantic. Thee Silver Mt. Zion once again demonstrates, like few other bands working today, that there is much to fight for and against, and plenty more fight songs to sing." [label info]
www.cstrecords.com |
2014 |
€14.50 |
|
| THEME |
Our Angels dislocated |
CD |
RICHO JOHNSON (HUSK, SPLINTERED) is back! Das Trio THEME besteht aus mindestens zwei Leuten der ursprünglichen SPLINTERED-Besetzung, tönt aber weit experimenteller & ambienter als man es von den eher rockigen SPLINTERED gewohnt war..... hier werden lichte Loop-Drones, Sitarklänge & indisch anmutende Meditations-Gesänge zu pulsierend-trancigen, organischen Soundscapes vermengt.. ihre zweite CD.
”The second album from this UK/Poland-based trio, following several years since their warmly received 'On Parallel Shores Removed' CD (Fourth Dimension/Tremor Recordings), offering a rich, organic and atmospheric tapestry of ideas that serves as a revitalised statement of intent. Combining sitars, violin drones, guitar strums, mutterings from an otherwise deserted midnight subway, electronic swirl, piano and all manner of otherworldly textures, 'Our Angels Dislocated' remains both focused and complex enough to cast new shadows with every listen. Complete with exclusive artwork by British sculptor, Mo Jupp, it fits perfectly into Lumberton Trading Company's erratic and often changeable grand design. NB: If you have already purchased the original version of this album, with the manufacturing fault (a 'jump' between tracks 2 and 3), please do not hesitate to return it to wherever you purchased it from in order to arrange our replacing it with the repressed version.” [label description]
|
2006 |
€13.50 |
|
| |
Sacral Blood Warning |
CD |
THEME Sacral Blood Warning CD. The sixth album by the group originally founded by Stuart Carter and Richard Johnson in 2000, following both their involvement in the 1998 incarnation of Splintered for a European tour. Over the years, Theme have performed live sporadically, appearing at festivals and playing a couple of short tours in Europe, the last of which featured them in a full band collaborative mode also including Faust's Jean-herve Peron on bass and Zsolt Sores (Inconsolable Ghost) on viola and electronics. Sacral Blood Warning pays witness to Theme once more returning to the core duo in order to expand on the largely brutal and less compromising approach their work has been imbued with since the very beginning. Partly designed as a reflection on modern times and all the inherent confusion as unrest appears to reign heavier than ever in an almost illusory realm, the music that constitutes this album explores notions of a self without moorings violently torn in several directions. Whilst it might seem deliberately dystopian for the most part, the rich layers of often organic sound reveal a gamut of other delphic shades besides the confusion. There are moments when one can snatch another gulp of air before succumbing to the undertow itself initially inspired by all from sci-fi soundtracks to the confrontational assaults of Suicide and the ravaged voice manipulations of Robert Ashley. Joint-released by Idioblast, this was released in late September 2020.
https://fourthdimensionrecords.bigcartel.com/product/theme-sacral-blood-warning-cd |
2020 |
€12.00 |
|
| THIS HEAT |
Health & Efficiency |
maxi-CD |
CD Re-issue of the genius 12" from 1980, re-mastered !
"1980 veröffentlichten This Heat die hier besprochene 12"-EP (oder Maxi-Single), die 1998 von These Records als Mini-CD wiederaufgelegt wurde. Gleichzeitig erschien das Material zusammen mit den Stücken von "Repeat" auf einer Doppel-LP (mit dem Titel "Health & Efficiency / Repeat"). "Graphic/Varispeed" ist zudem auch auf der "Repeat"-CD zu finden.
Zwei sehr unterschiedliche Stücke haben This Heat hier auf die beiden Seiten der EP pressen lassen. Das Titelstück stellt ein Destillat der Musik der drei Engländer dar, eine energiegeladene Zusammenfassung ihrer musikalischen Ideen in 8 Minuten, ein dichtes und spannendes Konglomerat aus schrägem Song, Tonbandeffekten, RIO-Krach, Schlagzeug-Freakouts, quasiindustriellen Klängen, wavigem Rock, Canterbury-Rudimenten und nervösem Tonschweben. "Health & Efficiency" ist meiner Meinung nach das beste Stück, dass This Heat je gemacht haben. Wer sich nur eine Nummer der Gruppe antun möchte, sollte sich dieses Stück anhören. Genial!
"Graphic/Varispeed" bietet dann, mehr oder weniger, nichts. Ein ewigliches, einförmiges Tonschweben kommt hier aus den Boxen, mal lauter mal leiser, mal hoch mal tief, mal weich mal hart. Wenn man das Brummen eines alten Kühlschranks aufnehmen würde, wäre das Ergebnis wohl ein ähnlich abwechslungsreiches Stück "Musik". Das Ganze ist eine extreme Minimal-"Kunst", die man wohl mit einem verblüfft-verständnislosen Lächeln hinnehmen muss. Man kann den Nichts-Effekt übrigens noch steigern, wenn man die EP bei 33 rpm abspielt ... den Besitz der Vinylversion vorausgesetzt (diese langsame Version der Nummer ist übrigens auf "Repeat" zu finden).
Trotzdem, das Titelstück sollte man kennen (wenn man denn die beiden Studioalben von This Heat schätzt)!" [Achim Breiling / Babyblaue Seiten]
www.rermegacorp.com
|
2006 |
€9.50 |
|
| THIS IMMORTAL COIL |
The World ended a long Time ago |
do-LP |
In 2009, following the death of Jhonn Balance four years earlier, This Immortal Coil's "The Dark Age Of Love" appeared as a tribute to the superb work of the British band Coil over two decades.Formed by musicians from all walks of life, the album was praised by critics but also, and most importantly, by Peter Christopherson himself!
13 years have passed and this passion for the band has never wavered. Following the death of Peter Christopherson in 2010 on the one hand, and meetings with musicians such as Massimo Pupillo (Zü), Aho Ssan and Kristoffer Rygg (Ulver) who in turn wanted to pay tribute to this gigantic band, on the other hand, Stéphane Grégoire's (founder of the label Ici d'ailleurs) desire to make a new opus took shape in 2017 with a first recording of the title "Where Are You". Just like the first one, more than 5 years will be necessary to realize this new album so that it is at the height of Coil's genius.
The Ici d'Ailleurs team is very proud to unveil This Immortal Coil's second album 'The World Ended A Long Time Ago'.That will be available on December 09, 2022 in several formats (DL / CD / 2[LP] / BOX- 3[CD] / BOX - 5[LP]) that will be revealed very soon. The artists this time are Coil lovers but without the album being a "lovers" cover, that would be the opposite of Coil's image.
Many, many thanks to Shannon Wright, David Chalmin, Matt Elliott, Christine Ott, Aho Ssan, Gaspar Claus, Aidan Baker, Ulver (Kristoffer Rygg, Ole Alexander Halstensgard, Stian Westerhus), Massimo Pupillo, Mattia Cipolli, Elisa Bognetti, Stefano Michelotti, Francesco Bolognini, Marton Csokas, Ivan Chiossone and Eric Aldéa who make this project a reality
This Immortal Coil "The World Ended A Long Time Ago » is : Shannon Wright - David Chalmin - Matt Elliott - Christine Ott - Aho Ssan - Gaspar Claus - Aidan Baker - Franck Laurino - Kristoffer Rygg - Ole Alexander Halstensgård - Stian Westerhus - Massimo Pupillo - Mattia Cipolli - Elisa Bognetti - Stefano Michelotti - Francesco Bolognini - Márton Csókás - Ivan Chiossone - Eric Aldéa
https://thisimmortalcoil.bandcamp.com/album/the-world-ended-a-long-time-ago
|
2022 |
€26.00 |
|
| |
The World ended a long Time ago (special ed.) |
3 x CD BOX |
In 2009, following the death of Jhonn Balance four years earlier, This Immortal Coil's "The Dark Age Of Love" appeared as a tribute to the superb work of the British band Coil over two decades.Formed by musicians from all walks of life, the album was praised by critics but also, and most importantly, by Peter Christopherson himself!
13 years have passed and this passion for the band has never wavered. Following the death of Peter Christopherson in 2010 on the one hand, and meetings with musicians such as Massimo Pupillo (Zü), Aho Ssan and Kristoffer Rygg (Ulver) who in turn wanted to pay tribute to this gigantic band, on the other hand, Stéphane Grégoire's (founder of the label Ici d'ailleurs) desire to make a new opus took shape in 2017 with a first recording of the title "Where Are You". Just like the first one, more than 5 years will be necessary to realize this new album so that it is at the height of Coil's genius.
The Ici d'Ailleurs team is very proud to unveil This Immortal Coil's second album 'The World Ended A Long Time Ago'.That will be available on December 09, 2022 in several formats (DL / CD / 2[LP] / BOX- 3[CD] / BOX - 5[LP]) that will be revealed very soon. The artists this time are Coil lovers but without the album being a "lovers" cover, that would be the opposite of Coil's image.
Many, many thanks to Shannon Wright, David Chalmin, Matt Elliott, Christine Ott, Aho Ssan, Gaspar Claus, Aidan Baker, Ulver (Kristoffer Rygg, Ole Alexander Halstensgard, Stian Westerhus), Massimo Pupillo, Mattia Cipolli, Elisa Bognetti, Stefano Michelotti, Francesco Bolognini, Marton Csokas, Ivan Chiossone and Eric Aldéa who make this project a reality
This Immortal Coil "The World Ended A Long Time Ago » is : Shannon Wright - David Chalmin - Matt Elliott - Christine Ott - Aho Ssan - Gaspar Claus - Aidan Baker - Franck Laurino - Kristoffer Rygg - Ole Alexander Halstensgård - Stian Westerhus - Massimo Pupillo - Mattia Cipolli - Elisa Bognetti - Stefano Michelotti - Francesco Bolognini - Márton Csókás - Ivan Chiossone - Eric Aldéa
https://thisimmortalcoil.bandcamp.com/album/the-world-ended-a-long-time-ago
|
2022 |
€26.00 |
|
| THIS WILL DESTROY YOU |
Another Language |
CD |
Since 2004, This Will Destroy You has been forging some of the world's most brutal, dynamic, and precariously visceral instrumental rock. In addition to a vigorous tour schedule, their celebrated discography and critically renowned soundtrack work for feature films and documentaries have earned them a sizable and fervent international following. Another Language, TWDY's fourth full length LP, marks their euphonious return from a prolonged vacuous dark period that threatened to break both the band and the members themselves. Rather than be stifled by their experience TWDY were atomized and subsequently made anew, emerging with a revived energy and reinforced sense of solidarity. As a result, Another Language captures the band at its most potent, honed, and utterly powerful form to date, displaying an edified unity and graduated sense of songwriting, tonal complexity, and studio prowess.
Wallet CD printed on uncoated stock w/ copper foil and printed inner sleeve. 2xLP Gatefold jacket printed on uncoated stock w/ printed inner sleeves. Includes a download card for MP3s.
https://thiswilldestroyyou.bandcamp.com/album/another-
language
|
2014 |
€14.00 |
|
| THOROFON |
New Heroes Essential |
CD |
" "New Heroes" war das dritte und letzte Album von Thorofons erster Inkarnation. Veröffentlicht wurde es 2005 auf United Manipulation Broadcasting und war der dritte Teil der Circle of Power Trologie. Nach der Veröffentlichung lösten Thorofon sich auf. (Später kamen Thorofon mit dem "Exkarnation" 2011 zurück). Ein bisschen weniger rau als seine Vorgänger, inkludierten Thorofon zum ersten Mal tanzbare Rhythmen in die Musik. Ein gewisses Popflair ist auch vertreten. Ebenso Vocals von Genevieve Pasquier. Auf "New Heroes" finden sich Klassiker wie "Spermicide" oder "Gigamesh". Für das Reissue hat die Band die besten Songs aus sem Album ausgewählt, weil man das Gefühl hatte, dass die originale LP ein wenig zu lang war. Wie bei den anderen Re-Issues gibt es auch hier rare Bonustracks. Ein Muss für jeden Fan von klassischem Industrial." [label info]
www.klanggalerie.com
|
2012 |
€15.00 |
|
| THU20 |
Live in Groningen |
CD |
Mitschnitt eines fantastischen Konzerts (August 2000) der fast schon legendären THU20 - ein Projekt von JOS SMOLDERS, PETER DUIMELINKS, ROEL MEELKOP. Sehr subtile Geräuschmusik, zwischen sehr direkter & konkreter Collage & eher sanften Drone- & Microsounds, immer spannend und in höchster Konzentration vollendet. Letzte Kopien dieses Releases zum Sonderpreis !
"Dutch electro-acoustic ensemble THU20 is the co-operation between Roel Meelkop, Peter Duimelinks, Sjac van Bussel and Ios Smolders. The strength varies, their releases are limited and live shows rare. Not a steady thing this THU to say the least.. Despite all of this, all four have firm ideas about music and performances. THU has a unique sound, established through numerous experiments in recording and several collaborations (they've worked on hearplays, spoken word projects, highly conceptual music-making and so on), but still is not a defined thing.. and that's good. The THU20 philosophy is one which fits perfectly with our own and obviously Mixer is very proud to release this cd. "Live in Groningen" is an edited version of a performance they did during the CASA ELECTRONICA festival high up north in the Netherlands. The hearplay-like character of their set/ music is very much imaginative and holds a lot of anekdotal, but still fairly abstract elements. The sound of THU20 is a multi-layered object, compiled of numerous sonic happenings, going through the complete range of audible sound and certainly not in a lineair way. From highly digital to dusty acoustics, from pleasantly calm to disturbingly hectic. It is exactly this tension and variation which keeps you tuned and fascinated. The way basic elements like repetition, tonal differences and time-elapse are used is truly original and surprising. Things move around completely free, accessible for one's own thoughts and interpetation, adding to the constantly changing texture. THU20 dashes around sound, though all is embedded in a very gentle stream of subtle tones and little sound-events, which makes this work perfectly suitable for extended and intense listening... THU20 has released previously on Staalplaat, Flenix and Midas Music." [label info]
|
2000 |
€10.00 |
|
|
Tilburg |
LP |
"... Die Hörer werden ins Zentrum der ‚Noise Culture‘ gestellt und die heiß-kalte Dusche aufgedreht. Ich halte ‚Noise Culture‘ immer noch für eine gute Zustandsbeschreibung, gerade weil die Desensibilisierung und das Cocooning zu immer mehr Gewöhnung und Abstumpfung führen. THU20 kratzt, lässt rauschend und brodelnd, lässt rumpelnd, knurrend und prasselnd den Alltagsnoise über die Haut und die Trommelfelle spürbar werden. Und macht damit den Kippeffekt klar, dass (nur) aktives Krachmachen und bewusstes Hören mit lustvollem Nervenkitzel und neuem Schönheitssinn einher gehen können. Der zweite Set in Tilburg taucht nach einem französisch gestotterten Sprachsample in ein relativ leises Wellental, in dem es knistert und metallisch klingklangt, um dann motorisch brummend und mit aufsteigenden Glissandos die anschließende Steigung zu erklimmen. Auf dem Plateau, trotz Regengeplätscher, eine andere Perspektive. Und die Andeutung, dass all der Lärm, alle Müh und Plag, zur Ruhe kommen könnten." [Bad Alchemy]
"A live recording made in Paradox in Tilburg in October 2007. Over the past twenty years one of the bigger enigma's of 'industrial' music or 'modern musique concrete' has been THU20. They seldom record or play live, yet when they do, a lot of attention is placed on the detail. In the studio this leads to perfectly shaped sonic constructions, and in a live concert a detailled balance between the various interests of the five players involved. The computer work of Jos Smolders and Roel Meelkop, the acoustic sound objects of Peter Duimelinks and Frans de Waard and the analogue electronics of Jacques van Bussel. A small selection of live recordings by THU20 has been made avialable before, such as a split LP with Merzbow, and live recordings from Nancy. 'Tilburg' fits that particular line of THU20 work. Various recordings were made, from the P.A. aswell as by the individual players, which were slightly edited by THU20. Cover by Meeuw." [label info]
www.kormplastics.nl
|
2008 |
€13.50 |
|
| |
Vroeg Werk |
do-CD |
"First anthology of legendary dutch electroacoustic group of musicians whose names can be definitely placed in range of true underground stars and passionary pushers of contemporary experimental music scene. First CD in this double album is compiled from studio works, unreleased or taken from rare compilations, second CD gathers the best concert recordings. Release date is 29th December 2012. Limited edition of 500 copies in jewelcase." [label info]
www.monochromevision.ru
"Sometime in the early '80s, a bunch of young Dutchmen formed a couple of post-punk bands that nobody remembers anymore; but on one Thursday that happened to be the 20th of some month, one of those bands abandoned their rhythms entirely and splattered out a drone-tape and synth-noise set that had the audience freaking out. The punk structures were scrapped entirely and THU20 was stuck onto this project as the new name. Get it? The Dutchmen of THU20 included Jac Van Bussel, Peter Duimelinks, Roel Meelkop, Jos Smolders, and Guido Doesborg (later replaced by the ubiquitous Frans De Waard). The mid to late '80s proved to be a highly prolific time for THU20, although the project continues on to this day at a much more restrained pace. The ideas that went into THU20 transitioned from Joy Division into Cabaret Voltaire & Throbbing Gristle quickly arriving at a DIY punk form of musique concrete and electro-acoustic experimentation. Such was a similar trajectory for the German ensemble P16.D4, albeit towards even more unconventional goals. In the studio, THU20's work could be austere and brutalist in the obfuscated collages and disjointed slabs of noise; but the live version of THU20 proved to be far more shambolic, dynamically expressive, and rewardingly chaotic. Vroeg Werk is a diverse collection that spans both of these modes of operation, with the second of these two discs being entirely live recordings and the first culling from the dustbin of the cassette culture. The studio material found on disc one has some semblances of the more abstracted tape work found on Einsturzende Neubauten's Drawings Of O.T sans Blixa, with the opening track "5720" being particularly choice. But, the live material is really where THU20 shine, grafting gritty electro-acoustic noise sourced from voice, tape, synth, feedback, pedals, shortwave, power tools, scrap metal, and who knows what else onto thin rhythmic spines of morse code blips, overblown tape loops, and primitive drum machinations. Effectively, THU20 would land somewhere between the panzer bleakness of MB and the viral shredding of Nocturnal Emissions. Not a bad place to be..." [Aquarius Rec.]
"And then there is 'Vroeg Werk' by THU20. Now I am the last person to review that, you may claim, right so, but I really don't have that much to do with it. By accident I was present at two concerts, and added vocals (?) to one and a synth to the other, which makes a total of five out of thirty-one pieces. This double CD reflects the early works of THU20, an original five piece with Jos Smolders, Peter Duimelinks, Jac van Bussel, Roel Meelkop and, in these early years, Guido Doesborg. Started out by Doesburg and Van Bussel as a sideline project to Club Rialto, they experimented in their early years with feedback, sample delay pedal boxes, a synth, a rhythm machine and then slowly something such as 'composition' came in, along with the other three members. THU20 were part of the big cassette scene (see also the P16.D4 of two weeks ago), sending out their pieces to compilations. The first discs collects these in chronological order (which is commendable, but it means it's doesn't start out with the best tracks), ending with their twenty minute concert in Bordeaux from 1989 (originally released as a split LP with Merzbow). The whole of the second CD has concert recordings of the years before that, 1986-1989, plus one from 1992. Here we find THU20 improvising freely with electronics, turntables, tapes, synthesizer and sometimes, but not always, guided by a backing tape and a loose notion of a graphic score. Many of these pieces are well-known to me, following the band from their very early days, but boy, they sound great here. The muffled sound of the cassettes is complete washed away and all of these piece shine like diamonds. You could argue if 150 minutes is a bit much, wether the chronological order is a great idea, but this is some truly exciting music. It combines the industrial music of say 1986 (feedback, noise) with the more rough edged notion of musique concrete, electro-acoustic, and it follows this band to find their own way in this. Many of their previous releases are hard to find these days ('Eerste Schijf', 'Tweede Schijf', 'Derde Schijf' or 'Elfde Uni'), and surely here's a band who deserved their own big box set. That is not likely to happen, but this 'small' (what is small?) box set is worth every penny. And still kicking around, THU20 works on a very irregular basis in 2013, in a slightly different line up. Who would have guessed?" [FdW/Vital Weekly]
|
2012 |
€16.50 |
|
| THUJA |
Pine Cone Temples |
do-CD |
Episches neues Werk dieses 4-köpfigen kreativen Geräusch-Improvisations-Kollektivs, deren Klangquellen keine Begrenzungen zu kennen scheinen. Neben gewöhnlichen Instrumenten werden field recordings aber auch konkretes Material eingesetzt. Die Improvisationen klingen so sensibel & fein verwoben als seien sie „gewollt“ komponiert. Jedes neue Stück offenbart überraschende Sounds, und doch wirkt das Werk wie aus einem Guss. Entspannter „Abstrakt-Geräuschambient“, der niemals langweilig wird. Bei THUJA wirkt LOREN CHASSE von ID BATTERY mit, die auch eine Single auf Drone hatten – nicht nur deswegen sei dieses Werk hiermit in höchstem Maße empfohlen !
“By incorporating real-time recordings of natural sounds from their particular surroundings, the four members of Thuja play off each other and the space they inhabit with impeccable instinct, succeeding in creating eerie yet strikingly melodic compositions. The end result is a total immersion of the senses, for both the player and the listener. Across the grand expanse of Pine Cone Temple's two discs, implements such as piano, guitars, percussion, and well-placed contact mics are blended like pigments to conjure the subtlest of sonics, pulling every lost drop of their immediate universe into floating and buzzing cinematics. Minimalist hues are brush-stroked into being and slowly unfurl into the atmosphere. Improvised clouds of sound softly erupt to form compositions of such immense and precise detail, it would seem the music was written out rather than spontaneously developed. Such is the magic of Thuja and their uncanny ability to sculpt microscopic psychedelia from their immediate environment and collective consciousness.” [label info]
“....and all of them loosely based in one way or another on nature, or natural sounds, or the way music and found sounds interact with the spaces they are performed in. There are instruments like guitars, drums, bass, but more often than not, you'll find sticks and stones, found objects, junk, all sorts of industrial and natural detritus, recorded, re-broadcast, and recorded again. Utilizing natural reverb, the sounds of certain spaces, ambient sounds as well as making the act of making music, music in itself. Wow. So what does Pine Cone Temples sound like? It's wide open and expansive. Ambient perhaps, but there's too much going on for it to be strictly ambient. It's more a sort of abstract soundscape, the sort of soundscape the requires close listening, active listening, in order to understand, and feel the sounds, not just hear them. The rustle of leaves, crickets maybe, running water, or are those sounds manufactured by the band in an attempt to pay homage to the music of nature? Does it matter. Maybe its both, the sound of running water accompanied by Thuja emulating the sound of running water. Clicks and creaks, and little bits of clatter, a simple melody played on a recorder, warm organ warble, whipsering wind, toy xylophone notes released and left to drift in the slowly shifting breeze, distant bird calls, reverbed piano, dark cavernous rumbles, shimmering single notes stretched perilously across a sound field dotted with the echo of dripping water and the buzz of vibrating guitar strings. This isn't so much music as it is simply sound, sound that has been lovingly shaped and guided, observed and interacted with, recorded in its element. As if Thuja were just recordists, who use their own sounds to lure the sounds of nature to come just a little closer, in order to capture them raw and natural, and incorporate them into the sun dappled cloak of their jewelled nature-folk. The sounds of music can be smooth and soothing, or raw and primitive, as can the music of sound, and thus Thuja, whose music of sound is pure, and organic, lush and lustrous, and breathtakingly beautiful.” [Aquarius Records]
www.strange-attractors.com |
2005 |
€15.00 |
|
| TIBETAN RED / THE OVAL LANGUAGE / DAS SYNTHETISCHE MISCHGEWEBE |
The Breath of the Hydra |
CD |
A three way collaboration between the Germany based THE OVAL LANGUAGE, the Catalan TIBETAN RED and DAS SYNTHETISCHE MISCHGEWEBE living in Rennes, France. In an on and off exchange since end of 2016, a continuous exchange of audio material, ideas and suggestions. Salvador Francesch and Guido Hübner meet again after long years at the occasion of a concert of the latter one at the LEM festival in Barcelona. Since then working together became evident as was the choice of including Klaus-Peter John with whom several collaborations had already seen the light of day through the years, most notably the homage to the late Carlfriedrich Claus ‘sprechzimmern’ with RLW as well as a 2x CD collection of collaborations on the notorious Monochrome Vison label in Moscow.
The association of their different sound worlds and even more specifically their extremely particular fashions of creating them was meant to merge and melt in a whole able to blur clear distinctions with only an occasional sneaking out of a head and a hissing tongue amongst many that takes the scent and direction respectively in the brooding heat that forges shape and carves direction.
TIBETAN RED Salvador Francesch is a catalan-canadian painter, sculptor and sound explorer who lives in La Garrotxa, Girona. He has released 5 CDs in his Tibetan Red project. His work pursues experimentation with sounds that seek to convey some aspects of his interest in Eastern rituals and ceremonial art.
THE OVAL LANGUAGE Klaus-Peter John is from Leipzig, the project started as a trio in the early 80’s working to turn into his solo project with sound, noise works in open spaces, photography, installations and land-art informed projects in which mainly the voice is put center stage.
DAS SYNTHETISCHE MISCHGEWEBE started in the early 80’s in Berlin with cassette production and performative concerts, exhibitions and installations to which a D.I.Y. approach of a lot of customized equipment became inherent accompanying an interest in several areas of science and technology. Moved to Barcelona then France, producing many recordings and performance works.
https://emerge.bandcamp.com/album/the-breath-of-the-hydra
"The Breath of the Hydra (ACU 1029), da weißt man ja, es sind drei Köpfe. So auch hier: TIBETAN RED + THE OVAL LANGUAGE + DAS SYNTHETISCHE MISCHGEWEBE. Ersterer, Salvador Francesch in La Garrotxa in den katalonischen Pyrenäen, hat dem mit Todo entretenimiento es una anticipación del infierno auch das Motto vorangestellt. Der Dichter José Bergamin soll das gesagt haben, als Vorstand der Alianza de Intelectuales Antifascistas der kulturelle Kopf der Spanischen Republik, der Picasso den Auftrag zu "Guernica" gegeben hat. Francesch teilt mit Bergamins Rechtfertigung des 'Roten Terrors' allemal die Vorliebe für Rot und offenbar auch die Vorfreude auf die Hölle. Blödsinn, natürlich die Abneigung gegen Amusement. Er ist mit seinem Debut 1985 auf Freedom in a Vacuum nicht ganz so lange dabei wie Guido Hübner, der ab 1981 sich der Cassette- & Soundculture einschrieb. Bei "Sprechzimmern" (2015), einer Hommage an den konkreten Lautpoeten Carlfriedrich Claus, und zehn Jahre zuvor bei 'Papillon Schizophone' war er dabei auch schon mit Peter John zusammengekommen. Der Leipziger, der in den 80ern als Sänger bei Neu Rot (!) anfing, hat sich nach "Hibernation" & "Waldkonzerte" auf Edition Telemark zuletzt mit "Hexen Hexer" gegen Denunziation und Hexenjagden positioniert, auch wenn heute dabei, anders als im Spanischen Bürgerkrieg und beim Hydraschlachten, seltener Blut fließt. Ich kann mir eine 'Melancholie des Widerstands', wie sie Hübner von László Krasznahorkai aufgegriffen hat, als das Verbindende zwischen den dreien vorstellen bei ihrem alchemistischen Procedere mit brodeligem Köcheln und Sieden, das einher geht mit kratzigen und schleifenden Impulsen und hohleren, quasi perkussiven Anmutungen, die das überwölben. Dazu vexieren zirpige, halbwegs natürliche Klänge mit einem leisen, hauchzarten 'Schreiben' mit metallischem Griffel, über das motorische, zischende, sirrend oszillierende Attacken hinweggehen und einen industrialen Dominator installieren, der impulsiv oder gedämpft rumort und infernalische Stimmen nur ahnen lässt. Der Griffel schreibt weiter in einer opaken Nichtstille und hat dabei etwas von einem Keuchen oder Röcheln an sich. Martialische Wellen mischen das auf, und zischende Ventile machen das zu einem Tauchgang in die Schinderwerkstätten der Schlotbarone. Trappeliges Toben, abgerissene Kürzel und tatsächlich der Kehle entrissene Laute verunklaren dabei die Differenz von Mensch-Maschine, Organisch-Anorganisch, Außen-Innen, Hart-Weich, Makro-Mikro. Immer wieder leise als bruitistische Audiographie aus winzigen, halb wie gehauchten Krakeln vor einer nun dröhnend bebenden Klangwand. Wenn nur das Schreien nicht wäre, das infernalische, kaum zu hören, aber doch nicht zu leugnen. Ganz in der Nähe - Folterkeller, Höllen. Die satanischen Mühlen mahlen als zerrende Tonbandspuren, weiß der Teufel, was sich hinter verschlossenen Türen alles abspielt. Scharrt da wer an Metall? Was sind das für unheimliche Heimlichkeiten?" [Bad Alchemy]
"German Attenuation Circuit label run by Sascha aka EMERGE, has released a new album in which three sound artists of electronic experimental music collaborate: German artist The Oval Language, Catalan Tibetan Red and Das Synthetische Mischgewebe who lives in Rennes, France.
"The Breath of the Hydra" is the result of exchanging audio files since the end of 2016.
Salvador Francesch is a Catalan-Canadian painter, sculptor and sound explorer who lives in La Garrotxa, Girona. He has published five CD's with his Tibetan Red project.
Klaus-Peter John aka The Oval Language is from Leipzig and works in noise, open space, photography, installations and informed land-art projects where the voice takes center stage. Guido Hübner aka Das Synthetische Mischgewebe started in the early 80's in Berlin with the production of cassettes and performance concerts, exhibitions and installations.
This album consists of a single track of almost 52 minutes long which unfurls two faces. One, the sound is almost imperceptible and silence plays a relevant role. In the other, drones and noises are the background of a proposal with a strong organic character and consequently, gasping and buried voices are barely heard and spit out an indecipherable language. The clicks near the middle of the track look like whips that are followed by screams which are in the distance. All this takes place in a dark ambience that well represents the history of the Hydra." [Guillermo Escudero/LOOP]
https://emerge.bandcamp.com/album/the-breath-of-the-hydra, http://www.attenuationcircuit.de/
|
2021 |
€12.00 |
|
| TIETCHENS, ASMUS |
Spät-Europa |
CD |
Nummer Drei der Re-Release-Orgie auf dem feinen Bremer Label. SPÄT-EUROPA ist eines der vier frühen SKY Records Alben und beinhaltet 20 Miniaturen mit unnachahmlichen frühachtziger analog-Elektronik-Sounds...
“Part Three in the ongoing rerelease series of all early vinyl albums from 1980 - 1991, this is Tietchens second album for SKY Records recorded in 1981 documenting his search for his own style of'pop music'. Edition of 1000 copies in jewel case with poster booklet feat. the original cover artwork.
Liner notes:
Asmus Tietchens 'Spät-Europa' (Sky Records 070) 1981
Even more consistently than on 'Biotop' I kept all of the tracks on this album deliberately short. Originally, all of them were supposed to be exactly two minutes in length but, back then, without a computer, this was not really possible and the idea could not be carried ot precisely. Nonetheless, this strict concept gave the listener a total of twenty miniatures, four more than on 'Biotop'. The technical standard of the studio had improved rapidly. It was possible for me to indulge in as many tracks as I wanted ! However, these two aspects presented me with a creative problem: I either had to respond in a very appropriate way, or would end up producing somewhat useless 'filler' material. The first I was not yet capable of and the second would have been embarrassing. 'The shoemaker should stick to his last'! I decided to stay with a maximum of eight tracks as this would give me no problems at all. New synthesizers (Polymoog, ect.) and an enlarged array of additional equipment (EMS Vocoder, Ring Modulator, Sampler, ect.) forced me to learn a lot of new things, but I worked my way through it all quickly and thoroughly. The results found their way into the music on this album. The jubilant sound of 'Schöne Dritte Welt' was created by the late Andreas Hoffmann, a.k.a. C.V. Liquidsky. Parallel with this album I worked on a series with the working title of 'Experimentelle Geselligkeit', a string of musical sketches which I was wanting to use with my regular electronic equipment. I then realised that the relative inflexibility of the rythmn machine made it impossible to transform these sketches into complete works. The rythmic patterns proved to be incompatible. As a result, that work came to a halt, leaving the sketches unreleased. Two of them are included as bonus tracks on this CD. 'Soirèe' and 'Zum Tee bei Frau Hilde' were intended, in a re-arranged form, to be the basis of an album with the previously mentioned title of 'Experimentelle Geselligkeit'. The series was never completed, and the fragments were put aside. Only thirteen years later, when the 'Aroma Club' opened its doors, did I return to the idea. I would particularly like to thank Günter Körber of Sky Records for his permission to re-release 'Spät-Europa' and the other three Sky albums, and to use the LP labels in facsimile.” [press release]
|
2004 |
€15.00 |
|
|
Fast ohne Titel, Korrosion |
CD |
"Black Rose Recordings are proud to present the exceptional new album by Asmus Tietchens. Corrosion is a degradation mechanism. It is an insidious process often difficult to recognise until deterioration is well advanced. Are these new pieces a comment on the current state of noise music, serious music or both?
As a pioneer of electronic composition his work spans over three decades and doesn’t fit easily into any one category. Early recordings ranged from experiments with tape machines and electronic sound through to experimental pop. Later works were a more sculptural blend of abstract microelectronics, industrial sounds and musique concrete.
Never straightforward or obvious, always unpredictable and innovative his ground breaking music influences many working in today’s experimental music scene. He has worked almost exclusively as a solo artist but recent releases have seen him collaborate with well known and diverse artists such as Dieter Moebius (Cluster & Harmonia), Thomas Koener and Richard Chartier." [label info]
www.tietchens.de
"In my spare time I listen to pop music, usually, but then, in 2013, I asked myself: why do I still have so many CDs? Isn't it about time to listen to those again, and see what you have, which are keepers and which are goers. In a random fashion I pick a bunch of CDs of the shelf and play them until the end, because, when not played to the end, what's the reason for keeping them? From some artists I stayed away for a while. I can safely say I have almost all of the works by Asmus Tietchens, but I was afraid of going there. I feared I would not find enough concentration to examine each and everyone properly and make the wrong decision and see them go. But once I started to play them I was totally immersed. I am nearly done with all of them, and then much to my surprise, here's a new work by Tietchens. The titles poke fun with the notion of 'ernste musik', the German term to create a distinction between serious music and entertainment music. Maybe its a comment, Black Rose asks, on 'the
current state of noise music, serious music or both'? An interesting question, perhaps, but much to my surprise I notice something else. In the past ten years Tietchens explored the quiet areas of electronic music, with some highly refined music, not unlike the work of say Richard Chartier. Here he seems to return to some of his earlier electronic music, from the late 80s, early 90s, but perhaps generated with the means he uses these days. This results in a piece like 'Kaum Noch Ernste Musik', with a pulsating click beat (think Pan Sonic or Goem), and the well-know Tietchens tricks on oscillators. It's something entirely different than what you would expect. Maybe it's a bit long this piece which clocks in at over ten minutes. Throughout the pieces on this album, eight in total, do not have strong rhythm sounds, but they surely sound louder than we are used from him in recent times. It takes the 'serious' electronic music from the sixties, with it's sustaining sounds fading in loud
and about. It's heavy music, but it's great music. Only in a few pieces, aptly called for instance 'Sehr Ernste Musik', Tietchens shows some of his more quiet side, but in the other pieces he sounds like his tape manipulation work 'Daseinsverfehlung', bursting about, such as in 'Eingeschränkt Ernste Musik'. And then there is also the humorous Tietchens with a vinyl loop in 'Keine Ernste Musik' or 'Im Ernst? (Für H.K.)', which sees him playing something that sounds like Trautonium. This, ladies and gentleman, is an excellent CD. If you are keen to hear new musical movements by this man, but not every move, then this is one of those releases you should surely hear." [FdW/Vital Weekly]
|
2013 |
€13.00 |
|
|
Notturno |
CD |
Schon die 10te CD in der DIE STADT-Reihe mit Wieder-veröffentlichungen früher TIETCHENS-Werke. NOTTURNO erschien im Original 1987 und schaffte eine ganze eigene, verstörende "Alien"-Atmosphäre, recht schroff & konkret mit viel verfremdeten Klaviermaterial und wieder bemerkenswerten Titeln wie "Halbe Tanzmusik" - wie auch "Formen letzter Hausmusik" eines der frühen Meisterwerke auf denen sich der hier schon unverkennbare TIETCHENS-Stil deutlich niederschlug.
"Tenth part in the ongoing re-release series of all early Tietchens albums between 1980-1991. Notturno was originally released by Spanish label Discos Esplendor Geometrico in 1987 and also by Barooni on CD in 1992. Remastered version in a first edition of 600 copies in jewel case with full color artwork and poster booklet also featuring the original front and back cover. By the time Studie für Klavier (Formen Letzter Hausmusik, DS84) was released, it actually wasn't my first attempt to use the piano as a sound source. Various pre-studies came before this, but all which either were not characterized as such in their title or simply didn't make it onto record. I was intrigued by the great range of sounds it offers in general, but also by the multiple possibilities to produce sounds inside of the piano. Of course I was fully aware that these techniques had already been used by other composers like Henry Cowell and John Cage in the past. Not only could I make use of a grand piano in 1986, I also had the technical equipment at hand which didn't leave nothing to be desired. I wasn't quite precise calling these pieces Studien für Klavier (Piano) by the way, as I was actually using a flügel (grand piano). I began preparing the strings in an almost old fashioned way, also producing sounds with unusual aids (electric gastr beater, wire brush, coins and others). Then in another step, with the help of the studio, I carefully started working on the recorded sounds. While doing this, I wasn't even afraid of using some good old avant-garde tricks, by the way. But I won't tell. The fact that Notturno was released by an industrial label, shows how much the interest in unusual electro-acoustic music had grown at the time. In fact, Notturno is nothing less than an industrial album. To my own delight and to the delight of the listeners as well, I used techniques which were introduced in the field of new music since several years already. As a result, Notturno can be seen as a cross between musical styles. On one hand it sounds academic, but in fact it isn't. But the question whether this was U (popular) or E (serious) was obsolete anyway, as electro-acoustic experiments didn't exclusively belong to the circle of serious composers anymore. Of course I wasn't the first or only non-academic composer who produced music, which couldn't be categorized easily then, and maybe even still not until today. As a result, the exchange of these new aesthetic strategies with other musicians and listeners in the mid-'80s, further encouraged the musicians to produce such music, and as a result, labels such as Discos Esplendor Geometrico could be sure to sell a small edition of 500 copies in a fairly short time. The ears had opened up for this genre-crossing music and the heads were ready to accept. We had succeeded breaking new ground." [label info / liner notes]
"....Following 'Formen Letzter Hausmusik' and 'Hydrophonie', 'Notturno' was the third 'serious' attempt in composing more serious electro-acoustic music, and Tietchens limits himself to using the (grand) piano. In a good tradition, say starting with Cage's prepared piano, Tietchens treats the inside and outside of the piano with objects, like an electric gastr beater, wire brush, coins and others, but unlike Cage it's for Tietchens only a starting point. The recordings are processed in the studio, in no doubt true Tietchens style. Looping the sounds around, filtering through sound effects and synthesizers, after which they finally find their form in neatly constructed pieces of music. To use loops as to the extent that Tietchens does is something that sets him aside from the regular musique concrete composers. At the time for many, yours truly included, this was the first introduction to the more academic music, while now, we hear a record that is certainly a great one but perhaps not so academic as we thought back then. 'Notturno' is one the best Tietchens works that one can encounter and the mastering is much improved over the first edition on CD. While many seem to think that Tietchens music is quite distant and cold, 'Notturno' combines playful melodies and sturdy processing of the material. Certainly one to get if you are only remotely interested in his work." [Vital Weekly]
www.diestadtmusik.de
|
2007 |
€15.00 |
|
|
Biotop |
LP |
"Scheppernd, künstlich und plärrend bunt: Reissue des 81er-Albums des Hamburger Elektronikers.
Asmus Tietchens ist einer der bekanntesten deutschen Künstler im Bereich der abstrakten Musik. Fünf seiner Frühwerke, die grob im Bereich Avantgarde-Synthiepop zu verorten sind, werden nun beim Label Bureau B wieder veröffentlicht. "Biotop" war 1981 Tietchens’ erste LP bei Sky Records (u. a. Cluster, Rother, Roedelius, Moebius, Plank, Riechmann). Es mag rückblickend wie eine bewusste Irreführung erscheinen, dass die ersten musikalischen Hervorbringungen von Asmus Tietchens als schräg tönender Pseudopop daherkommen. Vier Alben aus den Jahren 1981-83 sowie diverse Einzelstücke bilden die "Zeitzeichen"-Phase, die sich mit den Worten ihres Urhebers durch den Einsatz von "rhythmisch-harmonischen Versatzstücken und quietschbunten Schallplattenhüllen" auszeichnet. Die Stücke auf "Biotop" sind mit ihren insektoiden Fiepstönen, der bollerigen Perkussion und der verschleppten Kinderliedhaftigkeit so scheppernd, künstlich und plärrend bunt, wie es den Vorstellungen eines Künstlers entsprach, der reguläre Unterhaltungsmusik weder herstellen konnte noch wollte. //
Asmus Tietchens is one of the best known German artists in the field of abstract music. His early works though are finest avant-garde synthesizer pop. "Biotop" was Tietchens' first release on the German label Sky Records (Cluster, Michael Rother etc.). It is inhabited by insectoid squeaks, banging percussion and echoes of displaced nursery rhymes. These blaring, crashing tracks glare with artifice, mirroring the ideas of an artist lacking the inclination and capacity to compose straightforward easy listening music.
"Spät-Europa" also conveys a banefully distorted pseudo pop soundscape of disjointed rhythms and oblique melodies, defined by nervous pulses, cool alacrity and croaking toots; tongue in cheek it most certainly is, but the musical arrangement again affirms its own identity. Here, shadowy, rumbling industrial elements cut into the neon coloured pieces indicative of the artist's parallel lines of development. Both reissues are available on CD (Digipak), vinyl (180g) and for download." [label info]
www.bureau-b.com
|
2013 |
€18.50 |
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|
Spät-Europa |
LP |
"Wieder veröffentlichtes Album aus der Frühphase des Avantgardemusikers.
Asmus Tietchens ist wohl einer der bekanntesten Künstler im Bereich abstrakter Musik. Fünf seiner Frühwerke, die grob unter Avantgarde-Synthiepop zu verorten sind, werden jetzt vom Label Bureau B wieder veröffentlicht. Während Tietchens mit "Biotop" (1981) plante, "in die Zukunft" aufzubrechen, zeigt er sich auf "Spät-Europa" in dieser angekommen. Als zweites Album der "Zeitzeichen"-Phase im Jahr 1982 auf Sky Records veröffentlicht, führt es den Stil des Vorgängers nicht nur weiter, sondern bringt ihn um eine Nuance treffender auf den Punkt. Auch "Spät-Europa" transportiert jene gallig übersteuerte Pseudo-Pop-Klangwelt voller verstolperter Rhythmen und schräger Melodien. Dabei ragen mitunter düster grollende Industrial-Elemente in die neonbunten Stücke hinein, wohingegen die Form der Stücke knapp und pointiert gehalten wird: Wie schon auf "Biotop" strebte Tietchens auch auf "Spät-Europa" 20 Zwei-Minuten-Miniaturen an. Und auch hier bildet mit "Epitaph" ein betont sperriges Stück den Abschluss.
Asmus Tietchens is one of the best known German artists in the field of abstract music. His early works though are finest avant-garde synthesizer pop. "Biotop" was Tietchens' first release on the German label Sky Records (Cluster, Michael Rother etc.). It is inhabited by insectoid squeaks, banging percussion and echoes of displaced nursery rhymes. These blaring, crashing tracks glare with artifice, mirroring the ideas of an artist lacking the inclination and capacity to compose straightforward easy listening music.
"Spät-Europa" also conveys a banefully distorted pseudo pop soundscape of disjointed rhythms and oblique melodies, defined by nervous pulses, cool alacrity and croaking toots; tongue in cheek it most certainly is, but the musical arrangement again affirms its own identity. Here, shadowy, rumbling industrial elements cut into the neon coloured pieces indicative of the artist's parallel lines of development. Both reissues are available on CD (Digipak), vinyl (180g) and for download." [label info]
www.bureau-b.com
|
2013 |
€18.50 |
|
|
Der fünfte Himmel |
LP |
"Between 1981 and 1983 Asmus Tietchens released four albums on the Sky Records label, fusing rhythmic set pieces and off-kilter sounds into gaudy escapades of saccharine artificiality. The “pseudo-pop” epithet reflected their frequently ironic air. All four records have been reissued by Bureau B in their original form. What remained may be found on this collection. Der fünfte Himmel (“The Fifth Sky”) retrieves those pieces which were denied a place on the original LPs, although clearly cut from the same contextual cloth. Quality control was not behind their relegation to the archive, but rather their eccentric and, at times, outlandish character.
Futurum drei is patently a bridge to Tietchens debut album Nachtstücke, recorded back in 1978, whilst Soirée and Zum Tee bei Frau Hilde were riginally—in a completely different guise- designed to form the basis of the experimentelle Geselligkeit album, ultimately shelved. The titles themselves are interesting: Aus dem Tag was initially earmarked to open up In die Nacht but was deemed too extravagant. Würgstoffe (“Wirkstoffe”) and Niedermacher (“Liedermacher”) are further evidence of Tietchens’ penchant for wordplay, even though the composer today admits that these rather corny jokes no longer seem quite so witty. In addition to this promenade through the outskirts of the “Zeitzeichen phase” (or “Sky phase“), Der fünfte Himmel includes tracks which could have constituted a further album on Sky Records. Tietchens was working ahead of himself as his contract covered just four albums and sales were in sharp decline. Zudem hatte sich die musikalische Ausrichtung verändert. Moreover, his musical direction had shifted to accommodate a far less rugged sound and a broader range of musical tools. If these pieces share a link in to the strategies of previous works, it is a tenuous one. This would probably have been enough in itself to preclude a continuation of the series, as the material veered so far away from the Sky label line." [label info]
www.bureau-b.com
|
2014 |
€21.50 |
|
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Seuchengebiete 4 |
CD |
"Seuchengebiete 4, the continuation of Asmus Tietchens' almost legendary series of treated water sounds, consists of six Hydrophonies. The sonic palette ranges from deep gurgling bass pulses to fragile movements of showering bright particles. The overall mood is ernest, contemplative and dark. Seuchengebiete 4 is perhaps the ultimate soundtrack for our crises-ridden times." [press release]
https://aufabwegen.bandcamp.com/album/seuchengebiete-4
"Der Hamburger Asmus Tietchens schätzt Serien, man denke etwa an die auf inzwischen sieben Teile angewachsene Mengenreihe. Auf den Alben der “Seuchengebiete”-Serie finden sich sogenannte Hydrophonien, Stücke, deren Basis das Geräusch von tropfendem Wasser ist. Der erste Teil erschien 1985, sechs Jahre später folgte Nummer zwei, 1997 auf Donna Klemms Label Artware Nummer drei. Schon in einem Interview im Jahre 2007 sprach Tietchens davon, an neuen Hydrophonien für einen vierten Teil zu arbeiten, jetzt erscheinen sechs neue Aufnahmen auf Auf Abwegen.
Auf„Hydrophonie 21“ scheint Wasser in einer Höhle zu tropfen und zu (ver)hallen, im Vordergrund blubbert es, während im Hintergrund seltsam-melodische Flächen zu hören sind. Dann scheint Wasser ausgeschüttet zu werden und zu fließen. Dem Track wohnt eine leichte Unruhe inne. Die nicht nur numerisch, sondern auch auf dem Album darauf folgende Hydrophonie nimmt diese Bewegung zurück, ist tastender, reduzierter, minimalistischer. Zum Teil klingt das Fallen der Tropfen so, als zupfe jemand einen akustischen Bass. “Hydrophonie 24″ hat einen leicht metallischen Klang, ist vielleicht- etwas verkürzt gesagt- mit durchaus dissonanten Momenten das industriellste Stück auf diesem Album. Dagegen scheint “Hydrophonie 26″ zurückhaltender und weniger unruhig zu sein. “Hydrophonie” 32 hat einen leicht ambient-sakralen Charakter und ist der vielleicht atmosphärischste Track auf diesem Album. “Hydrophonie 27″ beginnt fast kaum wahrnehmbar, dann hört man entfernte, kristalline Momente, als würden Vögel zwitschern.Was klar gewoden sein sollte, ist, wie unterschiedlich trotz gleichen Ausgangsmaterials die einzelnen Stücke sind.
Über die Jahre ist Tietchens immer sehr konsistent darin gewesen, wenn er über die (nicht vorhandene) “Botschaft” seiner Musik gesprochen hat. Schon 1991 meinte er: „I don’t try to create moods with my music, and I don’t try to tell stories, and my music doesn’t carry any message except an aesthetic one (now and then). Mostly my pieces are formalistic exercises, or better, the results of formalistic exercises. Music shall be no more than itself. Absolute Music.“ In einem jüngst erschienen Interview wird diese Haltung noch einmal klar artikuliert: “’Absolute Music’ is not connected with any political, spiritual, ideological or educational intention. The listener is totally free for his own impressions, feelings, possible pictures and thoughts when listening to ‘Absolute Music’. To me that is total freedom of perception. I am no teacher, no philosopher, no scientist – why should I intrude my thoughts on any other human being? I always try to let the music speak for itself. That should be enough.“ Dennoch darf auch auf diesem Album das obligatorische Cioran-Zitat natürlich nicht fehlen: “Der zügellose Optimismus hält der geringsten und bedeutungslosesten Offenbarung der menschlichen Natur nicht stand.” [MG / African Paper]
"In the 80s, there was a small list of very hard to obtain records, records of the kind that everybody wanted. Among them was Seuchengebiete' by Asmus Tietchens, released by A-Mission Records. That label vanished quickly, and the records too. I am sure I traded some obscure Gerogerigegege LP for it, but it was worth the trade. I may have told this story when I reviewed the CD re-issue back in Vital Weekly 504. On 'Seuchengebiete', Tietchens explores the sound of water dripping in his studio sink. It was the first record on which Tietchens explored the quieter side of music. Later on, there were more volumes of this approach (although never called 'volume 2' etc.). The second volume was in 1991 (reviewed in Vital 23, when it was a paper fanzine; see advertisement elsewhere), and '3' was in Vital Weekly 121. I mentioned for the latter that I didn't get the design of the release, which is, maybe oddly, also the case here. As this CD arrived on Saturday, I took a whole Sunday off to play all four 'Seuchengebiete' instalments. Over the years, some things have changed in the music of Tietchens. It was the first 'Seuchengebiete', one of his first quiet works; these days, his music is soft. Many of his musical compositions contain sounds beyond recognition, but in this case, it is pretty clear what the source material is. The dripping of water can be recognized, but it is transformed in various ways, from delightful high-end splashes to low-end bass sounds; some of this sounds like it is changed with granular synthesis, but no doubt there is also another technology at work here. There is something profound about the music, slow, contemplative; maybe the music is a sign of the sorry state of our times. Perhaps it is the association I have with the water sounds here; that of leaky pipes in an abandoned industrial landscape. The soundtrack for a worse tomorrow? I am sure that is not what Tietchens put into his music, as I would think there is very little meaning put in by him, but it is all about the listener's associations. This time, Tietchens applies his current composing techniques to an older idea, working wonderfully well." [FdW / Vital Weekly]
|
2021 |
€13.50 |
|
| |
Schatten ohne Licht |
CD |
"Black Rose Recordings are proud to present the exceptional new album by Asmus Tietchens. E.M. Cioran plays a very important role in most of Tietchen's work and this release is no different. For this release Cioran has a fellow anthropofugal thinker: Ulrich Horstmann. The theme of this release deals with a return to a mineral world without any organic species, and therefore uninhabitable for human beings. This very radical dystopia serves as a foil to the six chapters of "Schatten ohne Licht". There is something profound about the music. It can be slow and is certainly contemplative. Maybe the music is a sign of the state of our times? As a pioneer of electronic composition his work spans over four decades and doesn't fit easily into any one category. Early recordings ranged from experiments with tape machines and electronic sound through to experimental pop. Later works were a more sculptural blend of abstract microelectronics, industrial sounds and musique concrete. Never straightforward or obvious, always unpredictable and innovative. His ground-breaking music influences many working in today's electronic music scene. He has worked almost exclusively as a solo artist, but other releases have seen him collaborate with well-known and diverse artists such as Dieter Moebius (Cluster & Harmonia), Thomas Koener, Richard Chartier, and Merzbow." [press release]
"The previous CD by Asmus Tietchens for Black Rose Recordings was 'Fast Ohne Titel, Korrosion' (Vital Weekly 907), which was quite a diversion from his usual quiet music. For 'Schatten Ohne Licht' (shadows without light), there is no such diversion, and Tietchens stays firmly in his silent world. Next to the usual E.M. Cioran quote, the information tells us that Tietchens takes inspiration from the works of Ulrich Horstmann and that the theme for this release is about "a return to a mineral world without any organic species, and there inhabitable for human beings". Also no ray of sunshine in this thinking, but considering the sorry state of the world, one could say it's not the worst idea. With this information in the back of my mind, I started this release and saw images of an empty world; no life at all, just rocks, caves, and minerals; is there a sea? Can it exist without life in it? My knowledge of the natural world is pretty limited, so I don't know. But Tietchens' music here sounds like stale wind over barren land. Wind rustling... well, not leaves and branches, probably, but there is a strong feeling of desolation within this music. As always, I have no idea what kind of sounds Tietchens uses in his music, as the level of processing is quite high, but it works very well. There is a bit of industrial droning in 'Anthroposaurus', which is not something I heard this strong in his other recent releases. In other pieces, this is less evident, so this new release is not a most radical break. It is, however, an excellent release, on par with almost all of Tietchens' releases, but safe to say, as a fanboy, I am probably quite biased. Towards the end of the final piece, 'Kolosse', the volume increases considerable and ends with silence; I believe that is quite a sign, but for what?" [FdW/Vital Weekly]
"Fast jedes Album des Hamburgers wird geziert von einem Zitat des großen Pessimisten und Misanthropen E.M. Cioran. „Schatten ohne Licht“ verweist zusätzlich auf den inzwischen emeritierten Anglisten Ulrich Horstamnn, der Anfang der 80er mit seinem anthropofugalen Traktat „Das Untier“ Optimisten und andere Verblendete vor den Kopf stieß: „Vermonden wir unseren stoffwechselsiechen Planeten! Denn nicht bevor sich die Sichel des Trabanten hienieden in tausend Kraterseen spiegelt, nicht bevor Vor- und Nachbild, Mond und Welt, ununterscheidbar geworden sind und Quarzkristalle über den Abgrund einander zublinzeln im Sternenlicht, nicht bevor die letzte Oase verödet, der letzte Seufzer verklungen, der letzte Keim verdorrt ist, wird wieder Eden sein auf Erden.“
Tietchens sprach noch anlässlich seines (auch hier besprochenen) Albums „Bleiche Brunnen“ passenderweise von „[m]enschenferne[n] Klänge[n]“." [African Paper]
|
2022 |
€13.00 |
|
| TIETCHENS, ASMUS & DAVID LEE MYERS |
Flussdichte |
CD |
DAVID LEE MYERS ist auch als ARCANE DEVICE bekannt und hat v.a. Anfang der 90er unter diesem Namen hochinteressante Feedback-Musik veröffentlicht. Diese dritte Zusammenarbeit mit A.TIETCHENS nach „Speiseleitung“ (auf Raum 312) dringt in einem Mikrokosmos aus geheimnisvollen elektronischen Sounds ein, die sich schnell verändern und stets Spannung aufrechterhalten... erschienen auf einem neuen Hamburger Label.
“ The artist's work consists of creating original circuitry that forces electronic effects devices to generate their own tones and patterns, often in unpredictable ways that are hard to tame. Myers fed his music to electro-acoustic artist Asmus Tietchens (aka Hematic Sunsets) who shaped it into strange soundscapes that could belong as much to Luc Ferrari and Pierre Henry as to modern sound artists like Koji Asano or Rafael Toral. Their soundscapes often hold a dark, almost Gothic atmosphere -- the resonances of electronic cathedrals. Although process-generated (at least in its initial stage), the music never sounds like a calculated exercise. Each piece has been carefully shaped, composed. The sound palette is varied, but always remains close to vintage musique concrète. If track titles like "T29:M5/3" or "T31:M5/10" are not very talkative, the album title already states the best description possible: a dense, rich electrical flux, sculpted with art. Recommended. [Francois Couture | ALL-MUSIC GUIDE]
|
2001 |
€14.00 |
|
| TIETCHENS, ASMUS & JON MUELLER |
8 Stücke |
CD |
"Second collaborative effort between german sound manipulation pioneer Asmus Tietchens and american improv-drummer Jon Mueller. The CD features 8 tracks that run up to 53 minutes. Jon Mueller on the second collaboration: “The previous collaboration between Asmus and I involved me using only sounds derived from drum heads. For Acht Stuecke, I've used only Chinese gongs and cymbals, so a completely different range of sound occurs. The performance of the percussion material was from various non-mechanical techniques (striking, swinging gongs, extended techniques, etc.) to create a palette of mostly textural sound with a large frequency range that Asmus could work with.” And indeed, work he did! The completeness that is Acht Stuecke is of breathtaking beauty and simplicity and complexity at the same time. The album is definately more homogenous and ‘together’ than the first meeting of the two musicians. It emanates a warm and deep sound evolving ou t of total soundless blankness as it seems.
Jon Mueller has been active for several years in the us improv scene playing in various ensembles and doing solo work. he runs the excellent web mag/label/mailorder croutonmusic.com. Asmus Tietchens has been producing electronic music since the 1960ies and is one of the most renowned sound artists today in Germany. In the last five
years he was awarded twice the SWR state radio prize “Karl Sczuka Preis” for radio art. He has released more than 80 records and CDs on labels all around the world." [label info]
"...There are occasions in which one doesn’t need to speak too much to establish a truth, and the truth here lies inside the repeated bends and turns of a gorgeous album, among the best of both artists’ career. The original materials furnished by the Milwaukee percussionist - sounds of Chinese gongs and cymbals - were studio-treated by the German manipulator through his usual masterful methods, this time maintaining the qualities of the harmonic resonance of the metal rather evident amidst the choked gulps, the modified waves and the fractured hiccups that we’re used to receive from the Hamburg-based sonic transformer. There’s this splendid three-way cross between the real essence of Mueller’s stricken parts and swinging gongs, the instant mutated jargon developed by Tietchens over that, the final elemental amalgam bringing the whole to sound like a hidden microcosm where a hypnotically undulating presence is blemished by sparse singular voices of unknown entities. It’s really difficult to describe the overall feel in sheer words, but those who are gifted with the ability of picking disguised frequencies from the core of the more superficial ones are in for several special moments, aware of phenomena that not everybody can actually penetrate." [Massimo Ricci / Touching Extremes]
www.aufabwegen.com
|
2007 |
€13.00 |
|
| TIETCHENS, ASMUS + FRANS DE WAARD |
Oordeel |
CD |
On „Oordeel“
This collaboration was bound to happen someday! Out of mutual respect and admiration for each other’s work Asmus Tietchens and Frans de Waard decided to work on some music together. The result is “Oordeel" (dutch for "judgement") – eleven tracks of diverse character and subtle beauty. From distorted groans and gritty pulses to delicate and abstract sound layers Tietchens and de Waard have created a fascinating sound world of bizarre beauty.
Frans de Waard
Frans de Waard (1965) has been producing music since 1984 (Kapotte Muziek, Beequeen, Goem, Zebra, Freiband, Shifts, Modelbau, etc.). In 1984 he started his own record label Korm Plastics, releasing music from Arcane Device, Asmus Tietchens, Jim O'Rourke among others. He has worked for the pioneering Dutch tape label Staalplaat (1992-2003) and since 1986 as a reviewer for his own publication Vital (now Vital Weekly), a magazine which has been an online source for underground music since 1995, and which celebrated its 1000th issue in 2015. In 2016 Timeless published in France his first book, an autobiography of life in Staalplaat titled This Is Supposed To Be A Record Label. His interests in music creation ranges from ambient to noise to what he describes as 'silly disco
music'. He has played concerts in Europe, USA, Canada, Russia and Japan, and collaborated with Steven Wilson, Jaap Blonk, Andrew Liles, Radboud Mens, Keiji Haino, Pan Sonic and others.
Asmus Tietchens
Tietchens was born in Hamburg in 1947. Since 1975 he has been working as an independent musician; in 1980 he released his first solo record Nachtstücke. After producing a series of rhythmic and harmonic albums for the Sky label in the early 1980s he released his first industrial record Formen letzter Hausmusik in 1984 on United Dairies. Here Tietchens articulated his musical interests clearly: everyday noises were treated and at times deformed beyond recognition and placed into new contexts. Until now Asmus Tietchens has released more than 80 albums on international labels where he continues to explore the posibilities presented to him by specific sound sources (ranging from water sounds to pure sine wave tones). He has a more rhythm-oriented fake band project called Hematic Sunsets. Tietchens’ work is rooted in a deeply sceptic gesture, marked by frequent quotes from the works of philosopher E.M. Cioran on his album covers. Asmus Tietchens has been awarded with the prestigious Karl Sczuka Prize of the Südwestrundfunk (SWR) twice: in 2003 for his work Heidelberger Studien 1-6 and in 2006 for Trois Dryades. He lives and works in Hamburg.
https://aufabwegen.bandcamp.com/album/oordeel
"As everyone knows by now, I am the world’s foremost authority on Frans de Waard Record
Reviews. Do you think you’ve written more Frans de Waard record reviews than I have? You are
incorrect. Go ahead, count all the Frans de Waard record reviews that you’ve ever written and tell me how many there are. Oh, is that all? I’ve written more. You cannot win. Looking at my recent contributions to the subgenre of music journalism of which I am the indisputable champion, I notice that my critical expertise is most frequently turned towards de Waard’s solo albums as Modelbau and Quest/QST. However, as the Reigning King of Frans de Waard Reviews that we all agree I am, I happen to know that the (unofficial) Mayor of Nijmegen thrives on collaborations. This latest pair of albums show off his versatility with two very different, yet equally excellent, pieces of electronic music made with the cooperation of two very different composers.
It’s amazing to think that “Oordeel” is the first album-length album that de Waard and veteran German composer Asmus Tietchens have done as a duo. Both are prolific and enthusiastic collaborators, so it seems natural that they’d come together at some point. Both gents share a disinclination to explain themselves, preferring to follow their musical instincts wherever they lead and to let an image or a title stand as the only signpost to guide listeners. The way that the title “Oordeel” is pronounced in English, the word describes something difficult to endure; a protracted
unpleasant or traumatic experience. The Dutch word, however, means “judgement”. I suspect that
neither interpretation is intended to frame this music literally, and that the title was more likely selected for it’s aesthetic appeal. I could be wrong, but then again I’m the greatest reviewer of Frans de Waard records on the planet, so… let’s just assume I’m right, okay? Indeed, this music is not in any way an ordeal to sit through, nor does it seem to be judging anything. The album’s sequence of short, discrete pieces offers no clues as to a concept or even compositional strategy, and yet it sounds very specific. Every piece seems to be created from similar materials united by a
background ambience of incorporeal breath, which makes it hang together as a single idea.
There’s a cool hermetic quality to all eleven vignettes, each one offering sharp clicks and carefully sculpted hums that skip lightly over a surface haze. I’m reminded of smooth 1970s plastic, mercilessly austere and yet vaguely sinister in its indifference. Only one piece breaks up the set: “VII” temporarily shatters the reverie with a buzzing whine of dial-up modems and hostile radio static. Once “Oordeel” gets that out of its system, though, it returns to the holodeck and stares out at the cosmos for awhile." [HS/Vital Weekly]
|
2019 |
€13.00 |
|
| TIETCHENS, ASMUS / MIKI YUI |
Neues Boot |
LP |
TAL presents the first musical collaboration between Hamburg based Asmus Tietchens and Japanese artist Miki Yui, operating out of Düsseldorf for almost 20 years now. Highly respected and hugely influential artist Asmus Tietchens first made his mark on the electronic music scene in the late 1970s, whereas Miki Yui debuted her sonic settings in 1999.
Their first joint album NEUES BOOT envelops the listener with a poetic sound sensibility and a conceptual clarity which was processed and passed back and forth between their individual studios in Hamburg and Düsseldorf.
Asmus Tietchens: After Stefan Schneider suggested to release a Yui-Tietchens album on his TAL imprint Miki and I quickly developed some ideas towards our eventual collaboration.
We agreed upon an ongoing mutual exchange of material. We have both been very familiar with each other's music for a long time and we found our individual approach towards sound design to be uniquely compatible. We do not use our electronic tools in order to merely achieve the maximum of technical possibilities, but to illustrate aesthetic necessities. This entails a deliberate reduction and refined perception of the sonic characteristics of the material. Only this approach enabled us to fully realise the complete spectrum of the sounds and noises we were working with in order to construct this New Boat. Each and everyone of my treatments is e x c l u s i v e l y based on a track supplied by Miki. I added no new sound sources. Naturally the spatial and temporal dimensions of the source material were thus altered. These transformations are exactly what makes our collaboration special and unique. Very early on we had agreed on New Boat as a working title and a guiding light . Of course in the beginning we had no idea where this New Boat might take us. Now we do know. After several months of ship-building the boat has now set sails for new sonic horizons. Ahoi!
Miki Yui: The title of the album as well as the individual tracks have been inspired by conversations with Asmus. When we had a chat after one of his concerts, he told me about Kōdō, the Art or the Way of the Scent. It is a 8th century Japanese incense ceremony. Very frequently the names of Japanese incense sticks are derived from natural themes, e.g. Bairin is the plum grove, the scent of the first blossom heralding the end of winter.
This poetry, the ephemeral nature of the world reminded me of Kigo, words from a Haiku (a form of Japanese poetry), which reference a particular season or a natural phenomenon. So I chose the names of the individual pieces from Kigo as if The Boat was exploring nature whilst sailing through the seasons. Only in retrospect I realised that the titles combined create this poem:
Early spring a hazy view in the night (Oboro)
Plum groves (Bairin)
Over a Dayfly (Kagerou)
A Milkyway (Amanogawa)
Dawn (Akatsuki)
Art of fragrance (Kōdō)
On fragile thin ice (Usurai)
https://asmustietchensandmikiyui.bandcamp.com/album/neues-boot
"Exquisite electronic subtleties from two generations of explorative artists, pairing the tactile sensitivities of cult Hamburg based Asmus Tietchens with Düsseldorf resident Miki Yui for the first time with marked success.
Mutual spirits, Tietchens and Yui have long operated in pursuit of a lower case, spectral muse, and now at the behest of TAL’s Stefan Schneider they present a beautifully insoluble sound that transcends the sum of their parts. Incredibly delicate, and full of nanoscopic movement, the seven tracks unfurl between passages of burbling pastoralism and oneiric drowse, with particular highlights in the hypnotic timbral artefacts of ‘Kagerou’ or ‘Usurai’, and their 10’ of lush scenery inhabited by peacocks and a canopy of phosphorescing animaliculae and atmospheres in ‘Akatsuki’ recalling aspects of Mark Fell & Rian Treanor’s tape for our Documenting Sound series." [Boomkat]
"It’s a sad, hard fact that circulating music by means of physical objects is becoming the exception and not the rule. So, if you’re going to do it, might as well do it right and make it special. Future Audio Graphics makes LPs that bind interdisciplinary collaborations within gatefold LPs. Each combines a text by one artist, images by another and a record of sounds by a third. Ironically on Sculpture Gardens the efforts of writer François Bonnet (aka Kassel Jaeger), sculptor Virginia Overton and sound artist Anne Guthrie cohere into a consideration of impermanence.
Through his efforts to reissue works of electronic music on vinyl, Bonnet, a published author and the artistic director of Groupe de Recherche Musicales in Paris, has had plenty of opportunity to think about how ready-made vinyl objects can concentrate attention upon work, as well as how rapidly records become items to be hunted rather than merely purchased. Even when one fixes one’s work within an object, other peoples’ perceptions of the object and the work cut into it aren’t fixed. Neither is the object’s availability; LPs sooner or later drift into the collector’s realm. Bonnet doesn’t waste words on the peculiar circumstances of vinyl records in his essay, but a reader might think about his efforts to present them while reading his discussion of the relationships between art objects, ready-made objects and time. Time and the changes that accompany its passage are, he suggests, part of the artist’s material. Virginia Overton’s images depict aluminum pans that she installed at the Whitney Museum of American Art. She used them as containers of small gardens; when the plants died, she flipped them over and used them as sound resonators. Inside one of the museum’s galleries, Overton had placed cast-off pieces of metal and wood, which she repurposed as sculptures. Nothing stays the same, but in change new phenomena emerge.
Anne Guthrie’s portion of the work uses sounds collected from Overton’s exhibits as a starting point. She collected field recordings of the gallery interior, the outdoor area where the gardens were installed, weather, distant machinery and close-up captures of herself moving objects and deploying microphones. The magnified sounds of precise work and plants living and dying, sometimes straight and sometimes processed to draw out particular timbres, loom over distant jets and HVAC units, and into this mix Guthrie weaves the distant parping of her French horn. Across four discrete tracks, one can hear different moments and environments fixed for a moment in one representative configuration, which is now an object that can be bought and displayed and played in other times and places. Guthrie’s decisions and actions use Overton’s work as a starting point to illustrate Bonnet’s words."
[Bill Meyer /DUSTED] |
2021 |
€20.50 |
|
| |
Neues Boot |
CD |
TAL presents the first musical collaboration between Hamburg based Asmus Tietchens and Japanese artist Miki Yui, operating out of Düsseldorf for almost 20 years now. Highly respected and hugely influential artist Asmus Tietchens first made his mark on the electronic music scene in the late 1970s, whereas Miki Yui debuted her sonic settings in 1999.
Their first joint album NEUES BOOT envelops the listener with a poetic sound sensibility and a conceptual clarity which was processed and passed back and forth between their individual studios in Hamburg and Düsseldorf.
Asmus Tietchens: After Stefan Schneider suggested to release a Yui-Tietchens album on his TAL imprint Miki and I quickly developed some ideas towards our eventual collaboration.
We agreed upon an ongoing mutual exchange of material. We have both been very familiar with each other's music for a long time and we found our individual approach towards sound design to be uniquely compatible. We do not use our electronic tools in order to merely achieve the maximum of technical possibilities, but to illustrate aesthetic necessities. This entails a deliberate reduction and refined perception of the sonic characteristics of the material. Only this approach enabled us to fully realise the complete spectrum of the sounds and noises we were working with in order to construct this New Boat. Each and everyone of my treatments is e x c l u s i v e l y based on a track supplied by Miki. I added no new sound sources. Naturally the spatial and temporal dimensions of the source material were thus altered. These transformations are exactly what makes our collaboration special and unique. Very early on we had agreed on New Boat as a working title and a guiding light . Of course in the beginning we had no idea where this New Boat might take us. Now we do know. After several months of ship-building the boat has now set sails for new sonic horizons. Ahoi!
Miki Yui: The title of the album as well as the individual tracks have been inspired by conversations with Asmus. When we had a chat after one of his concerts, he told me about Kōdō, the Art or the Way of the Scent. It is a 8th century Japanese incense ceremony. Very frequently the names of Japanese incense sticks are derived from natural themes, e.g. Bairin is the plum grove, the scent of the first blossom heralding the end of winter.
This poetry, the ephemeral nature of the world reminded me of Kigo, words from a Haiku (a form of Japanese poetry), which reference a particular season or a natural phenomenon. So I chose the names of the individual pieces from Kigo as if The Boat was exploring nature whilst sailing through the seasons. Only in retrospect I realised that the titles combined create this poem:
Early spring a hazy view in the night (Oboro)
Plum groves (Bairin)
Over a Dayfly (Kagerou)
A Milkyway (Amanogawa)
Dawn (Akatsuki)
Art of fragrance (Kōdō)
On fragile thin ice (Usurai)
https://asmustietchensandmikiyui.bandcamp.com/album/neues-boot
"Exquisite electronic subtleties from two generations of explorative artists, pairing the tactile sensitivities of cult Hamburg based Asmus Tietchens with Düsseldorf resident Miki Yui for the first time with marked success.
Mutual spirits, Tietchens and Yui have long operated in pursuit of a lower case, spectral muse, and now at the behest of TAL’s Stefan Schneider they present a beautifully insoluble sound that transcends the sum of their parts. Incredibly delicate, and full of nanoscopic movement, the seven tracks unfurl between passages of burbling pastoralism and oneiric drowse, with particular highlights in the hypnotic timbral artefacts of ‘Kagerou’ or ‘Usurai’, and their 10’ of lush scenery inhabited by peacocks and a canopy of phosphorescing animaliculae and atmospheres in ‘Akatsuki’ recalling aspects of Mark Fell & Rian Treanor’s tape for our Documenting Sound series." [Boomkat]
"It’s a sad, hard fact that circulating music by means of physical objects is becoming the exception and not the rule. So, if you’re going to do it, might as well do it right and make it special. Future Audio Graphics makes LPs that bind interdisciplinary collaborations within gatefold LPs. Each combines a text by one artist, images by another and a record of sounds by a third. Ironically on Sculpture Gardens the efforts of writer François Bonnet (aka Kassel Jaeger), sculptor Virginia Overton and sound artist Anne Guthrie cohere into a consideration of impermanence.
Through his efforts to reissue works of electronic music on vinyl, Bonnet, a published author and the artistic director of Groupe de Recherche Musicales in Paris, has had plenty of opportunity to think about how ready-made vinyl objects can concentrate attention upon work, as well as how rapidly records become items to be hunted rather than merely purchased. Even when one fixes one’s work within an object, other peoples’ perceptions of the object and the work cut into it aren’t fixed. Neither is the object’s availability; LPs sooner or later drift into the collector’s realm. Bonnet doesn’t waste words on the peculiar circumstances of vinyl records in his essay, but a reader might think about his efforts to present them while reading his discussion of the relationships between art objects, ready-made objects and time. Time and the changes that accompany its passage are, he suggests, part of the artist’s material. Virginia Overton’s images depict aluminum pans that she installed at the Whitney Museum of American Art. She used them as containers of small gardens; when the plants died, she flipped them over and used them as sound resonators. Inside one of the museum’s galleries, Overton had placed cast-off pieces of metal and wood, which she repurposed as sculptures. Nothing stays the same, but in change new phenomena emerge.
Anne Guthrie’s portion of the work uses sounds collected from Overton’s exhibits as a starting point. She collected field recordings of the gallery interior, the outdoor area where the gardens were installed, weather, distant machinery and close-up captures of herself moving objects and deploying microphones. The magnified sounds of precise work and plants living and dying, sometimes straight and sometimes processed to draw out particular timbres, loom over distant jets and HVAC units, and into this mix Guthrie weaves the distant parping of her French horn. Across four discrete tracks, one can hear different moments and environments fixed for a moment in one representative configuration, which is now an object that can be bought and displayed and played in other times and places. Guthrie’s decisions and actions use Overton’s work as a starting point to illustrate Bonnet’s words."
[Bill Meyer /DUSTED]
|
2021 |
€14.50 |
|
| TILLY, THOMAS (TO) & JEAN-LUC GUIONNET |
Stones, Air, Axioms / Delme |
do-LP |
2xLP edition of 300 on white vinyl. A Fragment Factory release in association with centre d'art contemporain – la synagogue de Delme.
“Stones, Air, Axioms” is an ongoing art and research project by French sound artists Jean-Luc Guionnet and Thomas Tilly, dealing with the complex relationships between sound and architecture. Delme is the third phase within this venture. By virtue of its history and exceptional acoustics, Delme’s former synagogue is the ideal setting for a customised, on-site sound installation. Guionnet and Tilly are deliberately leaving the place empty, giving visitors an experience of both visual and sound architecture. By supplementing the built space with frequencies, as well as voices, instrumental notes, rhythms and silence, the artists offer everyone a special listening situation: whether this listening is drifting or attentive, static or mobile, it is guaranteed to give visitors a different perception of the place, which is remoulded by the volume of air it contains and by the sound travelling through it.
fragmentfactory.bandcamp.com/album/stones-air-axioms-delme
|
2018 |
€29.00 |
|
| TO / THOMAS TILLY |
Script Geometry |
do-LP & CD |
\"Approaching the forest as if were a city, a construct, an ensemble of strata and vertical heights where signals answer, contrast and ignore each other. Variations occur, fullness and emptiness are created according to the weather and the peak and off-preak hours. This density that language can\'t define presents a challenge for the ear, and from this density surfaces, frm time to time, certain analogies to a modern sound environment. Cultural leads fraw our experience of these natural acoustic phenomenin towards the domain of technology : \'it sounds like... it\'s like\'. The timbres ? The sound structures ? There exists something in a tropical forest that sounds like and plays within the realms of electronics, music and electronics noise ; something characteristic of an era long before the birth of biotopes that form this forest and create this sound. Script geometry comes from this idea and the desire to work with density, in an attempt to extract forms that characterize these analogies. Taking these sounds out of their context and rearranging them as we would patch cables on a synthesizer ; weaving these strata and vertica heights into a different pattern by using the signals from the forest as if they were synthetic sounds : dissecting this spectrum and looking for something that can only be revealed through listening, this is the essence of the project\'. Thomas Tilly - Winter 2012\'In March 2013, I traveled to the Nourages scientific research station in French Guiana. Situated in the heart of a tropical rainforest, this station welcomes international scientific research progams dealing with tropical forests and their biodiversity. For the 30 days and nights of my stay, i listened to and captured the sound environment with an emphasis on animal communications : those wich are perceptible to the huan ear, but also the inaudible spectrum. The result is a collection of compositions and phonography characteristic of the zone. No electronic treatement has been added to these recordings other than a low cut filter and a light EQ mix. Script Geometry was conducted as an artist-in-residency programme at the Confort Moderne, Jazz à Potiers, the Lieu Multiple and the Nouragues Station in French Guiana between February and June 2013. A series of concerts, conférences, broadcasts and a creative workshop took place in accompaniment to the project\'. Double LP mastered by James Plotkin. CD mastered by Thomas Tilly. Cut by Rashad Becker at Dubplates and Mastering, Berlin.\" [label info]
www.aposiopese.com
\"A double LP and a CDR of the source material. For this work he went to the Nourages scientific research station in French Guiana, in the middle of the rain forest. For thirty days he recorded sounds with an emphasis on animal communications, some of these using ultra sonic translators. \'No electronic treatment has been added to these recordings other than a low cut filter and a light EQ mix\' it says on the cover and we have to believe that, sometimes hard as it is. However some of the recordings are overlaying each other so a more dense pattern arises, and the chirping of insects that is already a bit electronically sounding are emphasized, such as in the opening piece, \'At Night, Mass\'. The pieces on
this record shift back and forth between untreated - as \'no mixing, no editing\' - and \'composition, classic and ultrasonic recordings. Mixing and editing\', and especially those pieces, say \'Crossroad, nodes\' have a highly electronic feel to them. A very minimal piece of electronic music, almost like a modular synthesizer piece, but maybe a bit less organised, following the more chaotic patterns of the nature sounds. I thought this was a great record. Very much originating in the world of field recordings, but then, the result, from an entirely different kind of planet. \'Unidentified Insects Colony\' is almost like The Haters ripping paper and doesn\'t sound like an unidentifiedd insects colony at all. A truly fascinating work of which the hour long CDR is a nice bonus. Maybe something for the die-hards I guess, but it makes the package all the more complete.\" [FdW/Vital Weekly 05.2014]
|
2014 |
€24.00 |
|
| |
Le Cebron / Statics and Sowers |
LP |
"French sound artist Thomas Tilly uses unique field recordings as material for compositions. This LP presents two pieces: Le Cébron is based on recordings done on a frozen lake. Statics and sowers uses recordings from beehives as well as feedback from a mixing board.
Edition limited to 300 copies on transparent 180g Vinyl. Drawings by Jean-Luc Guionnet. Mastered by Giuseppe Ielasi. Cut by Flo Kaufmann." [label info]
www.aussenraumrecords.com |
2014 |
€20.00 |
|
| TOBACCONISTS! |
Prometheus / The darker Secrets of Doctor Perati |
7 |
After the mCDR on MOLL this is the first 7" by this duo composed of SCOTT FOUST (IDEA FIRE COMPANY) & FRANS DE WAARD (BEEQUEEN, KAPOTTE MUZIEK, etc.). A fine blend of analog electronics and object-noises, especially the title piece is a lovey abstract GERÄUSCHMUSIK thing with great sounds inside...
Only were 200 pressed, get your smoke today !
"The first Swill Radio 7" in 26 years dating back to The Story Of Failure's "Negative Fulfillment On The '83 Spitting Circuit" EP. The Tobacconists are Frans de Waard and me and we are both heavy smokers. The Tobacconists did a few shows across Europe in the Spring of 2009 and recorded studio versions of our live material which should be released as an LP by Tourettes Records at some point. We did other recordings as well and from them Frans put together this excellent single. Prometheus is a fire stealing liver eater with a truly astounding sonic palette. Dr. Perati's Laboratory has some dark secrets indeed and they are revealed here for the very first time. The infernal mechanism! Great cover by Jos Meeuw and a real 7" sleeve! Fantastic!!" [label info]
www.kormplastics.nl
|
2009 |
€7.50 |
|
| TOEPLITZ, KASPER T. |
Capture |
CD |
Epischer one-tracker (76 min) für Tanztheater, sehr hochfrequent rauschig-mikrotonal, erinnert z.B. an KARKOWSKI und LOPEZ, nach einiger Zeit wird man völlig absorbiert von diesem sirenenhaften weissen Rauschen,..... so minimal wie nur vorstellbar und doch so kraftvoll und hypnotisierend, erzeugt das Gehirn von ganz alleine Veränderungen im KlangMaelstrom... am Ende so metallisch durchdringend dass es kaum noch hörbar ist...
“A very micro-tonal score, played by 3 dancers/musicians whose infinitesimally slow movements are "captured" by web-cams and "mapped" to all the parameters of a real-time digital synthesis engine - frequency, amplitude, ambitus…. No samples, no pre-recorded sounds, the sole sound source is a white noise generator, sculpted by filters, producing a polyphony of drones, oscillations, movements of electricity - a long electronic ascension”. [label info]
|
2005 |
€13.50 |
|
| TOLVI, ANTTI |
Taikuri Tali |
LP |
Antti Tolvi is a self-taught Finnish musician known for his participation in groups like Avarus, Kemialliset Ystävät, Lauhkeat Lampaat, Päivänsäde and Rauhan Orkesteri. 'Taikuri Tali' is a typical example of Finnish psychedelic folk music. A delectable solo work, not so minimalistic, as his first 'Pianoketo' double LP on Fonal Records, but a more trippy psychedelic one! His music takes on a meditative quality, with organ melodies and electronic noisy sounds. An amazing work and one of his best.
https://ikuisuus.bandcamp.com/album/taikuri-tali |
2014 |
€18.00 |
|
| TOMUTONTTU |
same |
LP |
Äusserst absonderliche und kaum zu klassifizierende Solo-Platte eines KEMIALLISET-Mitglieds zwischen Dadaismus in Reinform (allerlei Casiosamples, Bilig-Synths, low-fi Instrumente und Gemurmel, Gesinge, Getrommel, Tierstimmen, etc. ) und einer Art liebenswert verwunschem Märchen-Folk-Drone.... irre Musik!
"Ed. of 400 copies on 220 gram vinyl. Kemialliset Ystävät member Tomutonttu (Jan Anderzén) plays a bit like Dome to KY's Wire. The Ystävät-ness is there, but stripped down to the frame with a minimal synth breeze blowing through it. Beautifully lyrical in its layered abstractions, there is a sort of finely hewn composite of experimental dada electronics (ala early, early, early Die Todliche Doris or early, early, early P16.D4) and composerly elements (ala Rimarimba, Andrew Poppy or Meredith Monk). A few little Kraut-isms top off the tonic at no extra charge. Oh, and there's a bit that gets all spacey and chirpy like when the Virgin Prunes go completely bonkers (that's sure a helpful reference point... well, we like it). Basically, this is the music that the mothership had in the tape deck just before dropping KY off in the 12th century." [label info]
www.blrrecords.com
|
2007 |
€18.50 |
|
| TONALIENS |
Tonaliens |
do-LP |
Tonaliens is a Berlin-based group investigating the inner dimensions and outer limits of Just Intonation. It was formed in 2014 by Amelia Cuni (voice), Werner Durand (invented wind instruments), Robin Hayward (microtonal tuba), Hilary Jeffery (trombone), and Ralf Meinz (live sound, electronics). The group came together shortly after the release of the software version of the Hayward Tuning Vine, an interface for exploring microtonal tuning that allows for direct and intuitive interaction with the pitches normally hidden between the keys of the piano. Coming from diverse backgrounds, the musicians were eager to explore this harmonic space, and thus the tuning vine "acted first as a catalyst, then as a map, and finally as a spaceship" (Hayward) that enabled them to navigate those areas that largely remain obscured.
The music of Tonaliens has so far been focused on a very specific area within the microtonal space that was discovered by mapping out the first three harmonics of three tubes of Durand's self-invented Pan-Ney instrument. They named this area the Tonaliens chord, and both recordings on this double LP – two live performances from 2015 – are based on it. Sides A and B are recorded live in a church in Amsterdam, the Vondelkerk, during the Sonic Acts Festival. Sides C and D contain a contrasting, more intimate performance made at KuLe in Berlin for the Labor Sonor concert series. Amelia Cuni appears only on the Amsterdam recording.
Edition of 300 in full-color gatefold sleeve with liner notes by Robin Hayward, and detailed photos and screenshots. Black poly-lined inner sleeves.
www.edition-telemark.de
|
2017 |
€30.00 |
|
| TONIUTTI, GIANCARLO & ANDREW CHALK |
Tahta Tarla |
LP |
Wunderschön aufgemachte Veröffentlichung des Engländers A. Chalk (ORA, ORGANUM) und des Italieners G. Toniutti. Hier mischen sich langgezogene Drones mit Naturklängen und konkretem Material (wahrscheinlich auch aus der Natur), im Beiheft wird das Konzept des "geographical totem" erklärt. Zeitlose Platte.
We could again some copies of this classic LP from 1993, long drones and nature-sounds mixed with more concrete material, with large booklet that explains the concept of „geographical totem“, a timeless record indeed.
###################
Credits
Engineer – Colin Potter
Illustration, Design, Liner Notes, Music By – Andrew Chalk, Giancarlo Toniutti
Photography By – Andrew Chalk, Enrico Piva, Giancarlo Toniutti, Giuliana Stefani
Notes
This album comes with printed inner sleeve. Included is a 28 page 23x16cm booklet.
The materials on track A (Tienalauami) have been recorded on 14th, 15th and 27th February 1987 by Giancarlo Toniutti in indoor and outdoor sites in Udine (Friuli, Italia); and on 12th January 1988 by Andrew Chalk at ICR Studios in Tollerton (York, England) with Colin Potter engineering. Mixed by Giancarlo Toniutti in his home studio April 1989.
The materials on track B (Warkswood) have been recorded on 7th February 1987 by Andrew Chalk at ICR Studios in Tollerton (York, England) with Colin Potter engineering; and on 19th, 21st and 23rd March 1988 by Giancarlo Toniutti in indoor and outdoor sites in Udine (Friuli, Italia). Mixed by Andrew Chalk, November 1989 at ICR Studio,York.
Thanks to Giuliana Stefani, Roger Richards, Patrizio De Mattio, Jonathan Walker, Enrico Piva.
This LP was originally planned to be released by Extreme in Australia.
|
1993 |
€22.00 |
|
| TONIUTTI, MASSIMO |
Cava XI.XI.86 |
CD |
https://fernsrecordings.bandcamp.com/album/cava-xi-xi-86
CD reissue of a cassette released in 1987 edited by Massimo Toniutti.
An unique, beautiful and mysterious work in which sounds are produced somewhere, under the earth, in a cave or cellar. Organic, out of time.
Remastered from the original tapes, including two unreleased tracks created from records of the same period.
Cava xi.xi.86 was a concept album split into two parts, side 1 formerly called gravi tracks 1-4 and side 2 le ghiaie tracks 5-7.
Mixed at the stanza delle uova (1987) using a (4+4) multi-track system.
Two more compositions have been added to this reissue:
Track 8 (cube version of gravi) and track 9 (with a little help from l\'orchestra dei becchi di Fuji), both of them using \'86/\'87 archive sessions, re-worked and digitally mixed at my ground floor studio (2019).
Re-mastered from the original tapes.
All material recorded from November 1986 to April 1987 at the laboratory and its surroundings.
sound sources : clothes horse, metal ladders, pipes, welded wire mesh, railing, metal cans, occluders, muffles, clamps, springs, mandrels, drill bits, wrenches, hacksaws and unidentified objects; processed field recordings, via sistiana\'s hammers ad venetian blinds, and trains; hi & lo-fi speakers and microphones, handheld cassette players and recorders.
Thanks to Ron Lessard since 1988 and Sébastien for his hospitality.
#######################################
\"These refurbished sounds originally recorded in-between 1986-87 are from Italian experimenter Massimo Toniutti (we covered his Il Museo Selvatico here last year). His use of metallic objects and everyday instruments, fused in mysterious ways, is one of multilayered distinctions. A special thanks to Ferns and to other curatorial imprints who preserve these sounds for first-time observers. Though you’d never know it, this came out in that ‘growing-pains’ era when glitzy acts like Sigue Sigue Sputnik ruled certain airwaves, and you’d catch faded latter-day Eurythmics on your car radio as well as Deborah Harry gone solo and so many other novelties of the time. This is far from a response to that sonic Siberia, and likely was far too gray for the neon street life.
Instead, Cava xi.xi.86 serves a vintage more akin to what The Legendary Pink Dots or Controlled Bleeding were doing at the same time, just a little more introspective in terms of construction. At times this sounds like a windstorm passing through a kitchen pantry, and at others its more a series of aural sculpture – brittle man-made contortions. There are passive moments too, and here the quiet contemplation the relative freeform nature finds its way of exorcising its own ghosts.
Cling, klang the echoes slam and achromatize in gestures that are definitive but never inferring a beat structure, instead more similar to opening and closing the doors of a horse stable. If you listened to this and heard ‘chimes’ while sitting close to a vast body of water you may not be too far off either. In other words Toniutti (working vertically) has created a lubricious sound that is bespoke in the most underground of sensibilities.
The new re-worked tracks have a methodical atmosphere, like a nightmare involving a rickety rollercoaster. At some point herein the artist did, in fact, incorporate hammers and venetian blinds but instead of something kinetic you might expect from Einstürzende Neubauten here the listener is much closer to the inversion of surfaces and gadgets being deployed. At more than one juncture in the closer, cava recovery, an open circuit seems to be present as well as a nice balance of drone – and this is couched in such a way as to hear not only echoes from objects being struck, but this inert feeling as if you are lurking around the space. As the listener surveils the temperature of shifting tonalities things quiet down to a pivotal numbing murmur.\" [Toneshift]
|
2019 |
€13.00 |
|
| TONTON MACOUTE |
Mureedil |
LP |
“Tonton Macoute is a French band formed in 2006. With a stock of cheap instruments, the trio wanted to find a dense, subtle and massive sound, in order to create motorik soundscapes, psychedelic drones, electric hypnosis and timeless storms. Rehearsals and recordings took place in a basement. Using the studio as an instrument, all the tapes were re-worked to produce this LP record titled “Mureedil”. Early listeners mentioned experimental rock and compared the music of Tonton Macoute to F/i, This Heat, Harmonia or Sonic Arts Union. Etienne Coussirat : guitar, keyboards, drums, percussions, etc. Emmanuel Holterbach : guitar, tapes, analog synth, etc. Jacques Masson : guitar, bass, organ, etc. Recorded from February to June 2006. Edited, mixed and mastered at Studio Fluorescent, Lyon, France from August to November 2007.
Etienne Coussirat (born in 1980) is a musician who builds impossible musical instruments and practices electro-acoustic improvisation. His work focuses on auditory perception and on the exploration of acoustic phenomena. Emmanuel Holterbach (born in 1971) plays enharmonic glasses with Orbes, offers acousmagic experiences with eHœCo, rocks with Tonton Macoute and presents his kaleidoscopic sound environments in Europe, Canada and China since 1992. He’s also in charge of Eliane Radigue’s archives.
Jacques Masson (born in 1974) is a music fan and a music journalist. He writes poems, draws and composes electronic miniatures.
Their first LP titled “Mureedil” is also the first record released by Les Productions Fluorescentes, available now in an edition limited to 300 copies.” [label info]
|
2011 |
€19.50 |
|
| TOOP, DAVID |
Lost Shadows: In Defence of the Soul (Yanomami Shamanism, Songs, Ritual, 1978) |
LP |
"Recordings from 1978 by David Toop of Yanomami ritual songs, shamanistic ceremonies and rainforest sounds. The voices of spirits and animal familiars, ventriloquial illusions of sound in dark spaces, secret spirit languages, the clap of thunder that links shamanic trance with the sleep language of Finnegans Wake...Out of these passages of the everyday, intensity flares like flames caught by a gust of wind. Skin burns or oozes blood, the wind blows up havoc as the spirits move about.
Inclusive 40 PAGE BOOKLET TEXT & PICTURES: the full story of David Toop's fascinating journey in 1978 through the Amazon jungle to meet and record the last Yanomami shamen.
LP version mixed by Lawrence English." [label info]
www.subrosa.net
"If you’ve ever taken an anthropology course in college, you should be familiar with the indigenous Yamomami people of the Amazon. A primitive stone-age tribe dwelling deep in the rainforest that has persisted into the modern day. They’re fascinating to academic researchers and curious lay people alike, the subject of various books and documentaries, noted for such traits as their supposed propensity for violence, their communal living arrangements, consumption of the ashes of the bones of their dead, and hallucinogenic drug abetted shamanism.
Back in 1978, British musician/writer/theorist/recordist David Toop (you’ve likely read his pieces in The Wire or listened to one of his many carefully curated compilations) had the opportunity to travel to Venezuela to visit the Yanomami, which resulted in a privately-pressed lp of some of the ethnographic sound recordings he made on the expedition, released in a small edition in 1980 and never repressed. This double cd release expands upon that original lp, presenting a fuller selection, two discs' worth, of Toop’s Yamomami recordings, wherein mostly unaccompanied human voices (that can sound far from human) chant and sing, imitating animals and speaking with spirits, alongside the jungle sounds of insects, birds, and moths. These healing rituals are certainly interesting from an anthropological point of view... but that’s not really why we’re listing this. The real reason we recommend it is just ‘cause, anthropology aside, the tracks on here are some of the CRAZIEST SOUNDING SHIT we’ve ever heard. Utter insane gobbledy gook, to put it in perhaps less-than-PC terms. Seriously, just listen to the sound samples below, have you ever been that messed up? Grunts, growls, weird warble, bizarre babble, sudden screaming outbursts, mysterious mutter, squeals and whoops. So if you like fucked up sounds, you need some Yamomamis in your collection. Eye from the Boredoms has NOTHING on these guys. Played loud, these tracks would be perfect for anyone who wants to drive their unsuspecting spouse or housemates mad. And boy would they make good outgoing answering machine fodder. Ok, we know people don’t have answering machines anymore, but this might be a good reason to sign up for a landline and go find one!!
Reason enough to buy this. That said, there’s also much more to it than that, and of course you could get in deep, listening to this, reading along in the thick booklet of liner notes that Toop provides, putting you in the moment, there in the jungle, via his 1978 expedition diary, also referencing various surrealists, philosophers, Butoh dancers and avant-garde composers as he shares his thoughts and observations, pondering the meaning and wonder of it all... OR, like we said, just be astounded and amused and amazed by the freaky sounds of these shamans!!!" [Aquarius Rec] |
2015 |
€15.50 |
|
| |
Entities Inertias Faint Beings |
LP |
From David Toop:
The music existed already, spores maybe or dormant clusters of digital files. Out of three periods of solitude the germination began. The first was in Queensland, on Tamborine Mountain (an aboriginal name), so silent at night that I listened to recorded music – Japanese gagaku, Buddhist ritual from Bhutan, Korean Confucian music – as if drifting into cavernous black space. Stepping into sleep I saw a hypnagogic image - a transparent swimming pool suspended over the mouth of a volcano. I read Stephen Mansfield’s book on Japanese stone gardens – “Successful stone arrangements seem almost alive, the elements conversing among themselves with an occult vitality, the call and response that has been noted between well-placed rocks resembling the chanting of Buddhist sutras” ; Daylight listening in chill air, hearing whip birds, butcher birds, noisy mynahs, kookaburra chatter, rainbow lorikeets; catapult elastic, I wrote, radio waves in a kettle, electric buzzers. On Queensland’s Gold Coast I gazed at a distant humpback whale breaching out to sea, watched Yasujiro Ozu’s 1934 silent version of A Story of Floating Weeds, listened to cicadas burst into life as a helicopter flew overhead.
Back into society and driving with Lawrence English I asked him, why would anybody release music in the 21st century? He laid out his philosophy; I was convinced. Then in St Ives, Cornwall, solitary again, drawing, reading Timothy Morton’s Hyperobjects and Clarice Lispector’s Agua Viva (her beautiful sentence: “dry keys echo in the dark and humid early hours”), gazing at ocean flux, music trembling into life from secreted audio files, music becoming living entities. Phantoms rose up out of sea mist, images of black light and blistered skin from photographers (Takuma Nakahira and Tomatsu Shomei), the fermenting of sounds. From a distance I heard voices – the extraordinary painter Mariko Sugano reciting ancient Japanese garden texts on the taboos associated with stone setting; Emi Watanabe’s flute as if a ghost from the Noh; the sounds of underwater creatures in my pond; Sylvia Hallett’s sarangi crying (in cavernous black space); the fervent drumming of Rie Nakajima’s small mechanical beings (like cooking with paper, wire and batteries); John Butcher’s reeds, music as a scientific exploration of the body, the instrument. Rie talked about the properties of objects, soft or hard. In the Noh play Aoi no Ue, the spirit is compelled with drum and plucked string (the catalpa bow).
In solitude I contemplated death, decay, the gush of life. Back in the car, Lawrence told me, when you die you’ll leave many projects unfinished. I laughed. Unspeakable truths, notes for a language to come, maybe not this world.
room40.bandcamp.com/album/entities-inertias-faint-beings
"Composer/performer/improviser David Toop’s latest release traces the seam between sound and music, paying attention to the hidden sounds that surround us and turning silence inside out.
In a lot of ways I’ve come to dislike music,” David Toop told The Wire in 2003. “I love sound, I love silence, but music as a whole I don’t like anymore.” You might assume that would have troubled him, given that Toop, then 54, had been deeply involved with music for most of his life, in virtually every role imaginable: performer, improviser, composer, critic, theorist, archivist, curator, and label owner. But if it represented any sort of crisis for him—six years before, burnout and “indifference to contemporary music” had led Toop to hang up his hat as a music journalist—it didn’t hold back his output. Since making the statement, Toop has continued to perform and lecture, released a half-dozen albums, and written two books, including the recently published Into the Maelstrom: Music, Improvisation, and the Dream of Freedom.
But Toop’s turn away from music, that complicated category of organized sound, has been crucial in one very important aspect: It has allowed him to ask probing questions about the nature of listening. Those questions come to a head on Entities Inertias Faint Beings, his first studio album since 2007’s Sound Body. Offering a vibrant array of rustle and hum, the new album traces the seam between sound and music, between the intentional and the incidental, between expression and mute abstraction. A partial index of its sounds would include the whine of rubbed wineglass rims; shortwave radios on the fritz; the electric buzz of the forest canopy at night; the languid click of fingernails across guitar strings; the whirr and flap of a 16mm film projector’s take-up reel. It is an album about paying attention to the hidden sounds that surround us, about turning silence inside out. And it is an album about using sound to find one's own bearings.
Entities Inertias Faint Beings got its start as an autobiography—or, more precisely, it is the result of what turned out to be an abortive case of writer’s block. Its genesis lies in three periods of solitude: first a stay on Tamborine Mountain in subtropical Queensland, Australia (“so silent at night that I listened to recorded music—Japanese gagaku, Buddhist ritual from Bhutan, Korean Confucian music—as if drifting into cavernous black space,” Toop writes in his introduction to the album), and then on Queensland’s Gold Coast, where cicadas harmonized with helicopters. Back in Cornwall, trying and failing to write his life’s story, he began sifting through several years' worth of personal recordings he had stored on his computer: small, percussive thunks; filament-like drones; the crinkling of paper. Shuffling, layering, and arranging—not so much composing as feeling his way through the material, as if improvising—he added new sounds to the mix, like a quiet passage of acoustic guitar from one of his daily practice sessions, and a hydrophone recording from his garden pond. And in London, he fleshed out the pieces with the help of musician friends. The improvising saxophonist John Butcher lends trilling, bird-like sounds to two tracks; Rie Nakajima's battery-powered motorized objects rattle and whirr, suggesting insect colonies in upheaval.
The overall result—thematically, anyway—is something like one of W.G. Sebald’s literary peregrinations: a palimpsest of place, memory, and accident, although its precise route is unknown to all but its creator. There is little to tell us what any of these clicks and pings might actually be. Several of the album’s track titles suggest cryptic headings scrawled on notecards in dusty filing cabinets: “dry keys echo in the dark and humid early hours”; “pieces of wood and iron, phials of odours”; “sea slug.” They function as indices of possible experiences, and if they explain little—do the bassy gurgles of “sea slug” really come from a gastropod mollusk?—they offer unusual and inviting travelogues consisting of little more than white noise and feral throb.
But Toop can’t quite resist sneaking music—that most elegantly ordered aspect of organized noise—back into the equation. Again and again, understated wisps of melody, harmony, and rhythm surface briefly and disappear just as quickly, sending out ripples that supercharge every corner of this lovely, engrossing album. In the album’s centerpiece, “ancestral beings, sightless by their own dust,” Sylvia Hallett’s sarangi, a bowed string instrument from Hindustani classical music, weaves an eerie, mournful air over slow, methodical pulses. Then, at the track’s end, a jungle’s worth of growling, chirping, buzzing sounds swells and is swallowed in turn by the steady gush of a tropical rainstorm. Toop has compared his compositional processes to traditional Japanese stone gardens—one track, “setting stones,” quotes a thousand-year-old passage on the subject—and at its most engrossing, Entities captures the uncanny qualities of inanimate objects in conversation with one another. It is a way of suggesting that the music exists independently even of its creator; it is a product of the act of listening itself. By the act of focusing our ears, we bring it to life—and vice versa." [Pitchfork]
|
2016 |
€23.50 |
|
| TORBA |
Musique Inconcrete |
LP |
After the quickly sold out »Ggràn« cassette, released on Fragment Factory in 2016, we are very happy to welcome back the Italian sound artist Mauro Diciocia aka Torba for his 2nd contribution to the FF label catalogue. »Musique Inconcrète« is the follow-up to »Musica Conventionale«, released earlier this year on his own Edizioni Aaltra imprint, and marks the second installment in a trilogy of related recordings, informally named »Le Musiche«. While being active in the field of contemporary sound art and noise music for more than a decade, Diciocia has produced a whole lot of mostly small run cassette releases. This LP is Torba's first and long overdue full-length album for the vinyl format.
While Diciocia's latest work is far from being composed in classical terms, the concept behind the album revolves around the idea of sketch or annotation. Or better still: The inconcrète. A semi-false (or semi-correct) french word, used to undermine the consistency of the french Musique Concrète tradition in a rather light-hearted manner. During the conception of this album, MD was strongly influenced by the work »Incompiuto - The Birth of a Style« by the Italian contemporary art collective Alterazioni Video. They loudly claim that Incompiuto – the unfinished – is the only Italian art style of some significance in the past 50 years: "The term ‘incompiuto’ refers to the architectural and infrastructural works whose construction has been halted, and which can be witnessed throughout the entire Italian peninsula. They are all publicly funded, and for a variety of reasons (design errors, political decisions, inaccurate cost estimates, contractors' bankruptcies, evident disregard of building regulations, the disappearance of funds, etc.) their construction has been interrupted, leaving behind a series of ruins in reverse.” (Alterazioni Video)
Far from any reference to post-architecture or mafia-political controversy, the final output of »Musique Inconcrète« is a macro cut-up of sound-screens reorganized as quasi-organic narration: Fragments of unfinished compositions, roughly assembled according to a mere aesthetic criteria. Beyond the sporadic use of oscillators and a few inserts of other people's music manipulated on ¼-inch tape, the whole LP is made out of field recordings collected in the region of Salento in southern Italy, where Diciocia is currently living. All environmental sounds were captured with common consumer electronics (walkman and mobile phones) in order to give back the domestic feeling of an abandoned opera. Speaking of geography, the first track Lapjèdr Fòr is the only exception. Intended as an introduction to the whole narration, it testifies MD's emotional and non-linear journey back from Germany, where he spent about eight years, to Southern Italy: It contains a clashing mix of recordings made in Berlin and around the seaside of Torre Lapillo.
The pictures for the artwork of the album were taken by the photographer Gabriele Albergo, whose perpetual-in-progress project »Salento Death Valley - A Black Diary of the Most Beloved Italian Peninsula« aims to deconstruct the touristically idealized image of the region through the serial production of what he calls anti-postcards.
Edition of 300 copies on black vinyl.
https://fragmentfactory.bandcamp.com/album/musique-inconcr-te
"Many of the sounds on Musique Inconcrète are thin, threadlike, fibrous, like amplified insect legs or the metallic rustle of uncut guitar strings. Usually such a description would apply to an album with much more sound processing and alteration involved in its construction, not a work that relies as heavily on mostly unmanipulated field recordings as this does, but the singular vision that audio collage maestro Mauro Diciocia (a.k.a. Torba) has adopted for Musique Inconcrète is unconcerned with “usually.” The six tracks on the LP are true sonic sketches, a structure he borrows from the Alterazioni Video collective’s tradition of Incompiuto—the incomplete. Diciocia warmly embraces a state of unfinishedness, fully content to explore acoustic settings and movements with qualities that might often be cited as weaknesses: insubstantiality, choppiness, frailty. He uses the aforementioned field recordings—most of which were captured in southern Italy—as fragile canvases for his sketches, their beautifully mundane soundscapes both contributing their own unique textures to the music as well as serving as a base for quiet interjections of buzzing static; occasional and very choice musical samples; and other oddities. The recordings themselves are often shaky and unstable, an effect that’s achieved via either subtle processing or the recording medium itself; Diciocia chose to use basic electronics like small tape recorders and mobile phones to evoke “the domestic feeling of an abandoned opera.” Such careful efforts to fully adopt an intentional lack of polish or seamlessness make Musique Inconcrète not only a fascinating and thought-provoking release but also more lush and well-realized than one could ever think possible." [Noisenotmusic]
"Wenn das neue Torba-Album ein Pendant in der Welt der haptisch erfahrbaren Artefakte hat, dann ist es die Ruine – ein Phänomen, welches das Künstlerkollektiv Alterazione Video jüngst am Beispiel unvollendeter Architektur und Infrastruktur untersuchte, an verschiedenen Konstruktionen, die aus Geldmangel, wegen technischer Probleme, politischer Planänderungen und ähnlicher Gründe Fragment bleiben mussten. In der dazu entstandenen Studie wurden sie als die bedeutendsten Kunstwerke des heutigen Italiens bezeichnet.
“Musique Inconcrète”, erneut eine Reihe an feinsinnigen Cut-Up-Kollagen, wurde stark von diesen Überlegungen getriggert und setzt sich aus eher spontan zusammengesetzten Komponenten zusammen, denen man ihre Fragmentiertheit anmerkt. Benannt hat Torba das Resultat allerdings nicht nach dem Unvollendeten, sondern nach dem “Inkonkreten”, was eine ganze Reihe weiterer Bedeutungsnuancen eröffnet.
Im Vergleich zur One Track-CD “Musica Convenzionale”, dem ersten Teil der losen Reihe “Le Musiche”, erst recht aber zu früheren Veröffentlichungen, sind die sieben Tracks des neuen Longplayers noch ein ganzes Stück dezenter, andeutungshafter und ungreifbarer: Mikrosequenzen, deren Soundmaterial diffus an Zikaden, Straßenlärm, Sinustöne, Wind und Wasser und zwitschernde Vögel, aber auch an jazziges Basspiel erinnert, eine Viel-, wenn nicht Unzahl an per Telefon aufgezeichnetem Material, dazu Songzitate und immer wieder dezente Manipulation – all das liegt übereinander, greift ineinander und verschmilzt doch nur soweit miteinander, dass das Konstrukt einer Einheit verwehrt bleibt. Alles verbindet sich gerade so stark, dass die Konturen einzelner Klänge undeutlich und eben unkonkret werden.
Man kann darin freilich eine Kritik an den Ideen der Musique Concrète, oder zumindest das Aufzeigen einer Kehrseite und eines blinden Flecks sehen, betonten die Pioniere dieser Musik doch besonders das Material in seiner wie selbstverständlich angenommenen Abgegrenztheit. Die einzig deutliche Grenze, die Torba hier zieht, ist die des immer wieder überraschenden Schlusspunktes einer Sequenz oder einer Tonspur, womit er an einige seine früheren Tape-Veröffentlichungen anknüpft. Torba ist nach wie vor ein Gelände mit vielen abrupt endenden Sackgassen. Mehr noch als in den opulenteren Stücken wird dies in den zwei minimalistischen “Intermezzi” deutlich, in denen der (teils verfremdete und im Tempo hochgeschraubte) Auftakt einer berühmten Klaviersonate durch ein Szenario verhuschter Sounds getrieben wird. Daran, dass das Motiv immer wieder nach drei Tönen de nova da capo geht, mag man sich gar nicht gewöhnen, und soll es vielleicht auch nicht.
In dieser Spannung, in der die einzige klare Kontur die Evidenz des Unfertigen ist, liegt die Signifikanz und natürlich die größte Herausforderung von “Musique Inconcrète”. Hat man sich daran gewöhnt, erkennt man viel Schönheit in dem Gebräu aus Verkehrslärm, Stimmengewirr und verschwommener Jahrmarktsmusik." (U.S./African Paper) |
2019 |
€18.00 |
|
| TORTURING GIRL (=TORTURING NURSE + ALO GIRL) |
same |
LP |
Torturing Girl is a great collaboration between Torturing Nurse and Alo Girl. In 2004, Junky and Misuzu created the Harsh Noise project “Torturing Nurse” in Shanghai in the spirit of Hijokaidan. Originally, the band’s classical line-up included Youki, Misuzu, Miriam and Junky. They use contact mike, metal, pedal, feedback, voice and guitar. Since 2010 Tourturing Nurse consists of Junky and Youki. Alo Girl is dissolute and cruelly Italian HNW/ Harsh noise project by Cristiano Renzoni (whose also the other half of Richard Ramirez’s An Innocent Young Throat-Cutter) and it debuts in 2009 with its first LP. He uses analog electronics, pedal and contact mike in order to create sonic wall construction where brutality appears to be the inevitable outcome. This angry LP comes in a deluxe silver silkscreen on black cardboard sleeve, limited to 119 hand numbered copies w/8 pages mini-booklet.
Listen to extract at: www.urashima.it/uma019.html
|
2011 |
€25.00 |
|
| TOTSTELLEN |
KSR |
CD-R |
"Gerda Grimm ist mit ihrem Projekt TOTSTELLEN eine der Wenigen, die mit Noiseästhetik und entsprechender Verpackung unvermindert auch noch ein genuin industriales, nämlich fundamental systemkritisches Bewusstsein verbinden. Die Verhältnisse werden als Zumutung wahrgenommen, als anästhetischer Angriff auf Sinn und Sinnlichkeit. Ästhetik ist untrennbar mit Ethik verbunden. Hinter kapitalistischen Fassaden fällt der Blick 360° auf dystopische
Abgründe. Die Utopien der einen erfüllen sich als Alpträume der anderen. Unproduktive Relikte, zwischenzeitlich als Niemandsnischen besetzt, werden von Abrissbaggern demoliert. Zwischen den Trümmern beginnt die Suche nach neuen Alternativen, nach Auswegen aus Nutzungszwang und Profitlogik. Schritte knirschen auf verschneitem Bauschutt. Der Krach des Abbruchs und der Klang der Fragmente und des Schutts sind auf KSR (Totes Format / 2000+1 tilt, totform07, CD-R + video) Quelle einer Musik aus geklopfter, federnder, rumpelnder, sägender Zweckfreiheit, mit dem Beat von
Mauerspechten, der sich mit alarmiertem Sirenengesang mischt. Tinguely-Automaten aus Schrottteilen schnurren und pulsieren ihren spielerischen Leerlauf. Homo ludens vs. Homo oeconomicus, ohne große Worte." [Rigobert Dittmann / Bad Alchemy]
www.tiltrecordings.org
"KSR consists of recordings of empty office buildings KSR 8 and 10, where a lot of money has been raised and now they are abandoned. The field-recordings are edited with a four-track recorder. Also Totstellen uses instruments made from objects found in these empty buildings. The recordings were made in 2002 and 2003 in Hamburg. The atmosphere of the music in noise and industrial. KSR 8 ends with a lot of feedback tones. KSR 10 is is more quiet and you will walk into different rooms and atmospheres. This one also shows a film with shots of the demolition of one of those buildings. A beautiful piece of music about critics to the ruins of capitalism." [JKH/Vital Weekly]
|
2009 |
€12.00 |
|
| |
Mein Licht beleuchtet nur Abgruende |
CD-R |
"processed fieldrecordings of a journey through the baltic states, finland + lapland. reflections on constructed nature + disruption as utopia.
01 - anorexie im bauch eines wals (12:42)
02 - faules blut in molochs adern (19:38)
03 - keinen traum mehr zu haben (01:24)
04 - fuer die noch lenenden toten (17:32)
05 - vermehrt zu gast im laeukemiecluster (23:38)" [label info]
http://telenautik.de/grimm/totstellen
"Der Alptraum kommt in lautleisegefälligen Schritten, die baltischen Länder bieten neben der touristisch entlegenen Industrieromantik auch etwas wie ein dreckig-verschlafenes Lokalkolorit, welchem mit Mikrophon und Sampler zu Leibe gegangen werden kann. Wann beginnt der Alptraum wirklich? Dann wenn man aufwacht und feststellt, dass die Realität sich bei aller Authentizität doch beliebig verformen lässt. Totstellen hat in 5 Kompositionen seine einjährige Reise durch die baltischen Länder festgehalten, streng feldrekorderistisch, wie ein audiophiles Tagebuch welches die jeweiligen Reisemomente auf ehrlichste und naheliegendste Art zu skizzieren vermag. Mal rauschen die Bäche, dann wiederum dräunt und hallt der industrielle Alltag der Straßen und öffentlichen Plätze durch die Aufnahmen, werden Funkstimmen und Wassertropfen zu grotesken Klangmonstern, die ihre Formwandlung auf unerklärlich hässlich-faszinierende Weise exhibitionistisch zur Schau stellen. Wenngleich Totstellen’s Abgründe sich ihrer Funktion wohl nur im Gedächtnis seiner eigenen Reiseerinnerungen öffnen, atmet »Mein Licht Beleuchtet Nur Abgründe« eine ganz eigene Sprache, das verworren-gutturale Geflecht aus Erinnerung und Lücke. Die archaische Umverpackung, handgenäht und mit Siebdruck versehen, macht aus diesem Release eine besonders intime Angelegenheit. Chapeau." [Thorsten Soltau / AEMAG]
"...Totstellen uses both field recordings, but plays music, sound material creates what he encounters, like the rustle of plastic and metal buckets on ticking. In one way or another, the atmosphere is nostalgic and melancholic compositions and are true sound paintings. These beautiful CDR's packaged in a self-sewn cover with a picture book where the emptiness of the city and nature plays a central role. Highly recommended!" [JKH/Vital
Weekly]
|
2010 |
€12.00 |
|
| TOY BIZARRE |
kdi dctb 122 [f] |
mCD-R |
Neues Material von TOY BIZARRE, seit jeher eines unserer Lieblings “turn field-recordings-into-something-new”-Projekte ! Wir bekommen
eine Natursound-Traum-Melange zu hören mit anschwellendem Metall-Dröhnen wie bei BERTOIA & urlangem Klirr-Crescendo, fantastisch !
"kdi dctb 122 [f]" is an alternate mix from "kdi dctb 122". "kdi dctb
122" was a sound work of interpreted cartography whose theme was, on one hand, the sound environment in an area of 750m around the village of La Pommerie (in the town of St Setiers), and on second hand, the sound events related to the birth of the morning dew in the same area. Work was made of many recordings in/on 10 "micro-places" of the area ; every element was recorded. These field recordings were later sculpted with hard & and software. "kdi dctb 122 [f]" was done in november 2005 by cédric peyronnet. This stereo-reduction was |
2006 |
€5.00 |
|
| |
kdi dctb 257 [A] |
mCD |
"On “kdi dctb 257 [A]”: In 2010-2011 I was invited to work with 2 groups of students within the frame of « Territoires sonores, portée art'ur, réseau d'action culturelle
deslycées agricoles publics des Pays de La Loire », in the cities of Saint-Herblain and La Roche-sur-Yon. We worked for a few months listening, recording, and composing with their
sound environment. I was particularly interested by one the recording session they made in the Conservatoire de Musique: hearing instruments through walls, stairs and corridors... It sounded really great... a basis for a a real maze. So it became my basis to what I call "my first ever pop music piece", which is a real maze, a glance through the building at first, and then it goes deeper
and deeper."
Biography
Cédric Peyronnet (aka toy.bizarre / ingeos) is a sound artist working since the ’90 around phonography (Field recordings, “sound hunting”…), soundscapes, using the principles of concrete, acousmatic, electroacoustic
music. His work, whose main theme is the exploration of places by sound recording,
listening and sound sculpting, take form of compositions and sound pieces (CD, Vinyl … more than fifty references published since the ‘90), concerts, sound screenings and sound installations." [label info]
www.aufabwegen.com
|
2015 |
€8.50 |
|
| TOY DIVISION |
Cute |
LP + 7inch |
Melbourne based TOY DIVISION (Dick Sallows with help from friends Phillip McKellar (Informatics) and Martin Fripp (sound engineer)) with their fantastic electronic album "CUTE” from 1983.
The CUTE Lp includes a Bonus 7 inch sampler with 4 more tracks previously released on other Temporary Art Tapes between 1981 and 1983.”
"TOY DIVISION's music style ranges from ‘Nulabor’ an Aussie ‘Autoban’ , to an ambient 'Autumn Trees', to post punk political commentary on 'Beurit' and 'John Wayne once told me’ which are still relevant today, re: Syria and Trump.”
Tracklist Lp: CUTE Lp (1983)
A1 Beuritt 5:30
A2 Autumn Trees 6:50
A3 Nulabor by Train, Car & Foot 7:06
A4 Alcohol 7:15
B1 Glass 5:16
B2 Saturday Theme 6:33
B3 Melbourne Winter 5:14
B4 Strikebound 4:59
B5 Previously Unreleased Track: John Wayne once told….5:19
Bonus 7inch
Tracks from T.ART1-3 and previously unreleased (1980-1983)
A1 T.ART 001 Challenge of Change - Oh Routine.mp3 3:11
A2 T.ART 002 Toy Division - A THEME TO CLEAN TEETH TOO!.mp3 2:33
A3 T.ART 004 My Baby has left me and I've got the Blues, Blues, Blues.mp3 3:57
B1 T.ART 003 Toy Division - The Botony Bay Disease - Bath Tubs.mp3 9:05
Checkout more on :
https://toydivision.bandcamp.com/releases
https://www.youtube.com/watch?v=PCXDIuApJhc
https://www.vod-records.com/-1-432-672.htm
|
2020 |
€21.50 |
|
| TREPANERINGSRITUALEN |
Deathward, To The Womb |
LP |
"Trepaneringsritualen's long out of print debut release, Deathward, To The Womb (2012) finally sees a proper reissue. An invocation not so much of Babalon herself, but of the tormented elemental of Frater T.O.P.A.N., and his fervent attempts to usher in the Æon of Horus. In the lyrics - based on the texts of Frater T.O.P.A.N. on the Babalon Working - the perilous flame that is Babalon is called upon to ravage creation. She is asked to scorch the earth clean for the coming cosmic renovation. The Eternal Virgin would spring from Her womb. From Her love, the new divine man would be born. 70 years after the Bablon Working was deemed successfully concluded, its utter failure is painfully apparent. "All love songs are of me" She says. This is certainly true of the first five songs of Deathward, To The Womb. The final songs, "All Hail The Black Flame", seem different altogether. In this guise, Babalon brings not solely love, but cataclysm; a holocaust brought upon the domain of Man. Manifested as the Black Flame, She reaches from a time before time, formless chaos, and rips apart the very fabric of the created worlds. Such is Her nature: two opposing principles; that of the nurturing mother, and that of the callous destroyer. "She is flame of life, power of darkness - She destroys with a glance - She may take thy soul. She feeds upon the death of men." Babalon was summoned at Winter Solstice 2015 under the sign of n, with assistance from Alone In The Hollow Garden, A.I.L of Arktau Eos, Michael Idehall, KzR of Bölzer, Nÿland ii of Hadewych, and Æther. To destroy and to give life. This ritual has concluded and was successful. Appended to the six original songs is a specially commissioned 12 minutes and 57 seconds long ritual work entitled "I Remember When I Was God", and attributed to Teeraal Räum Pheynix."
www.coldspring.co.uk
"Seit "Perfection & Permanence", dem letzten regulären, 2014 erschienenen Studioalbum von TREPANERINGSRITUALEN kümmert man sich beim neuen Hauslabel COLD SPRING offenbar verstärkt um das Aufforsten vergriffener Werke des umtriebigen Okkult-Post-Industrial-Kuttenträgers aus Göteborg, und so ist nach "Veil The World", der Reissue eines Tape-Boxsets aus dem Jahre 2011, nun "Deathward, To The Womb" dran. Das Original erschien 2012 als eine der allerletzten Veröffentlichungen des, noch im selben Jahr verschiedenen, schwedischen Label RELEASE THE BATS im 10''-Format in einer recht übersichtlichen Auflage von 275 Stück. Damit sich die Anschaffung der, nunmehr als CD und LP erhältlichen Wiederveröffentlichung auch für jene Klientel lohnt, die das gute Stück im Original ihr Eigen nennen, hat man seitens COLD SPRING noch den knapp 13-minütigen Track "I Remember When I Was God" obendrauf gepackt, der 2015 in genretranszendierender Zusammenarbeit mit allerlei illustren Zunftgenossen wie MICHAEL IDEHALL, ÆTHER oder dem BÖLZER-Frontmann KZR aufgenommen wurde. Auf der CD prangen zwischen dem letzten regulären Stück der Original-10'' und dem besagten Bonbon übrigens zwölf, jeweils viersekündige "Silent Tracks" – was genau das letztendlich nun soll, erschließt sich dem Rezensenten nicht wirklich, und daran ändert auch eine entsprechende Anmerkung auf der discogs-Seite der CD – "Tracks 7-18 contain no music, but are part of the T × R × P ritual" - rein gar nichts, doch was soll's: dass THOMAS MARTIN EKELUND, der Mann hinter TREPANERINGSRITUALEN, eine ausgeprägt paramystizistische Ader und ein erklärtes Faible für okkultistische Umtriebe hat, ist ja nun hinlänglich bekannt, und insofern wird sich der Mann schon irgendwas dabei gedacht haben, was dem Endergebnis dienlich ist bzw. war. Der Verbraucher muss schließlich nicht alles wissen & verstehen, was zum Produkt beigetragen hat, und entscheidend ist ja, nach des Altkanzlers Helmut Kohl weisen Worten, am Ende immer nur, was hinten 'rauskommt: im vorliegenden Fall weiß das jedenfalls durchaus zu gefallen.
Nach dieser kurzen Einleitung dürfte dem Leser bereits klargeworden sein, dass es sich bei "Deathward, To The Womb" um ein dezidiert "rituelles" Werk handelt, weshalb derjenige an dieser Stelle bereits vorgewarnt sein soll, der primär auf nach vorne losbratzende Gassenhauer wie "Judas Goat", "Papist Pretender" oder "Castrate Christ" schielt: Abgesehen von der geradezu atemberaubend treibenden Quasi-T × R × P-Hymne "All Hail The Black Flame", einer todsicheren Bank während jeder Live-Darbietung des Schweden, ist's mit dergleichen nach vorne losgehendem, rumpeligen Black-Post-Industrial auf dem vorliegenden Album ansonsten eher Essig. Es dominiert jene konzentrierte, fiebertraumartige Lo-Fi-Gruselatmosphäre, die die Phantasie des Hörers auch ohne expliziten Hinweis in nachtfinstere Bereiche namenloser In- & Evokationen lenkt, wie sie Meister EKELUND so gerne thematisiert. Und ganz in diesem Sinne rekurriert "Deathward, To The Womb" auf die so genannten "Babalon Workings", eine Serie magischer Rituale, die 1946 vom späteren Scientology-Gründer L. Ron Hubbard und dem Raketeningenieur (sic!) und Autor Jack Parsons – okkulter Ordensname "Frater T.O.P.A.N" – durchgeführt wurden, um eine Inkarnation der thelemitischen Entität Babalon – einer Art archetypischen weiblichen Gottheit auf Basis der mythomagischen Modelle Aleister Crowleys – zu manifestieren. Wie die Fama munkelt, warnte "Ipsissimus" Crowley Parsons vor den schwer kontrollierbaren Effekten seines Unternehmens, und das nimmt wenig wunder, bezeichnet Babalon doch ein Konzept, das seine passendste Analogie wohl in der hinduistischen Göttin Durga bzw. deren dezidiert "dunklem" Aspekt Kali hat: es vereinigt in sich die Polarität des Hervorbringens und des Verschlingens, mithin des Lebens und des Todes. Parsons jedoch war guter Dinge, erklärte nach einiger Zeit den ersten Teil des Rituals für erfolgreich abgeschlossen, um unmittelbar danach seine spätere Frau Marjorie Cameron kennenzulernen, bei der es sich seiner Überzeugung nach prompt um ebenjene Manifestation der Babalon handelte, die Hubbard und er beschworen hatten. Nachdem Parsons aufgrund eines tödlichen Unfalls verstorben war (ursächlich war eine Explosion in der heimischen Küche während des Hantierens mit allerlei hochsensiblen Substanzen, die das halbe Haus in Schutt und Asche legte – wahrlich ein, eines Raketeningenieurs würdiges Ende!), verrannte sich seine Witwe in die Theorie, ihr Göttergatte sei von finsteren Mächten ermordet worden, blieb ihrem magischen way of life aber treu und spielte noch bis ins hohe Alter eine illustre Rolle in thelemitischen Künstler- und Okkultistenkreisen. Zu ihrem Freundes- und Bekanntenkreis zählte von KENNETH ANGER (in dessen Kurzfilm "Inauguration Of The Pleasure Dome" sie die Rolle der Scarlet Woman aka Babalon bzw. der Kali übernahm) über ANTON LA VEY bis zu GENESIS P. ORRIDGE so ziemlich alles, was in der einschlägigen Szene Rang & Namen hatte. Marjorie Cameron verschied 1995 im Alter von 76 Jahren, nachdem sie auf dem Sterbebett im Krankenhaus die letzten thelemitischen Sakramente durch eine Hohepriesterin des O.T.O erhalten hatte.
Der vergleichsweise ausführliche Exkurs über die Dame ist durch die thematische Agenda von "Deathward, To The Womb" bedingt: "An invocation not so much of BABALON Herself, but of the tormented elemental of Frater T.O.P.A.N., and his fervent attempts to usher in the Æon of Horus." Die Lyrics, so die labelseitige Auskunft weiter, seien anhand der Schriften des Frater T.O.P.A.N alias Jack Parsons entstanden und thematisieren das Babalon-Konzept als schwarze, den Erdkreis kathartisch reinigende, Flamme, nach deren segensreichem Großreinemachen aus der Asche der alten Welt ein neuer Quasi-Gott-Mensch hervorgeht. Die fragliche eschatologische Powerfrau sah Parsons, wie gesagt, in seiner Marjorie bereits idealtypisch verkörpert, womit der Erfolg der gesamten Veranstaltung für ihn außer Frage stand – schon Crowley war da skeptisch, und im Lichte der Erfahrung haut der Promotext in exakt dieselbe Kerbe: "70 years after the Bablon Working was deemed successfully concluded, its utter failure is painfully apparent." Und in der Tat – blickt man in der Weltgeschichte so um sich, ist man spontan geneigt, zuzustimmen: weit & breit nüscht zu sehen vom "new divine man", ganz im Gegenteil. So gesehen verlegt "Deathward, To The Womb" den Focus von PARSONSs schwachbrüstiger Happy-End-Finalität auf den wesentlich lebenswirklicheren, nämlich verschlingenden, kaliesken Aspekt Babalons, der exemplarisch im bereits erwähnten "All Hail The Black Flame" zum Ausdruck kommt: "In this guise, BABALON brings not solely love, but cataclysm; a holocaust brought upon the domain of Man. Manifested as the Black Flame, She reaches from a time before time, formless chaos, and rips apart the very fabric of the created worlds. Such is Her nature: two opposing principles; that of the nurturing mother, and that of the callous destroyer." Rein musikalisch handelt es sich hier zweifellos um den T × R × P -Klopper schlechthin: unterlegt von martialischem, treibend-wummerndem Getrommel und rhythmischem Metallschlagwerk krakeelt sich EKELUND die schwarze Seele aus dem Leibe und beschwört das Jüngste Gericht – herrlich, einfach herrlich!
"»All love songs are of me« She says. This is certainly true of the first five songs of Deathward, To The Womb", so der Promotext, wobei, naja, von "love songs" im engeren Sinne hier sicherlich nur die wenigsten sprechen würden, doch insofern die ersten fünf Stücke sich alle durch ihren rituell-kontemplativen, teilweise devotionalen und bisweilen gar hymnischen Charakter auszeichnen, kann man sie in einem sehr weiten, übertragenen Sinne tatsächlich so bezeichnen. "The Birth Of Babalon" und der anschließende Titeltrack klingen wie Meditationssessions am Grunde des Hades – hier wie zumeist ist es freilich insbesondere EKELUNDs gutturales Gegurgel, das diesen speziellen, dämonischen Mehrwert maßgeblich generiert. "Osiris, Slain & Risen" (der Bezug zum Babalon-Konzept ergibt sich durch Osiris' Ehefrau Isis, die die Einzelteile des von seinem Bruder Seth Ermordeten und Zerstückelten einsammelt und neu zusammensetzt) wirkt durch den monotonen, trockenen und dumpfen Grundrhythmus, über dem EKELUNDs Gezeter dahintreibt, fast noch eine Spur finsterer. "She Is Flame Of Light" ist ein weiterer Höhepunkt des Albums und als solcher treibender und hypnotischer als die vorangegangenen Tracks, wobei es insbesondere die stimmig übereinandergeschichteten Vocals sind, die für den morbiden Charme ursächlich sind. "Sacrament & Crucifixion", obgleich ebenfalls keineswegs übel, geht danach etwas unter und hinterlässt insgesamt einen vergleichsweise indifferenten Gesamteindruck. Danach folgt "All Hail The Black Flame": toll, toll, toll – aber davon hatten wir's ja schon mehrfach. Bleibt zu guter letzt noch der Bonustrack "I Remember When I Was God", doch, um's kurz zu machen: obgleich der Rezensent insbesondere die langen, rituellen Stücke von TREPANERINGSRITUALEN – so z.B. "ÅKALLAN: Mímir" vom DEATHSTENCH- oder "Edifice Of Nine Sauvastikas" vom ÆTHER-Split – ausdrücklich zu schätzen weiß, so haut ihn das hier jetzt nicht so wirklich aus den Latschen. Irgendwie klingt die Nummer im Ganzen ein klitzekleines bisschen disparat, man vermisst diese gewisse innere Spannung, die die einzelnen Elemente zusammenhält und zu einem kohärenten Ganzen zusammenfasst. Mag am Ende vielleicht auch an der Vielzahl der Beteiligten liegen, denn, wie sagt das Sprichwort doch so schön: "Zu viele Köche verderben den Brei". Und bei "I Remember When I Was God" haben möglicherweise wirklich zwei oder drei Köche zu viel mitgemischt. Wobei der Brei freilich trotzdem nicht unbedingt verdorben, sondern durchaus genießbar ist, nichtsdestoweniger hat man dergleichen von TREPANERINGSRITUALEN schon mal besser gehört.
Summa summarum rubriziert "Deathward, To The Womb" trotzdem ohne Wenn & Aber unter "Pflichtkauf": zum einen, weil es sich dabei schon jetzt um so etwas wie einen zeitgenössischen Klassiker des Genres handelt, zum anderen, weil es einfach ein spannendes, fesselndes Album ist, das selbst in seinen ruhigen Passagen so mitreißend und stimmungsintensiv ist wie wenig andere. Obendrein bekommt derjenige, der vor dem Hintergrund der vergleichsweise schmissigen 2014er Scheibe "Perfection & Permanence" Lust bekommen hat, sich in die etwas abgelegeneren Gefilde des EKELUNDschen Oevres einzuarbeiten, mit dem hier versammelten Menü eine hervorragende Einführung an die Hand. Im übrigen macht diese Neuauflage Lust auf mehr. Und wer "A" sagt, muss bekanntlich auch "B" sagen. Ganz in diesem Sinne fiebert der Autor dieser Zeilen jetzt schon prophylaktisch möglichen Reissues von "Roi Perdu" oder "Septentrional" entgegen: ist das nicht 'ne super Idee, Herr EKELUND? Bei COLD SPRING wenigstens wäre man dafür bestimmt Feuer & Flamme – schwarze Flamme!" [Endsal / NON-POP] |
2017 |
€19.00 |
|
|
Algir; Eller Algir I Merkstave |
LP |
Trepaneringsritualen return to Cold Spring with an album-long ritual working entitled ᛉᛦ — Algir; eller Algir i Merkstave. On this record — constructed from a series of rituals designated to guide the last ceasing of ᛏᛇᚱᚫ ᚾ ∴ ᚾ ∴ ᚾ — T × R × P is manifest in its most obscure form. Sonically minimal yet devastating in emotional impact, this working lets the listener grasp the last vestiges of Nifl and Múspell, and with them as weapon and beacon traverse the Night. ᛉᛦ reveals a barren landscape where crooked paths lead onward, through soot black veils to a point of radiant light where all that is is Union & Dissolution.
Dedicated to our sister, ᛏᛇᚱᚫ ᚾ ∴ ᚾ ∴ ᚾ.
T × R × P channelled through the forms of ᚦᛟᚦ ᚷᛁᚷ, ᚾᛟᚺ ⩝⚭⩝, and ᛏᛇᚱᚫ ᚾ ∴ ᚾ ∴ ᚾ at the 63rd Link, 4 & Rising, and Zone Rouge December 2017 e.v. — July 2018 e.v. Mastered by Martin Bowes. Artwork by Nullvoid.
___
I tordön rister marken och i ett enda andetag rämnar alla världar. Den arma kropp som en gång med knapphet höll samman faller nu itu, och itu, och itu. Tills varje beståndsdel blir till Ingenting. Likt en vålnad utan hud och blod och anda — utan köttets förtvivlan — kastar jag mig — handlöst och av vanvett vredgad — i ditt vidunderliga gap.
Här, i gudars sotsvarta skymning, där natt och dag förgås, hörs alla ord och stäv för första gången tydligt. Här tar alla vaga förnimmelser sin sanna form och stiger ur ett disigt skimmer.
Här, i alla solars gyllne gryning, strålar tusen — åter tusen, pilar av det mest förblindande ljus, mot en enda punkt. Skapandet, och varandet, och blivandet löses upp där prisman splittrar ljuset. Framför mig syns vägen klar och uppenbar.
Vi Vandrar Vidare
V ∴ V ∴ V
CD in 6-panel digipak
LP - Limited first edition of 500 copies on 180g black vinyl. Printed inner sleeve with reverse board outer sleeve.
Official teaser: youtu.be/8bTlXaUPpzI
https://coldspring.bandcamp.com/album/algir-eller-algir-i-merkstave-csr275cd-lp |
2019 |
€22.50 |
|
|
Algir; Eller Algir I Merkstave |
CD |
Trepaneringsritualen return to Cold Spring with an album-long ritual working entitled ᛉᛦ — Algir; eller Algir i Merkstave. On this record — constructed from a series of rituals designated to guide the last ceasing of ᛏᛇᚱᚫ ᚾ ∴ ᚾ ∴ ᚾ — T × R × P is manifest in its most obscure form. Sonically minimal yet devastating in emotional impact, this working lets the listener grasp the last vestiges of Nifl and Múspell, and with them as weapon and beacon traverse the Night. ᛉᛦ reveals a barren landscape where crooked paths lead onward, through soot black veils to a point of radiant light where all that is is Union & Dissolution.
Dedicated to our sister, ᛏᛇᚱᚫ ᚾ ∴ ᚾ ∴ ᚾ.
T × R × P channelled through the forms of ᚦᛟᚦ ᚷᛁᚷ, ᚾᛟᚺ ⩝⚭⩝, and ᛏᛇᚱᚫ ᚾ ∴ ᚾ ∴ ᚾ at the 63rd Link, 4 & Rising, and Zone Rouge December 2017 e.v. — July 2018 e.v. Mastered by Martin Bowes. Artwork by Nullvoid.
___
I tordön rister marken och i ett enda andetag rämnar alla världar. Den arma kropp som en gång med knapphet höll samman faller nu itu, och itu, och itu. Tills varje beståndsdel blir till Ingenting. Likt en vålnad utan hud och blod och anda — utan köttets förtvivlan — kastar jag mig — handlöst och av vanvett vredgad — i ditt vidunderliga gap.
Här, i gudars sotsvarta skymning, där natt och dag förgås, hörs alla ord och stäv för första gången tydligt. Här tar alla vaga förnimmelser sin sanna form och stiger ur ett disigt skimmer.
Här, i alla solars gyllne gryning, strålar tusen — åter tusen, pilar av det mest förblindande ljus, mot en enda punkt. Skapandet, och varandet, och blivandet löses upp där prisman splittrar ljuset. Framför mig syns vägen klar och uppenbar.
Vi Vandrar Vidare
V ∴ V ∴ V
CD in 6-panel digipak
LP - Limited first edition of 500 copies on 180g black vinyl. Printed inner sleeve with reverse board outer sleeve.
Official teaser: youtu.be/8bTlXaUPpzI
https://coldspring.bandcamp.com/album/algir-eller-algir-i-merkstave-csr275cd-lp
"After a run of strong albums framed around vocal driven, rhythmic death industrial compositions, Trepaneringsritualen (TxRxP) has chosen to take an abrupt left-hand turn (onto the left hand path?) to deliver an extremely minimalist ritual dark ambient album, thus harks back to an earlier phase of the project. In fact this new instrumental album is so minimal and ritualized in style, it would not at all be out of place on the Aural Hypnox label.
Compositionally this album consists of two lengthy nineteen-minute tracks, each titled with the algiz rune, but noting for the second track the algiz rune has been inverted. To glean meaning from this, in its upturned position, the algiz rune can be interpreted as a human with upraised arms to received the protection, guidance and wisdom from the Universe. But in its inverted position can be interpreted as meaning hidden dangers for the self and the need to reflect and look within as part of the process of gaining strength and connecting with higher self. Yet even with the cover image of the algiz rune formed by tree branches, based on the spartan artwork and text in Swedish, how the algiz runes should be interpreted in context of this album remains unclear.
Sonically speaking the atmosphere is one of bass driven tonal depth and catacombic echo, where blackened washes of archaic drones blend with reverb drenched ritual percussive sounds, including: deep catatonic drum hits; sparse gongs; wailing horns; ritual chimes; singing bowls, low atonal piano notes etc. Yet for all of its apparent minimalism, this album is one that immediately draws you into its sinister clutches and does not loosen its grip for the entire album duration, particularly given the ample tensile sonic elements which keep interest and engagement throughout. Although cut into two separate tracks, the sound effectively plays out at an album length track as the sound between the two pieces bridges the same pace and articulates visions in the mind’s eye of a ritual ceremony being conducted in the falling twilight on the damp forest floor, while tree limbs creak and sway in response to the winds gusting through treetops far above. Also of note is the deep shuddering thud featuring at the start and end of the album album, as if sonically representing the opening and subsequent closing of a ritual cycle.
Prior to the release of this album, perhaps I had assumed that TxRxP would continue to forge ahead with a song-based approach. That impression has been proven to be completed incorrect, but at the same time, ᛉᛦ – Algir; Eller Algir I Merkstave is an exceptional example of minimalist and strongly meditative ritual dark ambient music, and completely takes me back to the earliest days of when I started listening to this type of music. Recommended." [Noise Receptor]
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2019 |
€13.00 |
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Oberhausen Ritual |
LP |
12" heavy 180 gram black vinyl. solid black matte cardboad sleeve with glossy black hot-foil print, plus 12" inlay and sticker. this lp includes an mp3-download-code. hand numbered edition 200 copies + overpressing
it was in the fall of 2016 that trepaneringsritualen in the shape of th.oth XIX graced the maschinenfest stage with one of their infamous rituals, and naturally this is mandatory to be documented via the raubkauf series. trepaneringsritualen has made quite a name for itself, with the signature “dödsindustri” sound since 2008, an especially vile brew of upfront electronic noise, feedback and agitating night-rhythms, fuelled by eclectic references to all kinds of magick.
the set presented on “oberhausen ritual” is a concise representation of their musical output so far, familiar tracks alternating with unheard ones, all coalescing into an intoxicatingly vile stream of sound, clocking in well under 40 minutes, yet leaving nothing to be desired.
it’s with the bleak abyss of “immaculate & incorporeal” that the listener gets sucked into the otherworld that is trepaneringsritualen, with th.oth XIX’s trademark vibrant, guttural vocals kicking in on “a black egg”, and “the 7th man” offering the first appearance of the drums of death. from there, it’s a constant buildup, with every track adding more of the ritual’s raw, primordial force, culminating in the glorious “he who is my mirror”. and it’s that grand finale which also best exemplifies his crossover credibility with other extreme music scenes (i.e. metal).
the success of trepaneringsritualen doesn’t simply come from producing led-heavy death industrial, it comes from being unique and authentic. originality and dedication, simplicity and a more than convincing overall picture – to which this live document adds an important feature.
https://raubbau.bandcamp.com/album/oberhausen-ritual-live-at-maschinenfest-2016 |
2020 |
€25.00 |
|
| TRICOLI, VALERIO |
Say Goodbye to the Wind |
Shelter Press 139cd |
The Palermo born, Munich based composer, Valerio Tricoli, has forged a singular path within experimental sound practice, continuously rethinking the relationship between electroacoustic composition and narrative possibility. Say Goodbye to the Wind is his first album with Shelter Press. Across three intricate, deeply personal works of concrète music, the composer blurs the boundaries between the tangible and abstract, weaving complex allegories for the self. Most commonly created on a RevoxB77 reel-to-reel -- manipulating, live sampling, and real-time editing/mixing of field and studio recordings -- in Tricoli's hands, estranged moments of sonorous ephemera transmogrify and intertwine as metaphorical and allegorical sums, far greater than their parts. The title of Tricoli's sixth full-length is taken from a story by J.G. Ballard, set in the desolation of a holiday resort that rests among a landscape of endless rolling dunes that are populated by "sound sculptures" and monsters. Historically, one of the primary pursuits of musique concrete is the transformation of everyday sonority into abstractions of profound meaning and weight. While this process unquestionable played a heavy hand in the composition of Say Goodbye to the Wind, Tricoli's approach to the idiom sets the stage for something entirely unique. Not only are the practices of tape music applied to field recordings, but to the sounds of piano, synthesizers, objects, and the composer's voice, in addition to interventions by Ecka Mordecai (cello), Lucio Capece (soprano saxophone), and Ida Toninato (vocals). "Lo Spopolatore", draws its title from Samuel Beckett's short story Le Dépeupleur (The Lost Ones). Tricoli's work weaves together a multitude of sonorous fragments: field recordings, voice, and diverse instrumentation. "Mimosa Hostilis" -- the name of a Brazilian plant which contains DMT -- begins with same recording as its predecessor, made of his son's breathing, a few months after his birth, in the Sicilian sea wind. Here, Tricoli treats his sources with pointillistic precision, intermingling vocal and minimal instrumental gestures into a polyrhythmic patter that transforms commonplace sonority into aural echoes of wind, rain, the shadowy species within. The title of "De Vacuum Magdeburgicus" is taken from the name of the first paper published by Otto von Guericke, a 17th century, German scientist, inventor, and politician. While no less oriented around the abstract possibilities activated by field recordings, "De Vacuum Magdeburgicus" is the album's most explicitly musical work. Warbling instrumental sounds and vocal interventions, bent by the hand tape manipulation, push toward heightened states of drama and tension, pushing and pulling against a vast pallet of textures drawn from the natural word and beyond. Artwork by Mårten Lange. Mastered by Rashad Becker.
https://shelterpress.bandcamp.com/album/say-goodbye-to-the-wind
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2022 |
€18.50 |
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| TROUM |
Tjukurrpa (part three: rhythms and pulsations) |
CD |
“ Dronecore. This is the third part in TROUMs Tjukurrpa-trilogy, following part 1 (harmonies) and part 2 (drones). This final part is dedicated to “rhythms” and “pulsations”, with a focus on rhythmic, pounding, looping & repetitive elements and structures.
With TJUKURRPA 3, TROUM shows a not so well known side, using the trance-power of repetitive textures. In every of the seven extensive tracks (playtime 66+ min) rhythms in various moods build the basis: from smooth ambience-pulsations over ritualistic surroundings up to ecstatic pounding harshness, from underneath & soft pulsative patterns up to evolving harsh & overwhelming rhythmic loops. The music on Tjukurrpa III is made by raw & processed loops & handplayed percussion, along with electric guitar & bass, balalaika, mouth organ, male & female human voice, flute, and accordeon. No samplers, synths or computers used.” [press release]
“...The global rhythm of the album is just like a biorhythm, it becomes the final shape depending on the many individual elements. Devouring or emphasizing each other, they develop inside the organism and join insensibly to our attitude, becoming habitual part of it like breathing or palpitation. The standard rhythmical structures can just diversify the physical course of time sensation - unlike that, Troum music embraces all association models control in the human brain, so it will enchant you and not let you go... despite your frame of mind and inclination.” [Dmitry Vasilyev, IEM Magazine]
“Their trilogy is a true masterpiece in the genre.” [Fdw, Vital Weekly]
|
2003 |
€13.00 |
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AIWS |
CD |
"AIWS is the first full-length cd release from Troum since 2003. It covers studio-recordings composed from 2002-2005. These musicians have compiled some of their most favorable pieces through the years to be placed on this release. Presenting nine analogue (4&8 track) recorded compositions that lead the listener through vast feelings of beautifully deep melancholic and hypnotic states of mind. Composed with guitar-drones and harmonic phrases that are processed in various ways creating an atmosphere of the sublime and emotional meditative states that transcend listener to immerse within themselves.
Ingredients: Sufi-songs, old vinyl-crackles, acoustic & e-guitars, e-bow, e-bass, voice & whisperings, accordion & flute. Stunning photography & design work by Alan McClelland(Eye.lyft). One of the most emotional and profound Troum releases to date now available on Transgredient Records. Dedicated to Eternity.
TRACK LISTING of AIWS [* and meaning of titles & phrases]
1. AHMATEINS
2. AGGILUS
3. SPIRARE
4. PER SONUM
5. PANTAH
6. [GA] PLAIAN
7. PENTHOS
8. NEHEH
9. PELETÄ
total length: 49:30 min
[* AIWS=Eternity (gothic language), also shortcut for "Alice-In-Wonderland-Syndrome". 1. "Inspiration" (gothic) 2. "Angel - Carrier" (gothic) 3. "breathing - aspirating - sighing - smelling " (latin) 4. "through sound" (latin) 5. "way - path - line" (old indian) 6. "supplication" (persian) 7. "the sorrow of mourning - lament" (greek - also a greek god), 8. "Eternity" (egypt) 9. "escape - flight, also: rescue - salvation" (hebrew) " [label info]
"... nach einigen 12“s und Kollaborationen die 7. CD des TROUM-Duos. GLIT[S]CH & BARAKA[H]
sind dafür bekannt, dass sie sich zu Nietzsches „Die Welt ist tief, viel tiefer als der Tag gedacht“ tief in die Augen blicken und dann ihren Fliegenden Teppich starten. ‚Ahmateins‘ ist, bewusst analog und lo-fi, gewebt aus engen Gitarrenwellen und sämigen Drones von E-Bow und E-Bass. Flug und Flucht, Atmen und Seufzen sind dabei eins. Sound ist der Weg und das Ziel. AIWS ist nicht nur das gotische Wort für Ewigkeit, es steht auch für das Alice in Wonderland Syndrom. Prosaisch ist das eine mit Kopfschmerzen verbundene Sehstörung, metaphorisch aber heißt das doch: Die Welt mit Alicens Augen als Wunderland sehen können.
Troums Zauberteppich schwebt auf harmonischen Strömen durch Rauch und Licht dahin, auf einem spiraligen Kurs ins Sublime. ‚Pantah‘ lässt den Saitenklang deutlicher erkennen, in [Ga]plaian‘ ist Sufigesang verdichtet, in ‚Penthos‘ scheint ein Akkordeon zu pumpen, in ‚Neheh‘ Licht nicht bloß zu schimmern, sondern zu singen. Tiefenmusic Reaching Our Unconscious Minds."
[Bad Alchemy]
"....The pieces on this new CD were recorded from 2002-2005 on Troum's own analogue equipment, all live to four-eight track recorders, without the involvement of computers. Troum, a duo (be it hard to believe), is best a live band, even when working in the studio. Their instruments are guitars, e-bow, bass, voices, accordion & flute, old vinyl. And oh, sound effects. Lots of those are involved in the music of Troum, but they never stand in the way of the end result. Spacious head music. Loud at times, quiet when necessary, but there is a certain roughness about the band, which is an element I really like. Even when things are quiet, they never really are quiet. 'Neheh' is just an example of some sparse organ like loops, feeding through some delay and bouncing gentle forward, but with a certain grittiness. Highly atmospheric even when experienced without the help of any chemicals or other illegal substances and the best but perhaps more frightful experience when played in the dark and with the headphones tied to your head. You are bound to play it again, if not only because it might be too scary to leave the room... Of all things experimental, ambient and industrial (Menche, Zoviet*France, Lustmord), Troum can easily stand the test and be the best of the lot." [FdW / Vital Weekly]
|
2007 |
€12.00 |
|
|
Symballein |
CD |
Sechs Stücke aus der Frühphase von TROUM, erschienen auf obskuren & raren Compilations im Zeitraum 1997 - 1999; dunkel, dronig-morastig, tieffrequent, von massiver Konsistenz, post-industriell, jenseitig ...am ehesten zu vergleichen mit der ebenfalls damals erschienenen Debut-CD RYNA.
"...alle sechs sind gute beispiele für die "kl_F/B-S/comp-Theorie", bilden trotzdem ein fast perfektes gesamtwerk und zeigen troum durchweg von ihrer düsteren seite; kavernenartig, rhythmen durch meterdicke wände gefiltert, stimmen aus der zwischenwelt. ein stärkerer kontrast zur aktuellen, dagegen fast leichten A.I.W.S. erscheint kaum möglich......
ps: die "kl_F/B-S/comp-Theorie", deren erste erwähnung hier nicht mehr eruiert werden kann, stellt die (unbewiesene) vermutung in den raum, dass bands kleinere Formate/B-Seiten/compilation-Beiträge gerne dafür nutzen, ein wenig abseitigere tracks zu platzieren. neben dem wunsch, auch mal über die eigenen stränge schlagen zu können, der experimentierlust zu frönen, wird vermutet, dass zum teil auch stücke dergestalt eine heimat finden, die aufgrund von laufzeitbeschränkungen der veröffentlichungsmedien in vorhergehenden releases gekippt werden mussten.
psps: und des wird zeit, endlich einmal small voices aus italien zu loben; allgemein + besonders und jetzt besonders wegen der coverartworks: hier strukturpappe-aufklapper mit schlitz zur cd-aufnahme: eine weitere perfekte annäherung an das lp-cover als die sowieso perfekte verpackung." [n, Unruhr.de]
"Symballein" is the second TROUM releases on SmallVoices label after the well ... "Autopoiesis" LP picture disc (SVV001) actually SOLD OUT. This album is a collection of very rare material, from the very beginning of Troum (period: 1997 - 1999). As Troum meaning the music is dreamy... The concept of the ‘Dream’ is the common thread running through Troum; the name, the music and the philosophy. For not only is TROUM the old German word for "DREAM" but, according to their website, ‘the dream, seen as a central manifestation of the unconscious, symbolizes the aim of TROUM to lead the listener into a hypnotizing dream-state of mind, a pre-verbal and primal consciousness sphere. TROUM uses music as the direct path to the Unconscious, pointing to the archaic "essence" of the human’s inner psyche. TROUM tries to create music that works like a direct transformation of unconscious matter’.
In Symballein dreams are obscure and indecipherable..., in one word nightmares; the music is archaic and droney, with multi-layered guitar drones..., oneiric ambient industrial nearly to Maeror Tri best releases. The disc in packaged in a elegant and luxurious embossed cardboard digi-sleeve. Symballein: "perceivable & non-perceivable things fall into one" [label press release]
|
2007 |
€10.00 |
|
|
Synistanai |
CD |
Troum
"Synistа́nai"
aquarel 53-20
2020
SYNISTÁNAI: zusammenstellen, - fügen, - vereinigen, - verknüpfen
( to collocate, to assemble, to unite, to merge, to interloop.. )
A collection of rare & deleted tracks from compilations Vol. III (2003-2007)
Everything recorded between 01/2003 and 02/2007.
( Part I: Symballein : 1997-1999; Part II: Syzygie : 1999-2002)
CD, limited edition of 300 copies in 4-panel digisleeve
1. USWENA
2. ANANKE
3. PINA
4. SENGUH
5. IRCHENNAN
6. DRŪSIAN
7. DONISIS
8. GIASCEI
9. (...) ULTRACHRONOS (...)
Track 1 finished 01/2003, originally released on "Record of Shadows Infinite" CD
Crucialblast, 2003)
Track 2 finished 03/2003, originally released on "Evolved as One" CD (Evolved as One, 2003) Track 3 finished 05/2003, originally released on "Dark Ambient Radio 2" CD
(Dark Ambient Radio, 2009)
Track 4 finished 03/2004, originally released on "Subterranean Ways of Thinking" LP
(Avatar Rec., 2004)
Track 5 finished 09/2005, originally released on "Listen to Something Different" CD
(Ars Macabre, 2007)
Track 6 finished 10/2006, originally released on "Brainwaves" 3xCD
(Brainwashed Rec., 2006)
Track 7 finished 01/2006, originally released on "Walking in the Rain on the Ostrow Tumski" CD
(Ars Benevola Mater, 2006)
Track 8 finished 05/2006, originally released on "Cryosphere" CDr
(Glacial Movements Records, 2006)
Track 9 finished 02/2007, originally released on "The Threshold of Silence" CDr
(Umbra, 2007)
Notes to track 9 : The full title was : "(magic cymbals and the mother of) ULTRACHRONOS" - and there were, as usual, NO keyboards used! (wrong info by label and now on discogs)
Collected autumn 2019 by Baraka[H]
Mastered by Igor Potsukaylo
Artwork based on a painting by Stefan Knappe
Sleeve by Oleg Galay
aquarellist.ru/catalog/73/
|
2020 |
€13.00 |
|
| |
DA-PU-RI-TO-JO (The Singles 2004-2016) |
CD |
Troum returns to Zoharum with DA-PU-RI-TO-JO a collection of tracks taken from 7” singles (and one digital EP) that were released through the years 2004-2016.
Drone masters offer 12 dreamscapes that range from soothing, etheral and meditative through emotional and mysterious to dark, industrialesque and nightmarish.
Listening to the album in one go Troum takes us on a journey to the farthest corners of human psyche. From heaven to hell and back. It’s all here.
If you’re Troum’s fan it’s a great opportunity to have these lesser known tracks in one place. If you’re about to become one it’s a great way to start here your journey into the depths of subconscious.
CD edition of 500 copies comes in 6-panel digipack.
This is a collection of TROUMs 7" vinyl releases (+one digital EP- unreleased on any physical format so far) through the years 2004 - 2016.
The tracks are not chronologically sorted to get a new perspective inside this "labyrinth of music".
Cover artwork by Radosław Kamiński (Ab Intra)
https://zoharum.bandcamp.com/album/da-pu-ri-to-jo-the-singles-2004-2016
"Troum has been always some sort of legend in terms of its own publishing and concert activity. Associated with Drone records, a small label famous for its singles series, it made a brand of its own with evocative, dark ambient.
Zoharum releases a compilation of their singles from over the course of 12 years - between 2004 and 2016.
It definitely shows the slow metamorphosis and evolution of their craft. Coming from the influences of psychodelia and prepared electroacoustic music rather than synth based ( as they mentioned many times - they don't use synths, samplers and sequencers) they elaborate on quite a romantic way of expression - a somewhat natural in this field but also not being pushed too hard and very honest way of their artistic expression.
Their own version of atmospheric ambient operates on low frequencies and glitched and delayed for of hymn like tracks but never ceases to amaze how much you can achieve through using very simple techniques within the washed out clichees of the genre that rarely helps to understand why there is no progression.
But Troum in many ways is master of its own terms and can be refreshed by the fact that it has its own working ethos." [Felt Hat Reviews] |
2021 |
€13.00 |
|
| TSUNODA, TOSHIYA / JUSTIN BENNETT |
Cleavage of Acoustics / Cacerolada |
LP |
Nr. 3 in der Mixer Split LP Reihe ! JUSTIN BENNETT hat einem Protestmarsch in Barcelona gegen den Irak-Krieg im März 2003 beigewohnt, eine unglaubliche detailreicher Soundkulissensumpf aus Sirenen, Autohupen, Perkussion, Pfeifen & Gegröhl. T. TSUNODA arbeitet diesmal nicht mit reinen field recordings, sondern lässt Sinuswellen auf konkretes Material treffen, was zu knisternd-resonanzbildenden Effekten und merkwürdigen „small sounds“ führt.
Tolle Geräuschmusikplatte !
“Both Justin Bennett and Toshiya Tsunoda have gained a reputation when it comes to fieldrecording-based soundworks. Using their sonic surroundings as the startingpoint for their work, both are unique in approach and result. "Cacerolada" is based on a noise-protest against the Iraq-war, recorded in Barcelona. It wakes up and dies out as any day does, gradually moving along all kinds of sonic occurrences in between. Compared to Tsunoda's, Bennett's work comes from a more contemplative approach, outlining to his listener the beauty, absurdness or musicality of the everyday soundtrack he's living in. Originally these protests served a highly political goal, to record them and treat these recordings as a piece, is what made "Cacerolada" into a sound-object, to be listened to with different ears. This is the core of Bennett's work. Using hardly any processing-tools (Bennett composes with the raw building-blocks he records), these environmental-pieces are very much like documents, with specific artistic or aesthetical qualities. He hunts for certain scenes or situations and captures moments in time that contain a specific type of gesture he is looking for. The reference to daily life might be very much upfront, though Bennett's work is much more than a highly associative collection of recorded sounds. His recordings easily keep up as complete compositions with a strong musical form, taking the listener beyond what is heard at first sight and this is exactly where the strength in Bennett's work as a composer and sound-artist lies. These works show a delicate timespam, organically interpolating from scene to scene. The so familiar sounding material constructs and underlines compositional shape and development, adding a rare compositional richness to environmental-soundworks.
Tsunoda's "Cleavage of Acoustics" stands in close relation to previous works in which he tries to integrate somewhat technical concepts into the everyday beauty of singing birds and chirping crickets. Tsunoda adds to the body of these compositions of the public domain, as Justin Bennett does, but takes a different route to get there. He experiments to find out the musical relevance of technicality for natural sounds and forces a symbiosis between the two. The results still contain the associative character and organic development so typical for environmental recordings, but have a new, more abstract, mimicry. The sometime subtle, sometimes clashing, but always interesting interference between these two worlds, is what gives Tsunoda's work a very unique twist. It can exist as a completely autonomous entity while grafted upon the soundmaterial we all know so well. Tsunoda, like Bennett, makes us hear our surrounding acoustic reality in a different way. Not by fencing off certain parts of it, as Bennett does, but through simple yet very effective technical interventions, making it's appearance shift a bit or two.
"When listening to field recordings, I am always surprised by the richness of it's acoustics. Vibrations echoe from various places, in mixed complexity, changing constantly over time. In some way, it looks like stratum. I would like to sharply cleave the stratum to see the surface of the crevice. This work shows the audibility of sound vibrations through an uncommon process. I tried to cut off the source (field recording) material using a gate device and sine-waves. In each track, specific sine-waves have been mixed with the source-material.
In this work, I regard the sine-wave as the standard speed signal for the source. This has made any alternation within the audio signal detectable for the gate device. The linear audio signal (monoral) is cut horizontally into the advance direction, turning it into two signals. The amplitude of the alternating current has a separated + and - side, with 0 volt as base for the gate device. This split signal is simultaneously reproduced through the right- and left- channel of stereophonic audio equipment. Try mixing these 2 channels. The waveform is almost restored to it's original form, giving a peculiar result compared to the separated signal playback." [press release]
|
2004 |
€12.00 |
|
| TUMORCHESTER |
Nothing Hurt as played |
CD-R |
1.
Winzling 02:15
2.
Stolpern 03:12
3.
Weniger Finger 05:53
4.
Vaalser Marsch 07:38
5.
Zwischenmensch 01:06
6.
Elektrochina 05:42
7.
Nosferatheo 04:10
8.
Fünf Stümper Knüppeln 07:08
9.
Fieber Im Schwellkörper 09:27
https://tumorchester.bandcamp.com/album/nothing-hurt-as-played
|
2005 |
€8.00 |
|
| TUNNELS OF ĀH (TUNNELS OF AH) |
Thus Avici |
CD |
" 'Firstly, the punishment is meted out day and night, kalpa after kalpa, without a moment’s interruption or relief. Thus Avici'. ‘Thus Avici’ is the second album from Tunnels Of Ah (Stephen Ah Burroughs / Head Of David). The title references ‘the sutra of bodhisattva Ksitigarbha’s fundamental vows’, a section of which Burroughs reads daily in homage to Ksitigarbha whom Burroughs pledged ‘entreaty and supplication’ under solemn tantric oath 20 years ago. Tantric buddhism, christian mysticism and personal magick make up the subject matter for ‘Thus Avici’. Where traces of 2013′s ‘Lost Corridors’ album can be heard, ‘Thus Avici’ is a harder, more focused offering. Shards of distorted noise, ritual drums, caustic drones and haunted vocals make ‘Thus Avici’ a dark hallucinatory swoon into the hinterland of the Tunnels Of Ah. The dull blue light of brute-world calls." [label info]
www.coldspring.co.uk
|
2015 |
€12.00 |
|
| |
Surgical Fires |
CD |
Following the sulphureous sting of 2015's 'Thus Avici', Tunnels Of Ah's third album, 'Surgical Fires' is a dense, fermentative working.
Asemic vocals are sunk beneath an alienated electronic landscape of seismic drones and paranormal frequencies. Loss, gain, conflict, resolution, decay and transformation as an initiatory path is the current running through 'Surgical Fires'; the surgery alluded to in the title being psychic surgery.
With original album artwork by Stephen Ah Burroughs (HEAD OF DAVID) and a vocal contribution from London-based ritual artist Soror Anji Cheung, 'Surgical Fires' is another singular Tunnels Of Ah release evasive of categorisation.
www.coldspring.co.uk
|
2016 |
€13.00 |
|
| TUXEDOMOON |
Scream with a View |
mini-LP |
"Founded by Steven Brown and Blaine Reininger in San Francisco, TUXEDOMOON are a futuristic alternate reality of delirium and existential dread. Aligned with fellow Bay Area experimentalists THE RESIDENTS (to whose Ralph Records the group eventually signed) and Robin Crutchfield's post-DNA project DARK DAY, TUXEDOMOON developed a unique combination of synthesizer and guitar that placed them at the forefront of the US post-punk movement in the late '70s and early '80s.
Scream With A View, recorded surreptitiously in THE RESIDENTS' private studio in 1979, advances brilliant melodic concepts through analog technology for a sound barely comprehensible today. On "Where Interests Lie," punchy drum machine underlies barbed and eerie leads from guitarist Michael Belfer (THE SLEEPERS). "(Special Treatment for the) Family Man" – a reference to Dan White's trial for the assassination of San Francisco's mayor George Moscone and supervisor Harvey Milk in 1978 – is an indignant vigil cut with a rare brand of macabre humor. Saxophone, Polymoog, violin, e-bowed guitar, and CB radio interference make Scream With A View the insidious foil to the urgent No Tears EP." [label info]
www.superiorviaduct.com
|
2013 |
€15.00 |
|
| TWELVE THOUSAND DAYS |
Insect Silence |
CD |
"MARTYN BATES (Eyeless In Gaza) & ALAN TRENCH (Orchis, Howling Larsons) return after a long hiatus with the fourth TWELVE THOUSAND DAYS album. From the opening “Death Went Fishing” (a free translation of “vgíke o cháros na psarépsei”, the classic rebetiko by Giannis Papaioannou) to the closing, haunting notes of “Red And Golden Fire”, the listener is taken on a journey made up of a thousand journeys, a thousand side trips, a thousand destinations, hinging around the sprawling central trip of “Pathless”, in which the ramifications of choices made swim into hazy view. The 13 tracks that make up “Insect Silence” are a concatenation of dulcimers, whistles, guitars, synths, disturbing digital background noise (“Night Harmonium”) and other instrumentation with slices of pure, aching melody echoing through strange darkened corners, all enlivened and enlit by the wondrous tones of Martyn Bates.
MARTYN BATES is well-known for his brilliant long-time work with EYELESS IN GAZA, for his solo albums and for collaborations with MICK HARRIS and ANNE CLARK.
ALAN TRENCH: co-founder of World Serpent Distribution and musician with brilliant projects/groups ORCHIS, HOWLING LARSONS, TEMPLE MUSIC." [label info]
https://finalmuzik.bandcamp.com/album/twelve-thousand-days-insect-silence
"It's been quite some time since Martyn Bates (Eyeless in Gaza) and Alan Trench (Temple Music, Orchis) have come together as Twelve Thousand Days. It's fair to say much water has passed under the bridge since their last album From The Walled Garden in 2006. Insect Silence follows a ditched compilation release with the same title scheduled for release a number of years back. Insect Silence continues with the folk based music provided by Alan Trench and fronted by the distinctive voice of Martyn Bates but Insect Silence more so than their previous albums doesn't dwell solely in folk music. It may be its starting point but Insect Silence differs with passages of psych guitar and its layering of synths and electronics, as well as in the ambient interludes which feature throughout and often open up the tracks way beyond its grounding in folk music. Lyrically Insect Silence is couched in an English familiarity and in the eternal themes of life, love and death. Just shy of 70 minutes it's a long winding path of 13 tracks involving a large assortment of instrumentation which are woven into a complex and intricate tapestry of sound. You will be surprised by the pathways Twelve Thousand Days roam on .
Insect Silence opens to the spirited acoustic folk and percussive tambourine bashing of 'Death Went Fishing', outwitting death as it rushes onwards, weaving soaring psych guitars, which return throughout Insect Silence, as Bates implores that "he will return again". Its sets the scene for Insect Silence an album loosely based around folk music employing a rich multitude of instrumentation including guitars, dulcimers, harmonium, whistles as well as electronics. Twelve Thousand Days stretch the parameters of folk music with psych-guitar and ambient and instrumental interludes sprinkled throughout the 13 tracks. At times it likes listening to a Krautrock inspired psych-folk album with space rock leanings. In a good way, of course.
Opening to an ambient interlude 'Mad As The Mist' is the first of three musical settings of the words of Irish poet W.B. Yeats. Dreamy folk guitars entwine twang and strum, as Bates in his pure folk tones recalls philosophers such as Plato, Homer, Tully and Cicero, swelling into another passage of soaring solo of psych guitar and back again to dreamy folk song. More restless psych-guitar features on 'A Coat'. There's more of an experimental edge to the Yeats setting here pitching Bates' strained (and occasionally treated) voice to the fore, embellished by the pluck of guitar notes augmented by glinting electronics, bass throb and a needling guitar casting vibrations of psychedelic proportions. 'Arrow', the final piece in the Yeats trilogy is starker and played more straightforward with the beautiful folk voice over ringing acoustic guitar and warm synth backing.
Away from the Yeats tracks, a number of which Bates recorded with Troum in different musical forms, 'Errant Desires' moves to graceful ambience with flourishes of guitar notes. Bates' pure mournful tones add a sleepy lamentful melody, as faint electronics flicker behind the gentle flurry of guitar notes and assorted instrumentation. Beautifully atmospheric, it's one of my favourites on Insect Silence. Bates' voice is measured and melodic illuminating the sense of life passing in the evocative lyrics of rain falling, captured in our hands and gladly falling to the earth. More timeless folk arrives in the form of 'She Raises Her Eyes' where in captivating melodic tones Bates sings of a longing recalling long cold December months over duelling dulcimer chime.
One of the more surprising tracks appearing in the first half of the album is 'Invoke Hecate' where over passages of whistle and rousing, beating strum, Twelve Thousand Days sounding not unlike Ostara invoke the Goddess of Witchcraft, through an assortment of occult techniques. Alan Trench in past endeavours has facilitated many musicians in the apocalyptic folk genre but this rare sojourn, even with it blistering psych solo, can still raise an eyebrow and something of a smirk.
As mentioned earlier, Insect Silence is interspersed with instrumentals taking the music down alternate pathways, straying far off the beaten track. The first of these 'Night Harmonium' carries an air of arcane English mysticism with its loose folk stylings where strings chime and whistle billows merge over background synths and static clicks. The instrumental 'Old Ladies As Birds' is another brooding mystical moment where layers of whistles and flutes cast an age old melody over wheezing harmonium while loose guitar notes chime and ring out as distant electronics shudder underneath. While 'Old Ladies As Birds' is evocative of transforming souls and spirits, the jaunty folk offering of 'Fieldwork' is celebratory. Based on whistles and acoustic strum it comes across like a folk dance or Pagan procession. If 'Fieldwork' revels in a lost Englishness 'Descent' is dealing with nostalgia. A vintage crackling recording of 'See, The Conqu'ring Hero Comes' shrouds the descending organ scales of 'Descent'. Bates' voice is quiet, distant and softly murmured amidst the eerie disembodied voices of the choir as percussion rattles. You can almost picture the landscape on the pastoral 'Red and Golden Fire' another experimental offering mixing lulling electronics with whistles and flutes which closes the album.
Insect Silence hinges around 'Pathless' an epic experimental 16-minute musical and lyrical journey which we all make on our travels through life. Set in the middle of the album it continues the theme first introduced on the opener 'Death Went Fishing'. With the huntsman at our heels, we try to outwit death to no avail. Travelling from ringing guitar with Bates' voice, wrapped in layered accompaniment, veering between passages of Krautrock electronics and wavering synths to psaltery, whistles and location recordings. All the elements of Insect Silence emanate from and come together on this track to great effect. As it flows together seamlessly it's difficult to pinpoint where 'Pathless Part I' ends and 'Pathless Part II' begins but it may be when a heartbeat bass pulses and acoustic guitars ring out and the spoken word of Lisa (I think this is Elizabeth S who features on releases from Eyeless In Gaza) surfaces amidst guitars and layers of spacey synths which lull, crash and wail, before Bates returns, to close this epic track in high registered tones.
Insect Silence bustles with an immediacy, there's a sense of freshness of getting it all down on tape before the additional sound layers of instrumentation are added. Ambient, electronics, psych guitar, whistles, location recordings are all here embellishing the tracks making it intricate and complex. At the heart of it is an open-ended folk sound reflected in Bates' beautiful, distinctive voice which illuminate the timeless themes. Insect Silence is by far the best I've heard from Twelve Thousand Days and though the tracks are disparate there's an arching basis in folk music which traverses into other areas which holds it all together. As we said, Insect Silence is a journey, a pathway laid down just waiting for us to follow. Insect Silence is released digitally and on CD by Final Muzik in an edition of 500 copies. For more information go to Final Muzik and to download go to Final Muzik Bandcamp." [Compulsion Online]
"Man neigt gerne dazu, Bands, die sich nur alle Schaltjahre oder seltener zu neuen Aktivitäten zusammentun, als klammheimlich aufgelöst zu betrachten, erst recht dann, wenn es sich dabei um noch anderweitig aktive Musiker handelt – so wie Sänger Martyn Bates mit Eyeless in Gaza und seinem Soloprojekt und Instrumentalist Alan Trench mit seinen Folk- und Psychedelic-Gruppen Temple Music, Orchis und Black Lesbian Fishermen. Nachdem mit ihrem Duo Twelve Thousand Days wahrscheinlich nur noch wenige gerechnet hätten, steht mit „Insect Silence“ nun ganz überraschend ein neues Album in den Regalen, das fast da anknüpft, wo die beiden vor gut zwölf Jahren mit „From the Walled Garden“ aufhörten. Fast, denn gerade bei Alan sind doch ein paar Spuren seiner neuen Arbeiten herauszuhören.
Wie man es von früheren Aufnahmen her kennt, wechseln sich schmissige, fast frohsinnige Folksongs ab mit verträumt melancholischen Klageliedern und geheimnisvollen ambienten Soundscapes, und zusammen mit Bates’ unverkennbarer Stimme, die so klar und jugendlich wie eh und je klingt, kreiert die Musik ein verzaubertes Setting, das an ein langsam vor dem Auge verschwimmendes Jugenstilgemälde erinnert.
„Death Went Fishing“ und „Invoce Hecate“ zählen zu den eingängigen Folkstücken, die mit feurigem Geschrammel und ekstatischen Rasseln nach vorn galoppieren – mystische oder makabre Töne schleichen sich über sanft gesungene Textzeilen in die Szenerie und bilden mit der harmonischen Musik eine heikle Mischung, und schon mit den allerorts spürbaren heidnischen Untertönen sind die Stücke vor jedem Indie- und Pop-Appeal gefeit. Impressionistische Tableaus wie „Mad as the Mist“, dessen anfangs noch ziellos umhertastendes Gitarrenspiel sich erst nach und nach zu einem anmutigen Stimmungsbild zusammensetzt, bilden einen Gegenpol dazu, ebenfalls das aus einer balladesken Märchenwelt herübergewehte „Old Ladies as Birds“ und das mit Knacken und Knistern leicht verfremdete Zwischenspiel „Night Harmonium“ – beide Stücke gewinnen noch an Charisma durch Alans berührendes Flötenspiel.
In einigen dieser Tracks sind aber auch räudige Psych Rock-Elemente zuhören, die der Musik eine Kantigkeit verleihen, die in den klassischen Zeiten des englischen Folk nichts ungewöhnliches gewesen wären – zünftige E-Gitarrensoli und dröhnende Riffs, die die Folkmelodien, die sie spielen, gleichsam zerschreddern, als wären sie eine nationalhymne in Woodstock. Weder Eyeless in Gaza noch Orchis waren frei von solch rauen Beigaben, doch hier hat sich v.a. die Sprache jüngerer Temple Music in die Stilpalette geschlichen und gibt dem naturverbundenen Sound eine deutliche Prise Realismus.
Es gäbe einiges, das sich in den einzelnen Songs hervorheben ließ, die anrührende Melodie in „Errant Desires“, die cinematischen Verfremdungseffekte in „Red and Golden Fire“ und der melierte Orgelsound in „Descent“, der in ein verwehtes Sample des Liedes „Hail the Conquering Hero!“ (im Deutschen die Melodie von „Tochter Zion, freue dich“) übergeht, sind nur einige davon, doch alles in allem funktioniert „Insect Silence“ am besten als zusammenhängendes Werk, das mit mehrmaligem Hören immer mehr zu verzaubern weiß." [U.S., African Paper]
|
2018 |
€13.00 |
|
| UGGERI, MATTEO |
The Next Wait |
CD + CDR |
In 2013 my wife Gaia was pregnant. We were then waiting for our first born to come, expected for November of that year. A few little obstacles and troubles occurred during the nine months, so my anxious nature at the time generated in me the need to somehow express the feelings in a record, where I conveyed the worries that a father, especially a musician that needs his own moments for playing, may have in terms of an expected potential future lack of time and energies.
I also decided to involve fellow musicians I got to know at the time, like Maurizio Abate (guitar), Enrico Coniglio (guitar and organ), with whom afterwards I would have made full albums - but you can find here the first traces of our collaboration. There were Andrea Serrapiglio (cello) and Cristiano Lupo (bass), that I knew for quite some time, and featuring female voices. I asked Dominique Van Cappellen-Waldock (that I discovered through her marvellous presence on a Doug Sharin solo album) if she wanted to sing on a track, and she did, providing her own lyrics. The American singer Jenny Oakley, aka Empty Vessel Music, did the same on track one, as well as a glitching sample from Nicola Ratti is also featured.
The central piece of the whole album can be considered “Family Man”, a sort of cover from a song by Black Flag, totally reversed by my wife Gaia Margutti. She re-interpreted the lyrics her own way, and she performed it in an unforgettable session of home recordings, with my daughter Olivia, now finally born, hanging from her neck.
Indeed, the album took quite a long time to be made, and then the ‘wait’ was over, transformed in the new life we were all three now living together.
The second half pieces, actually a long track sliced in three parts, are dedicated to this transition period, where also tensions in the family are occuring. The tracks are built on a piano melody provided by the Japanese artist, Mujika Eisel, that collaborated with me on a previous album.
Now it is 2019, and not only is Olivia 5 years old, but also Nora was born, in March 2017. This album, is now dedicated to both of them, and can in a away, be perhaps considered a bit too ‘direct’, (as a Henry Rollins song!) but it’s for me a sincere expression of feelings and sensations. The concept of waiting can be interpreted in different ways, and anyone can ask himself what the two dogs in the front cover (kindly provided by the Italian photographer Adriano Zanni) are expecting to come.
Anyway, the album is finally released, thanks to the generous and neverlasting effort of US label Infraction, available in the three formats of LP/CD/DL, with an additional 7” containing two outtakes entitled “After the Wait” (exclusive to physical formats only), when the new life was becoming a new set of routines.
I even made a video in 2018, featuring - guess who? - my family. It can be seen on Infraction Bandcamp and on my website as well.
I hope that this long pathway of experiences, feelings, music and visual art will be shared with careful listeners all over the world. - Matteo Uggeri
Album editions :
100 copies of clear blue water LP + 7 inch (after the wait)
150 copies of black vinyl 180 gram edition
Each LP is housed in a Stoughton tip-on style heavy sleeve. The 7" is a clear vinyl.
250 copies of full-length CD. The first 100 copies will contain a bonus CDR with 2 exclusive tracks (entitled 'After the Wait'). The CD will be housed in a Stoughton style mini-lp gatefold sleeve.
Maurizio Abate (guitar)
Enrico Coniglio (guitar, organ)
Andrea Serrapiglio (cello)
Cristiano Lupo (bass)
Dominique Van Cappellen-Waldock (vocals)
Jenny Oakley (vocals)
Nicola Ratti (electronics sample)
Gaia Margutti (vocals)
Mujika Eisel (piano)
https://infraction.bandcamp.com/album/the-next-wait
|
2019 |
€16.00 |
|
| |
The Next Wait |
LP + 7inch |
In 2013 my wife Gaia was pregnant. We were then waiting for our first born to come, expected for November of that year. A few little obstacles and troubles occurred during the nine months, so my anxious nature at the time generated in me the need to somehow express the feelings in a record, where I conveyed the worries that a father, especially a musician that needs his own moments for playing, may have in terms of an expected potential future lack of time and energies.
I also decided to involve fellow musicians I got to know at the time, like Maurizio Abate (guitar), Enrico Coniglio (guitar and organ), with whom afterwards I would have made full albums - but you can find here the first traces of our collaboration. There were Andrea Serrapiglio (cello) and Cristiano Lupo (bass), that I knew for quite some time, and featuring female voices. I asked Dominique Van Cappellen-Waldock (that I discovered through her marvellous presence on a Doug Sharin solo album) if she wanted to sing on a track, and she did, providing her own lyrics. The American singer Jenny Oakley, aka Empty Vessel Music, did the same on track one, as well as a glitching sample from Nicola Ratti is also featured.
The central piece of the whole album can be considered “Family Man”, a sort of cover from a song by Black Flag, totally reversed by my wife Gaia Margutti. She re-interpreted the lyrics her own way, and she performed it in an unforgettable session of home recordings, with my daughter Olivia, now finally born, hanging from her neck.
Indeed, the album took quite a long time to be made, and then the ‘wait’ was over, transformed in the new life we were all three now living together.
The second half pieces, actually a long track sliced in three parts, are dedicated to this transition period, where also tensions in the family are occuring. The tracks are built on a piano melody provided by the Japanese artist, Mujika Eisel, that collaborated with me on a previous album.
Now it is 2019, and not only is Olivia 5 years old, but also Nora was born, in March 2017. This album, is now dedicated to both of them, and can in a away, be perhaps considered a bit too ‘direct’, (as a Henry Rollins song!) but it’s for me a sincere expression of feelings and sensations. The concept of waiting can be interpreted in different ways, and anyone can ask himself what the two dogs in the front cover (kindly provided by the Italian photographer Adriano Zanni) are expecting to come.
Anyway, the album is finally released, thanks to the generous and neverlasting effort of US label Infraction, available in the three formats of LP/CD/DL, with an additional 7” containing two outtakes entitled “After the Wait” (exclusive to physical formats only), when the new life was becoming a new set of routines.
I even made a video in 2018, featuring - guess who? - my family. It can be seen on Infraction Bandcamp and on my website as well.
I hope that this long pathway of experiences, feelings, music and visual art will be shared with careful listeners all over the world. - Matteo Uggeri
Album editions :
100 copies of clear blue water LP + 7 inch (after the wait)
150 copies of black vinyl 180 gram edition
Each LP is housed in a Stoughton tip-on style heavy sleeve. The 7" is a clear vinyl.
250 copies of full-length CD. The first 100 copies will contain a bonus CDR with 2 exclusive tracks (entitled 'After the Wait'). The CD will be housed in a Stoughton style mini-lp gatefold sleeve.
credits
released September 10, 2019
Maurizio Abate (guitar)
Enrico Coniglio (guitar, organ)
Andrea Serrapiglio (cello)
Cristiano Lupo (bass)
Dominique Van Cappellen-Waldock (vocals)
Jenny Oakley (vocals)
Nicola Ratti (electronics sample)
Gaia Margutti (vocals)
Mujika Eisel (piano)
https://infraction.bandcamp.com/album/the-next-wait |
2019 |
€28.00 |
|
| UHLIG, MIRKO |
VIVMMI |
LP |
"As mummy thought us: you have to put your money where your mouth is. So when we claimed praise for a small CDR release by a relatively new German composer Mirko Uhlig we dabbled with the idea of releasing it on LP. Now we did. We doubled the edition of 65 to 130 and it has great carton sleeve (like last year's Pick-up LP).
Since 2006 he has retreated to his nom de passport (formerly known as Aalfang mit Pferdekopf), Uhlig has exchanged the naive bewilderment of experimental bricolage with the pursuit of pure beauty and there is suddenly confusion as to his motives: Are these silent outbursts of refined romanticism intended as some sort of clever commentary on the Drone genre, as a neo-conservative return to proven values or part of something different altogether? 'VIVMMI' has been remastered for vinyl." [label info]
www.kormplastics.nl
|
2009 |
€15.00 |
|
| ULTRA MILKMAIDS |
Jain Umpoulet (SOLD OUT) |
7inch |
"The Masters of glowing ambient soundsculptures from Dijon, France, present their second 7" (after "Lou" on their own label U MOHOL) on Drone. Two pieces of harmonic melancholic beauty, with lots of droning guitar-work and shimmering effects. We love these emotional jewels! Their debut-CD came out last year on NOISE MUSEUM. White vinyl, silk screened covers."
[Drone Records info May 1998]
|
1998 |
€ |
|
| UMPIO |
Molesterol |
CD |
new 2020 album Finnish supreme harsh noise. More electronics, more modular patches, more room sounds than line-recordings. Some unreleased archive noise sources thrown in mix. Sharp, crystalline quality, yet noisy and harsh at the same time! Umpio always delivers noise that radiates energetic force.
https://freak-animal.net/2020/11/03/vanhala-umpio-mania-government-alpha-sadio/
|
2020 |
€12.50 |
|
| UN/SOUNDING THE SELF |
A PORTRAIT |
DVD + book |
un|sounding the self — a portrait
a film by Christoph Collenberg and Jakob Gengenbach
with Christopher Shultis and Craig Shepard
Gruen 196 | DVD (60 Min.) + Booklet (120 pages)
Silent quest for sound, constant listening in the streets of Brooklyn, the Swiss Alps, the forests of Pennsylvania and the landscape of New Mexico. What if, after hours of walking, the mind finally clears, the ears open? Keep on walking, listening, giving space to resonances. Christopher Shultis, drummer and Professor Emeritus of the University of New Mexico and Craig Shepard, trombonist and member of the Wandelweiser collective, take Henry David Thoreau at his word and literally follow the idea of walking for at least four hours a day, sauntering silently. Out of this kind of contemplation, both have developed their own unique compositional practices: What composers usually do at their desk or at the piano, Shepard and Shultis do on the move, and their music is strongly influenced by the landscape from which it originated. Although very different in their artistic expression, their work is deeply rooted in the practice of walking in the spirit of H.D. Thoreau, in his writings and in the art of John Cage. Silent walking as a means of heightening the senses, inflowing sounds become the basis for compositions. Invited by their mutual friend Bernd Herzogenrath, Shultis and Shepard met for a week in the beautiful city of Olomouc in the Czech Republic. un|sounding the self—a portrait is about the becoming of these two artists—how music emerges when composers become silent first of all, whether by decision or by force, and then search for sound.
https://www.gruenrekorder.de/?page_id=18165
|
2020 |
€18.00 |
|
| UNIVERS ZERO |
Relaps / Archives 1984-1986 |
do-LP |
"Founding members of the original 'Rock In Opposition' [R.I.O.] movement and the inventors of 'Chamber Rock', mythic Belgian band Univers Zero have continued to change and grow and develop over their entire career, while still keeping a ensemble sound and spirit that is easily recognizable. These recordings were unavailable before as LP format.
Longstanding Belgian chamber rockers and avant-garde pioneers led by drummer/composer Daniel Denis, Univers Zero was formed in 1974 with co-composer and guitarist Roger Trigaux (who left the band in 1980). This double-LP documents the final 1980s line-ups before the band's long sabbatical from recording and touring. Despite many line-up changes over the years, their overall sound remained fairly consistent." [label info]
www.subrosa.net
|
2015 |
€19.50 |
|
| |
LUEUR |
LP |
Univers Zero's new album (since 10 years) follows the lineage of 'Phosphorescent Dreams', originally released only on CD in Japan in 2014, and reissued as an LP on the Sub Rosa label in 2019. Lueur is the fruit of two years' work and reflection, the foundations of which were laid by Daniel Denis (keyboards, drums, percussion...), then enriched by the contributions of Nicolas Dechêne (guitars), Kurt Budé (clarinet / bass clarinet) and Nicolas Denis (bass, percussion, vocals), all three present on Phosphorescent Dreams.
With this reduced line-up, Lueur offers a dense journey, rooted in the balance between power and calm, raging and serene sound. A balance, too, between complex arrangements and more contemplative moments. While this album continues the avant-rock tradition of Univers Zero, it also features some very short pieces, more electronic, tribal and haunting sounds, and voice work that is new to the U.Z. universe. Between tradition and subtle evolution, Lueur is a major new contribution to the discography of this band, which will be celebrating its fiftieth anniversary in 2024.
Univers Zero represents one of the longest-living bands in Belgium. It was established in 1974. Drummer Daniel Denis had the brilliant idea to gather together a team of professionals sharing the same taste for music. The band has adopted an instrumental progressive style.
Over the last couple of decades, the band has also implemented a series of influences from chamber music - most commonly, chamber music from the 20th century. Even if the line-up changes a lot over the years, the overall sound of UZ remained fairly consistent.
https://subrosalabel.bandcamp.com/album/lueur
|
2023 |
€20.00 |
|
| URE THRALL |
Arabian Knightmares |
CD |
Wiederveröffentlichung des Masterpiece von URE THRALL in beeindruckender Aufmachung, spezielles fold-out-Cover mit diversen Postkarten auf Kunstpapier.
Dark atmospheric, slowly percussive, oriental harmonies, all handplayed, very dense and moving.. another great work by this californian artist.....with help by FERRARA PAN & THE FRUITLESS HAND and other friends.....maybe think of ZOVIET FRANCE melting with VOICE AND EYE and MUSLIMGAUZE and TROUM...
"Arabian Knightmares is one man's effort to reflect the unfolding events of the current worldwide sectarian war in a series of harmonic constructs, utilizing actual sounds from the major events of the struggle (9/11, the Iraq War, etc.) to provide a historic point of reference. The forlorn yet beautiful emotions that are unmistakable in Muslim song and prayer are reflecteded here in a context so unique that it is deeply stirring in a musical sense and simultaneoously brutal with its emotional impact on the listener. Tears are not uncommon.
Features PREMONITION 9/11 from the out of print Drone Records Single from 2003, plus an ambient remix. 10 plus minutes of ominous arabian tinted darkness, with excerpts from “the war”. [Ure Thrall]
Comes in a special well designed cardboard cover with multiple inserts and postcards." [press release]
|
2006 |
€8.00 |
|
| USENBENZ, ANDREAS |
Bells Breath |
CD |
All field recordings, sound design & compositions by Andreas Usenbenz, between march 2015 and may 2016
The music is based on field recordings of 10 different church bells installed in the Minster of Ulm. Usenbenz recorded the bells using a wide spaced A - B pair with omni directional DPA microphones,
a Sennheiser ORTF setup and contact microphones mounted directly to the bells or their direct environment.
The Bells where rung by the Sacristan. Additionally, Usenbenz played them with different props to tease very specific sounds out of the bells. No additional sounds were used in these compositions.
https://klanggold.bandcamp.com/album/bells-breath-lp
|
2017 |
€10.00 |
|
| V.A. (VARIOUS ARTISTS) (COMPILATIONS) |
Anthology of Noise & Electronic Music Vol. 2 |
do-CD |
“ This 2nd volume explores the early days of pre-electronic music (Percy Grainger, Johanna M. Beyer...) and proposes some rares or unpublished pieces by main composers of electronic music (Wladimir Ussachevsky, Otto Luening, Tod Dockstader, Morton Subotnick, Hugh Davies, Luc Ferrari) as well as unreleased tracks by musicians who are cornerstones of the 90's electronic scene (Autechre, Aphex Twin, Scanner, Kim CasconeYoshihiro Hanno...), acid movement (Woody McBride, Choose) or industrial (Laibach, SPK). Without forgetting some free-jazz (Sun Ra) or rare stuff from Captain Beefheart, Daphne Oram, Alan R. Splet...
slow explorations of the past and the present
Given the present system of production there are reasons, some of them identifiable, why only a few names emerge in each period.
There may also be a preference for concentrating information rather than letting it pile up in disordered fashion. Over the past 40 years the same ten electronic music composers get mentioned again and
again (including in music dictionaries and histories). Yet behind them are many other names. Who are they? Second-raters? Not necessarily. For we then need to define the concept of top-rate (rated by who, and on what criteria?) and second-rate or minor
artist. Great pleasure can be derived from the works of minor artists. The case of Tod Dockstader is instructive: when "for lack of academic qualifications" he was denied access to the electronic music facilities he needed, was there not great beauty in the pieces he nevertheless created and in his determination to make music without those facilities? His name was never seen on the labels of top record companies. But he influenced quite a few people - Richard James quoted him, and others then referred to his work. Some of his records were reissued, and what one could call
the rehabilitation process continues. The same applies to many other composers. All such stories spell a passion for music, and weave myth.
historical axes
At the turn of the century there were efforts to find new sources of sound - a number of machines were exhibited, including Thaddeus Cahiel's Telharmonium in 1887 and the Dynamophone presented to the New York public in 1906; they generally played well-known
romantic or post-romantic pieces. After a few flamboyant skirmishes described in the previous volume, the postwar period saw the arrival in 1951, of Wladimir Ussachevsky and Otto Luening in New York's Columbia-Princeton Electronic Music Center.
When audiences of the 50's and 60's first heard Varèse, Pousseur, Stockhausen, Berio, Ussachevsky, Yuasa, Dockstader and Mumma, what did they feel? Perhaps a sort of break, an epistemological break, like it must have been for the first audience of Monteverdi's
Orfeo (in Mantua, Italy on 24 February 1607). They left the auditorium completely stunned,because they had never heard anything like it.
WHAT CONTAINS THIS SECOND EDITION ?
CD 1
Wladimir Ussachevsky + Otto Luening > Incantation for Tape * 1953 02:35
Luc Ferrari > Visage V * 1958-59 10:33
Tod Dockstader - Aerial > Song * 2002 12:56
Johanna M. Beyer > Music of the Spheres * 1938 05:59
Morton Subotnick > Mandolin * 1962 07:02
Daphne Oram > Four Aspects * 1960 08:05
Robin Rimbaud / Scanner > Emily * 2003 04:46
Hugh Davies > Quintet * 1967-68 12:05
Alan R. Splet > Space Travel w/ Changing Choral Textures 04:02
Kim Cascone > Zephirum Scan * 2002 04:58
CD 2
Autechre > Bronchus One.1 * 1991 06:01
Yoshihiro Hanno > On/Off Edit * 2001 09 :12
Meira Asher > Torture/Bodyparts * 2001 03'40
Woody McBride > Pulp * 1993 06:07
Lasse Steen / Choose > Purzuit ov Noize * 1994 05 :36
Arcane Devices > Lathe * 1988 05:54
Laibach > Industrial Ambients * 1980-82 09:54
SPK > Slogun * 1979 06:20
Percy Grainger > Free Music #1 (for four theremins) * 1936 01:22
Sun Ra > Imagination * 1965 02:04
Captain Beefheart > She's too much for my miror / My human gets me blues * 1969 05:32 “ [press-release]
|
2003 |
€20.00 |
|
|
Debris Field (MAX EASTLEY / LOREN CHASSE / COLIN POTTER / PHIL MOULDYCLIFF / KEITH ROWE / etc.) |
CD & book |
Katalog und -CD zum Thema “Trümmer” einer Ausstellung, die von April bis Juni in einer Kunstgalerie in Bolton (UK) stattfand und von PHIL MOULDYCLIFF kuratiert wurde. Abbildungen von Bildern, Skultputuren, Zeichnungen, Texte & Biographien der hier vorgestellten 13 Künstler, sowie ein 48+ minütiger feinstofflich-ambientöser Installationssoundtrack von LOREN CHASSE, PHIL MOULDYCLIFF, COLIN POTTER und KEITH ROWE machen dies zu einer äusserst sehens- und hörenswerten Publikation.
“This is the CD and catalogue for the 'Debris Field' exhibition at Bolton Museum curated by Phil Mouldycliff. The CD is an edited version of 'Debris Field ambient wash', a 48 minute piece that is split into 3 movements. The catalogue includes an essay by Mouldycliff titled 'Tracing paths through debris fields' which gives some insight into the exhibition and CD. Also includes photographs of some of the exhibits and artist biographies for those involved including Colin Potter, Keith Rowe, Max Eastley, Tom Philips etc” [ICR]
“ 'Debris Fields' was curated by Phil Mouldycliff and deals with 'remains', the debris after the act. It's not an exhibition about music per se, as it includes paintings, drawings, prints, sculptures and also music. Some of the participating artists are also musicians, such as Loren Chasse, Keith Rowe and Phil Mouldycliff and they all delivered some music to Colin Potter, who presented 'Debris field Ambient Wash', a mix of all the sounds into a 'discreet, constantly changing audible environment' to fill up the space with the exhibits. While flipping pages of the catalogue at home, this music fills also up the private space, and the big advantage is of course you can turn up the volume much louder and enjoy things perhaps better than in the public space. The music alone is worth getting the catalogue for.” [FdW / Vital Weekly]
"...Under the curatorial vision of Phil Mouldycliff, 13 artists embarked on a sound-art exhibition at the Bolton Museum, Art Gallery
and Aquarium, whereby (to the best of our understanding) the artists were given access to the Museum's collections of natural artifacts to use within the installations and as sound making devices. In turn these installations (which also involved paintings, drawings, prints, sound, and sculptures fabricated by the exhibiting artists) became something of what Mouldycliff qualified as an "accumulation of
fragments." The participating artists included Colin Potter, Loren Chasse, Keith Rowe, Max Eastley, Russell Mills, Julian Lees, Peter
Oakley, Tom Phillips, Colin Fallows, Hugh Davies, Glenda Lees, Paul Mason, and Phil Mouldycliff.
As none of us had the good fortune of experiencing the exhibition, we can only comment on the catalogue (which artfully
presents the numerous ideas behind all of the contributing artists) and the accompanying CD which features a mix of material produced for
the catalogue by Colin Potter of various sounds produced by Rowe, Chasse, Mouldycliff and himself. As the disc begins, it's apparent who
is the creator of those first sounds: AQ-fav sound artist Loren Chasse as he presents a delicate crackling of natural tactility above a rarified drone of accumulated environmental ambience (i.e. surf and wind), very much sounding like those heard on his The Air In The Sand release. The ominous shadows and oceanic rumbles which Potter has employed so successfully in Nurse With Wound, Monos, and Ora act as the glue holding the entire composition together, with Keith Rowe's
small yet growling machines and vibrating strings only occasionally emerging from the din. Mouldycliff's contributions are a little harder to pinpoint, as we're honestly not all that familiar with his work (sorry Phil!). The disc itself is a wonderful listen, and certainly continues along what Mouldycliff intends, as "pathways through the assembled clutter as if exploring a debris field on the bottom of the sea." [Aquarius Records]
|
2006 |
€16.00 |
|
|
Epitaph for John |
CD |
Über 3 Jahre nach seinem Tod erscheint diese Memorial-Compilation für den ursprünglich aus Berlin stammenden Komponisten JOHN WATERMANN, der nur 48 Jahre alt wurde. Neben dem über 13 minütigen Originalmaterial von WATERMANNs „Toowong Cemetary“ , welches zu seinen letzten Aufnahmen zählen dürfte, gibt es hier Bearbeitungen desselben Materials zu hören von FRANS DE WAARD aka FREIBAND und anderen, die engen Kontakt mit WATERMANN hatten: ASMUS TIETCHENS, RLW, und MERZBOW.
Dies ist eine würdige Gedenk-Compilation mit grossartigem Material, hier zeigen diese Koryphäen der unabhängigen Geräuschmusik-Szene ihre ganze Klasse! Kommt mit kompletter Discographie und vielen weiteren Infos!!
“CD only (compilation with Asmus Tietchens, RLW, Merzbow, Freiband and John Watermann). In late 2000, I received an e-mail from John Watermann. It was rather out of the blue, since we hadn't been in contact for maybe ten years. I don't have that e-mail anymore, but I remember that it started like this: "I hope you remember me? I have been diagnozed with cancer which is incurable", and then he went on to propose that I buy the remainder of his self-released CD-Rom, "A Rose Is A Rose". John also proposed that we do a musical collaboration together. I mailed him a CDR of field recordings that I had made in the summer of 2000 in Sweden, and he mailed me a CDR called 'Toowong Cemetary'. During the next year and in early 2002, John and I e-mailed about how we should approach this collaborative work. I did a fair share of processing on his sound material, but it seemed hard for me to finish. In my various e-mail communications with John, I didn't dare ask what would happen if he would die and the work was not completed.
In the afternoon of April 3th 2002, I got an e-mail from Shannon O'Neill, telling me that John had passed away. Afterwards, I got in contact with Barbara Heath and Malcolm Cones, who were both dealing with John's estate. They send me a couple of CDRs containing all the recent soundwork John had been working on, but they contained nothing of our collaboration. I left my music unfinished, until mid-2003 when I thought of inviting Asmus Tietchens to do some work on John's original sounds. I knew that they were in close contact. After Asmus had finished, and I still wasn't ready with my piece, so I invited two more people, Ralf Wehowsky and Masami Akita. In the previous years Masami worked on an extensive collaboration with John and Ralf Wehowsky mentions Watermann as one of the few artists he was keen follower of. Once I had their contributions, I decided to start from scratch and take their finished works as new raw sound material, which is why my piece is now at the end of the CD.” [Frans de Waard – liner notes]
“Over the course of his life John Watermann worked with almost every conceivable artistic medium. In many ways, he was the epitome of the "total artist"; almost every element of his life being in some way his own artistic project. As a young man in his native Germany he worked as a photographer and documentary filmmaker, also etching, painting and writing. His experience as a youth in Germany in the Second World War influencing his work from then right through until his death.
Following his move to Australia Watermann worked as jeweller, opening a number of shops in Sydney with his longtime Australian partner Barbara Heath (an accomplished jeweller in her own right) and meanwhile continued to write, paint and even sculpt. Eventually, after traveling the east coast of Australia in a self-built sailing boat, Watermann settled in Brisbane and began to produce his music.
He first released his music in 1989 in the form of the album "Warmth is the Fifth Room". Like most of his releases, the cassette appeared in a run of very few copies on his own label "Nightshift", and was consequently almost impossible to find.
Over the next 10 years he released numerous albums and contributed to a number of compilations, both under his own name as a solo artist, in collaboration with others (such as Merzbow) and under a number of pseudonyms (including Radio Mull, Spinal Machine and Total Disease). Also, apart from his music, in the 1990s he created an interactive cd-rom work "Rose is a Rose" and published the webzine "Lean Yellow Supporting".
Sadly, on April 2nd 2002 John Watermann died suddenly of an infection resulting from his ongoing treatment for cancer. Having in the final year of his life returned to painting and writing (alongside a burgeoning interest in cooking), he still had vast plans for future projects.
Among these unfulfilled projects were plans to collaborate with Frans de Waard on a new release. Although only preliminary discussions on the collaboration took place and Watermann never completed any work towards the project, Watermann's source material that was to be the basis of the work now serves as a basis for this tribute release.
Despite his vast artistic output, Watermann has been known almost exclusively for his music and even then his work remains largely undiscovered, perhaps for no other reason than its sheer unavailability. In many ways Watermann could be considered a classic example of the artists' artist, his work influencing many far more prominent sonic alchemists. And perhaps then this release serves as a record of Watermann and his influence, documenting the respect he reserved from his peers and, hopefully, introducing his work to a new audience.” [Ben Byrne] . tracklisting:
1. Asmus Tietchens - JWAT 1 (03:05)
2. Asmus Tietchens - JWAT 2 (02:37)
3. Asmus Tietchens - JWAT 3 (05:39)
4. Asmus Tietchens - JWAT 4 (03:55)
5. RLW: Seeking Perfection - Somewhere Else (12:52)
6. Merzbow - Untitled For John (05:28)
7. Freiband - Threnody (10:26)
8. John Watermann - Toowong Cemetary (13:32)
[press-release]
|
2005 |
€13.00 |
|
|
Ikebana: Merzbow's Amlux Rebuilt, Reused and Recycled |
do-CD |
Das AMLUX-Album von MERZBOW remixed, von v.a. laptop/glitch, IDM und Electronica-artists - sehr kuriose Ergebnisse, oft rhythmisch & break-beatig, gar hip-hoppig, wo stets die MERZBOWschen Harshklänge eingearbeitet werden...
“Artists were asked to use Merzbow's album Amlux as an instrument in an original composition, rather than to perform the conventional remix. We hoped that this would allow the artist to flourish with greater creative freedom and a less restrictive context. We didn't want to fit this project into any sub-genre of music. We wanted it to simply exist. Perhaps the beat oriented tracks, record scratching and vocals will annoy some Noise purists, and perhaps the noisy sound collages will irritate others, but hopefully this collection of tracks from some of the best electronic artists working today will enlighten the listener. Music is sound and sound is everywhere, regardless of classification." Remixers include: Jack Dangers, DJ Spooky, Luke Vibert, Alec Empire, Kawabata Makoto, Cornelius, Kid 606, Negativland, Nobukazu Takemura, Atom, Chicks On Speed, Experimental Audio Research, Bola, Kim Hiorthoy, Staalplaat Sound System, Lasse Marhaug, Kim Cascone, Freiband, Nau-zee-aun, Kurt Weisman, Raub Roy, Instavoid, Custom Drummer, John Wiese, Zipperspy, DJ Rupture.” [press release]
|
2003 |
€16.00 |
|
|
INFERNAL PROTEUS |
BOOK / 4 x CD |
Auf dieser PFLANZEN-Compilation werden 40 verschiedene Pflanzen (davon 1 fiktionale) musikalisch charakterisiert, wobei das Spektrum sehr weitreichend, aber größtenteils im dark ambient / post-industrial und apocalyptic folk – Bereich anzusiedeln ist. Die Aufmachung ist äußerst edel, ein 96seitiges Hardcover-Buch mit Abbildungen / Artwork zu jeder Pflanze.
Die Auswahl der Pflanzen erfolgte durch die beteiligten Projekte und zeigt auch schon, wo ein Hauptinteresse lag: bei den bewussteinsverändernden Pflanzen...;
ein wahrhaft monumentaler Trip in die Pflanzenwelt, eine Compilation die eigentlich Unverbindliches zu verbinden sucht. Einmalig in der Konzeption und Gestaltung, a definite MUST have!
“A professionally and luxury manufactured 96-page hardback book with full colorartwork, containing 4 Compact Discs with 40 first-class artists and a playtime averaging 67 minutes per disc ¬ from Folk to Rhythmic, Pop to Ambient and Electronic to beyond... Every contributing artist was given the freedom to chose one plant or herb of his delight to present within “Infernal Proteus” under the aspect of music and visual art. The result is a new form of book, ground breaking in its expression ¬ a manifestation of true artistic virtue!” [press release] Featured are a.o.:
AH CAMA-SOTZ (Belgium): Morning Glory, ALIO DIE (Italy): Borage, AMBER ASYLUM (USA): Kelp, APOPTOSE (Germany): Oak, AUBE (Japan): Chrysanthemum, BARADELAN (Germany): Bonsai, CHAOS AS SHELTER (Israel): Bellflower, COLECLOUGH & HILL (UK): Beech, YANNICK DAUBY (France): Sundew, ENDVRA (UK): Hops, HEKATE (Germany): Cornflower IGOR18 (Israel): Venus Flytrap, INADE (Germany): Ginkgo DAVE KNOTT (USA): Redwood, LOTUS EATERS (USA): Marijuana, MNORTHAM (USA): Salvia Divinorum, SETH NEHIL (USA): Birch, STEVE RODEN (USA): Pine
TROUM (Germany): Khan Arachnid, ULTRA (USA): Yohimbe WOLFSKIN (Portugal): Thornapple........and many others !
label-website: www.theajnaoffensive.com |
2002 |
€45.00 |
|
|
Lust from the Underworld |
do-CD |
Luxuriöser Vollfarb-Katalog mit kunstvollen Fotos von verschiedenen Fotografen zum Thema “Liebe und Eros in Mythologie, Symbolismus & dekadenter Kunst”, dazu 2 CDs mit Musik von diversen Projekten und Musikern aus dem elektronisch-düsteren Bereich: Romantic Electro-Dark Wave, Mittelalter-Folk, Dark Ambient, Gothic Poetry, insgesamt eher song- & vokalorientiert...
“Wow, this is an impressive looking release. The Czech label Horus CyclicDaemon released an enjoyable compilation before (Chaos), but this time they have taken their ambitions a step further. A luxurious A5 book full of erotic photos contains two cd's filled with exclusive material of interesting artists. The project is dedicated to Love & Eros in mythology, symbolist & decadent art and focuses especially on the story of Hades & Persephone & Koré & Demeter. This theme is worked out in the booklet, which contains about 30 `bizarre pictures` from 9 recent & modern photographers as well as some texts and poems. The photos have very different styles, some are subtle and romantic, others are rawer and fetish-like. Apart from the erotic photos, there is also a page for each artist involved, with credits and lyrics. Everything is printed on top quality paper to enhance the visual stimulation. Furthermore the booklet is packaged in a very nice envelope.
The theme becomes not only clear from the visual contributions of the photographer, but the musical artists also deal with themes of lust, sex and fetish. And they are certainly not the least artists, though there are also some unknown (but promising) artists present. Don't expect fetish EBM/techno like Die Form though, in general the musical idiom is romantic or mysterious. The music on Lust from the Underworld ranges from dark folk to neo-classical, from heavenly voices and medieval to ritual, from dark ambient to experimental industrial.
Disc one starts sensual, with atmospheric sounds and the typical voice of Chako (related to Jack or Jive from Japan). Unto Ashes treats us to ritual and medieval sounds, with nice hurdygurdy and percussion sounds. Then comes a bombastic filmic soundscape by Abnocto, a project of Simon Kölle and Simon Heath, also known for Za Frûmi. These gothic fantasy sounds bring images of monks sneaking through dark corridors. The contribution by 4th Sign of the Apocalypse from the USA has a ritual, monotonous sound and an experimental structure. Then comes a rather mysterious piece with whispered/spoken vocals by a Mexican act called Detritus, which I think is another Detritus than the one who releases on Immanence and Ad Noiseam.
Romowe Rikoito is a lovely folky band from Russia, which enchants me with their melancholic string sound. Maor Appelbaum is a new name for me, but sounds interesting with a mixture of electronic and classical sounds, it reminds me of the more experimental Matt Howden works. The Mystery School adds a slow piano-based romantic hymn, while Chaos as Shelter is responsible for some rather dark ritual ambient sounds in combination with a traditional Persian song, reminding me of Agnivolok. One Inch of Shadow from Poland has a shimmering, experimental soundscape with some dramatic vocals on top of that. It is followed by Hexentanz, a project related to Soil Bleeds Black, but darker and more ritual, quite nice. Disc one is finished by a great atmospheric ambient piece with classical elements and interesting spoken text by Musterion, another project of Simon Kölle.
Disc 2 has a great start: Sieben with one of their most rhythmic pieces 'Forget me not', which I clearly remember from Matt Howden concerts and which is very different from the track with that name on the Sex and Wildflowers album. Mondblut are always masters at creating mysterious, sensual moods, and they do not disappoint. Empusae slowly builds up his track, which evolves into a complicated rhythmic piece, the harshest track so far. Delusional Day is much softer, with lovely, expressive female voices, somewhat jazzy. The Crown of the Scars is somewhat weird, with strange lyrics, making me think of David E. Williams. Cotton Ferox from Sweden had made a great album, and again they have contributed an original sounding piece, sort of experimental ambient dub with penetrating spoken word. While Angels Watch has a usual a more traditional dark folk sound, with romantic lyrics about angels and nice contributions by Matt and Jane Howden. Then follows an improvised, somewhat oriental piece by The Legendary Pink Dots, interesting as always. The Belgian Hybryds are specialized in dark ritual sounds, and with the help of the sensual voice of Ms. Poly Esther the lustful character of their song is further enhanced. Last but one is a bombastic medieval soundtrack piece by Za Frûmi, perhaps the best track I know from them. A slow classical piece with a religious feel by Ossaserpia finished the second cd.
Only 500 handnumbered copies have been made of LUST FROM THE UNDERWORLD.” [Hans D. / FUNPROX]
|
2004 |
€22.00 |
|
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Tel Aviv Aftermath |
CD |
"Auch in ISRAEL formiert sich eine Post-Industrial / Elektronik / Experimental / Ambient – Szene, und diese erste VÖ von THE TOPHETH PROPHET bringt einen ersten Überblick auf CD. Enthalten ist hier Material von GRUNDIK + SLAVA, IGOR18 (gerade auf Pre-Feed veröffentlicht, siehe CDRs), CHAOS AS SHELTER (bekannt von der Drone EP und einigen CDs), SCREENING, FORMA, HU (die sich mit „Cryptoacoustics“ beschäftigen), VECTOR SCOPE, AGNIVOLOK (von ihnen erschien gerade eine LP auf StateArt), THE CROSSFISHES, und einem Collaborationsprojekt von IGOR18 und CAS. Hier gibt es einiges zu entdecken." [Drone Rec. 2002]
“The Topheth Prophet is a new label aimed to reveal the most kept secret in Israel, the Industrial \ Dark \ Experimental music scene. Tel Aviv Aftermath is our first release , it is a compilation cd , a collection of ten tracks , each has a special idea and unique sound , each was carefully chosen , each represents a different aspect of the current experimental doing in Israel.” [from the press release]
|
2002 |
€8.00 |
|
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Variable Resistance |
CD |
23FIVE INCORPORATED ist nicht nur seit Jahren der wichtigste Konzertveranstalter für experimentelle Musik in San Francisco, sondern inzwischen auch als Label tätig. In Zusammenarbeit mit dem San Francisco Museum of Modern Art ist eine Compilation-Reihe entstanden, die pro Ausgabe Projekte eines einzigen Landes vorstellt. Diese CD ist AUSTRALIEN gewidmet und beinhaltet Stücke von AMBARCHI, PIMMON, DARRIN VERHAGEN, PHILIP SAMARTZIS und einigen anderen...sehr schöne Zusammenstellung!
“Variable Resistance" was the second 'listening room' event co-sponsored by SF sound art organization 23five, Incorporated and the San Francisco Museum of Modern Art. Where the first collaboration between 23five and the Museum centered on Japanese experimental music, this one takes a southern route to Australia, which has enjoyed a healthy explosion of adventurous musicians exporting their wares across the globe. Assembled by noted sound artist Philip Samartzis, "Variable Resistance" is a title that encapsulates the tone and extent of the work on hand, referencing not only the electronic gizmo (the variable resistor) as key to many of the featured homespun constructions, but also as an applicable non-definition of those artists who "offer variable resistance in how they are defined and the positions they occupy in a broader cultural context, fragmented, and dispersed among remote cities and divided by enormous physical and psychological space." That said, Samartzis attempts to breakdown the Australian aesthetic into a number of sub-genres: Microphonics, Metallic Plates & Resonating Strings, Residue, Flutter & Flux, Malfunction & Resistance, Improvised Composition, Suspended Time & Expanding Space, Electrical Impulses & Variable Flow, Soundhackers, and Microwaves, Collisions, & Noise. While each of these subgenres do offer some help in interpreting the work of these artists, those featuring on this cd (a condensed version of the SFMOMA event) are pretty good at resisting any imposed characterization. Much of the work on "Variable Resistance" is based upon live improvisation filtered through a number of DSP techniques (with obvious exceptions and detours) with tracks from Oren Ambarchi, Robbie Avenaim, Philip Samartzis, David Brown, Xonk, Thembi Soddell, Darrin Verhagen, Pimmon, and Delire.” [Aquarius Records]
|
2002 |
€13.00 |
|
|
Verfassung |
LP |
Erste „offizielle“ Compilation des HÖRBAR e.V. aus Hamburg! Enthält 14 Stücke der Mitglieder, die das grosse Spektrum der derzeitigen experimentellen Musik fast abdecken, von dröhn-minimalistischen Sphären über cut-up & Collagen, musique concrete und Impro bis zu post-industriellem Noise, mit Y-TON-G (ex PARA NOISE TERMINAL) und TBC sind auch zwei Drone Records-Vertreter dabei, aber auch sonst durchweg hochklassiges Material von u.a. EVAPORI, [HYPH]; AUDIBLE PAIN, INCITE, GREGORY BÜTTNER, SONATA REC und natürlich darf ASMUS TIETCHENS nicht fehlen.
“On the newly released vinyl LP "Verfassung" (German for "state" or "constitution") 14 electronic tracks by 14 musicians and projects can be heard. The music includes all styles of experimental electronic music: minimal to noise, musique concrète, improv, cut-ups and collages. The record not only shows the current state of the experimental music scene in Hamburg, despite the different individual approaches and styles it creates a musical flow, offering a diverse and exciting listening experience. All musicians on the record are members of the "Hoerbar" (German for "audible" and "listening bar"). For over 10 years it has been an important meeting point for producers and consumers of experimental music in Hamburg, Germany. Once a week a lively exchange between composers, musicians, labels and collectors takes place. Once a month local and international musicians are invited to the "Unüberhörbar" concert (German for "unignorable"), among the guests have been Jim O’Rourke, Hafler Trio, Keith Rowe, People Like Us and many others.” [label info]
"the audible VERFASSUNG of our loosely organized group of producers [called HOERBAR] is being reflected by this audio document, which is representative but cannot be complete.some children, grandchildren and great-grandchildren of those courageous explorers of electroacoustic music continued walking on analogue and digital paths, avoiding the academic castles of compulsion and the sweat-moistened dancepalaces, being driven by furious excitement to add something personal to the pool of established aesthetic strategies. knowing that the wheel cannot be reinvented is not a cause for resignation or for becoming Epigones, but made us develope our ambitions to learn from historic achievements so that we can walk upon new roads and even stray with our heads up. so, the electroacoustic VERFASSUNG [constitution / condition / circumstance / state of mind] compiled by hoerbar hamburg manifests the whole spectrum between the righteous ponderer‘s efforts and the unconcerned homo ludens‘ arabesques. we will go on." [Asmus Tietchens]
“Ah the classic format of compilation LP, with booklet. It looks retro, very 80s like, but it's 2006. The Hörbar in Hamburg is an organisation that puts on concerts, mainly in the B-Movie cinema. Hörbar is mainly run by musicians, who work as volunteers, doing the sound, the bar and the door. Every week they meet up and do something. Now Hörbar also acts as a label, and this compilation is the first release. Of course it features music from the people that make up the Hörbar organization. The good thing is that it holds many musicians I never heard of, such as Pizza Ni Ni, Renoise, Margitt Holzt, Guy Saldanha and Ebinger, sitting next to somewhat more known locals such as Evapori, Gregory Buettner, Sonata Rec, [Hyph-], TBC, Incite and Y-Ton-G. Of course the biggest star from Hamburg, Asmus Tietchens, is also present, with the most silent and reduced piece of the lot. What can be noticed that there is a fair amount of noise material on this record, such as TBC, Guy Saldanha and Audible Pain. Margitt Holzt and Incite represent the rhythm side of this bunch, whereas Tietchens has his own followers such as Gregory Buettner and some seem to follow their own track, such as the curious piece by Ebinger (who he?). Evapori and Sonata Rec play pieces that are a cross over between the world of Tietchens and the underworld of noise. The most curious piece is by Pizza Ni Ni, entitled 'E', it seems just the one time strumming of an E chord on the guitar. A booklet describes the pieces and has a bunch of nice quotes. Limited to 300 copies - that is the final trick from the 80s, make a few and create a rarity!” [FdW / Vital Weekly]
www.hoerbar-ev.de
|
2005 |
€15.00 |
|
|
Water & Architecture |
CD |
Nachpressung dieser schönen Compilation zwischen Post-Rock und Avantgarde / Ambient-Electronica auf Sub Rosa, zum Thema Wasser & Architektur....
“Nature, cities, water, concrete... Water eating rocks, shores. Cities eating landscapes, life. Those two elements are interconnected, though fighting. In between there are humans, needing both elements to survive. A shelter to protect the close to 70% of water a body is made of. What is the connection, the dialogue, the potential of construction/destruction? What is the impact of architecture on water, what is its influence on modern cities? Featuring unreleased material from: Directions: Post-rock with electronica flavours,featuring Bundy K. Brown (Tortoise,Bastro,Gastr del Sol...) and Doug Sharin (June of 44, Him, Rex...) Recorded in Tortoise Studio, Chicago. Seefeel :Too Pure, Warp... Seefeel was some unique act in the pop-electronica scene. Somewhere in between folk-dub-intelligent electro. These two tracks are mixing natural rhythms, minimal electronica... Atom Heart: It was the first track released by Atom TM in his new studio located in Santiago. It starts as some German techno groove to end into some electro-'limbo'. Amazing.
Bisk: The Osaka post Drum'n' Bass wizard "desturcturer", Naohiro Fujikawa, in a three piece suite of sounds, strange, odd, Bisk...
AER (ALPHA ECHO ROMEO): aka Jon Wozencroft, british designer, co-founder of the Touch label composer these tracks with sounds collected worldwide. Architectural experimentation.” [press release]
www.subrosa.net
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1998 |
€14.00 |
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Widerstand (PROPERGOL, ORPHX, GENITOR LVMINIS, PREDOMINANCE, DREAM INTO DUST, SURVIVAL UNIT, CON-DOM, etc ) |
do-CD |
Industrial-Compilation focused on the theme “resistance”, from very harsh attacks with vocals over orchestral ambience to dark droning pure sound-stuff, this is very varied collection, reflecting the theme from different sides.
“ The final chapter in Stateart's early series of releases! This Double CD comes in a compact DVD size box with full colour inlay and 20-page booklet, containing artworks provided by all participating artists. Limited edition of 1.000 copies without re-issue!
Tracklist: Disc 01: PROPERGOL "Alpha 60" // PROPERGOL "Fahrenheit" // 4TH SIGN OF THE APOCALYPSE "Black Sheep" // ORPHX "Black Flag" // ALLGRENA "Protest" // CONTROL RESISTANCE "Blood In Your Face" // GENITOR LVMINIS "Resistance" Disc 02: BLOOD CONSPIRACY "The Wire" //
PREDOMINANCE "To Tame A Land" // DREAM INTO DUST "At The Heart Of The White Rose" // CITADEL "Radix" // SURVIVAL UNIT "Resistance Redefined" // CON-DOM "I'm Human" //
MAISON CLOSE "Escape From Freedom" // WUTANES HEER "Resistance" [label info]
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2003 |
€18.00 |
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Yokomono 03 |
LP |
Neue Loops für das STAALPLAAT SOUND SYSTEM (SSS) Projekt YOKOMONO mit imposantem Aufbau, wo rote japanische Spielzeugautos auf Vinyl kreisen und Sound erzeugen.....
White Vinyl. One side with 55 loops featuring BLIXA BARGELD, MERZBOW, KARKOWSKI, HATERS, MAIN, A. BORISOW, etc (each one 5 loops), other side tracks by MIKA VAINIO & PETRI KULJUNTAUSTA !
“This is the third Staalplaat Soundsystem LP made for Yokomono in white Vinyl! One side of this record the Staalplaat Soundsystem has made 55 loopSSS decided to compile a thematic Yokomono vinyl release. The theme: Helsinki and its environmental sounds. The other half of Pan Sonic, Mika Vainio, a resident of Berlin like SSS, was commissioned to produce a seven-minute composition. Petri Kuljuntausta from Helsinki was, in turn, asked to provide a composition of an equal length responding to Vainio’s piece. The sound material to be used for the compositions, field recordings from the turn of the 1960s and 1970s made at the Hietalahti shipyard in Helsinki, was discovered in the special effects archive of YLE Finnish Broadcasting Company. These sounds have a personal dimension for both composers: Vainio spent a part of his childhood living near the dockyard, while Kuljuntausta has used sounds recorded from inside ships’ hulls as material for his earlier works. Yokomono 03 will be pressed using an exotic method. The grooves holding the two compositions by Vainio and Kuljuntausta will be paralel cut. The other side of the record features the traditional loops of 1.8 seconds, commissioned from Blixa Bargeld, Merzbow, Main, Alexei Borisov, Donna Summer, G.X. Jupitter-Larsen, Andrey Kiritchenko, Zbigniew Karkowski, staalplaat soundsystem, Un Caddie RenverseDans l'Herbe and Ditterich von Euler-Donnersperg, with five loops from each featured artist and their own sound environments.
SSS's most popular piece has been, a series of performances entitled Yokomono, whose technical realisation is complex enough to warrant a lengthy elaboration. Its basic idea is to use a performance setup consisting of so many unpredictable technical components that it is, in practical terms, impossible to control the whole system. Avanto is now staging the premiere of the latest incarnation in the series, Yokomono 03. The yokomono are Japanese electronic toys, battery-powered miniature cars, with a record players needle on the underside and a small speaker inside. SSS employs a fleet of ten yokomono cars retrofitted with small FM radio transmitters inside them and with antennas on their roofs. The sounds transmitted by the tiny cars are received by ten battery radios in flaming red, like the cars. The vinyl records are placed on a table, and the miniature cars are set to drive in a circle on them. One of the uncertainty factors is that the cars are battery-powered: the batteries don’t last for very long, and, eventually, the speed of the cars as well as the frequencies of the radio transmitters begin to fluctuate, resulting in the transmitters skipping from one frequency to another. Another factor is the shoddiness of the cars' cheap styluses; SSS calls them "vinyl killers". The confusion is confounded by the nature of the records the vinyl killers are playing. For DJ gigs like this.” [press release]
|
2006 |
€12.50 |
|
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Avanto 2006 |
CD |
"Nur drei Künstler des ewig langen und großartigen Lineups der letztjährigen Avanto-Ausgabe sind vertreten: Tony Conrad (13 min), Ralf Wehowsky (22 min) und Jim O'Rourke (26 min). Conrads epische Solo-Violine (für La Monte) wird auf ganz untypische Art gestrichen, erklimmt zaghaft niedrige Gebirgsketten und verlischt in seichten Untiefen. Wehowsky kommt äußerst stark: Aufnahmen von Topias Tiheäsalo an der Gitarre und der Rogalli Revival Band werden um sich selbst gestülpt und nach außen geschnallt. Fein elaboriert gerinnt die Musik vom konkret Unhörbaren zum zentriert Kaputten, vom lyrisch Verstörenden zur Unordnung im Lauten. O'Rourke reanimiert eine Drone-Arbeit aus den 1990ern; äußerst langsam entfalten sich Geschmack und Tiefe, bis jede alte Idee sich zu Tode vergegenwärtigt hat und Schweigen den Ton angeben muß. Top Comp!" [Erik Benndorf]
“avanto is annual festival of experimental music and film. Since 2000, avanto has introduced contemporary and historical works of experimental music and film to enthusiastic audiences. avanto 2006 CD includes previously unreleased compositions by Tony Conrad, Ralf Wehowsky and Jim O'Rourke. Wehowsky’s and O’Rourke’s pieces premiered at avanto in the tape music concert on Saturday 18 November.” [press release]
"Tony Conrad (violin): DAGADAG for La Monte. Ralf Wehowsky: Würgengels Lachende Hand. Composed by Ralf Wehosky between April and September 2006. The sound material for the piece has been supplied by Topias Tiheäsalo (guitar) and The Rogalli Revival Band, MK II (Sonja & Sören: vocals, Ch. Rogalli: oud; recorded in April 2006 by RLW), transformed and morphed by Ralf Wehowsky. Jim O’Rourke: Out with the Old. Recorded in 1990-1991-1994-2006." [liner notes]
|
2006 |
€13.00 |
|
|
20 Jahre Inventionen VI |
CD |
"Elektroakustische Kompositionen von Edgar Barroso, Mario Verandi, Paul Wilson, Ricardo Climent, Vladimir Djambazov und Ludger Brümmer. Aufgenommen bei den Inventionen Festivals 2005 und 2006" [label info]
"Diverse newcomers from the "academic" New Music-area are to find on this great new compilation from Edition RZ, presenting the participants from the INVENTIONEN-Festivals in Berlin 2005 & 2006. Most composers work with field recordings or acoustc object phenomena and process these sounds with digital software means. The brilliant piece from EDGAR BARROSO i.e. uses only the "noise"-components of instrumental sounds (called "residuals") and creates with help of the new software (SMS-Spectral Modeling Synthesis) amazingly complex layerings of the "secondary" noises." [Drone Rec. info]
www.edition-rz.de
|
2007 |
€10.00 |
|
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SPIRE LIVE FUNDAMENTALIS |
do-LP |
Der dritte Teil in der SPIRE LIVE-Serie, lange Stücke mit "modernem" Orgelbezug & -einsatz von PHILIP JECK, CHARLES MATTHEWS, MARCUS DAVIDSON, BJ NILSEN und FENNESZ, - Aufnahmen von den zwei SPIRE - Konzerten auas Göteborg und Brüssel. Ganz wunderbar tönen wieder BJ NILSEN und FENNESZ, der eine löst die Orgel-Töne in rostig-rauhen Resonanzen auf, der andere klingt ("rein ORGANisch") höchst melancholisch und polyphon... aber auch die anderen Stücke (u.a. eine Version eines SCELSI-Stückes) sind die Anschaffung wert.
"Spire Live - Fundamentalis is a double LP-only collection of exclusive live tracks recorded at various Spire events held throughout 2005 and 2006. Released in association with U.S. label, Autofact, Touch presents a selection of tracks performed by the main performers of Spire: Fennesz, Philip Jeck, BJNilsen, Charles Matthews and Marcus Davidson. Improvised pieces from Fennesz, BJNilsen and Philip Jeck contrast with a performance by Charles Matthews of a scored composition by Italian composer Giacinto Scelsi, "In Nomine Lucis," and Marcus Davidson's self-penned "Standing Wave," which ends side two with a locked groove. Cut to preserve and enhance the bottom end frequencies, Fundamentalis is not merely a document; the tension between and within the individual pieces is palpable. As the Touch label places it, Fennesz's set "...evokes the rolling centuries in all their pain and beauty, leaving us at once becalmed and energized, but never oppressed under the weight of time." Electronics breathe new life not only into the organ, but also into the setting. But a new technological successor does not mean replacement. Ultimately, it's the majestic sound of the organ, so steeped in centuries of tradition that one remembers above all else. Spire is one of the most innovative projects around, drawing on the full canon of organ works, from the very first annotation in the Robertsbridge Codex from the 14th century, to Max MSP patches and software sampling. With two CD releases and nine performances in cathedrals and churches throughout Europe, Spire remains a potent live force in harnessing the sounds of the ages. Art direction and design by Jon Wozencroft." [label info]
".... Jeck's side is everything we could hope for, long lazy loops, slathered in record static, hiss, crack and pop, dreamy melodies skipped into haunting rhythms, everything washed out and blurred, a worn weary sonic drift, organs and voices, soaring and whirring, very mechanical and machinelike, but simultaneously, warm and emotional.
Serene, hypnotic, mesmerizing, what else can we say about the magic of Jeck's music that we haven't said before??
Matthews' half of side two is super minimal and hushed, mostly organs, allowed to wheeze and whir, slightly dissonant, but dense and layered, the tones hovering in a suspension of rumbles and shimmers, very dramatic and cinematic, understated and reverent, almost like some strange religious musical ritual. The second half, ostensibly Davidson's, although he is credited with a locked groove, is a dark
drone-y flow, keyboards blurred into warm streaks, also slightly atonal, ominous, intense, the muted rumble builds to an almost cacophonous organ-ic frenzy, that heard at full volume must have stirred the soul for sure.
The second disc is split evenly between Nilsen and Fennesz. Nilsen's side, recorded in a church in Sweden, is a dark, harrowing,
rumbling, post industrial dronescape, the tones rough around the edges, the melodies lugubrious and caustic, building up into a serious din, metallic washes of sound, thick shards of pulsing buzz, very brittle and sharp, before slipping into something a little more serene, but no less intense, more muted metallic tones, drifting in a churning sea of hissing static and electronic grit, a barely noticeable rhythm, more of a pulse or swell, finishing off in a deep grinding low end blur, like a much more minimal 20th century SUNNO))).
The Fennesz track is all organ, the root of all of these pieces, but here, the organ is unaltered, barely unadulterated, allowed to warmly wheeze, strange tangled melodies, glistening and glimmering, the tones beginning to change shape, the melodies allowed to elongate and blur slightly until they're swallowed up by a warm cloud of static and hiss before fading out completely. The second half of Fennesz' side is a more murky underwater reading of the first half, not as much grit and gristle as we usually expect, instead, the sound is whirling and muted, reminding us of Oval, but with the glitching skips smoother out, leaving just warm shimmering sonic swells, sun dappled melodies, and rich layered high end drones, drifting serenely, pastorally.
Gorgeously packaged, super thick full color gatefold sleeve, super striking Wozencroft photos, pressed on thick vinyl. And as if you even need to be told, quite limited indeed." [Aquarius Records review]
www.a-fact.com
|
2008 |
€18.50 |
|
|
Audioscoop Compilation 1 |
do-LP |
Ein sehr breitgefächerter Rundumschlag durch den "experimentellen & elektronischen Untergrund" bietet diese schön aufgemachte Compilation, vereinigt sie doch Stücke von 20 internationalen Acts die im "Intro in Situ" in Maastricht zu Gast waren, von "schwieriger" Geräuschmusik bis hin zu recht gefälliger rhythmischer Elektronik. Es handelt sich dabei überwiegend um exklusives Studiomaterial, und neben bekannten Acts gibt es eine Reihe von neuen Namen. Für Einsteiger und Sammler gleichermaßen geeignet !
"Since 2005, "Audioscoop" is an ongoing series of musical events, held in the lovely soundworkplace "Intro In Situ", in Maastricht, the Netherlands. Kim Laugs, member of Feedback Society and who I suspect to be the brainchild behind Audioscoop, invites artists to "explore the boundaries in sound and music". This double LP contains a selection of artists who where part of these events, between 2005 and 2007. They were asked to deliver exclusive material or edits from their live performances at Intro In Situ. Quite some pioneer explorers are to be found here: Asmus Tietchens, Das Synthetische Mischgewebe, Aube, Kapotte Muziek, Sudden Infant and the late MSBR (sadly, one of his last concerts was the one in Maastricht). They are placed, fittingly well, together with some new kids on the block: Arnoud Rivière, Meta Orcha, incite/, Thuth, Ex.Zero and (of course) Feedback Society. I should also mention the fieldrecording composition made by Rinus van Alebeek: it deals with chocolate and is really funny (with an odd erotic twist). In conclusion: highly enjoyable record that gives a nice overview of what has been so far, and makes you look forward to the events to come." [SDT, Vital Weekly]
www.introinsitu.nl
|
2008 |
€25.00 |
|
|
>Manifesto Rumorarmonico Post Futurista. Tributo a LUIGI RUSSOLO |
do-LP |
Vier altgediente Noise-Heroen treffen sich auf dieser Compilation zu Ehren des italienischen Futuristen LUIGI RUSSOLO, dessen legendäres Manifest "Die Kunst der Geräusche" (1913) den Startschuss für den Einsatz von Maschinenlärm in moderner Komposition darstellte.
Die Compilation zeigt gut, auf welche unterschiedliche Art und Weise "Geräusch" eingesetzt werden kann, von agitierendem Power-Effekt-Lärm (MERZBOW), mechanisch-maschinellem Rausch-Noise (GX JUPITTER-LARSEN) über seelenlos-statisches Elektro-Geknirsche & Gekrache (SACHER PELZ) bis hin zu mysteriösem Dröhnklang (RAPOON)..
"Vinyl compilation devoted to “Luigi Russolo” the father of Futurist music and the first man theorizing that music has to be composed mainly by rumors And not by harmonic sounds ! His music was played with an instrument “l’Intonarumori” or “Rumorarmonio” which was invented by himself ! Russolo is the forefather and theorizer of the “Electronic music” concept and for sure we can say today that he was the first man playing “Industrial” muzak ! For this project we found four artists which are known for being since their first approaches to music as “Neo-Futurists” and uncompromising “Industrial”. Involved artists :
- GX Jupitter-Larsen from USA, also known for being the mind behind The Haters and for all his very “Futurist” performances where a click becomes the main sound !
- Merzbow from Japan, the father of Japanese noise ! this is the sound Russolo was playing if alive today
- Rapoon from UK, with his first project “Zoviet France” Robin Storey was one of the very first artists using toy instruments !
- Sacher Pelz from Italy, Sacher Pelz was the very first project by Maurizio Bianchi also known as MB, he was one of the very first artist theorising electronic noise !
Each artists gives his contribution to this tribute playing long tracks on a full LP side ! White Vinyl. Discs are packed in hand-numbered folding cover showing Luigi Russolo and his Rumorarmonio." [label info]
www.oldeuropacafe.com
|
2008 |
€22.00 |
|
|
ELECTRIC LIGHT (COLUMN ONE REMIXES) |
CD |
"Schon die zweite Compilation auf dem neuen COLUMN ONE – Label “90% Wasser”, “Electric Light” beinhaltet Remixe von Material ihrer CD/picLP “Electric Pleasure”, von ihnen selbst sind alleine 5 Stücke dabei! Herausgekommen sind dabei v.a. Minimal-elektronisches, -technoides und –obskur-surreales, dekonstruktierte SoundWelten.." [Drone Records notes 2002]
”Here comes the long-awaited remix album following Column One's critically acclaimed electro milestone "Electric Pleasure" about which The Wire wrote it was "breathtaking in its thoroughness". Electric Light features remixes by: Column One | Silk Saw | Frieder Butzmann | Marc Wannabe | Mimetic Fake | Rechenzentrum | Ditterich von Euler-Donnersperg | CoeUR y NaGL | Afanassi Viebeg | M.O.W.E.”. [press-release]
|
2001 |
€13.50 |
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SACRAL SYMPHONY |
CD |
"Steht der Name EVGENY VORONOVSKI auf einem Produkt, kann sich dahinter eigentlich nur Qualität verbergen; das hat der Russe in den vergangenen Jahren oft genug bewiesen. Zum einen ist er Bestandteil von NEUTRAL, der momentan zum Duo geschrumpften, akustischen Neofolk-Vorzeigeband aus Russland. Dort geht er seinem gelernten Handwerk nach und spielt – als studierter Geiger – die Violine. Zum anderen ist er der Kopf hinter CISFINITUM, einem Projekt, das außerordentlich atmosphärischen Dark Ambient produziert. Gerade mit der elektronischen Musik war VORONOVSKI auf zahllosen Samplern vertreten: "Iznutri" (Besprechung), "Energia" (Besprechung) oder der "Heilige Feuer"-Serie. Nun hat er den Spieß umgedreht und Material von anderen Bands eingesammelt, ist mit CISFINITUM allerdings auch selbst vertreten. Die insgesamt fünf Projekte aus Russland, Deutschland, Großbritannien und der Ukraine steuern jeweils rund 15 Minuten lange, exklusive Stücke bei, die auf meditativen Drones basieren. Zusammen gehalten werden sie von der losen, titelgebenden Vorgabe 'sakral'. Ein Versuch also, etwas Heiliges, Religiöses einzufangen, eine 'höhere Sphäre', was allen Beteiligten auf ihre Art und Weise gelingt.
Die Herangehensweise von 1000SCHOEN, einem Ein-Mann-Ambientprojekt aus Bremen, ist die – und das ist nicht negativ gemeint – naivste von allen. Nichts klingt 'dark', die puren Ambientflächen warten mit Windspiel und Sitar auf. Wuchtige Geigendrones im Mittelteil und später auch eine E-Gitarre verleihen die nötige Intensität. "Dageraad" ist warme, freundliche Entspannungsmusik, deren urige, natürliche Stimmung manchmal an den Balkanfolk von SVARROGH erinnert, an einen Guru auf dem Hügel, der einsam sein Instrument bearbeitet.
TROUM, ebenfalls aus Bremen, sind sehr viel düsterer. Das Projekt um STEFAN KNAPPE von DRONE RECORDS arbeitet mit dicht aneinander gedrängten Drones, die klingen, als ob Wind durch unterschiedliche Metallröhren weht. Wie durch eine Nebelwand tauchen dazu an- und abschwellende, geloopte Chor-Versatzstücke auf. Ab der Mitte des Songs erwecken die verfremdeten Vocals den Anschein einer rituellen Beschwörung. Die Synthesizerflächen von TROUM decken die ganze Bandbreite nach der Einnahme von halluzinogenen Drogen ab: Mal ist es ein Gleiten durch Licht, mal stiert ein Alp durch dunkle Wolken. Streckenweise klingt "Palas Tyn" wie ein frühes, sehr abgedrehtes Instrumental von PINK FLOYD.
EVGENY VORONOVSKI beweist vor allem dadurch Klasse, dass er mit CISFINITUM nur wenig Material braucht, um große Welten zu erschaffen. In "Autumn Ritual" mäandern ausladende, träge und warme Synthesizer-Drones durch das All, eine – wie es so schön heißt – 'Reise durch Raum und Zeit'. Sollte die Menschheit einmal schockgefrostet werden müssen, um im Tiefschlaf auf einen anderen Planeten zu fliegen, ist diese elektronische Kammermusik in Superzeitlupe perfekt für den Kopfhörer im Kryogentank.
ROBIN STOREY alias RAPOON steuert mit "One Last Breath" den experimentellsten Track der Zusammenstellung bei. Der Mitbegründer von ZOVIET FRANCE arbeitet hauptsächlich mit Stimmeffekten. Dazu hat er sich sowohl beim KIEV CHAMBER CHOIR bedient und dessen Gesänge bearbeitet als auch die eigene Stimme aufgenommen und verfremdet. Alles zusammen ergibt Himmelschor-Drones, die allerdings verzischt und verzerrt sind. Die Tür in eine andere Welt steht zwar offen, ist aber unerreichbar. Im letzten Drittel des längsten Songs dieses Samplers (19:43) gehen die Gesangsloops in ebenfalls scheppernde Posaunenklänge über, die nach und nach immer klarer werden, so dass ganz zum Schluss ein winziges Stückchen Engel erhascht werden kann.
Den Schlusspunkt setzt der Ukrainer OLEGH KOLYADA, der unter vielen Namen aktiv ist. (Ein NONPOP-Interview mit ihm gibt es hier.) Als FIRST HUMAN FERRO zeigt er in der Regel ein etwas härteres, post-industrielles Gesicht, das sich nun aber der sakralen Gesamtstimmung anpasst: Wir dürfen bei der Entstehung eines Universums zuhören. Leuchtende, helle Wolken aus Synthie-Tönen ploppen wie zukünftige Planeten in eine noch nicht vorhandene Atmosphäre. Später untermalt ein Sample mit wunderbarer, irdischer Klaviermusik das Szenario. Dieses Vermischen zweier unterschiedlicher (Atmo)Sphären hat viel vom 'geistigen' Sound des Zwillingsprojekts ODA RELICTA.
Es gilt, was schon eingangs erwähnt wurde: Der Macher bürgt für Qualität. Das ist in diesem Fall nicht anders und umfasst selbstverständlich alle beteiligten Projekte, nicht nur CISFINITUM. Allerdings muss sich der Hörer über die meditative Anlage des Samplers im Klaren sein, damit es keine Überraschungen gibt. Bis auf einige TROUM-Passagen ist die Musik wesentlich mehr Ambient als 'Dark', die Drones sind beruhigend und viele von ihnen nicht von dieser Welt, das heißt typisch 'spacig'. Spaß macht ganz nebenbei auch die Interpretationsfreiheit, die "Sacral Symphony" bietet. Hinter den sphärischen Tracks können sich Weltraumabenteuer, religiöse Erfahrungen oder einfach – wie EVGENY VORONOVSKI das vorschlägt – 'russischer Spirit' verbergen. Guter Sound für die restfeierliche Stimmung der Nach-Weihnachtszeit." [Michael We. für nonpop.de]
"You don't have to be a religious fanatic to hear the quality in this latest effort from Belgium label EE Tapes. The album titled "Sacral symphony" presents five grandiose pieces of drone-based electronics from five well-known and acclaimed composers of drifting ambience. The compilation is compiled by Russian composer Eugeny Voronovski who also contributes under his artist alias Cisfinitum. German composer 1000Schøen opens the symphonic extravaganza with a hypnotic piece titled "Dageraad" that includes acoustic sounds of guitars and flutes to create lush piece of ambience. Next artist is also German. Troum
contributes with the piece titled "Palas tyn" consisting of church bell-sounding drone accompanied by warm drones moving in deeper sound levels. Eugeny Voronovski alias Cisfinitum contributes with the beautiful piece "Autumn ritual" based on ochestral ambience reminding me of works from Angelo Badalamenti. Things get even more grandiose with the otherworldly piece from Rapoon, "One last breath", a dark and beautiful piece of processed choir samples. Final piece comes from the artist titled First Human Ferro, a remarkable piece of spacey ambient based on church organ samples with echoed acoustic sound like in a church. An excellent piece to end this otherworldy ambient compilation from EE Tapes." [NM / Vital Weekly]
label website: www.eetapes.be
|
2008 |
€13.00 |
|
|
Table for Six: All Quiet? # 3 |
CD |
Das wohl am längsten bestehende belgische Label für elektronisch-experimentelle, post-industrielle und dronig-ambiente Klänge geht mit seiner TABLE FOR SIX-Reihe in die dritte Runde (sechs lange Beiträge)! Wieder präsentiert sich eine gelungene Mischung aus Altbekannten oder älteren Acts (FRANS DE WAARD, ANEMONE TUBE (nach langer Pause wieder aktiv wie's scheint) und (AD)VANCE(D) (ex VANCE ORCHESTRA), und den Newcomern NEUESTRASSE (mächtig atmosphärische dark ambient Drone aus Italien), STORMHAT (post-industrieller drone-industrial mit ungewöhnlicher Komplexität im Microsound-Bereich, sehr genial! Dänemark), und BRUNE DE ANGELIS (elektro-akustisch beeinflusste dunkel-symphonische Musik, nicht so weit entfernt von alten TIETCHENS-Sachen). Insgesamt sehr dunkel-atmosphärisch geprägt, Spezial 7"-Siebdruck-Cover, keine Ausfälle, was will man mehr !
"EE Tapes was originally a tape-exclusive label established in Belgium back 1987, but during the years the media forms released from the label has changed, to the present state of being a CD-only label. Present release is another shot from the "Table For Six"-series, that celebrates different forms of ambient with contributions from interesting composers of the scene. On this third chapter contributions comes from newcomers as well as from more established artists. Despite the focus on ambient the approaches to the style is quite different with everything from concrete sounds to abstracts noise. Opening piece titled "Bulo omega" is twelve minute work of buzzing drones from Italian artist Neuestrasse. Washes of noise waves creates a quite organic edge to the expressions of noise. Organic is also the word to describe the following contribution from Danish artists Stormhat that specializes in ambient-scapes exclusively based on field recordings. His piece "Substanser" nicely mixes abstract concrete sounds with recognizable found sounds. German project Anemone Tube continues with a minimalist piece of beautiful ambient based on processed choir-samples and grandiose soundscapes. With its warm atmosphere, the work titled "Projected cataclysm" from Anemone Tube stand in extreme contrast to the following icy drone work from Dutch sound artist Frans De Waard. His piece titled "Wortel (root)" is another minimalist work based on buzzing drones operating in subconscious levels with a very interesting result. Once in a while the drones fades away giving space for swarms of high frequency noises and crackling electronics wiping out any sign of buzzing tranquility. Dutch artist (Ad)vance(d) closes the compilation with another great piece of ambience based on field recordings with subtle melodies moving in deeper layers. Excellent compilation that also presents some quite bizarre and beautiful jazz-like ambient-noise-spheres based on acoustic instruments such as horns and string instruments from Italian artist Bruno De Angelis. Thus a great span in the contributing expressions. Good work." [NM, Vital Weekly]
" 1 | Neuestrasse (Italy): atmospheric ambient noise aka Matteo Roncari | newcomer in the dark ambient scene, although he had a first CD out already on polish War Office Propaganda label in 2006 neuestrasse@tiscali.it
2 | Stormhat (Denmark): obsessive experimental sonics aka Peter Bach Nicholaisen | climbing up fast on today's ladder of field recording-fame with CDreleases out on US-labels Cohort Records & Diophantine Discs www.stormhat.dk
3 | Anemone Tube (Germany/Netherlands): contemplative digital synths - aka Stefan Hanser, (harsh) noise artist returning after a long silence & now residing in the Netherlands, showcasing a very unusual piece for his doing in the best 80s prog synth tradition, but
with modern tools www.myspace.com/anemonetube
4 | Bruno De Angelis (Italy/UK): modern classical improvisation - former member of Influenza Prods (80s) and still active with Mana Erg (90s - now), always doing a kind of cinematographic stuff so far, here presenting a most special solo outing bruno.deangelis@yahoo.co. uk
5 | Frans de Waard (Netherlands): noise collage of tape-hiss only, back to the root(s) -
it all started with the cassette....
pioneer with Korm Plastics, (ex-)Staalplaat, Kapotte Muziek, Beequeen, Freiband, Shifts, etc etc.... www.fransdewaard.blogspot.com
6 | (ad)vance(d) (Netherlands) : floating space sounds built up with field recordings & a lot of
imagination - aka Mars F. Wellink (ex-Vance Orchestra) who teams up with Jan Dekker for this exclusive contribution: a well-balanced composition between dream, sleep & reality maybe..... mars.f.wellink@xmsnet.nl"
[label info]
|
2008 |
€13.00 |
|
|
SOURCE RECORDS 1-6. Music of the Avant Garde, 1968-1971 |
3 x CD |
Absolut lohnenswerte Wiederveröffentlichung von sechs 10" Vinylen die vor gefühlten Ewigkeiten (1968-1971) im Rahmen des "Music of the Avant Garde" Journals herauskamen. Enthält z.T. echt wahnwitzige Stücke aus der "klassischen" nordamerikanischen Elektronik- Avantgarde, z.B. geht ROBERT ASHLEYs "The Wolfman" (1964) locker als ausschweifende Feedback-Elektro-Noise-Orgie als auch als etwas angegrauter "Industrial" durch, oder DAVID BEHRMANs "Wave Train" (1966) als röhrend-droniger Dark Ambient...
Man steht / sitzt / oder liegt mit offenen Mund vor diesen Pioniertaten der Geräuschmusik, das alles wirkt so gar nicht angestrengt kopflastig oder intellektuell, sonder eher "direct into the face (ears)". Super!!
"..."Source: Music Of The Avant-Garde" was a magazine which included scores, articles, interviews, essays and music, placed on a 10" record. First released in 1967 and then semiannually until 1973, although the records were released until 1971. Some of these pieces on these records have turned to be true classics of our time. Here we have the first version of 'I Am Sitting In A Room' by Alvin Lucier, 'The Wolfman' by Robert Ashley and 'Wave Train' by David Behrman. Some other composers here are still the big shots of today, like Allan Bryant, Alvin Curran and Annea Lockwood, and some I must, perhaps shamefully, admit I never heard of, like Larry Austin (the founder of the magazine), Arthur Woodbary, Mark Riener, Lowell Cross (who has a great drone like piece), Stanley Lunetta (with a great noise based of electronics) and Arrigo Lora-Totino, who has a piece that uses just voices. Most pieces clock in at fifteen minutes, the length of a 10" side. All of the pieces deal with electronics in some way, along with real instruments. One could say that its a pity that the magazine, the printed words, aren't available, say as PDF's on the disc (or a website), but this is a lovely three CD set of some great music. Always nice to hear Lucier's piece again, even in this shorter version than on the CD by Lovely music, some interesting discoveries such as Larry Austin himself, Lunetta and Cross. A most needed re-issue." " [FdW / Vital Weekly]
"Source Records 1-6. Music of the Avant Garde, 1968-1971. The digital reissue of the Source LP's on 3 CDs :
CD One - Source Records 1 and 2
Robert Ashley, The Wolfman;
David Behrman, Wave Train;
Larry Austin, Accidents;
Allan Bryant, Pitch Out
CD Two - Source Records 3 and 4
Alvin Lucier, I am sitting in a room;
Arthur Woodbury, Velox;
Mark Riener, Phlegethon;
Larry Austin, Caritas;
Stanley Lunetta, moosack machine
CD Three - Source Records 5 and 6
Lowell Cross, Video II (B)/(C)/(L);
Arrigo Lora-Totino, english phonemes;
Alvin Curran, Magic Carpet;
Annea Lockwood, Tiger Balm
Pogus is extremely proud to reissue the recordings included in the seminal new music journal, Source: Music of the Avant Garde, Vols. 1-6, Issues 1-11, Source Records 1-6, 1967-1973. The original six ten-inch LP Source Records contained some of the most important experimental music of the nineteen-sixties to mid nineteen-seventies and they have now been reissued as a 3 CD set. Source ended publication in 1973, having published, since 1967, contemporary musical materials, scores, articles, interviews, photo essays and recordings over seven years, with up to 2000 subscribers to the semiannual journal: the subscribers avidly anticipated receiving two new and critically acclaimed issues each year during that period.
Most of the original tape masters for the records, after over forty years, have vanished or have seriously deteriorated; hence, we have carefully transferred, noise-reduced, and crackle-removed all the actual LP record tracks to the digital medium, then mastered to the compact disc format for this reissue: the result is an authentic recreation of the original LP, characteristic sound." [label info]
www.pogus.com
|
2009 |
€33.00 |
|
|
John Barleycorn Reborn : Dark Britannica |
do-CD |
"A discovery of folk music from dark Britannica. 'John Barleycorn Reborn' explores seasonal birth, death and rebirth on this double CD. Our cycle begins at Lammas 2007 (1st August), a day traditionally known for 'the first fruits of the harvest'. Pre-orders begin on this day. All orders also receive a free complementary thirty-three track download only set of further music. This compilation explores the darker side of British folk music, evoking the mystery of our ancient past and peoples, the strangeness of their beliefs, arcane traditions and the remnants of this carried down the centuries as folklore. The set has an extended booklet with articles, essays and explorations of the album's concept. The album is a collaboration between Cold Spring and Woven Wheat Whispers, a folk music artist community and legal download service (where the third part complementary part will be available). Curated by Mark Coyle. Track Listing: Disc 1 1. The Horses Of The Gods - 'John Barleycorn' | 2. The Owl Service - 'North Country Maid' | 3. The Story - 'The Wicker Man' | 4. Damh The Bard - 'Spirit Of Albion' | 5. Mary Jane - 'Twa Corbies' | 6. Andrew King - 'Dives And Lazarus' | 7. The Triple Tree - 'Three Crowns' | 8. Sol Invictus - 'To Kill All Kings' | 9. Sieben - 'Ogham On The Hill (Remix)' | 10. Sharron Kraus - 'Horn Dance' | 11. Charlotte Greig And Johan Asherton - 'Lay The Bent To The Bonny Broom' | 12. Pumajaw - 'The Burning Of Auchindoun' | 13. Peter Ulrich - 'The Scryer & The Shewstone | 14. Alphane Moon - 'Where The Hazel Grows' | 15. English Heretic - 'Hippomania' | 16. Far Black Furlong - 'Icy Solstice Eye'. Disc 2 1. The Anvil - 'John Barleycorn Must Die' | 2. Tinkerscuss - 'To Make You Stay' | 3. The Straw Bear Band - 'Trial By Bread & Butter' | 4. Electronic Voice Phenomena - 'The Sorrow Of Rimmon' | 5. The Purple Maids Of Lazeron - 'Dragonfly' | 6. Sand Snowman - 'Stained Glass Morning' | 7. The A Lords - 'Summerhouse' | 8. The Kitchen Cynics - 'The Guidman's Ground' | 9. Quickthorn - 'PewPew' | 10. Clive Powell - 'Reed Sodger' | 11. Venereum Arvum - 'Child 102 Willie And Earl Richard's Daughter' | 12. Drohne - 'Nottamun Town' | 13. Stormcrow - 'Gargoyle' | 14. Doug Peters - 'Pact' | 15. While Angels Watch - 'Obsidian Blade' | 16. Xenis Emputae Travelling Band - 'John Barleycorn: His Life, Death And Resurrection' | 17. Martyn Bates - 'The Resurrection Apprentice'." [label info]
www.coldspring.co.uk
|
2007 |
€16.00 |
|
|
HÖGA NORD |
LP |
Compilation-LP mit vier Projekten aus der derzeitigen schwedischen Post-Industrial und Experimental-Szene auf dieser LP !
"Four lenghty tracks from four Swedish experimental groups in tribute to the god-forsaken land we call Sweden - or, Höga Nord if you wish. From BOCKSHOLM's structured and up-building jackhammer mechanics, onward with DUSA's moody downer-beats from the outskirts of hell - further down the road NIELLERADE FALLIBILISTHORSTAR's abstract and
ghostly metal junk/cymbal ambient to VARTGARD's heavy and painful death industrial - this is a record that follows an unknown path, where grey and depressive specimen without contrasts makes a subliminal whole. For sure not the full-on noise Segerhuva perhaps is known to release but a beautiful and deranged journey through our
native mushroom woods and what one can find if taking a leak on a small highway side-track somewhere outside of Skara. Edition of 300
copies in printed black and white matte sleeves with insert." [label info]
www.segerhuva.se
|
2009 |
€14.00 |
|
|
MICHIGAN |
6 x LP-Box |
In der üblichen brachialen aber handgemachten RRR-Aufmachung kommt nach der CALIFORNIA-Box eine weitere Region der USA unter die Noise Culture-Lupe: MICHIGAN, Heimat von z.B. WOLF EYES, PRINCESS DRAGONMOM und HIVE MIND. Diese 6 LP-Box mit 12 Projekten (jedes erhält eine volle Seite Spielzeit) gibt den umfassenden Überblick über die Noise-Szene des "Staates der Großen Seen"!
"Hanson & RRRecords present: Michigan, a 6-LP boxset featuring a full side each from twelve Michigan noise projects. Full LP sides from: Princess Dragonmom, Raven Strain, Redrot, Aaron Dilloway, Tovah D-Day, Charlie Draheim, Hive Mind, Mammal, Evenings, Cotton Museum, Sick Llama and Wolf Eyes. Compiled by Greh Holger and Aaron Dilloway. Limited to 600 copies. Packaged in fully silkscreened record mailers." [label info]
www.rrrecords.com |
2009 |
€55.00 |
|
|
Ya Ji |
CD |
Das dürfte die erste in China veröffentlichte CD sein, die wir anbieten. Eine Compilation mit Collaboration-parts von BAI TIAN (auch auf der SUB ROSA Anthologie enthalten), SHIZI (auch aus China), sowie ANDERS PETERSON (aka OBJEKT4 und RELAPXYCH) und die legendären LOOP ORCHESTRA! Glitchig ambientes, drones, plunderphonics.. inkl. inlay mit liner notes über alle Stücke auf englisch und chinesisch!
"Ya Ji (Elegant Meeting):
A truly International sound project between China, Sweden and Australia. Proving that experimental music is very much acultural. The artists involved are Bai Tian from and currently lives in Chengdu (Sichuan province) and Shizi from Lanzhou (now lives in Beijing) in China, Anders Peterson from Stockholm and The Loop Orchestra from Sydney. The Artists have remixed each other’s work and these remixes are joined together to make up the 16 minute collaborative first track. Sound files were exchanged through the Internet. So it is a real cross-cultural/international sound project and in that respect it is unique. The other tracks on the CD are pieces by each of the artists.
The CD is released on the Chinese label KwanYin Records which is under the Sub Jam (www.subjam.org) collective from Beijing . All of the Artwork, CD production and final mastering was done in China.
The music ranges from the sound journey of the first collaborative track , Ya Ji, through to the beautiful final slowly unfolding piece by Shizi . The 16 minute collaboration is in four separate chapters. The first is a collaboration between Bai Tian and Anders Peterson. The second is a remix by The Loop Orchestra of the collaboration. The Loop Orchestra remix is then remixed by Shizi. The piece is really like a sound journey from minimal beats which become buried by dronal loops and finally slowly collapsing into the abyss.
The second track , In , by Bai Tian is a bright crisp digital electronic piece which references the heyday of European digital electronica of the late 90s.
Track three, insomniactivity is by relapxych.0 (Anders Peterson from Stockholm, Sweden). It is a marriage of instrumentation and electronica.
The next piece (track four), Vibraloops, by The Loop Orchestra is a colourful and humourous tape-loop rendition of a 1940s/50s vibraphone orchestra. Full of kitsch and colour it is beautifully percussive and opposite to the previous piece is very much low technology or as they like to say a category called No Tech. Purely tape loops played on reel-to-reel tape machines.
Track five, Background Shadows is a radio studio remix of the CD Her Face Amongst the Shadows by Objekt4 (the previous sound project of Anders Peterson). The remix is by John Blades and Richard Fielding who co-present the experimental radio program Background Noise on 2 mbs FM in Sydney. For this they used the radio studio as an instrument. Listen at www.anonradio.net .
The final track, track six is by Shizi and is a layered drone piece which is like being consumed by a thick fog. A very appropriate closing to the elegant meeting.
The whole CD can really be described as a sound journey with a beginning, a middle and an end.
THE ARTISTS:
Anders Peterson (relapxych.0)
After working for many years with sound design, film music, sound recording, mastering / remastering, acoustic design and also as a musician (guitars / bass) I eventually found the most rewarding personal experience from the sounds of nature (water, wind, fire, earth), with its endless variation and amazing organic qualities, constantly evolving, and by capturing (recording) ambience from certain places I finally obtained sounds that had massive potential to be truly *original* and *unique* to myself. The next step was to combine these recordings with musical instruments and “approaches”, combining harmonics and “body” from musical instruments with the organic flow and constantly varying rhythms of for example dripping water, gusts of wind or cracking ice, through digitally coded cross-synthesis, hybrid sounds carefully sculptured by hand. Creating musical ambience instead of ambient music.
www.ghostsounds.net
Bai Tian (aka Bai+ian) is a emerging sound artist, flute player and organizer of independent music based in Chengdu, China. He plays in a wide range of styles such as ambient, cut’n'paste and electronic music etc. He has performed with Chinese and international artists such as Huan Qing, Zafka, Zbignew Karkowski and Li Chin Sung. He has participated in exhibitions such as 156M Contemporary Art Exhibition (Chengdu), Getitlouder (Chengdu) and China Power Station (London).
www.myspace.com/baiii
Shizi was born in Lanzhou, China in 1984. He is a drummer, and improvised music player. As member of “Noise Association of Lanzhou” he started his underground music career in the late 1990’s. He has worked with more than 10 bands/projects with different styles. Once he moved to Beijing for university in 2003, he started to work in the palm of electronic/experimental and improv music. Now he is studying sound design at Beijing Film Academy.
www.myspace.com/shiziofnoise
The Loop Orchestra was formed in 1982 by Richard Fielding and John Blades. It is a collective of reel-to-reel tape machines which are approximately 30 to 35 years old. The reel-to-reel tape machines play lengths of quarter inch tape joined into loops of varying size onto which sound is recorded from various sources. This methodology is historically significant in the history of electronic music from the 1950s. The loops are mixed together to create a layered and slowly evolving soundscape. They have had CD and record releases in Australia and Europe since their first release (the LP record Suspense) in 1991. There are currently five members: John Blades, Richard Fielding, Manny Gasparinatos, Hamish Mackenzie and Juke Wyatt. The Members for this recording were John Blades, Richard Fielding, Manny Gasparinatos and Patrick Gibson. For information and a full list of performances and releases visit. www.thelooprchestra.com."
[press release]
|
2008 |
€12.00 |
|
|
Neurot Recordings I |
CD + DVD |
Nice price-Labelcompilation des NEUROSIS – Labels, inkl. einer DVD mit Videoclips, und einigen vorher unveröffentlichten Tracks!!
"A massively heavy label sampler from the home of NEUROSIS featuring the label's best, brightest, and most forward thinking artists. You get previously unreleased tracks from NEUROSIS, OXBOW, GRAILS, ENABLERS, and BLOOD & TIME, along with cuts from SABERS, LOTUS EATERS, STEVE VON TILL, ISIS, ZENI GEVA, CULPER RING, TARANTULA HAWK, and NEUROSIS & JARBOE. Includes a bonus DVD with audio and video material from NEUROSIS, TRIBES OF NEUROT, TARENTEL, BEE & FLOWER, VHK, HOUSE OF LOW CULTURE, and others." [label info]
www.neurotrecordings.com
|
2004 |
€7.50 |
|
|
Dark Ambient Radio Volume 2 |
CD |
"This compilation is the result of almost one year of careful design and polishing of cutting-edge dark ambient songs, good cooperation, and intense competition. After already releasing a very good compilation with Vol.1, Dark Ambient Radio managed to raise the level with this superb collection of dark ambient music. This is not a big surprise since the 11 songs on the CD were selected out of 26 quality tracks that have been submitted during 2008 and would have been sufficient to release a good 2CD compilation. The selection of the tracks was a painful but fair process as the participating artists voted for the tracks individually and the agglomerated rating decided which tracks ended up on the compilation. So you can be sure that there is no weak track on the CD. All tracks have been done exclusively for this compilation.
Das Genre 'Dark Ambient' ist eine Randerscheinung einer Randerscheinung. Das liegt zum einen daran, dass im Gegensatz zur populären Ambient-Musik nicht auf Easy-Listening-Qualitäten gesetzt wird, sondern im Gegenteil das psychoaktive Potential der Vorarbeiten von innovativen Ambient-Künstlern wie z.B. Brian Eno bis in den letzten dunklen Winkel ausgelotet wird (ohne aber zu sehr in Noise- oder Industrial-Gefilde zu geraten bzw. sich in abstrakten Genüssen wie Minimalismus oder der meisten Elektroakustik zu ergehen). Zum Anderen fehlt dieser Art von experimenteller Musik eine angemessene Öffentlichkeit, etwa eine Club-Szene. Letzterer Mangel wurde allerdings mit der Gründung des Dark Ambient Radio ein wenig gelindert.
Die 2. Compilation, die aus dem Umfeld dieses Web-Radio Projekts hervorging, ist Resultat eines rigiden Auswahlprozesses: Nicht weniger als 33 Acts aus dem Bereich Drone, Ritual, Black & Dark Ambient wollten wissen, wer der Beste ist und haben sich fast ein ganzes Jahr Zeit genommen, um an ihren Tracks zu feilen. Die elf besten Stücke wurden mit Hilfe eines Ratings der Künstler untereinander bestimmt. Schwache Tracks sucht man deshalb auf dieser Zusammenstellung vergeblich. Vertreten sind Künstler aus Argentinien, Bulgarien, Deutschland, Kroatien, Norwegen und Polen. 74 Minuten internationaler Underground-Ambient at its best! Wer jetzt noch nicht den Mut geschöpft hat, sich eine einmalige Sammlung zu zu legen, kann vielleicht erst einmal über das Internet auf Dark Ambient Radio hineinschnuppern. Aber vielleicht es doch der beste Weg, sich anhand einer repräsentativen Genre-Compilation einen Musikstil an zu eigenen... Manchmal ist es eben wie beim Kaffeetrinken: Zuerst das Sahnehäubchen -- das schmeckt am Besten!
Künstler-Info:
Tholen ist das Dark Ambient Projekt des leipziger Multi-Genre-Künstlers Eisen. Mit Sternklang hat er mit Sicherheit eines der besten Dark Ambient Alben des Jahres 2007 veröffentlicht. Mit dem grandiosen Auftakt-Stück auf Vol.2 lässt er erahnen, auf was wir uns beim 2. Tholen-Album, das demnächst bei Cyclic Law erschein, freuen dürfen.
Inner Vision Laboratory ist das ambitionierte Dark Ambient Projekt des polnischen Musikers Karol Skrzypiec.
Mit Arkhitektur Noir führt George Georgiev die Tradition der Beteiligung bulgarischer Künstler an DAR Compilations fort.
THERRADAEMON ist das neueste Projekt des norwegischen Ambient-Künstlers Hærleif Langås, besser bekannt durch sein Vorgängerprojekt Northaunt.
Aspectee ist das Solo-Projekt des kieler Musikers Michael Frenkel. Das Aspectee Debut-Album ist November ’09 bei First Fallen Star erschienen. Es ist das Nachfolge-Projekt von Evoke Scurvee, eines inzwischen (zu unrecht) in der Versenkung verschwundenen Elektronik-Projekts, das Ende der 90er aktiv war.
Phelios scheint im Moment eines der rührigsten Dark Ambient Acts zu sein. Der wuppertaler Musiker hat in den letzten Jahren neben drei Alben und zahlreichen Compilation-Beiträgen vor allem live eine außerordentliche Präsenz gezeigt, u.a. auf dem WGT, in der Wuppertaler Schwebebahn oder als Initiator des Phobos-Festivals. Aktuell erscheint ein Vinyl-Split zusammen mit Kammarheit bei Loki Foundation. Ein weiteres Album wird demnächst bei Malignant Records (USA) erscheinen.
CrepusculaR ist ein das Projekt des argentinischen Musikers Angel Jose Lozano. Dies ist seine erste Veröffentlichung auf Polycarbonat.
Nagual Art ist das Dark Ambient Projekt des Freiberger Musikers Andreas Kantner, der mit diesem Projekt bereits mehrere Alben erschuf, die allesamt als freie MP3-Downloads verfügbar sind und von der Qualität her allemal eine CD-Veröffentlichung wert wären. Die Beschränkung auf Internet-Downloads hängt vielleicht mit seiner Funktion als Chef seines Netlabels Paralucid zusammen.
Das bremer Duo Troum bedarf als Drone Ambient Urgestein sicher keiner weiteren Beschreibung.
Phobos ist das elektronische Sammel-Projekt des kroatischen Musikers Petar Sakic, dessen Tracks sich auf zahlreichen Compilations tummeln, u.a. auch auf den zwei existierende DAR Volumes.
False Mirror ist wiederum ein reines Dark Ambient Projekt. Der Ulmer Musiker Tobias Hornberger war - wie bei Vol.1 so auch bei Vol.2 - prädestiniert für den Schluss-Track mit seinen filigranen und extrem trance-induzierenden Kompositionen. Die ausgefeilte Technik und originelle Sound-Designs sind wohl seiner Experimentierfreudigkeit bei der Klangerzeugung, u.a. selbstgeschriebenen Soft-Synthies und deren Kopplung an optische Sensoren, zu verdanken. Auf Vol.2 kommt aber auch akustisches Instrumentarium zum Zug. Der vorliegende Compilation-Beitrag ist eine gute Einstimmung auf das demnächst auf Malignant Records erscheinende neue Album Derelict World."
[full release info]
www.darkambientradio.de
|
2009 |
€13.00 |
|
|
FREQ_OUT [0 - °°Hz] |
CD |
"With pieces by: Finnbogi Pétursson, Franz Pommasl, BJ Nilsen, Jacob Kirkegaard, Mike Harding, Kent Tankred, J. G. Thirlwell, PerMagnus Lindborg, Jana Winderen, Hans Sydow, Brandon LaBelle, Petteri Nisunen/Tommi Grönlund, & an ensemble piece arranged by BJ Nilsen [Hazard]. "What: A sound installation consisting of 12 individual audio works which are presented as a single piece. Where: Any large self-contained space will work. The first event took place at Charlottenborg Exhibition Hall, Copenhagen, Denmark, in June 2003. Who: Encouraged by disturbances, Swedish artist and curator C M von Hausswolff assembled a collection of 13 artists representing the elite of international sound art. The group consists of sound artists, architects, composers, producers, sculptors, mathematicians and visual artists. The installation was part of a larger event taking place at the Royal Danish Theatre and Charlottenborg in Copenhagen. How: Each player is assigned a frequency range to work with. This process is carried out in situ, each player using a workstation consisting of mixing desk and PA system. All the resulting sounds are then mixed together in the space provided to create a sound installation. Why: The project reveals how space-specific certain frequencies can be, but also how other sounds can be separated from their source and 'thrown' around the space. It also shows how sound 'fits' (or not) into the space provided by exploring the complexities of frequencies and their inter-action. The final mix not only reveals the innate properties of the frequency ranges, but also the possibilities when they are combined. The result is a lively and accessible sound-filled space which can be approached either as a traditional installation, or as a theme park of sound -- fun for all the family and serious students alike." [label info]
www.ashinternational.com
|
2004 |
€13.00 |
|
|
Twisted Cabaret Vol. 1 |
CD |
"Ein internationaler, avantgardistischer Haufen tanzt mit einer gesunden Portion kabarettistischer Lebensmüdigkeit im Dreivierteltakt in den Tod. Oder zumindest in den Vollsuff. Bei 18 Songs kein einziger Totalausfall, dazu sind viele Stücke selten oder sogar exklusiv. Kaufen! www.youtube.com/useser/volvoxmusic
TRACKLISTING: 01. THE TIGER LILLIES - START A FIRE 02. BABY DEE - THE EARLIE KING 03. EVELYN EVELYN - HAVE YOU SEEN MY SISTER EVELYN 04. THE REAL TUESDAY WELD - THE SWEETEST SONGS 05. THE DRESDEN DOLLS - BANK OF BOSTON BEAUTY QUEEN 06. BUDAM - DA DA DA DIE 07. LE MAXI MONSTER MUSIC SHOW - J'AURAIS AIM 08. THE RESIDENTS - THE DYING OILMAN 09. KOKUSYOKU SUMIRE - GEKKO RENKA 10. KATZENJAMMER KABARETT - SAYLOR SANDHAM'S SISTER 11. VERMILLION LIES - BONNIE & CLYDE 12. LITTLE ANNIE - SIT ON DOWN 13. DE KIFT - KNOECK 14. THE LEGENDARY PINK DOTS - MAN OR MOUSE 15. ARANOS - NEW GUITAR 16. MARCELLA PUPPINI AND THE FORGET ME NOTS - WHAT HAVE YOU DONE TO YOUR FACE? 17. EL TIGER COMICS GROUP & JOEL HUBAUT - VAPAMOU RIRE 18. LITTLE WHITE RABBITS STILL BLEED - BALLOON ANIMAL SUICIDE (BIG BLUE RIBBONS)" [label info / Cargo ]
"Seit Charlotte Rampling in Cavanis Sadiconazista-Film Der Nachtportier diesen Song von Friedrich Hollaender im KZ um ihr Leben sang, klingt bei mir Cabaret beklemmend pervers wie Macabaret. Darüber schiebt sich das Großstadt-Triptychon von Dix und der Conferencier im Kit Kat Club plärrt grinsend seine Zoten. Hinter dem Rücken deutscher Abgrundsvergessenheit hat sich aber anderswo etwas entwickelt, Dark Cabaret getauft oder "Brechtian punk cabaret", das den Spirit von vor 1933 mit anderen Mitteln, mit Postpunk-, Gothik- oder bloßer Nostalgie-Attitüde wieder aufgreift. Versammelt auf Twisted Cabaret Vol. 1 (Volvox Music, VOL0902/0903, CD + DVD) sind die stilprägenden The Tiger Lillies aus London als Brandstifter mit groteskem Zündstoff, The Dresden Dolls aus Boston und das französische Katzenjammer Kabarett mit den ‚erwachsenen‘ Altstimmen von Amanda Palmer bzw. Mary Komplikated. Little Annie bietet einen ihrer Songs from the Coal Mine Canary und eine verboten glaubwürdige Version von Aznavours ‚Yesterday When I Was Young‘. Irritationsveteranen wie The Residents und unverwüstlichen Tänzern über Abgründen wie The Legendary Pink Dots mit dem herzensbrecherischen Edward Ka-Spel als ‚Man or Mouse‘ (unter lauter Schafen) stehen Baby Dee zur Seite, hinter deren rauer Schale eine Seele steckt, die in Kilogramm gewogen werden kann, und Aranos als Stehgeiger mit einer heißen Kartoffel im Mund. The Real Tuesday Weld steuern im 3/4-Takt fingerdick Patina bei, die großartigen Marcella Puppini and The Forget Me Nots lassen Männer Männchen machen. Dazu krähen die kessen Mädels von Kokusyoku Sumire Tango Balkanese oder, halb Geisha, halb Rokoko, Enkaschlager, dass die Perücke stäubt. Vermillion Lies spielen kriminellen Rock‘n‘Roll aus Oakland, als männliches Gegenstück kurbeln die Muncie Bros. aus Indianapolis aka Little White Rabbit Still Bleed Red ihre Klappsmühle, während Evelyn Evelyn sich schwuder & bresterlich eine Gitarre teilen. Mit The Maxi Monster Music und dem Schellackgesang ihrer üppigen Bearded Lady zu Singender Säge und Zweifingerklavier und der theatralischen eL TiGeR CoMiCs GRouP mit ihrem heiseren Chansonier Joel Hubaut treten weitere Franzosen auf, De Kift verblüffen mit holländischem Rap zu Blasmusik und Slide Guitar, der toteslüsterne Budam von den Färöer Inseln stimmt einen morbiden Humptatawalzer an. Fehlen bloß die World/Inferno Friendship Society und Daniel Kahn & The Painted Bird. Einige der Lieder sind exklusiv, einige rar, nicht wenige glamourös oder fatal, aber alle stellen sie seltsame Sachen mit Herz oder Hirn (soweit vorhanden) an. Von den Blauen Engeln und Seeräuber Jennies ganz zu schweigen. Die besten unter diesen Galgenliedersängern und Pfeffermühlenfatalisten können jederzeit die bad alchemystischsten Zeilen, die ich kenne, unterschreiben: Wenn ich mir was wünschen dürfte, möcht ich etwas glücklich sein, denn wenn ich gar zu glücklich wäre, hätte ich Heimweh nach dem Traurigsein. Was singt Amanda Palmer da auf der DVD? I want all the details of the pain and misery, und Ka-Spel, für den sie sich ans Klavier setzt, würzt nach mit Asche und 15 toten Fliegen. Aber die DVD ist eh schon wegen The Tiger Lillies Freakshow unbezahlbar." [Rigo Dittmann / Bad Alchemy]
|
2010 |
€14.50 |
|
|
Pop Ambient 2009 |
LP + CD |
"LP version. Includes free CD of the entire album, featuring the CD-only track by Klimek And Husak. The bliss is finally back -- presenting the 2009 edition of Kompakt's highly-anticipated fan-favorite series, Pop Ambient. To the uninitiated, Pop Ambient serves as a very essential arm of the Kompakt family -- always curated by Kompakt co-founder Wolfgang Voigt (aka Gas, Burger/Ink, etc.), always offering a provocative collection of listening music that is guaranteed to give you warmth throughout those cold winter months. One of the most striking things many will find on this year's edition are the many new faces, compared to the historically familiar roster that has graced previous editions. Leading noise/experimental producer Tim Hecker of Alien8 and Kranky fame joins in with a tremendous contribution that builds wave after wave of textured noise and melody. Boomkat's winners of best album of 2008, The Fun Years take loop melody and turn it inside-out with an astounding, exclusive, guitar-based tune. Pop Ambient 2009 turns to the mighty imprint Type and the esteemed producer Sylvain Chauveau with two contributions of untreated works from the lovely Nuage full-length that straddles his work with a small ensemble and his own piano and guitar performances. Considering the overwhelming response to Wolfgang Voigt's Gas collection reissue Nah Und Fern and the Raster-Noton book/CD of 2008, it's fair game he dominates this compilation under the guise of Mint, with this deep and somberly moving piece, as well as together with longtime production partner Jörg Burger as Burger/Voigt with a Gas-eous remix of Jürgen Paape's "Ausking" and a highly-emotive original. Popnoname shows off his diverse talent with a Kraut-y sunscape of majestic measure. Finally, Pop Ambient favorite Klimek appears in stunning splendor... the horns of heaven ring loud to open the compilation, and together with Husak, he brings Pop Ambient 2009 to an end with a majestic roar. Considering that 2008 was such an amazing year for left-field electronic music, Kompakt anticipates this year's change of pace will be welcomed by their loyal fans and maybe make some new friends with a new sound. Other artists include: Marsen Jules and Andrew Thomas." [label info]
www.kompakt.fm
|
2009 |
€14.50 |
|
|
Musics in the Margin Vol. 2: Musik Oblik |
CD |
"Decompartmentalization:
Like the 'Musics in the margin volume 1' CD co-produced by Art en Marge and Sub Rosa in 2006, this new production comes from a project mixing visual arts with music. Since the first CD, 'Art en Marge' has obtained its museum status and changed its name. These changes point out the fact the new 'art & marges museum' focuses on the affinities existing between three visual art fields considered on equal terms: modern art, contemporary art, and outsider art. Proceeding from how obviously compartmentalization is not only arbitrary but simplistic, this new production entitled "Musik Oblik" explores the world of sounds and silence through the multidisciplinary works of artists unfolding stunning soundworlds and visual universes. Decompartmentalization is the key word, and this record offers unique approaches transcending the simple question of the insider/outsider classification. The purpose of this project is to outgrow the social-cultural dimension of the works while respecting their creators' integrity, whoever they might be.
Carine Fol (art & marges museum)
Featuring:
Based in Berlin, Klaus Beyer is mostly known for his unusual performances of Beatles songs, but this musician's talent is larger than that, as he also writes his own songs, makes short films and animated films, and works as an actor.
Normand Cournoyer launched his music career around the age of 70. He says he was inspired by the Lord, and therefore adopted the slightly religious alias Normand L'Amour. Self-taught, he has since written an incredible number of songs (more than 1,500, in over 75 languages) using a piece of random composition software.
Installation artist, performer, illustrator, sculptor, sound collector, and globe-trotter Baudouin Oosterlynck is thriving to expand our listening capabilities by creating prostheses and musical objects to multiply and increase our ears. Silence also plays a key part in his work, and he has traveled a lot to pinpoint geographical locations where one can enjoy complete silence.
The Wild Classical Music Ensemble, a music project started in 2007, on the day musician/audio artist/experimentalist Damien Magnette met Lynh, Johan, Rudy, and Kim, four artists with learning disabilities. From then on, their musical research has been based on free improvisation and experimentation. Lately, The Wild Classical Music Ensemble has been integrating punk/rock riffs composed by the group's guitarist Kim Verbeke.
In March 2005, drummer Teun Verbruggen (Jef Neve Trio, Flat Earth Society, ...) invited maverick guitarist Mauro Pawlowski (dEUS, Club Moral, Somnambula) and Rhodes piano magician Jozef Dumoulin (Mäâk Spirit, Magic Malik, Octurn...) to a one-shot improvisation gig. The meeting intitled Othin Spake was so conclusive that they are still playing together five years later.
A major representative of the Italian madrigal style of the Renaissance, alongside Luca Marenzio and Monteverdi. Gesualdo's position in music history has been largely reassessed in the 20th Century. Once seen as a marginal, unbalanced composer whose music was gradually falling into oblivion, Gesualdo is hailed by some as a visionary, the first composer, 300 years before Wagner and the Post-Romantics, to make significant use of chromatism and dissonance, and a precursor of the Moderns in his use of extreme contrasts and unusual rhythmical breaks.
A composer, violinist, and teacher, Baudouin de Jaer trained in Belgium and Canada with Henri Pousseur, Frederic Rzewski, and Philip Boesmans, among others. His concerts and compositions took him to Mexico, Peru, Korea, Palestine, and Morocco. Many of his works are multidisciplinary or adapted to a complete space.
A major artist of the 20th century, Adolf Wölfli was commited to the Waldau Mental Asylum, near Bern, in 1899. He remained there until he died. Wölfli started drawing, writing, and composing music at the age of 35, working all day long on what amounts to a colossal body of work. It comprises 25,000 pages of graphic compositions, collages, literary works, and music scores.
Jacques Brodier, artist and researcher, is the inventor of the Filtre de Réalité (Reality Filter), whose antennae, using the ionosphere's reflection, receive the electromagnetic noise broadcasted by Earth civilization and deep space. This airwave noise consists of radio signals from everywhere, music and voices in multiple languages drifting away, lost in a sea of cosmic noise, occasionally mistreated, butchered, distorted by untraceable causes or the mishaps of dissemination." [label info]
www.subrosa.net
|
2010 |
€13.00 |
|
|
Trans_Canada. ZKM Karlsruhe |
DVD-Audio |
"DVD-Audio, Advanced Resolution: Surround 5.1 (MLP 4824) + Stéréo (4824). Nicolas Bernier Writing Machine (2005), Darren Copeland Let Me Out (2006), Francis Dhomont Brief an den Vater (2005-06), Louis Dufort Hi_Res (2005), Gilles Gobeil Ombres, espaces, silences (2005), Robert Normandeau Palimpseste (2005, 06, 09), Barry Truax The Shaman Ascending (2004-05), Hildegard, Für Dich - For You (2005). 'It all started with a desire to feature the outstanding creativity of Canadian electroacoustic music and and to investigate the trends of its acousmatics and soundscape composition. Eight of the most important or promising composers were selected by co-curators Ludger Brümmer and Sabine Breitsameter and commissioned by the Institut für Musik und Akustik (Institute for Music and Acoustics) of the Zentrum für Kunst und Medientechnologie Karlsruhe (Center for Art and Media Karlsruhe, ZKM) to create new works in its studios in Karlsruhe (Germany). These new works were all premiered during the trans_canada festival at the ZKM in February 2005." [label info]
www.empreintesdigitales.com
|
2009 |
€12.50 |
|
|
Compilation Festival Electronica en Abril * 2003-2012 |
do-LP BOX |
"To commemorate the 10th anniversary of the Festival Electronica en Abril, born in 2003 at La Casa Encendida, Madrid, La Casa Encendida has invited some of the artists that have left their personal mark on the event, right now the oldest music festival in Madrid. All of them have contributed exclusive tracks to this 2LP that provide an insight into the quality and diversity of the festival. These are ten exclusive tracks that research a very specific sound quality (Eleh, Radian, nsi.), take introspective journeys (Thomas Körner, Maja Ratkje) and summon deep rhythmic collisions (Farben aka Jan Jelinek, Dopplereffekt, Elektro Guzzi, Matmos, SND). All of them seem to share a desire for experimentation that encompasses the emotional as a response to a general state of things that hits us with an overdose of data and experimentation. Matmos' track was composed playing around with a friend's new synthesizer. Eleh added field recordings to his usual microscopic sound aesthetic for the first time. Thomas Körner composed this intimate and melancholic piece for his grandmother, and Maja Ratkje goes deep into an alien ambient lullaby of ravishing simplicity and beauty. Farben deconstructs rhythm to build it up again as a pure ecstatic house beat. Nsi., the project of Tobias Freund and Max Loderbauer embark on an abyssal expedition to the far reaches of sound. Dopplereffekt melt their retro-futurist electro into crystalline emotions. Elektro Guzzi, always recording live, without overdubs, was helped in the studio by Patrick Pulsinger, taking the bullet train directly to the heart of their amazing analog techno, where guitar, bass and drums truly count. And SND (Mark Fell and Matt Steel) ride on an oblique and funked-up carousel of their own making, where rhythm and math surf together. And finally, Farben goes deep into glorious house-not-house." [label info]
|
2012 |
€29.50 |
|
|
Yokomono 03.5 ("triple grooved" MERZBOW, MIKA VAINIO, NO ARTIST, JAAP BLONK, CYNTHIA ZAVEN) |
LP |
"This whole Yokomono thing dealt with vinyl, vinyl killers and such like. To which end Staalplaat goes as far as to pressing records for these installations and invite composers to deliver sound material. I am not sure how this will end up in the installation pieces, but if its still the same thing as with the vinyl killers, then this ’3.5′ is worthy one. To explain what it is, I have to copy the original text by Staalplaat: “Our first attempt was the release of Yokomono 03 where we hoped to cut two tracks, one spiraling from outside in and the others from inside out. So that the needle would move in different directions. This attempt failed (for reasons that we will not go in to at this moment). This new record has three parallel soundtracks where the cutting needle was lifted twice with short intervals, in order to make the needle used during “wiedergabe” to jump tracks randomly.
To play this record you must not see your turntable as a reproduction machine that reproduces the music on the record. You can not put it on and sit down to listen. See the record and turntable much more as a music instrument that with each turntable model and with each setting if your machine you will create a different sound and mix of this record. As with any instrument you have to learn how to play your turntable and find what setting you like best. Of vital influence are the skate settings en the wait [sic] on the tone arm, these and others you must very to experience the options of the record.” There is a brown noise (inserts quote again: “In science, Brownian noise, also known as Brown noise or red noise, is the kind of signal noise produced by Brownian motion, hence its alternative name of random walk noise. The term “Brown noise” comes not from the color, but after Robert Brown, the discoverer of Brownian motion.” with sound pieces by Cynthia Zaven and Merzbow, and a white noise side with Mika Vainio and Jaap Blonk. Now this is certainly a most strange record. I stood by my turntable, changing the weight of the tone arm hearing say Blonk, but then moving into Vainio and back, or the piano tones which I assume are Zaven’s going into Merzbowian noise, sometimes with white/brown noise blocks coming in, quickly and disappearing equally fast. Stuff you can do on vinyl only and which have a highly added value to what you get. Hardly plain music, but also not just a DJ tool. Very nice, even without the art installation itself." [FdW/Vital Weekly]
www.staalplaat.com
|
2012 |
€12.00 |
|
|
Swedish Contemporary Music |
LP |
This album is released in collaboration with the Swedish section of the ISCM and presents both orchestral and chamber music from the World Music Days in Greece, Belgium, Sweden and Israel.
Mats Persson "Refractions"
Jan Sandström "Campane in campi aperti"
Lars Sandberg "Fall"
Tommy Zwedberg "Hanging"
- FYLP 1030, 1983
www.fylkingen.se
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1983 |
€16.50 |
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TOUCH. 30 Years and counting |
do-LP |
"Compiled, edited, mixed and produced by Mike Harding & Jon Wozencroft, 14-15th October 2012. Cut by Jason at Transition, 16th October 2012. Artwork & Photography by Jon Wozencroft. Release date: 5th December 2012. Released to coincide with Touch's 30th anniversary celebrations at Beaconsfield, London, on December 5th and 6th 2012, all tracks are exclusive and original to this release With Fennesz, Bruce Gilbert, Rosy Parlane, Oren Ambarchi, ELEH, BJNilsen, Nana April Jun, Chris Watson, Mika Vainio, Carl Michael von Hausswolff, Jana Winderen, Philip Jeck, Francisco López, Z'EV, Hildur Gudnadottir, Biosphere.
30 years and counting is an echo of a time when the world was in a critical condition, and potentially about to blow itself into oblivion at the tail end of the Cold War. As such the title is a wry reflection on the situation we find ourselves in today, where the final curtain is less likely to close, but the stakes somehow seem to be more extreme and polarised than ever.
As far as Touch is concerned, it is an expression of our youthful relationship to the work. Mike Harding and Jon Wozencroft invited each of the Touch artists to contribute a glimpse of their current practice to what is effectively a group show rather than a compilation. The brief was not only to celebrate a situation, but to remind each other why we are doing it, and make a kind of documentary realism.
Some artists responded quickly with significant twists and returns to their signature sound and others left it to the last minute. The net result was that Mike and Jon mastered the LP/CD more or less as live performance in the cutting room, Transition, as an expression of the vitality of the project rather than some pre-ordained historical item.
The history is built into the cover with two images of the first computer, the ‘Colossus’, built in Bletchley Park during the early 1940s as a means of cracking the Enigma codes… Here the pressure of time is at its most compressed. Two contra-punctal images were shot only recently, backstage moments of Touch 30 situations which as historical events, pale in comparison – they are just personal, memories in a flash.
30 years and counting is a filmic/time-based response from a collective of artists who have made a distinct impression on contemporary music and the way things go. Fennesz, Eleh, Hildur Gudnadottir, Chris Watson, Philip Jeck, Biosphere… We should really list everyone. That’s what they try and do on hip-hop albums.
We started with cassettes; this project commenced as a dedication to vinyl rather than digital, a question concerning the art of recording. 30 years and counting is a manifesto after all these transformations. It is available on CD and download. The vinyl flares with the crackle of the present." [Jon Wozencroft, November 2012 / label info]
www.touchmusic.org.uk
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2012 |
€24.50 |
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DRONE-MIND // MIND-DRONE Vol. 2 (SOLD OUT) |
LP |
DRONE-MIND // MIND DRONE - Volume 2 -
This LP-series from Drone Records is dedicated to the Drones of the World, and the Drones of our Minds. A kind of continuation of the Drone 7"-series but on a more user-friendly format. Each LP features four artists from the international drone-scene and is limited to 500 copies and pressed on four different vinyl-colours. Each LP artwork will feature paintings by British painter PETE GREENING. This series shows the various sides of todays experimental drone-music. The title symbolizes the interaction between sound of the Eternal and our psyche and raises questions: Can Drones (or sound per se) be regarded as "intelligent"? Does every mind produce a Drone? Isn't it possible that any organic or non-organic entity produces a Drone? Drone Music is seen as more than a mere 'music style', it expresses an approach to perceive & understand the world. DRONE-MIND and MIND-DRONE build a circle of diverse inter-relations. The Drone as a metaphor for everything that vibrates, that releases energy - from atoms and elementary particles to the hum of the earth and the universe. The Drone as an entity that connects everthing that exists within our own "mind-space", perception and self. Four "Drones" on one record! The second Volume (MIND-02) ist OUT NOW ! (December 2012) and features:
YANN NOVAK / STROM NOIR / EMMA YA / KARL BÖSMANN
YANN NOVAK (U.S.A.): minimal transcension drones
The records starts with a fabulous - silent but dense - drone piece by Californian sound & installation artist YANN NOVAK (coming from L.A.), the first in a series of compositions using the 'silence" of vinyl endgrooves, indeed a perfectly sublime start for a a vinyl release dedicated to drones.
STROM NOIR (SLOVAKIA): shimmering elation drones
STROM NOIR encharms with two stunning 'elation" drones based on guitar harmonics, beautifully shimmering like light radiances - this Slovakian artist is also active with his true DIY-label Black Orchid Productions.
EMME YA (COLOMBIA): sigil dissolution drones
EMME YA is, after the EPs by REYNOLS (DR-42) and C.D. (DR-63) the third ever artist from South America on Drone Records. These 'esoteric' suction sounds are created as 'sigil dissolutions', meaning the unification of sonic sigils with our deeper minds. Mysterious, intense, haunting...
KARL BÖSMANN (GERMANY): post industrial / electronic drones
Behind this project with the odd name we find a german sculptor who attracted lots of attention with some remarkable releases of very unusual & daring drone-based collages - his track for MIND-02 named 'Die Verwandlung' is inspired by Kafkas short story of the same name and stands out as a powerful & threatening & even rhythmic tour de force undergoing dramatic changes from the beginning to the end.
= four projects that differ considerably from each other, but united through the idea of the power of the Drone.
~ ~ The drones of their minds "materialized" ~ ~ The "intelligence" of drones materialized ~ ~
4 Vinyl-colours: RED & BLACK MIXED // SOLID SILVER MIXED WITH BLACK // WHITE, SOLID BLUE & TRANSPARENT GREEN MIXED // CHRYSTAL CLEAR WITH BLUE AND BLACK
Mastered by Sergey Uak-Kib http://kshatriy.pro/
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2012 |
€15.00 |
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The Post Romantic Empire Album |
do-LP & 7inch |
"Doppel-LP auf schwarzem Vinyl mit Prägecover, bedruckten Innenhüllen und zwei Einlegern. Stell' dir vor, du könntest deine Liebllingsmusiker zusammentrommeln, um mit ihnen deine liebsten Songs (neu) aufzunehmen.
So kommen PETER HOOK, DAVID TIBET, ANNABELLA LWIN und DAVE BARBAROSSA, ANDREW LILES, MASSIMO PUPILLO mit vielen anderen zusammen, um die neue, psychedelische und ultimative Version von "Love Will Tear Us Apart" aufzunehmen.
Roger O'Donnel von THE CURE und JULIA KENT steuern ihre persönliche Interpretation von Tausendundeine Nacht bei.
Dies ist das ,Post Romantic Empire Album": ein Traum (der weitere Träume beinhaltet), gepresst auf Vinyl.
Das Album ist die Geschichte einer Idee, die von Stimmen erzählt wird, die weit auseinander liegen: vier Komponisten (Roger O'Donnell, Baby Dee, Matt Howden und Maja Elliott) wurden eingeladen, um Songs (neu) zu schreiben, die als potentielle Archetypen zeitgenössischer Musik ausgewählt wurden.
Jeder von ihnen lud weitere Musiker ein und sämtliches Material wurde von jeweils einem Produzenten (Roger O'Donnell, ANDREW W.K., Andrew Liles und Matte Spinazze) glattgeschliffen.
Mit dabei: Roger O'Donnell (THE CURE), Julia Kent (ANTONY AND THE JOHNSONS), Maja Elliot (ex CURRENT 93), Gitane Demone (ex CHRISTIAN DEATH), John Contreras (ex CURRENT 93), Pueri Cantores Regina Nivis Chor, Matt Howden (SIEBEN), Peter Hook (JOY DIVISION und NEW ORDER), Nat Wason (NEW ORDER, THE LIGHT), David Tibet (CURRENT 93), Annabella Lwin (BOW WOW WOW), Dave Barbarossa (ex BOW WOW WOW), Vin Cassidy und Larry Cassidy (SECTION 25), Massimo Pupillo (ZU), Andrew Liles (NURSE WITH WOUND), Baby Dee (CURRENT 93), Little Annie Bandez (ex CRASS), Matt Sweeney, Matthew Robinson, Skip Shirley, Sarah Alden, Robbie Lee, Sarah Nowicki, Andrew W.K." [label info]
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2013 |
€39.00 |
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DRONE-MIND // MIND-DRONE Vol. 3 (SOLD OUT) |
LP |
the NEW LP-series from Drone Records, dedicated to the Drones of the World, and the Drones of our Minds. A kind of continuation of the Drone 7"-series on a more user-friendly format. Each LP features four artists from the international drone-scene and is limited to 500 copies, pressed on four different vinyl-colours. Vol. 3: JIM HAYNES (USA), MANINKARI (France), KSHATRIY (Russia), EXIT IN GREY (Russia). stunning artwork paintings by British artist PETE GREENING, design by TILMANN BENNINGHAUS.
JIM HAYNES: psychogeographical drones of rust and decay.
This highly interesting sound-artist from San Francisco (also active as painter, label-manager, & writer) is focused on the unpredictable processes of rust & decay in connection with the perception of time. For his contribution "He stopped at a picture..." to the re-newed Drone Rec-series he is using field recordings from a world war 2 era radar outpost (located near the Golden Gate Bridge), combined with shortwave, motors, wire-tapping microphones, analogue electric sounds.. => a breathtaking experimental & raw drone-collage, full of tension & almost dramatic suction, sound of " psychic loss & american paranoia" (JIM HAYNES).
EXIT IN GREY: timeless natural drones.
The main project of Russian Sergey [S] from the Moscow-area (who is also active as FIVE ELEMENTS MUSIC & SISTER LOOLOMIE) is mesmerizing the listeners since years with small & handmade editions of emotional daydream-drones, intuitively woven together with guitar, field recordings & analog synths. The long piece "Drawn by Memory/The Wind 2012" is a perfect example of his skills and creates with minimal instrumental & natural sound-sources an atmosphere of timelessness and nostalgia..
KSHATRIY : dark psychedelic (higher?) consciousness drones
KSHATRIY means 'warrior' in Sanskrit and expresses the artists believe in the universal power of sound. Hailing from the fascinating St. Petersburg scene in Russia comes this "fractal dark drone ambient' project, especially focused on cosmic/transpersonal consciousness themes - these "Shifting Waves" sound secretful & mysterious with a phantastic spatial sound-quality (open to both digital & analogue sound sources) for the perfect cosmic mind-movie.
MANINKARI : handplayed / instrumental trance drones.
This French duo (consisting of two twin-brothers from Paris) has blown us away with their captivating "handplayed" instrumental drone music, with influences from various styles like Jazz, Art Rock and Classical Music, combining improvisation and composition. Often based on percussion & strings, they look at their sound as a spiritual tool causing a disorder of the mind, a 'visible' transformation of the uncontrollable dreams & their own subsconscious. The two pieces "Enstase 1 & 2" sound at the same time subtle, airy and dense using a suprising instrumentation, and show impressively one of the possible new directions of drone music.
= four projects that differ considerably from each other, but united through the idea of the power of the Drone.
~ ~ The drones of their minds "materialized" ~ ~ The "intelligence" of drones materialized ~ ~
four vinyl-colours, each 125 x: WHITE & GREEN MIXED // BLACK // MIXED YELLOW RED // CHRYSTAL CLEAR & WHITE MIXED. design by Tilmann Benninghaus (Berlin) using bronce-colour & UV gloss
Mastered by Sergey Uak-Kib http://kshatriy.pro/
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2013 |
€15.00 |
|
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Epicurean Escapism II |
CD & DVD + book |
"On the occasion of the second Epicurean Escapism Festival 15th of June 2013 in Berlin a CD/DVD compilation was released, including a CD with exclusive tracks by the performing artists KE/HIL, POST SCRIPTVM, ANEMONE TUBE, DIETER MÜH and TREPANERINGSRITUALEN, a DVD by CON-DOM with super 8 short films and experimental movies created by Mike Dando in the 1980s to early 1990s and finally digitally restored in 2013 and a 20-page catalogue with essay and artworks by ALEX TENNIGKEIT, ANDREW LILES, CARMEN BURGUESS, DENNIS RUDOLPH, PHILIP BEST & RUDOLF EB.ER.
'Epicurean Escapism II' CD, playtime: 53 minutes:
1 Ke/Hil - Dark Germany 3:55
2 Anemone Tube - Apocalyptic Fantasy 3:20
3 Anemone Tube - Accumulations 8:44
4 Post Scriptvm - Leprous Driver 7:42
5 Trepaneringsritualen - Vanärat Är Ditt Namn 3:29
6 Trepaneringsritualen - End Of Flesh 5:10
7 Dieter Müh - Bethlehem 20:34.
Con-Dom - 'We Who Were Living Are Now Dying' DVD, playtime: 55 minutes:
1 Impressions of a System 6:12
2 The Coming of Christ 13:35
3 Our Pleasure In The Pain/Vilification 8:42
4 All In Good Faith 1 14:18
5 All In Good Faith 2 (Get Right With God) 6:52
6 Hunger For Death 5:57." [label info]
www.silkentofu.org
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2013 |
€22.00 |
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Incendium #4 |
CD |
"The fourth part in the LOKI/PAS label series! Tracks taken from latest releases plus 3 tracks from forthcoming albums and a mindblowing live version of Bad Sectors AMPOS which is unreleased so far.
001 NORTHAUNT If Only My Heart Were Stone (excerpt)
002 CIRCULAR Retreat From Reality
003 INADE The Collision Of Conscience
004 HERBST9 Kima Šuškalli Ukattimanni Šittu
005 FJERNLYS Revelation
006 S.E.T.I. Powder Canyon
007 BAD SECTOR Ampos – Live
008 FIRST LAW Low Spirits Meme (excerpt)
009 PREDOMINANCE Pandemonia Dawning
010 IONOSPHERE Polarized Light
011 SVARTSINN Ashes Of The Late World (excerpt)
012 LAND:FIRE Causing
013 BAD SECTOR October 4, 1957
014 S.E.T.I Final Trajectory (excerpt)
001 from The Borrowed World CD & LP PAS 34
002 from Radiating Perpetual Light CD LOKI 59
003 from Audio Mythology Two CD & LP LOKI 60
004 from Ušumgal Kalamma 2xCD LOKI 56
005 from forthcoming album
006 from Baikal CD PAS 31
007 unreleased live version / original track from Ampos CD PAS 17
008 from A Future so Bright CD LOKI 58
009 from forthcoming album
010 from forthcoming album
011 from The Borrowed World CD & LP PAS 34
012 from Incandescent Sonic Lodge CD PAS 36
013 from Kosmodrom 2xCD PAS 33
014 from Final Trajectory CD PAS 35"
[label info]
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2014 |
€4.00 |
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Smm: OPIATE |
LP |
"Vinyl limitiert auf 800 Stück im dicken Sleeve mit bedruckter Innenhülle. 'SMM: Opiate' ist der zweite Teil in der SMM Serie von Ghostly International, die eine Erforschung der weitreichenden Möglichkeiten des Sounds zwischen klassischem Minimalismus, Electronica und Drone, Soundtracks und zerbrechlichen Vorstellungswelten zum Ziel haben.
'SMM:Opiate' ist der Nachfolger zu 'SMM: Context' von 2011 und genau wie damals gesellt sich auch hier eine sorgfältig ausgewählte Selektion von Musik, die über zwei Jahre und die ganze Welt hinweg zusammengestellt wurde.
Als Ganzes ist die Erfahrung sicherlich ähnlich derer des Opiats aus dem Titel, doch tatsächlich ist dies eine Zusammenstellung, die den Hörer dazu einlädt, seinen eigenen Sinn zu finden oder einfach nur der Schönheit der Musik zu huldigen und der Welt für eine Weile zu entkommen.
'SMM: Opiate' versammelt Originaltracks von SIMON SCOTT, A WINGED VICTORY FOR THE SULLEN, CELER, BLACK SWAN, JIM HAYNES, EN, PJUSK, FIELDHEAD und NOVELLER. //
SMM: Opiate is the second release in Ghostly's SMM series, which is an ongoing exploration of the evocative possibilities of sound, with a focus on classical minimalism, electronic and drone composition, film soundtracks, and fragile imaginary landscapes. Opiate is the follow-up to 2011's SMM: Context, and as with that record, it's a carefully chosen selection of music, compiled over some two years from around the world.
The record opens with Simon Scott's "Water Shadow," a luxuriant piece of beatless ambience that's like a wash of warm water or the first touch of the summer sun on your face after a long, cold winter. It's a warmth that doesn't last, though — "Ti Prego Memory Man," by A Winged Victory for the Sullen, is no less beautiful. It's a stately, alpine beauty, its chilly sounds a harbinger of things to come. Celer's "Nothing So Mystical" is more minimal still, while Black Swan's "Passing Heartbreak" brings whispers of humanity, its sound coalescing out of an atmospheric whirl of vocal textures.
The wryly titled "This Is Radio Sweden," by Jim Haynes, is all brooding background noise that's shot through with what sounds like an old-fashioned telephone engaged tone, a track that seems shot through with connotations of absence and loss. EN's "White" is both somber and somehow transportive, setting plucked chords from what sounds like a banjo over a glistening synth figure, while Pjusk's "Dorsk" slows to a sort of stasis, with only the faintest of basslines to indicate any sign of life. Fieldhead's "37th" is like a slow, mindful from such a reverie, and Noveller's "Bright Cloud Blooms" brings the cycle to a close with another brief flush of precious warmth.
As a whole, the compilation seems to follow a narrative arc, descending through a series of stages into near-complete stillness, and then slowly ascending back to where it began. As a whole, the experience is certainly evocative of the opiated sensation evoked by the record's title — but really, it's a compilation that invites you to find your own meaning in it, or simply to appreciate the beauty of its music and escape the world for a while." [label info]
www.ghostly.com
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2013 |
€17.00 |
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DRONE-MIND // MIND-DRONE Vol. 4 (VERY LAST COPIES!) |
LP |
DRONE-MIND // MIND DRONE - Volume 4 :
"travelling with Drone Records around the world to the MINDs of artists creating drones... "
This LP-series from Drone Records is dedicated to the Drones of the World, and the Drones of our Minds. A kind of continuation of the (almost legendary) Drone 7"-series, with artwork based on huge paintings by British artist PETE GREENING.
The series shows the various sides of todays experimental drone-music.
Drone Music is seen as more than a mere 'music style', it expresses an approach to perceive & understand the world. DRONE-MIND and MIND-DRONE build a circle of diverse inter-relations. The Drone as a metaphor for everything that vibrates, that releases energy - from atoms and elementary particles to the hum of the earth and the universe. The Drone as an entity that connects everthing that exists within our own "mind-space", perception and self.
Four "Drones" on one record! Volume Four (MIND-04) is OUT NOW (May 2015) and features: KIRILL PLATONKIN / JEREMIE MATHES
ILIOU PERSIS / ROMAN KHARKOVSKY
KIRILL PLATONKIN : emotional power drones of a higher beauty
This artist from Blagoveshchensk (the very east Amur region of Russia) excites with two Guitar-Drone pieces showing a very 'direct' mixing (no fading), revealing a highly energetic, yet completely elevating character...."a free interpretation of a magic flight on some air or space transport" (the artist's description about one of the tracks).
JEREMIE MATHES: cavernous metal tank drones
A drone newcomer from France (who is currently living in Cambodia) with so far three great releases on Mystery Sea / Basses Freq. - using field recordings as a basis... on "Uunartoq Qeqertop", his contribution for MIND-04, we hear raw materials that were collected in an reverberant metal tank, reaching out for "density, emptiness, accumulation, disintegration, evolving with altered collages and processed sound from the original material " [Jeremie Mathes]
ILIOU PERSIS: surrealistic drones inspired by the psychology of masks
"... an enormous amount of power appears to explode from some silent part of my brain and I look at myself behaving more animalistic than an animal, less human than a walking god." [quote from the artist]
A highly interesting musician and anthropologist from Portugal is behind this project who is fascinated with the culturual & psychological implications of MASKS, which can transform the carriers consciousness in a strong way. The long track for MIND-04 is a journey into fascinating subconscious areas transformed into sound.
ROMAN KHARKOVSKY: melancholic nightshade drones
With this pseudonym we welcome the very first artist from South Asia (Pakistan) on Drone Records, who is closing the new Drone-MIND circle with two wonderful melancholic drift & dreamscapes, phantasizing about the nightly atmosphere at the bank of a certain river in the Ukraine..."Roman Kharkovsky is an entity of higher spiritual intelligence that belongs to Kharkov, city of Ukraine, and keeps playing music through the winds of Kharkov to Dnieper river to carpathian mountains and all the way to the black sea." [quote from the artist]
FOUR VINYL COLOURS - each 100 x: TRANSP.GREEN & SOLID YELLOW MIXED // SOLID BLUE & BLACK MIXED // BLUE AND YELLOW MIXED // TRANSP. GREEN & BLACK MIXED
Graphic Design by Tilmann Benninghaus with UV gloss cover using two paintings by PETE GREENING
A limited edition of 400 copies - // listen: soundcloud.com/drone-records
order: www.dronerecords.de
vinyl colours:
Transparent green & solid yellow mixed
SOLID BLUE & BLACK mixed
TRANSPARENT GREEN & BLACK mixed
Blue and Yellow mixed
see here:
www.recordindustry.com/vinyl/colored-vinyl
|
2015 |
€15.00 |
|
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Tincture of Japanoise |
CD |
"While Merzbow plays museums and ‘noise’ becomes increasingly canonised in ‘high culture,’ this compilation proves that the underground, countercultural Japanese noise scene is still very much alive and kicking. Noisician ORiFiCE, who also curates the noise-oriented Rollator Series on the attenuation circuit label, has been a keen follower of Japanoise for many years. For this album, he has assembled a range of younger artists from Japan whose pieces display an exhilarating freshness and showcase the great variety of approaches that is covered by the umbrella term ‘noise.’ The great surrealist/punk collage cover was created by established noisician Government Alpha.
“Frustrante oso polar!”, the opening track by Abisyeikah, clearly establishes noise as anti-music: samples of marching bands and other similarly traditional music are sonically destroyed with distorted guitars and computer-game beeps. Sounds like machinegunning reactionary composers at a game arcade, which is to say: a lot of fun! Zr3a also opens his track “Dr. Strangenoise” with a very famous sample … and goes on to desecrate it thoroughly. A great track with a great deal of humour, just as, thankfully, most of the tracks here are self-consciously playful and indulging the bliss of noise instead of rehashing the by now overly familiar poses of cultural pessimism. “Bean” by Naoki Nomoto has a more abstract take on noise. Its feedback and glitch-type sounds created with an analog synthesizer are faintly reminiscent of more academic electronic music. “LxDxP (Love Dream Peace)” by Ememe goes in another direction with its rhythmic quasi-techno noise, a real headbanger. Elma pays tribute to the classic Japanoise sound as defined by Merzbow with the hissing, harsh “(In)Tolerance?” The next piece makes for one of several interesting contrasts that the album offers thanks to ORiFiCE’s clever sequencing of the tracks: “Grandblue” by Hedoromeruhen gives evidence to the territory shared by noise and (free) jazz while taking the piss out of some softer sides of music along the way. With “Gainful Heart Amen Noiser” by Zpore Zpawn, we launch into the finish of the album, in which samples of classical music collide head on with hectic, energetic harsh noise in overdrive. The final track by Jah Excretion is titled “Sleep Garden” – a programmatic title in so far as this piece gives evidence to the (apparent) paradox that the noisiest music can sometimes be the most meditative and soothing." [label info]
www.attenuationcircuit.de
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2014 |
€8.00 |
|
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Anthology of Turkish Experimental Music 1961-2014 |
do-CD |
An Overview of Experimental and Electronic Music in Turkey: this anthology features 29 turkish artists: from the electronic music of the '60s to all forms of experimental music of the '10s. This is the second volume of an exploration by zone or sphere of influence.
FEATURING
Bülent Arel
Ilhan Mimaroglu
Erdem Helvacžoglu
Batuhan Bozkurt
Alper Maral
Batur Sönmez
Cenk Ergün
Korhan Erel
Sair Sinan Kestelli
Koray Tahiroglu
Mehmet Can Özer
Tolga Tüzün
Basar Ünder
Nilüfer Ormanlž
Utku Tavil
Asaf Zeki Yüksel
Osman Kaytazoglu
SIFIR (Z.Aracagök)
Cem Güney
Volkan Ergen
Mete Sezgin
Mors
Tuna Pase
D2GG
2/5BZ
Cevdet Erek
Reverie Falls On All
Burçin Elmas
Meczup
The constellation built between 2000 and 2012 with the seven-part series An Anthology of Noise and Electronic Music continues to expand
through the Early Electronic collection (consisting mostly of tracks composed between the 50's and the 80's) and these 'area anthologies' (we prefer the phrase 'area of influence' to 'country'), this one having
been preceded by An Anthology of Chinese Experimental Music 1992-2008.
You probably noticed how larger is the time frame for this collection.
The reason is that, in Turkey, two exceptional composers emerged very early on to show the way to future generations that followed in a piecemeal fashion. Indeed, Arel and Mimaroglu did not have immediate followers. The explosion happened later, through the 'serious music' of conservatories and universities (Cenk Ergün,
Koray Tahiro?lu, Mehmet Can ÖzerŠ) and the electronic/noise music avant-garde ((Mete Sezgin, Nilüfer Ormanlž, Utku TavilŠ) - the great wave of the 2000s and 2010s.
The beauty of this album is found in its multifaceted nature; it features purely formal music, hijacked electronica, remnants of
Turkish harmonies, and pieces that are more conceptual or even political (vaguely or strongly) in design. Batur Sönmez and Erdem Helvacžoglu have managed to capture
this diversity and energy. And it so happens that this profusion of music related to an urgency to live and think freely is blooming
within an increasingly-stifling space. Call it the spectacular beauty of an explosion.
Most part of the material included on this album has not been released before.
tracklisting CD1 / Electronic Music
01. Bülent Arel / Postlude from Music for a Sacred Service (1961) / 3'57
02. Batuhan Bozkurt / Kun (2012) / 6'30
03. Alper Maral / Sho (2001) / 2'04
04. Batur Sönmez / Flash Mental Experiment No.23 (2012) / 5'54
05. Cenk Ergün / Forge (2008) / 2'57
06. Erdem Helvacžoglu / Resonating Universes Part 1 (2010) / 7'27
07. Korhan Erel / Con-structure 2 (Death of Komarov on re-entry) (2006) / 4'09
08. Sair Sinan Kestelli / Earthworks (2007) / 2'01
09. Koray Tahiroglu / ?ki El (2012) / 5'48
10. Mehmet Can Özer / Plug-Out: Balžklar II (2007) / 6'01
11. Tolga Tüzün / Uncomfortable Possibilities of Seamless Unions (2012) / 8'04
12. Basar Ünder / Diving (2012) / 6'09
13. Nilüfer Ormanlž / Life in the Mist of Finer Thoughts (2012) / 5'25
14. Ilhan Mimaroglu / Prelude No.17 (Istanbul Fog) (1996) / 4'01
tracklisting CD2 / Politic, Samplers, Ambient Music
01. Utku Tavil / SUTT (2012) / 2'01
02. Asaf Zeki Yüksel / Democracy Lessons (2013) / 5'59
03. Osman Kaytazoglu / The Monopoly of Victim Status (2012) / 5'59
04. SIFIR (Z.Aracagök) / I Want to be a Suicide Bomber (2011) / 8'48
05. Cem Güney / Procession A.D. (2012) / 3'19
06. Volkan Ergen / Sublimation F (2012) / 5'28
07. Mete Sezgin / Subconscious Memories (1994) / 5'59
08. Mors / PerfYAy (2008) / 5'38
09. Tuna Pase / Nefes (2007) / 7'41
10. D2GG / 3 Çakžl Ta? (2012) / 7'42
11. 2/5BZ / Anadolog (1997) / 3'20
12. Cevdet Erek / Strob (2005) / 3'52
13. Reverie Falls On All / Eta Carinae (2012) / 4'25
14. Burçin Elmas / So Far (2003) / 3'32
15. Meczup / Sworn Mother (2012) / 5'21
.............................................................................................................................................
tracklisting 2LP
side 1
01. Bülent Arel / Postlude from Music for a Sacred Service (1961) / 3'57
02. Batuhan Bozkurt / Kun (2012) / 6'30
03. Alper Maral / Sho (2001) / 2'04
04. Batur Sönmez / Flash Mental Experiment No.23 (2012) / 5'54
05. Cenk Ergün / Forge (2008) / 2'57
06. Ilhan Mimaroglu / Prelude No.17 (Istanbul Fog) (1996) / 4'01
side 2
01. Erdem Helvacžoglu / Resonating Universes Part 1 (2010) / 7'27
02. Korhan Erel / Con-structure 2 (Death of Komarov on re-entry) (2006) / 4'09
03. Sair Sinan Kestelli / Earthworks (2007) / 2'01
04. Nilüfer Ormanlž / Life in the Mist of Finer Thoughts (2012) / 5'25
05. Mehmet Can Özer / Plug-Out: Balžklar II (2007) / 6'01
side 3
01. Utku Tavil / SUTT (2012) / 2'01
02. Asaf Zeki Yüksel / Democracy Lessons (2013) / 5'59
03. SIFIR (Z.Aracagök) / I Want to be a Suicide Bomber (2011) / 8'48
04. Cem Güney / Procession A.D. (2012) / 3'19
05. 2/5BZ / Anadolog (1997) / 3'20
side 4
01. Cevdet Erek / Strob (2005) / 3'52
02. Koray Tahiroglu / ?ki El (2012) / 5'48
03. Tuna Pase / Nefes (2007) / 7'41
04. Burçin Elmas / So Far (2003) / 3'32
05. Reverie Falls On All / Eta Carinae (2012) / 4'25
............................................................................................................................................
1961-2014 AN ANTHOLOGY OF TURKISH
EXPERIMENTAL MUSIC
ref
SR390 2CD
SRV390 2LP
file under
Electronic Music
Turkish Avant Garde Music
stock date
APRIL 05 2016
www.subrosa.net
|
2016 |
€17.00 |
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DRONE-MIND // MIND-DRONE Vol. 5 |
LP |
DRONE-MIND // MIND DRONE - Volume 5
The series shows the various sides of todays experimental drone-music.
"In an era when so much content is driven by personality, we offer instead the challenge, or the respite, of interacting with sound on its own terms." [CLADE,]
This LP-series from Drone Records is dedicated to the Drones of the World, and the Drones of our Minds. A kind of continuation of the Drone 7"-series, with artwork based on huge paintings by British artist PETE GREENING. Drone Music is seen as more than a mere 'music style', it expresses an approach to perceive and understand the world. DRONE-MIND and MIND-DRONE build a circle of diverse inter-relations. The Drone as a metaphor for everything that vibrates, that releases energy - from atoms and elementary particles to the hum of the earth and the universe. The Drone as an entity that connects everthing that exists within our own "mind-space", perception and self.
Four "Drones" on one record! Volume FIVE (MIND-05) is OUT NOW (Oct. 2016) and features:
GYDJA ҉ CLADE,
MONOCUBE ҉ YRSEL
GYDJA: (New Zealand) Enchanting female drone esoterica by an artist who is also known through her stunning artworks for COLD SPRING and other labels. Through magnetic winds and metallic clouds the long track "Gjallarbru" creates a wonderful secretful and sensitive atmosphere; very lonely and frosty, like a cold and clear consciousness released on a high mountain, on top of the world...
CLADE, (Scotland / USA) Named after a notion taken from biology science (=Monophylum), this duo is based in Scotland and USA, alluring with very focused minimal drones on so far four releases. The two tracks presented here stand out with their use of somehow refractional, fibrous sounds, placed on monotonus drones with a very sedative and insistent effect...
MONOCUBE: (Ukraine) This "ethereal drone" discovery from Ukraine moves musically through endless spaces, creating choral-like aural clouds and strange melodies => self-supporting drones with an incredible width, when even the smallest particles of concrete microsound encountering are exciting, entering into a heavenly "song of the sirens" choir..
YRSEL : (France) Another bi-national project is this French-Swedish collaboration of JULIEN LOUVET (2:13 PM, etc.) and C-J LARSGÅRDEN (ONDO),who released three albums so far. Their track "Krstnhmnbrtncrt" consists of very heavy, swallowing drones with atonal elements coming to the surface, diffus and poisonous but also lulling you into a deep (dead) sleep., slowly drowning in dense humming waves of cryptic drones...
SOLID SILVER COLOURED VINYL, graphic design by ABBY HELASDOTTIR, using two paintings by British painter PETE GREENING (www.redbubble.com/people/petegreening); limited ed. of 400 copies
listen: soundcloud.com/drone-records order: www.dronerecords.de
|
2016 |
€15.00 |
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Musique Concrete |
LP |
This record represents an important milestone in the development and progression of musique concrète – marking a crossroad for not only the genre itself but also in the paths of its originator Pierre Schaeffer and another of the genre’s most important and respected protagonists Pierre Henry.
Undoubtedly one of the most influential experimental and electroacoustic musicians, Pierre Schaeffer is also credited as being the father of the theory of musique concrete as well as later name coining the term itself. Having found a job in 1936 at Radiodiffusion Française (later Radiodiffusion-Télévision Française or RTF) as an engineer, Scaeffer developed a newly found interest in music and with the blessing of his superiors made the most of his access to the Radiodiffusion Française studios, utilising his abilities as an engineer to experiment with sound whilst collaborating with musicians and composers that passed through the station’s hallowed doors. In 1942 Schaeffer and influential theatre director, producer and actor Jacques Copeau founded the Studio d’Essai (renamed Club d’Essai in 1946) as part of RTF in order to experiment with radiophonic techniques. Drawing on the works of French filmmaker, critic and novelist Jean Epstein, Schaeffer would occupy his time and his mind with the manner in which sound recordings “revealed what was hidden in the act of basic acoustic listening” and in 1948 formally set about his research in ernest – the results of which were presented as a series of studies known as Cinq études de bruits (Five Studies of Noises) during a concert in Paris.
With word of his theories and experiments spreading, Schaeffer was able to press the RTF management to further finance and in doing so expand his research. However, for an undertaking of this size he would need help. Having previously collaborated as part of his early research with a young classically trained composer by the name of Pierre Henry, Schaeffer had no problem convincing the RTF executives he was the right man of the job. By adding a third prong to this sonic fork in the shape of sound engineer Jacques Poullin, Schaeffer was able to complete a powerhouse, which he renamed the Groupe de Musique Concrete, that would push his experiments further than he could have imagined. In1951, RTF handed the trio the keys to one of the earliest purpose-build electroacoustic studios (the other being the WDR Studio in Germany), furnishing it with state of the art bespoke equipment such as a Morphophone (designed by Poullin himself and capable of tape loop-delay) and a Phonogène (a multi-headed tape instrument also designed by Poullin). The studio went from strength to strength, attracting composers such as Karlheinz Stockhausen and Edgard Varèse to collaborate, and in that same year Schaeffer and Henry produced and premiered what is considered to be the first opera concrète, Orphèe 51.
As Schaeffer’s notoriety grew as did demand for his time and he found himself increasingly called away from the studio during which time he would hand the keys to over to his colleagues. Pierre Henry wasted no time in pursuing projects closer to his own heart, working with experimental filmmakers and choreographers like Maurice Béjart (the two would later collaborate with Michel Colombier on the cult classic Les Jerks Électroniques De La Messe Pour Le Temps Présent Et Musiques Concrètes Pour Maurice Béjart). In 1957, following a particularly prolonged absence on RTF duties, Schaeffer returned unhappy with the direction the group had taken and tabled an idea to revitalise both their approach as well as personnel. As a result, Henry and several other key members left the group the following year leaving Schaeffer to lay the foundations in 1958 for a new collective called Groupe de Recherches Musicales – one of a number of theoretical and experimental groups overseen by Saeffer’s Service de la Reserche at RTF – and set about recruiting new members including Iannis Xenakis, Henri Sauguet, Luc Ferrari and Michel Philippot as well as usher in a new steady stream of eager musicians eager to study within what had rapidly become (and still is) a national institution – including a young Jean Michel Jarre!
Featuring the full versions of these seminal early works (abridged versions of which had previously appeared across two 7” singles on Disques BAM) the recordings presented here are the first fruits of this new alliance and served to lay the bedrock for the future of the Groupe de Recherches Musicales research which would later count the likes of Ivo Malec, Philippe Carson, Romuald Vandelle, Edgardo Canton and François Bayle (who went on to coin the term Acousmatic Music) amongst its members and cement its place in the annals of experimental, electroacoustic and early electronic music history.
www.finderskeepersrecords.com |
2016 |
€21.00 |
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Projekt Neue Ordnung II |
4 x LP BOX |
Projekt Neue Ordnung was the 1st and only Compilation done by Tesco Organisation. It was released in 1990, and in 2017 is the year of Tesco´s mail-order 30 years anniversary. Like at that time this compilation features contemporary and new projects. Some projects that you might have never heard of before, or you will never hear of after. It combines artists that are currently producing high class material off which we never had the chance for a full-length release before and bands that are awaiting the listeners attention and highly deserve it. The project is an international one and has started with its compiling in late 2015 - now is the time! All bands are presenting their view on Projekt Neue Ordnung and have supplied some magnificent artwork assembled in DIN A4 fullcolor booklet. The music presented here ranges from abstract concrete sounds, dark drone ambience, post industrial, power electronics to noise music. As multi-shaped as it is, it is! Compilations have been the main entrance to new project, to extend the musical knowledge and give room to new concepts. We wish this time to come back again and have no presented our idea of how it can be...
featuring: AM NOT [UK], ALFARMANIA[SE], AUSSTRÖMEN[UK], BODY CARGO [LT], CADLAG [SI], DEATHPANEL [DE], DUST BELT [US], GEOGRAPHY OF HELL [US/FR], GRAUSTICH [AT], GRIEFER [CA], GRUNT [FI], ILL [DE], JAAKKO VANHALA [FI], KE/HIL [DE], K.I.A. [PT], LEBENSFADEN [JP], :M: [US], PAIN NAIL [FI], PUCE MARY [DK], PTERYGIUM [UK], ROPE SOCIETY [AU], RUSALKA [CA], RUSHA [DE], SALFORD ELECTRONICS [UK], SCRELOMA [JP], SHIFT [UK], S.T.A.B. ELECTRONICS [UK], SVARTVIT [NL], THE TRAINABLES [UK], TOTRAUM [HU], WERTHAM [IT]
The box presentation follows the graphical art of the 1st PROJEKT NEUE ORDNUNG - the printed box houses the 4 LPs including a lavish printed full color A4 booklet and is numbered to only 500 copies. Nearly 160 minutes of music that awaits your exploration.
www.tesco-germany.com |
2017 |
€78.00 |
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Avantgarde is happening because.. |
CD |
Full title: "Avant Garde Is Happening Because Collaborations Are Happening As Long As The Desire To Interact Fuels Our Hearts We Will Find Swarms That Build Moments And Space To Shelter The Worlds That We Are"// Released to coincide with the re-emergence of the festival at Schiphorst, Germany to celebrate "three days of utopia". The Avantgarde Festival is the legendary gathering of experimental music and performing arts brought to life by Jean-Hervé Péron (faUSt), Carina Varain (Mother of the Headquarters) and friends. This year re-born by Jeanne-Marie Varain, who grew up with the Avantgarde Festival and curated its program in 2014, and Ines and Julia (MuD, Logotorium, Krarque Jamaric ) who scouted several Actions at the Festival in 2013 and 2014 and decided to team up as AGF spirit and figured out a new format that supports collaboration and at the same time is able to sustain itself. The CD features exclusive material from the likes of Nurse With Wound, Faust, Qluster, Asmus Tietchens and is available in extremely limited quantities. This set is packaged in a heavy board, mini LP sleeve, complete with inner.
www.dirter.co.uk
|
2017 |
€14.00 |
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Your Reality is broken |
LP |
A compilation of covers, reinterpretations and/or transformations of Contrastate tracks in celebration of their 30th anniversary. The inivitation to participate was limited to a select few artists who have over the years, in some shape or form, worked with Contrastate. Track A1: Recorded in 2016. The original piece "The People Who Read The Books" was from 1997 concerts in Erlangen, Muenster and Nevers. Track A2: Recorded in 2016 Track A3: Recorded in March 2017. Sound sources: "As Time Began", "Thirst For Knowledge", "A Thousand Badgers In Labour" and a self played cover version of "An End marked By Pessimism". Track B1: Recorded in 2017. The track originates from the album "A Breeding Ground For Flies". Track B2: Recorded in 2017. Sound sources: English Embers/In Absentia - plus original material Track B3: Recorded in 2017. Includes a printed inner-sleeve. Front cover artwork: "Das Tier ist tod" Back cover artwork: "Perinatale Grundmatrix I" Insert artwork: "Tre uomini sulla croce"
Tracklist Hide Credits A1 –Contrastate The Peolple Who Control The Information Recorded By – Contrastate 5:00
A2 –RLW Goodbye Great Nation 2016 Recorded By – RLW 7:31
A3 –Troum An End Marked, As Time Began Recorded By – Troum 6:21
B1 –Genocide Organ / Contrastate Son Of Sam Recorded By – Genocide Organ 5:46
B2 –Band Of Pain Re-establishing Beams (#9) Recorded By – Steve Pittis 6:09
B3 –État D'Urgence (2) Assassinate En Arrière-Plan Recorded By – État D'Urgence (2) 5:24
"Ever since their inception in the late 1980s, this UK project has simultaneously dabbled both in the worlds of musique concret and harsh electronics; two styles that are undeniably similar but have very few in the way of crossover artists, all with a distinct sense of irreverence. Active again after a lengthy hiatus in the early part of the 21st century, Your Reality is Broken is another piece of work that successfully blurs unnecessary lines; in this case if it is a tribute album to them, a remix collection, or a compilation of collaborations. In truth, it is all of these things at once, and it is excellent.
There are only five artists who were invited to participate in this release, each providing one piece that is either a reworking of Contrastate material, a collaboration with them, or in the case of the opening piece, Contrastate covering themselves. The remainder of Your Reality is Broken are artists that also work between those two aforementioned stylistic poles: RLW, Troum, Genocide Organ, Band of Pain, and État D'Urgence.
Contrastate’s self-reflexive contribution, "The People Who Control the Information," is built upon a different piece that was previously only performed live in 1997, "The People Who Read the Books." In its opening moments it is largely a spoken word performance, with ringing electronics filling the otherwise wide open spaces around the vocals. Sharp, grinding electronics tear through and hints of rhythm appear, which eventually solidify into an almost reggae like beat. By the time it all comes together, it is a bizarre combination of noisy electronics, spoken word, and dancehall beats; a strange combination no doubt, but also one that works very well.
Troum's "An End Marked, as Time Began" is constructed by the legendary drone act from three existing Contrastate works plus their own cover of "An End Marked By Pessimism." Besides the aforementioned song, this is pretty much the other most musical piece here. Troum blend the existing recordings into a sustained wall of cavernous sound, making for a murky and somewhat oppressive sonic feel. With snatches of voice peppered throughout and swirling strings later introduced, it comes together in a surprisingly melodic and classical-tinged form.
"Son of Sam" is a reworking of the same titled composition from the band's 2012 A Breeding Ground for Flies album that is credited to both Genocide Organ and Contrastate on the sleeve, so I am not sure if it is a collaboration or a reworking, but it is distinctly GO in sound. This is the modern day form of the legendary band, which is less about intentionally lo-fi noise and more atmospherically bleak. The treated and flanged vocals are of course there, as is the droning, abrasive Korg MS-10 synth, but the whole piece is very clean and well refined, more depressive than aggressive. Steve Pittis' Band of Pain uses material from English Embers and In Absentia to build "Re-establishing Beams (#9)": a mélange of echoing thuds and jarring, drill-like electronics that are at first right in line with old school noise sensibilities but eventually goes in to more restrained, subtle places.
Ralf Wehowsky (as RLW) and État D’Urgence each supply the more disturbing, discomforting tributes on this record. The former's "Goodbye Great Nation 2016" is a pairing of churning sub bass and piercing high frequencies that, while somewhat minimal at first, convey a splendidly sinister mood. Fragments of voice and chimes are weaved in, and with the random voices and mangled piano, it is an entirely disorienting and uncomfortable sounding composition. The latter’s "Assassinate En Arrière-Plan" is another where vocals are up front and demonically processed, making for the most sinister and horror-esque moments of this record.
Your Reality is Broken is a bit of an odd compilation, but one that is undoubtedly Contrastate, and the artists selected all reflect this idiosyncratic approach just as well. All of the artists contribute excellent reworkings or inspired pieces, but I also appreciate the classic compilation feel to the record. The mix of artists, the presentation, the style, it all reminded me of classic albums like the Rising from the Red Sands series or albums put out by RRRecords a few decades ago. It simply hits all the right buttons from beginning to end." [Creaig Dunton / Brainwashed]
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2017 |
€20.00 |
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TROUM TRANSFORMATION TAPES: The 20th Anniversary Celebration (1997-2017) |
do-CD |
with: ALLSEITS, CONTRASTATE, V.O.S.(YEN POX), VANCE ORCHESTRA, TARKATAK, RAISON D'ETRE, NADJA, MARTYN BATES w. TROUM, MULTER, QST (Frans de Waard/KAPOTTE MUZIEK), URE THRALL, MYRRMAN (SAL SOLARIS), INADE, DUAL, BAD SECTOR, CISFINITUM, REUTOFF, MOLJEBKA PVLSE, and MARKOW C.
ORIGINAL INVITATION:
"Dear Friends and Dreamers,
Troum did the very first performance under this name (after the demise of Maeror Tri) in March 1997, so this year we reach our 20th anniversary. We have never done any anniversary "celebration" or "remix" projects of Troum material before, so we thought maybe it's the time now!
You can choose any existing Troum material (also taken from multiple tracks) to cover, re-interpretate, re-work/process/arrange or collage it. You can also add your own sounds, create a new track-title, watever comes to your mind! (We are certainly NOT looking for a standard "remix", so we don't send out any specific material to everyone!).
This invitation goes out to various musicians that have worked with us over the 20 years, which became friends or important for our evolution as a band." TROUM, March 2017
2. TRACKLIST:
CD 1
1. ALLSEITS - Times
2. CONTRASTATE - The Silent Fish
3. INADE - The innermost Sun
4. VANCE ORCHESTRA - Giascei
5. TARKATAK - vs. Brinnan
6. RAISON D'ETRE - Ananke
7. NADJA - Mirrored in You
8. MARTYN BATES w. TROUM - An Untitled Protest
9. [MULTER] - Sela Saiwala MNX
CD 2
1. QST - Kapotte Muziek by Troum (QST remix 2017)
2. URE THRALL - Krypte
3. 016 vs. MYRRMAN - Sen №350 (Psychic Automaton Rework)
4. V.O.S. (Steve Hall/YEN POX) - Breath Again
5. DUAL - TTN (Ursprung)
6. BAD SECTOR - Signedumiroir
7. MARKOW C. - Chaneism
8. CISFINITUM - Skaun[ei]s
9. REUTOFF - Hypoxia (Troum Spirare Cover)
10. MOLJEBKA PVLSE - Ennoia
Liner Notes from JIM HAYNES:
It was 1996 when the German industrial project Maeror Tri disbanded, and I recall being deeply saddened by the news. A few years earlier, I had discovered the project while working at a now-defunct distribution company in San Francisco. Fittingly released through Korm Plastics 'Introductions' series, Maeror Tri's Multiple Personality Disorder reflected an interested in psychological pathology as channeled through raw sound. Industrial culture has long used the metaphors of disease as a mirror to shine a light on any number of ills in contemporary society. This particular album addresses four aspects of the titular disorder, itself the most extreme form of schizophrenia which fractures the discrete personalities, which Maeror Tri identified in the general dissociative characteristics: The Administrator, The Anaesthetizer, The Revenger, The Protector. With each of these tracks, Maeror Tri orchestrated dense layers of heavily effected, sustained noise, back-masked growlings, and shimmering drones as emotionally resonant portraits to those four personality traits. With Industrial culture's penchant for sensationalized horror of autopsy and abbatoir footage, Maeror Tri's constructs were uniquely sympathetic to those who suffered from this debilitating disease.
With the posthumous release of Emotional Engramm in 1997, Maeror Tri's compositional complexity began to blossom, relying less on the hypnogogic dislocation of time-lag effects and more on the poetics and the portent of the underlying melodies that rippled through their ghostly accretions for drone and noise. Right as they called it quits, the ideas of Maeror Tri had expressed a maturity that had much more to say through the collapse of sound into an crushed, all-encompassing, cathartic tsunami.
What was to emerge in the wake of Maeror Tri's dissolution did not immediately seem clear. Founding member Stefan Knappe had already established his impeccably curated Drone Records, which initially focused on the improbable medium of the 7" single to release long-form works of dark ambient, heavy drone, and industrial din. Many of these artists that landed on Drone were unknown or under-appreciated projects, but without fail, these proved to be impressive documents and demanded that they be acquired upon sight with or without any idea of who exactly was behind the project. In this series, Knappe did commisson work from a number of highly acclaimed musicians including Inade, Francisco Lopez, Cranioclast, Aidan Baker, The Lotus Eaters, etc. but there were the lesser known acts such as the Hungarian experimental project Hideg Roncs, Holland's esoteric ambient outfit Indra Karmuka, and the hermetic tape machinist Abner Malaty. Drone released exactly 100 singles between 1993 and 2010, at which time the format switched to a four-way split LP format under the Drone-Mind // Mind-Drone banner, in addition to the 10" Substantia Innominata series, both of which maintain high calibre curation to this day.
In 1998, Knappe reconvened with fellow Maeror Tri member Martin Gitschel to form Troum. The name for this new project was taken from an archaic German word for dream and provides clear insight into their investigations manifesting universal archetypes and symbols from a collective unconsciousness into an overwhelming flood of sound. The first recordings for Troum were published on a small cassette housed in a small pillow, ascribed with the title Dreaming Muzak. As with Maeror Tri, Troum sculpt their dronescapes mostly through heavily processed guitars along with an assortment of other instruments. If the intent of Troum was to put the listener to sleep, the lulling vibrating patterns certainly have the capacity; but the overall darkness of these sounds will never inspire the most pleasant of dreams. These are shadowy, bleak, and cold sounds which permeate the album, and lend themselves to images of desolate factories spewing a constant stream of black soot in some wintery post-Soviet country.
At the turn of the millennium, Troum embarked on their ambitious Tjukurrpa trilogy, the title of which has its origin in the physical, spiritual, and psychological state of dreamtime for the Australian Aboriginals, symbolizing Troum's intention to divine transcendence through their hypnogogic compositions. They applied these ideas to the three compositional foundations to their music, in Harmonies, Drones, and Rhythms & Pulsations each of which are highlighted on the trilogies component albums. Harmonies for Troum relate to the cold ambient swirls of resonant timbres from Troum's interlocked guitars that cycle through minor-key chords bathed in a resplendent wash of effects and melancholy atmospheres. Troum's signature drones are heavy, lumbering propositions of earth-shaking rumbles and subterranean minimalism. The use of rhythm appears in Troum's work as percussive mantras with a ritualist approach to metal-bashed patterns and looped sequences.
These fundamental tools - harmonies, drones, and rhythms - represent a set of pre-linguistic symbols that Troum employs to articulate to the primal emotional responses of various psychological states. More often than not, Troum turn towards ashen, sublime, nocturnal, and grim metaphors through their work, even though rapturously golden crescendos flourish on the rare occasion in their body of work. Sigqan (2003) is a harrowing album that plunges deep into an overwhelming gloom through sustained tones and drones. Like the project's name, the title harkens to a pre-medieval dialect of the Goths that roughly translates as the setting or sinking of the sun. Here, Troum addresses the Dark Ages fear that the sun might not rise again, leaving the world in permanent darkness. The Power Romantic trilogy (which include the albums Mare Idiophonika, Grote Mandrenke, Mare Morphosis released from 2010 - 2013) finds the duo embracing the oceanic metaphors that undulate upon the cycles of the tides through billowing shadows of mournful melody and subharmonic rumble. These too are drawn towards hostile metaphors, with Grote Mandrenke referring directly to a massive storm surge that devastated Northern Europe and the Britsh Isles in 1362, sweeping some 25,000 people out to sea and to their deaths.
Through the Drone Records productions and ancillary distribution company, Troum have maintained a very healthy network of connections all across the globe. In doing so, they have also engaged in a select number of ongoing collaborations. Their first was with the occult American project Yen Pox whose collective low-frequency thumming stand at the pinnacle of the dark ambient genre. An enduring presence from the once mighty Cold Meat Industries, Raison D'etre has worked with Troum in transforming raw material through the existential lens of a vacant cathedral. Architectural reverberation and ghostly chorales flutter with a solemn, ethereal impressionism. The baroque post-punk singer-songwriter Martyn Bates of Eyeless In Gaza had long been an inspiration for Knappe and Gitschel in both Troum and Maeror Tri. In fact a dedication to Bates was ascribed to a track from the Tjukurrpa series. In 2006, Bates joined Troum for their collaborative album To a Child Dancing in the Wind, which girds Bates' beatific, lyrical vocalizations to a luminous, shimmering facet to Troum's aesthetic.
This compilation with its remixes, deconstructions, and reconstitutions of Troum's back catalogue and raw material is a celebration not only to Troum's impressive body of work but also to their ongoing and active participation in the broader communities of the avant-garde, minimalism, drone-rock, and industrial culture with unflagging dedication. These propositions respectfully build upon the fluid dynamics of Troum's sound as well as the wordless symbolism of pre-lingusitic conditions that are fundamental to Troum's work. It should be noted that both Dual and Vance Orchestra reunited specifically for this project.
Sibilant. Subaquatic. Serpentine. Ominous. Thunderous. Billowing. Haunted. Hypnogogic. Blossomed with sadness. Best Drones.
JIM HAYNES
|
2018 |
€12.00 |
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Earthen |
do-CD |
OUT 5th NOVEMBER
VARIOUS ARTISTS ‘Earthen – A Cold Spring Sampler’ 2 x CD (CSR250CD)
csr250cd_500
A massive double CD to celebrate our 250th release! 29 tracks – including an EXCLUSIVE unheard track from COIL. An unrivalled collection of Industrial, Esoteric, Dark Ambient, Ritual, Drone, Power Electronics, Doom, Death Industrial, Experimental, Torch Songs, Electronica. Unearth the world of Cold Spring! Gatefold digisleeve. Ltd x 4000 copies in a gatefold ecopak.
SCROLL DOWN FOR FULL TRACK LISTING!
Purchase
Track Listing:
Disc 1
1. MERZBOW / GENESIS BREYER P-ORRIDGE ‘A Perfect Restraint’ (3:20)
from ‘A Perfect Pain’ CD/LP (CSR23CD/LP)
2. SHE SPREAD SORROW ‘Escape’ (4:25)
from ‘Midori’ CD (CSR251CD)
3. PENNY RIMBAUD ‘Act 5’ (2:12)
from ‘Oh Magick Kingdom CD (CSR259CD)
4. NDE ‘VII’ (4:23)
from ‘United’ CD (CSR247CD)
5. SONOLOGYST ‘Singularity‘ (4:30)
from ‘Silencers’ CD (CSR253CD)
6. NYTT LAND ‘Nordur / Yule Song’ (6:26)
from ‘Oðal’ CD (CSR249CD)
7. DER KÄTTERSKÄ FORBUND ‘Sacred Grounds’ (4:44) from ‘Lidaverken Part I’ LP (CSR265LP)
8. PSYCHIC TV ‘Dead Cat (Telepathic Edit)’ (4:39)
exclusive edit from ‘Kondole / Dead Cat’ 2CD+DVD (CSR246CD)
9. KHOST ‘Redacted, Repressed, Recalcitrant’ (5:37)
from ‘Governance’ CD (CSR237CD)
10. LEFT HAND RIGHT HAND ‘Rise And Fall’ (5:43)
from ‘Biting The Hands That Bleed You’ CD (CSR254CD)
11. THE NEW BLOCKADERS ‘Live At Sonic City (Excerpt)’ (3:04)
from ‘Live At Sonic City’ CD+DVD (CSR261CD)
12. THE TELESCOPES ‘The Desert In Your Heart’ (3:59)
from ‘Stone Tape’ CD (CSR267CD)
13. VIVIANKRIST ‘Silent Soul’ (5:50) from ‘Morgenrøde’ CD (CSR268CD)
14. ILPO VÄISÄNEN ‘Kivi Ja Kataja’ (4:31)
forthcoming TBA
15. COIL ‘Spastiche (Trumpo)’ (3:50)
exclusive track for Cold Spring
Disc 2
1. MZ. 412 ‘Ulvens Broder’ (5:39)
from ‘Ulvens Broder’ 10” (CSR248EP) & ‘Svartmyrkr’ CD/2LP (CSR257CD/LP)
2. ANNI HOGAN feat LYDIA LUNCH ‘Blue Contempt’ (3:04)
from ‘Lost In Blue’ CD/LP (CSR266CD/LP)
3. XERXES THE DARK ‘Longing To Return’ (6:02)
from VA ‘Visions Of Darkness (In Iranian Contemporary Music)’ 2CD (CSR242CD)
4. SHIFT ‘To Rid Them All And To Wash Their Filth From My Body’ (3:32)
from ‘Abandon’ CD (CSR236CD)
5. JOTUNSPOR ‘Solartjuven’ (5:14)
from ‘Gleipnirs Smeder’ CD (CSR244CD)
6. MAYUKO HINO ‘Faintainhead (Excerpt)’ (4:17)
from ‘Lunisolar’ CD (CSR245CD)
7. ZENI GEVA & STEVE ALBINI ‘Autobody’ (6:12)
from ‘Maximum Implosion’ 2CD (CSR260CD)
8. C.3.3. ‘Movement II (Radio Edit)’ (4:07)
from ‘Ballad Of Reading Gaol – The Cacophonietta’ CD (CSR255CD)
9. COMMON EIDER, KING EIDER ‘The Dark Winter (Excerpt)’ (3:37)
from ‘Shrines For The Unwanted, Respite For The Cast Aside’ CD (CSR243CD)
10. SOFT ISSUES ‘Bleak Magic’ (5:04)
from ‘Soft Issues’ CD/LP (CSR262CD/LP)
11. COLOSSLOTH ‘Lain Inert’ (2:35)
from ‘Heathen Needles’ CD (CSR235CD)
12. COIL + ZOS KIA + MARC ALMOND ‘Baptism Of Fire’ (4:25)
from ‘How To Destroy Angels’ CD/LP (CSR263CD)
13. TUNNELS OF ĀH ‘Kosmiglot (Edit)’ (5:16)
from ‘Charnel Transmissions’ CD (CSR256CD)
14. BARRY ADAMSON + PAN SONIC + THE HAFLER TRIO ‘The Hymn Of The 7th Illusion (BBC Mix)’ (5:37)
special mix for the BBC, from ‘The Hymn Of The 7th Illusion’ 12” (CSR241LP
https://coldspring.bandcamp.com/album/earthen-csr250cd
|
2018 |
€8.00 |
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DRONE-MIND // MIND-DRONE Vol. 7: OPENING PERFORMANCE ORCHESTRA, MYTRIP, SKELDOS, SPECIMENS |
LP & CD |
...finally a new issue in our "drone-explorers" LP-series, for the first time with full bonus CD!
Featuring: SKELDOS (the new drone-melancholia phenomenon from Lithuania), OPENING PERFORMANCE ORCHESTRA (Prague - incredible dense and tight drone waves with scientific approach - full length/different version of their piece on the bonus CD), enchanting guitar/field recording drones from London based SPECIMENS, and MYTRIP from Bulgaria continues his mission to create timeless expanses of pulsing, spectral synth drones..
DRONE-MIND // MIND-DRONE - Volume 7 LP + CD
The series shows the various sides of todays experimental drone-music.
This LP-series from Drone Records is dedicated to the Drones of the World, and the Drones of our Minds.
A kind of continuation of the Drone 7"-series, with artwork based on paintings by British artist PETE GREENING.
Drone Music is seen as more than a mere 'music style', it expresses an approach to perceive and understand the world. DRONE-MIND and MIND-DRONE build a circle of diverse inter-relations. The Drone as a metaphor for everything that vibrates, that releases energy - from atoms and elementary particles to the hum of the earth and the universe. The Drone as an entity that connects everthing that exists within our own "mind-space", perception and self.
Four "Drones" on one record! Volume SEVEN (MIND-07), for the first time with full bonus CD, is OUT NOW (05/2019) feat.:
SPECIMENS ҉ SKELDOS ҉ MYTRIP
OPENING PERFORMANCE ORCHESTRA
Behind SPECIMENS we find the London based ambient/drone artist Alex Ives. His productions pull together delicately arranged but often highly driven cassette loops, synth layers and field recordings as well as often employing wider instrumentation such as organ drones, guitar swells & saxophone hidden beneath the noise. Two excellent LPs have been released so far on his own label First Terrace Records and SVS Records.
Alex Ives also co-hosts a monthly experimental radio show on Resonance Extra.
For MIND-07 we present three shorter SPECIMENS pieces: these raw, somehow perforated drones with lots of atmospheric noise remind on PETER WRIGHT or early TIM HECKER, creating a truly absorbing mood.
SKELDOS: This "drone-melancholia" phenomenon (active since 2011) doing "abstract, longing, flowing soundscapes with tender touch of a distant melody" from Lithuania breathed out one long track that befogs everything in sadnesss and emotion, built on waving sounds from accordeon, voice and other instrumental sources, slowly unfolding into multiple layers. The title of the track "Byra" means 'falling' or 'crumbling' and is encrypted through this fragmented sentence: "...or listening to the things you have barely touched falling... (sls.III)", coming from a never-ending sentence which was started with the first SKELDOS album.
MYTRIP from Bulgaria has been characterized by Tiny Mix Tapes with the phrase "ambient music as a weapon" and is surely standing at the forefront of the vivid electronic/ambient/drone scene there, active since about 10 years with the AMEK label. Two tracks of swirling and pulsing spectral synth drones show the newest development of the project, founded on "more melody-driven and textural soundscapes, where blurry rhythmic patterns meet with organic field recordings, found sounds and deconstructed instrumentation."
OPENING PERFORMANCE ORCHESTRA: Something very special is also the last act on MIND-07, O.P.O. from Prague, with a 12min. 'especially mastered for vinyl'-version of 'Creeping Waves', the FULL version (70 min.) of this piece is placed on the bonus CD. An incredible dense and steadily fluctuating drone expansion, based on the Creeping Wave theory, applied to acoustic phenomena: "According to the principle of diffraction, when a wave front passes an obstruction, it spreads out into the shadowed space. A creeping wave in electromagnetism or acoustics is the wave that is diffracted around the shadowed surface of a smooth body such as a sphere. Creeping waves greatly extend the ground wave propagation of long wavelength (low frequency) radio. They also cause both of a person's ears to hear a sound, rather than only the ear on the side of the head facing the origin of the sound. In radar ranging, the creeping wave return appears to come from behind the target."
cover-art by TILMANN BENNINGHAUS using two paintings by British artist PETE GREENING
Edition of 400 copies on TURQUOISE coloured VINYL. Mastering by PETER ANDERSSON
listen: soundcloud.com/drone-records order: www.dronerecords.de
Title: DRONE-MIND//MIND-DRONE Vol. 7
Track title Track time
Track 1 SPECIMENS - Broken Beams 5:16
Track 2 SPECIMENS - First Flight 3:58
Track 3 SPECIMENS - Over the Great Island 3:35
Track 4 SKELDOS - Byra 10:42
______________________________________________________________
Side B
Track title Track time
Track 1 MYTRIP - Death is my Heaven 4:24
Track 2 MYTRIP - I stood still 6:59
Track 3 OPENING PERFORMANCE ORCH. - Creeping Waves III 12:00
|
2019 |
€18.00 |
|
|
Turritopsis Nutricula |
LP |
Tracklist
A1 –Laurent Fairon Marée Nocturne
A2 –Cody Brant & Kommissar Hjuler Und Frau FOKUOUKO 9000
A3 –Magnús Pálsson Forn
A4 –Louis Jucker Cello St Medoc
A5 –Paul Fuchs & Zoro Babel Artoxin
B –Mama Bär 23XX / 23Xy
LP in series Fluxus +/-, limited to 65 copies. LPs in black vinyl with black labels.
|
2018 |
€22.00 |
|
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Wire Recorded Pieces |
LP |
This compilation is for those who are not familiar with the fascinating world of Primal Electronica, Noise, Sound Design, Industrial, Avant-Garde, Tape-Music, etc. _ you name it!. This set hopes to be the gateway to a completely new Revolutionary sound experience, proving what John Cage predicted in the 1930s : "'I believe the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard." Including a track recorded in 1921, almost a hundred years ago_ and ending in the early 1960s, this selection includes artists of very different nationalities such as Egypt, USA, Hungary, Denmark, Germany, Italy, Sweden, France_ even the USSR! It represents everything New and Revolutionary that we have come to expect since the beginning of the Postmodern era. These are relics with much to say to the contemporary listener as they sound impossibly way ahead of their and our time(s). Revolutionary since much of the included material did and still does push the very definition of what music is. Here are demonstrations of techniques and Sound Systems that shaped Modern Music as we know it today. These are the first examples ever to loop a track, play it in reverse or use a host of other effects which are all so common tools for musicians of today. Songs are sequenced to give a coherent and surprisingly easy way to enjoy and appreciate this music field that can be baffling - in order to give the listener some of the most multilayered (in every sense of the word) experience. Thanks to 21st Century advance techniques, every track here has a low noise floor, which has been achieved without the loss of palpability or dynamic range. These recordings sound fantastic: fresh, jarring, groundbreaking and adventurous._ Enjoy the ride. "WIRE RECORDED PIECES" Precocious Noise and Early Electronica Pt. 2
https://soundmiraclerecordings.bandcamp.com/album/wire-recorded-pieces
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2019 |
€20.00 |
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Die Rückkehr in Parallel-Meeseversum (2. Kepler-452b Pre-Sequel) |
LP |
Tracklist
A1 –Frank Drake (2) Interstellar Radio Message Sent To Globular Star Cluster M13 From November 16th, 1974
A2 –Jürgen Schneider (5) & Softday RMXfallout
A3 –Vrillon / Ashtar Galactic Command Message To Mankind From November 26th, 1977
A4 –Jonathan Meese DR. NOANGSTEA'S DORIAN Scarlettierbaby's Revolutions Parfum: DICTATORSHIP OF ART (Suessesuessesuesse, You (Mr. Majestickx On The Run Loganfox))
B1 –Kommissar Teotihuacán Und Die Gefiederte Schlangenfrau* fRagenta K'inich Janaahb' Pakal
LP in the series FLUXUS +/-, limited to 74 copies, numbered. LP appears in black vinyl with black labels. Pair and impair copies appear with different backsides. Co-release with Edition Kepler-452b.
Some copies appear with handmade changes for backside and/or frontside by Kommissar Hjuler, some copies are signed.
|
2018 |
€23.00 |
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The Godfather of Odd: A HARDY FOX tribute |
CD |
"Hardy Fox grew up in Texas. After college he moved to San Francisco reveling in the free love days of 1967-68. He co-founded the much loved cult band, the Residents, where he was primary composer. The Residents recorded such groundbreaking albums as Eskimo, Duck Stab, Commercial Album or Fingerprince and continue to inspire, record and tour until this very day. They aren't only known for their avantgarde music, but also for their multimedia CD ROMs and their DVDs. Throughout the group's existence, the individual members have ostensibly attempted to operate under anonymity, preferring instead to have attention focused on their art output. Much outside speculation and rumor has focused on this aspect of the group. In public, the group appears silent and costumed, often wearing eyeball helmets, top hats and tails—a long-lasting costume now recognized as its signature iconography. In 2015 Hardy retired from the band, and two years later identified himself as the band's co-founder and primary composer. Hardy continued to record under various pseudonyms, best known as Charles Bobuck, until later he worked under his own name and released such seminal albums as Heart or Rilla contemplates Love. A week before his untimely death, Hardy recorded a very personal good-bye to his fans, a mini album entitled 25 Minus Minutes. For many of us, Hardy wasn't only a genius musician, but also a close personal friend. Philippe Perreaudin and Walter Robotka have thus put together a tribute album to him which collects specifically recorded music by former label mates, collaborators and friends, and also some musical admirers. The cover was made by Helge Wagner and it also features a piece of art by Liz R. Full tracklist: 1. Blaine L. Reininger - Autumn Shore 2. The Residents - If Only 3. Harry Lagoussis - Crossing Up In Space 4. Palo Alto - El Ralpho 5. Laurie Amat - He Said 6. Harvey & Nipple - Teddy 7. Carla Fabrizio - Inter 8. DDAA - Adios Come Again 9. Cult With No Name - I Hate Heaven 10. JG Thirlwell - Trouble Adore 11. Renaldo & The Loaf - Mahogany Wood 12. Steven Brown - The Yawn Song 13. Už Jsme Doma & Randy - Never Known Questions 14. Ptose - The Black Hound Shrine 15. Fred Frith - Almost Certain."
www.klanggalerie.com/gg300
|
2019 |
€15.00 |
|
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Strain, Crack & Break : Music from the Nurse With Wound List Vol. 1 (France) |
do-LP |
After years of mythology, misinterpretation and procrastination Nurse With Wound’s Steven Stapleton finally chooses Finders Keepers Records as the ideal collaborators to release “the right tracks” from his uber-legendary psych/prog/punk peculiarity shopping list known as The Nurse With Wound List, commencing with a French specific Volume One of this authentically titled Strain Crack Break series. Featuring some Finders Keepers’ regulars amongst galactic Gallic rarities (previously presumed to be imaginary red herrings) this deluxe double vinyl dossier demystifies some of the essential French free jazz and Parisian prog inclusions from the alphabetical “dedication” inventory as printed the anti-bands 1979 industrial milestone debut.
When Steven Stapleton, Heman Pathak and John Fothergill’s anti-band Nurse With Wound decided to include an alphabetical dedication to all their favourite bands on the back of their inaugural LP the notion of creating a future record dealers’ trophy list couldn’t have been further from their minds. By adding a list of untravelled European mythical musicians and noise makers to their own debut release of unchartered industrial art rock they were merely providing a suggestive support system of existing potential likeminded bands, establishing safety in numbers should anyone require sonic subtitles for Nurse With Wound’s own mutant musical language. Luckily for them, the record landed in record shops in the midst of 1979’s memorable summer of abject apathy and its sound became a hit amongst disillusioned agit-pop pickers and artsy post-punks, thus playing a key role in the bourgeoning “Industrial” genre that ensued. On the most part, however, the list , like most instruction manuals, remained unreadable, syntactic and suspiciously sarcastic… As potential “real musicians” Nurse WIth Wound became an Industrial music fan’s household name, but in contrast many of the names on The Nurse With Wound List were considered to be imaginary musicians, made-up bands or booby traps for hacks and smart-arses. It took a while for the rest of the record collecting community to catch on or finally catch up.
Since then, many of the rare, obscure and unpronounceable genre-free records on The Nurse With Wound List have slowly found their own feet and stumbled in to the homes of open-minded outernational vinyl junkies, D’s and sample hungry producers, self-propelled and judged on their own merit, mostly without consultation of the enigmatic NWW map. But, to the inspective competitive collector’s chagrin, one resounding fact recurs, NWW got there first! via vinyl vacations, on cheap flights and Interrail tickets, buying bargain bin LPs on a shoestring while oblivious to the pending pension worthy price tags after their 40 year vintage, Stapleton and Fothergill, even if you’ve never heard of them, were at the bottom of the pit before “digging” became paydirt. And NOW at huge international record fairs that occur in massive exhibition halls (or within the confines of your one-touch palm pilot) amongst jive talk acronyms such as SS, PP, BIN, DNAP and BCWHES the coded letters NWW have begun to appear on stickers in the corner of original copies of the same premium progressive records accompanied by a customary 50% price hike to titillate/coerce the initiated as dealers extort the taught. Like “psych” “PINA” or “Krautrock” did before, “NWW” has become a buzzword and in the passed decades since its first publication The List has been mythologised, misunderstood and misconstrued. It’s also been overlooked, overestimated and under-appreciated in equal measures, but with a growing interest it has also come to represent a maligned genre in itself, something that all members of the original line-up would have deemed sacrilegious. Bolstered by the subtitle “Categories strain, crack and sometimes break, under their burden,” all bands on the inventory (many chosen on the strength of just one track alone) were chosen for their genre-defying qualities… A check-list for the uncharted.
Forty years after Nurse With Wound’s first record, Finders Keepers Records, in close collaboration with Steve Stapleton remind fans of THIS kind of “lost” music, that there once existed a feint path which was worn away decades before major label pop property developers built over this psychedelic underground. As long-running fans and liberators of some of the same records, arriving at the same axis from different-but-the-same planets, Finders Keepers and Nurse WIth Wound finally sing from the same hymn sheet resulting in a collaborative attempt to officially, authentically and legally compile the best tracks from the list, succeeding where many overzealous nerds have deferred (or simply, got the wrong end of the stick). Naturally our lavish metallic gatefold double vinyl compendium would only scratch the surface of this DIY dossier of elongated punk-prog peculiarities hence out decision to release volume one in a series which, in accordance with Steve’s wishes, focuses exclusively on individual tracks of French origin, the country that unsurprisingly hosted the highest content of bands on the list. Comprising of musique concrète, free jazz, Rock In Opposition, Zeuhl School space rock, macabre ballet music, lo-fi sci-fi, and classic horror literature inspired prog, this first volume of the series entitled Strain Crack And Break throws us in at the deep end, where the Seine meets the in-sane, introducing the space cadets that found Mars in Marseilles.
Like the Swedish flat-pack record shelves that attempt to house the vast amounts of vintage vinyl that goes into a multi-volume compilation like this, it is time to prepare your own musical penchants and preconceived ideas about DIY music and hear them slowly strain, crack and break.
https://www.finderskeepersrecords.com/shop/strain-crack-break-nurse-with-wound/
|
2019 |
€24.00 |
|
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Institute of Sonology 1959-1969 |
do-LP |
Early electronic music from 1959 to 1969 produced by the Institute of Sonology / Instituut voor sonologie, in Utrecht, Holland. Imagined with the great help of Konrad Boehmer.
BRAND NEW FORMS
These electronic works, composed between 1959 and 1969 at the Institute of Sonology by Dick Raaymakers, Frits Weiland, Ton Bruynel, Konrad Boehmer, Gottfried Michael Koenig and Rainer Riehn, are raw material similar to what Mego could release today. We need to reflect on this period - the revolution of the fifties and sixties - and understand that what was done then was elaborated without a base - ex nihilo - a music produced by machines designed to construct the new.
FROM THE PHILIPS PAVILLION TO THE INSTITUUT VOOR SONOLOGIE
Officially founded on September 1, 1960, at the instigation of several people representing cultural institutions, the institute of sonology, had already taken initiatives in the field of electroacoustic music since 1954. A large complex of studios (initially under the name STEM = STudio voor Electronische Muziek) was set up under the patronage of Utrecht university in an old house on Plompetorengracht in Utrecht University; and the instruments and tapes (among them, that of Varèse's "Electronic Poem") of Philips laboratories' (important to remember the mythic Philips Pavillion in the Brussels's fair in 1958).
NOTES ON 5 RADICAL COMPOSERS
DICK RAAIJMAKERS was born the 1th of september 1930 in Maastricht. He studied piano at the Royal Conservatory in The Hague. >From 1957 to 1960 he joined the Studio for Electronic music at Philips in Eindhoven.
FRITS WEILAND was born in 1933, enjoyed a technical as well as a musical education. After working for the Dutch radio and television broadcasting system, he worked from 1961 to 1990 for the Institute for Sonology.
TON BRUYNEL (1934-1999) The realisation of 'Reflexen' took place at the Institute of Sonology and in the composer's private studio. Bruynèl has written numerous works for tape and for tape and live instrumentalist.
https://subrosalabel.bandcamp.com/album/institute-of-sonology-early-electronic-music-1959-69
|
2019 |
€19.50 |
|
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20_20 |
CD |
2020 is (was) a dramatic year. This is (was) evident already in its first few weeks. Fears, worries, hardships everywhere, even panic, utter
helplessness, but also disgraceful ignorance and arrogance towards the perceiveable dangers around us, which continue to increase and diversify steadily, having already taken the lives of hundreds of thousands of people
worldwide. This number, which increases daily, this number, which cannot describe the suffering and death of each single human being, this alarming number draws perpetually closer. Much has been (is being) consumed by this, been (is being) laid idle, much (leads) has lead to great existential afflictions. 20_20 - subject and title of the DEGEM CD 18 - records, documents, abstracts (and intervenes against) this situation, these situations, this network of situations, which is, of course, far more
extensive and detailed than music could ever encompass. Nevertheless: The CD collects a many-voiced selection of aesthetic statements as hindsights, as previsions, dystopian / utopian / resigning / courageous / protesting /
alarming / optimistic / comforting /… /… that react to incidents, experiences, and the severe events in the still ongoing calendar year 2020:
Beethoven 250, the continuous destruction of environment and democratic values, the pandemic. This CD is dedicated to the memory of Georg Katzer, pioneer of electroacoustic music in the German Democratic Republic and long-time honorary member of DEGEM, who died on 7 May 2019 at the age of 84 years. In his radio pieces Mon 1789 (1989) and Mein 1989 (1990), the
illumination and scrutiny of two important revolutionary years in contemporary history is both impressive and riveting.
With contributions from Marc Behrens, Gerald Fiebig, KedArY, Jörg Lindenmaier, Nicola L. Hein/Joshua Weitzel, Clemens von Reusner, Maximilian Marcoll, Wolfgang Motz, Monika Golla, Peter Kiefer, Klarenz Barlow, Julia Mihály, Ralf Hoyer and Johannes S. Sistermanns.
full colour digipak with 6-panel fold out booklet in german and english.
Curated by Stefan Fricke, produced and designed by Marc Behrens. 1000 copies
https://www.degem.de
|
2020 |
€13.00 |
|
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PRSNT (Ryuichi Sakamoto, Pascal Comelade, Laurie Spiegel, Lyra Pramuk, Chassol, Nicolas Godin, Pierre Rousseau, Pedro Vian, Pierre Bastien, Visible Cloaks, Kelman Duran, Refree, Lucrecia Dalt, Lafawndah) |
LP + BOOK |
‘PRSNT’ is a unique global artistic project combining the input of artists across the worlds of music, video and written word which acts as a statement on how we, as consumers, engage with music in the 21 st century. Vital electronic musicians including Ryuichi Sakamoto, Lafawndah, Lyra Pramuk, Lucrecia Dalt and Visible Cloaks have each contributed untitled tracks, which are approximately 32 seconds long.
The concept was devised by Created By Us and the Barcelona-based label Modern Obscure Music. They read a study which identified that the overwhelming volume of instantly accessible information
online is shortening attention spans and altering how audiences engage with music digitally. Their curiosity about the state of online consumption developed further on discovering that around a third of all listeners using digital platforms skip to the next track, within the first 30 seconds of playing.
Each musician was given a fascinating challenge to create engaging compositions with real artistic merit, inside the confines of this shortened span. Akin to Brian Eno’s famous Windows 95 start-up music, the time constraints are crucial, and the compositions are deceptively complex and more substantial than expectations of their nano nature would suggest.
‘PRSNT’ acts as a critique of flighty feed culture, but is simultaneously constructive, providing something which is either proposed solution or “if you can’t beat ‘em join ‘em” resignation. Every artist has interpreted the brief differently, resulting in an intriguing blueprint for the potential future of
digital music. Could abbreviated micro compositions satisfy, inspire and nourish like their longer counterparts? They certainly take up much less of listeners’ busy lives, which are often spent tackling
ever-increasing workloads.
The LP contains original compositions by Ryuichi Sakamoto, Pascal Comelade, Laurie Spiegel, Lyra Pramuk, Chassol, Nicolas Godin and Pierre Rousseau, Pedro Vian and Pierre Bastien, Visible Cloaks, Kelman Duran, Raul Refree, Lucrecia Dalt, and Lafawndah.
incl. writings by contemporary thinkers like Shumon Bazar and François J. Bonnet, and images from Wolfgang Tillmans, Joel Meyerowitz, Juergen Teller, Araki, Jack Davison, Alessandra Sanguinetti, Dani Pujalte, Elizaveta Porodina, Adrià Cañameras, Larissa Zaidan, Zhong Lin and Javier Tles among others
Design by Marc Monguilod
Lacquer cut by Josh Bonati & Mastered by Rashad Becker
https://modernobscuremusic.bandcamp.com/album/prsnt
|
2021 |
€55.00 |
|
|
DRONE-MIND // MIND-DRONE Vol. 8: AUME, K. ISHIGAMI, HIROSHIMABEND, BALDRUIN |
LP |
Four "Drones" on one record! Volume EIGHT (MIND-08) is OUT NOW (11/2021) feat.:
KAZUYA ISHIGAMI ҉ AUME ҉
HIROSHIMABEND ҉ BALDRUIN
Drone on! We're finally back with a more 'pulsative' and post industrial-influenced issue, presenting the following artists: KAZUYA ISHIGAMI (*1972 / Osaka / Japan) is a prolific composer, engineer, sound designer and performer active for many years (also under the name DARUIN), with broadcasts of his works around the globe. His track 'Clean2020' works on the theme of 'memories" and is based on the idea to accept and acknowledge even the painful memories to reach a state of ease and to transform the subjective past...
AUME is the duo of SCOT JENERIK (23five Inc. / Mobilization Records) and ALEPH OMEGA (ex CHROME), from the US west coast, both also active in F-SPACE before, creating stunning audio-visual 'immersion dark ambience" with true archaic energy..
HIROSHIMABEND (aka 'puppy38') hails from Austin, Texas but has been based in Vienna for many years now, and has impressed with many long-form works in the field of electronic / esoteric emanations, mostly self-released via Opiumdenpluto. He is also active as a visual and mastering artist...- "Listening to the music of hiroshimabend has been likened to swimming in a milky lake of black ink."
BALDRUIN is a German project with a very electronic and musical edge. His pieces appear to be like excursions into a (bad) fairy-tale world.. - "well constructed cosmic ambient-scapes with a dark psychedelic / cinematic / surrealistic touch; when strange voices, subtle percussion and whistling noises enter the scenery.."
Let your MIND be surrounded by adventurous sonic landscapes - organic repetitions as coming from a ghostly otherworld, oriental field recordings, layers of pipe organ-like drones, mysterious electric ether-potentials etc..- "Vier feine Synapsenputzer machen einem mal wieder so manches klar.." [Bad Alchemy}
cover-art & mastering by puppy38 using two paintings by British artist PETE GREENING
https://www.saatchiart.com/Pete_G
Edition of 400 copies on VELVET PURPLE (solid purple and solid red mixed) coloured VINYL.
listen: soundcloud.com/drone-records order: www.dronerecords.de
basic concept:
DRONE-MIND // MIND-DRONE - Volume 8 LP
The series shows the various sides of today's experimental drone-music
This LP-series from Drone Records is dedicated to the Drones of the World, and the Drones of our Minds. A kind of continuation of the Drone 7"-series, with artwork based on paintings by British artist PETE GREENING.
Drone Music is seen as more than a mere 'music style', it expresses an approach to perceive and understand the world. DRONE-MIND and MIND-DRONE build a circle of diverse inter-relations. The Drone as a metaphor for everything that vibrates, that releases energy - from atoms and elementary particles to the hum of the earth and the universe. The Drone as an entity that connects everthing that exists within our own "mind-space", perception and self.
#########################################
"Würden Drone Records den Begriff, der von Beginn an so etwas wie ihr Motto werden sollte, enger fassen, dann wäre ihre Reihe “Drone-Mind // Mind-Drone” wahrscheinlich auf viel weniger Interesse gestoßen und vielleicht sogar eine kurzweilige Angelegenheit geblieben. Stattdessen setzte das Bremer Label von Beginn an auf eine Idee des Drone, die, wie es in einer früheren Besprechung bereits zitiert wurde, pars-pro-toto für verschiedene Arten der Vibration und der Freisetzung von Energie im buchstäblichen wie im übertragenen Sinne stand. Und so sind auch auf dem gerade erschienenen achten Teil der Reihe wieder vier Geheimtipps aus drei Kontinenten vertreten, die die Dröhnung als eine Art verbindendes Element gemeinsam haben, diese jedoch in ganz unterschiedlichem Maß und auf unterschiedliche Art mit anderen Aspekten verknüpfen.
Bereits in der Ankündigung hieß es, dass die neue LP pulsierender ausfallen und Einflüsse des Post-Industrial aufweisen sollte, und den Opener “Clean2020″ des aus Osaka stammenden Sound Designers Kazuya Ishigami kann man da bereits exemplarisch anführen. Der Track, der sich mit dem Thema (auch schmerzhafter) Erinnerugen und ihrer Akzeptanz befasst, entwift ein über zwölf Minuten langes, ansatzweise episodisches Narrativ, das mit Samples und zahlreichen Effekten ein veränderliches Stimmungsbild entwirft. Das an Zikaden (vielleicht nicht nur) erinnernde Zirpen zu Beginn zieht sich durch weite Teile des Stücks, lässt ein durchaus angenehmes Alltagskolorit entstehen, doch ein zwiespältiges Gemisch anderer Sounds – mechanisch anmutendes Klappern, beklemmende Hochtöner, Vögel, das Dudeln einer versteckten Melodie – kommt hinzu, und da die eizelnen Sequenzen in ihrer Dauer und Veränderlichkeit kaum vorhersehbar wirken, ist eine der zentralen Stimmungskomponenten Spannung.
Ein ähnlich veränderliches Soundpanorama entwirft das amerikanische Duo Aume – namentlich Scot Jenerik und Aleph Omega aus dem F-Space-Umfeld. Ihr Beitrag wirft die auditiven Antennen mit rauem Knarren in die Mitte eines Geschehens, dessen Richtung man in den Sprachsamples und dem industriellen Hantieren zunächst noch nicht ausmachen kann. Während es unablässig reibt und schabt und knackt und ein unterschwelliges Dröhnen immer mehr anschwillt und irgendwann den ganzen Raum ausfüllt, treiben die Stimmen einen merkwürdigen Schabernack, scheinen wie Schafe zu blöken, bis alles in Kriegsgeschrei mündet. Doch in der zweiten Hälfte bekommt der Track noch einmal eine überraschende Wendung und prescht mit monoton-rhythmischer Perkussion dem Horizont entgegen.
Insgesamt ist die zweite Seite um einiges “schöngeistiger”. “Puppy38″ des in Wien lebenden Amerikaners Hiroshimabend beginnt mit entrückten Orgelsounds, in die sich ein undefinierbares Summen mischt. Just wenn sich eine hypnotische Wirkung einstellt, setzt eine eindringliche Melodie ein und entführt den entsprechend angefixten auf einen Trip durch einen imaginären Raum voll mit plastischen, knisternden, vibrierenden Sounds und etwas, das wie menschlicher Atem klingt. Hier scheint jede Raumwahrnehmung (bzw. Projektion) so unsicher, das sich kaum sagen lässt, ob die so entrückt anmutenden Sounds nicht doch der Sog eines abgründigen Höllenschlundes sein könnte. Rituelles Pochen holt den Hörer zurück auf vertrauten Boden, wo ein beruhigender Abspann erfolgt.
Baldruin ist das Projekt des deutschen Künstlers Johannes Schebler, der auch musikalisch – sowohl solo als auch mit seiner Band Diamantener Oberhof – sehr umtriebig ist. Seine drei etwas kürzeren Track offenbaren eine Schlagseite in Richtung Psychedelic und World Music eine weitere Facette offenbaren. Fast wie eine perfekte Miniatur führt das mit mollastigen Bläsersounds (einer Duduk?) beginnende “Die Katakomben von Tesco Libra” mit entspannten Handdrums zu einem kleinen Höhepunkt hin, kein Ton ist hier zu viel. Elektronischer und von einer gefahrvollen Spannung durchzogen mutet “Verstecken” an. Die schöne Loungemelodie, die einen mit Lärm, basslastigem Knarren, fiesen Hochtönern und Stimmen gefüllten Raum in einen Traum aus Plastik verwandelt, reizt fast zu einem NWW-Vergleich. Das abschließende “Klima und Psyche” dagegen zeigt Baldruin hier von seiner folkigsten Seite und lässt die Sammlung mit tremolierenden Bläsern, Saitenpicking und klapperden Handdrums in wehmütiger Heiterkeit – falls es so etwas gibt – ausklingen.
Es scheint, als würde dem Phänomen Drone vielerorts eine große Ausschließlichkeit angedichtet: Musik ist entweder Drone oder nicht, und wenn, dann ist sie nur dies. Tatsächlich aber kann Drone sehr unterschiedliches bedeuten und in sehr unterschiedlicher Musik eine Rolle spielen – eine Rolle, die keineswegs an Bedeutung einbüßt, wenn sie ein Aspekt unter mehreren ist. Drone kann den Aufbau einer Musik gestalten, ihre Materialität prägen, eine Musik hypnotischer machen und ihr Rückgrad verleihen, und immer besteht eine starke Wechselbeziehung zwischen dem Dröhnen und dem suchenden, repziperenden und interpretierenden Geist. Dies unter der Formel “Drone-Mind // Mind-Drone” zu vereinen, ist auch beim achten Teil ein starkes Argument gegen alle, die behaupten, Drone hätte sich über die Jahre totgedröhnt." [U.S. / African Paper]
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2021 |
€16.00 |
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The Harmonic Series Volume 2 |
3 x LP |
"A collection of long-form works in just intonation by Kali Malone, Duane Pitre, Catherine Lamb, Tashi Wada, Byron Westbrook, and Caterina Barbieri. Each artist occupies an entire side of the collection's three LPs. Curated by Duane Pitre, Important Records returns with its second volume of compiled works in just intonation. The Harmonic Series Volume 2, issued as a triple-LP collection, features a series of long-form compositions by six of the most important emerging voices of contemporary experimental music. Unlike equal temperament, which equally divides an octave into 12 fixed notes, just intonation utilizes intervals of whole number ratios to determine tonal positions. It results in a highly individualized tonal language and holds the potential for more nuanced relationships and striking, sympathetic resonances. Rooted in ideas that trace their way across the last 2500 years, just intonation lays at the foundation for numerous Indian, Persian, and East Asian musical traditions. It was reintroduced into western music during the 20th century by composers like Harry Partch, Ben Johnston, Lou Harrison, James Tenney, Terry Riley, and La Monte Young. An interest in just intonation has continued to swell following the appearance of The Harmonic Series in 2009 inspiring Pitre to curate a second compilation. Kali Malone's "Pipe Inversions" -- played by Malone on a small pipe organ, joined by Isak Hedtjärn on bass clarinet -- belongs to a larger body of microtonal organ works that have increasingly placed the composer at the forefront of contemporary minimalism and drone music. Across the length of Duane Pitre's "Three for Rhodes" -- a chamber piece for "unknown instrumentation" - deconstructed rhythms and melodic fragments swell in a dance of harmonic interplay, rising and falling within the work's engrossing architectural complexity. Catherine Lamb's "inter sum" -- one of a tiny number of available works to encounter the composer and renowned violist working on synthesizer -- endeavors to break the visualization of harmony as a vertical reality, rendering it multidimensionally in space. A canon for eight-violins played by Marc Sabat, Tashi Wada's "Midheaven (Alignment Mix)" -- guided by the internal logic of its tuning system -- shape-shifts into an elegantly poetic form of musical conceptualism. Byron Westbrook's "Memory Phasings" -- composed and recorded on a combination of computer controlled modular synthesizers and a Yamaha TX802 -- employs the ratios of just intonation as harmonic building blocks for texture. Deploying just intonation as a means for psycho-physiological exploration, Caterina Barbieri's "Firmamento" -- composed for synthesizer -- deftly intervenes with the expectations of minimalism, durational music, and drone. Cut at Golden and pressed at RTI for maximum fidelity." [press release]
"Emerging during the early years of the new millennium, over the last two decades Important Records has slowly grown into one of the most important imprints in the landscape of experimental sound; a vehicle for historically important works by artists like Arnold Dreyblatt, Christina Kubisch, Ellen Fullman, Eliane Radigue, Pauline Oliveros, Catherine Christer Hennix, Phill Niblock, and numerous others, as much as a platform for a constantly evolving cast of emerging artists at the forefront of the contemporary scene.
Their latest, The Harmonic Series Volume 2, is a crystalline vision of the monumental ambition and artistry that lays at the label’s heart. Curated by Duane Pitre and stretching across an astounding 3 LPs, it looks toward the future of just intonation - the ancient tuning system that lays at the foundation for numerous Indian, Persian, and East Asian traditions - collecting long-form compositions by six of the most important voices in contemporary experimental music: Kali Malone, Catherine Lamb, Tashi Wada, Byron Westbrook, Caterina Barbieri, and Pitre. Vast in scope, immersive, and overwhelmingly beautiful from start to finish, if there’s a compilation to grab this year, this is the one. Words fail to describe how good it is.
Dating back millennia, since its reintroduction into Western music by composers like Harry Partch, Ben Johnston, Lou Harrison, James Tenney, Terry Riley, and La Monte Young, just intonation has maintained a devoted following within the context of experimental music. Utilizing intervals of whole number ratios to determine tonal positions, chosen by a composer, its origins rest in an attempt to mirror the natural behavior of sound within music.
Often resulting in highly individualized modal scales with nuanced relationships and striking, sympathetic resonances, just intonation offers the potential for a radically expanded range of creative possibilities that are largely unavailable within equal temperament, the tuning system most commonly encountered within music today.
Back in 2009, this led the composer, Duane Pitre, to curate the first Harmonic Series compilation, presenting a multi-generational suite of works by Ellen Fullman & Theresa Wong, Michael Harrison, Pauline Oliveros, Charles Curtis, and numerous others.
Over the years since, interest in the system has continued to swell, witnessing numerous younger artists deploying it in diverse ways, offering Pitre a new chance to explore the subject on even more ambitious terms.
The Harmonic Series Volume 2 comprises brand new works by six of the most important emerging voices of contemporary experimental music - Kali Malone, Catherine Lamb, Tashi Wada, Byron Westbrook, Caterina Barbieri, and Pitre - offering each artist a full side of the collection’s 3 LPs, carefully curated to activate intertwining sequences and relationships between the works.
Beginning with Kali Malone’s Pipe Inversions - played by the author on a small pipe organ, joined by Isak Hedtjärn on bass clarinet - blankets of long tones unfold within shimmering harmonics and rich rhythmic and melodic sequence, before settling into Duane Pitre’s sublime Three Simples for Rhodes - a chamber piece for ”unknown instrumentation” - built from deconstructed rhythms and melodic fragments that swell in a dance of harmonic interplay within the work’s engrossing architectural complexity.
From here we depart into the singular world of Catherine Lamb’s Inter Sum, a rare instance of the renowned violist working on synthesizer, that channels its materiality from her own environmental field, filtered by the synth, to highlight the subtle tonalities and harmonics that often lay unnoticed in the natural world, setting the stage for the deep, enveloping tension that unfurls across the length of Tashi Wada’s Midheaven (Alignment Mix), a canon for eight-violins played by Marc Sabat, where two mirroring, overlain realizations of the composition - one moving forward as the other simultaneously moves backward - slowly converge toward a crescendo of dissonance, with striking harmonic interplay and delicate overtones guiding the way.
The final LP in the collection is graced by a work Byron Westbrook, before concluding with a psycho-physiological exploration by Caterina Barbieri. Westbrook’s Memory Phasings, composed and recorded on a combination of computer controlled modular synthesizers and a Yamaha TX802, stunningly deploys harmonic blocks of texture and long-tones within structures of rapid appreciations and carefully balanced punctuations, that culminates as a shimmer vision of abstraction in sound.
Barbieri’s Firmamento then brings us full circle, concluding the second instalment of the Harmonic series with graceful subtlety introduced by Kali Malone, with a striking effort of durational drone composed for synth.
Resting on the shoulders of an ancient tradition, Important’s The Harmonic Series Volume 2 - through truly visionary works by Malone, Lamb, Wada, Westbrook, Barbieri, and Pitre - paints a wondrously optimistic image of the future of the approach, not to mention experimental music at large.
Issued as a triple LP, cut at Golden and pressed at RTI for maximum fidelity, housed in a heavy duty, single pocket sleeve with printed inner sleeves, it’s impossible to recommend enough. Easily one of the most exciting releases of the year and not to be missed." [Soundohm]
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2021 |
€45.00 |
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TIME ENDS - A Tribute to J.G. Ballard's Tetralogy of Transformation (special ed.) |
do-LP / CD |
Desiderii Marginis, Troum, Martin Bladh & Karolina Urbaniak and Anemone Tube have gathered to pay homage to the first four novels of British writer J.G. Ballard: The Wind From Nowhere, The Drowned World, The Drought and The Crystal World, which are often seen as disaster novels. Each of the four projects presents a very unique take on the chosen work, using the respective text as a starting point to offer sonic representations of and (further) perspectives on these books, using drones, field recordings, words and much more to create evocative and richly layered soundscapes.
Adorned by a painting of German artist Alex Tennigkeit depicting a sphinx-like hybrid creature, a phoenix rising from the ashes of our civilization, the double album also includes an in-depth essay by Michael Göttert (African Paper) on Ballard's works in which he argues that the novels can best be understood as texts of transformation, as well as texts by the sound artists.
The double album starts with Desiderii Marginis' track “The Wind From Nowhere”, on which field recordings and intense drones suck the listener into a stormy vortex. Troum interpret The Drowned World, and their two dynamic tracks illustrate both the changes happening to the (outer) landscape and the (inner) world of the protagonists. Martin Bladh & Karolina Urbaniak make use of sound and words on “The Poisoned Well”, their interpretation of The Drought, referring to Shakespeare, the Bible and scorched earth policy amongst other points of reference. The album closes with Anemone Tube's take on The Crystal World, using field recordings made in Japan’s Mount Fuji forest. “Sea Of Trees” aims to show a devolutionary process, in which man gains access to his actual spiritual home – a primordial wisdom, which lets him discover an internal non-dual space, allowing to ultimately becoming one with the earth as body-being consciousness – the ‘perfect dream’ landscape.
Format CD | Double LP & download | Playtime: 79:27 min
CD Edition CD in oversize 148x148mm sleeve including postcards & foldout poster, limited to 140 copies.
Regular Edition Regular edition double LP in sci-fi neon yellow vinyl limited to 250 copies.
Special Edition Special edition double LP & CD set limited to 150 copies including A2 poster signed and hand-numbered by artist Alex Tennigkeit.
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2022 |
€36.00 |
|
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TIME ENDS - A Tribute to J.G. Ballard's Tetralogy of Transformation |
do-LP |
Desiderii Marginis, Troum, Martin Bladh & Karolina Urbaniak and Anemone Tube have gathered to pay homage to the first four novels of British writer J.G. Ballard: The Wind From Nowhere, The Drowned World, The Drought and The Crystal World, which are often seen as disaster novels. Each of the four projects presents a very unique take on the chosen work, using the respective text as a starting point to offer sonic representations of and (further) perspectives on these books, using drones, field recordings, words and much more to create evocative and richly layered soundscapes.
Adorned by a painting of German artist Alex Tennigkeit depicting a sphinx-like hybrid creature, a phoenix rising from the ashes of our civilization, the double album also includes an in-depth essay by Michael Göttert (African Paper) on Ballard's works in which he argues that the novels can best be understood as texts of transformation, as well as texts by the sound artists.
The double album starts with Desiderii Marginis' track “The Wind From Nowhere”, on which field recordings and intense drones suck the listener into a stormy vortex. Troum interpret The Drowned World, and their two dynamic tracks illustrate both the changes happening to the (outer) landscape and the (inner) world of the protagonists. Martin Bladh & Karolina Urbaniak make use of sound and words on “The Poisoned Well”, their interpretation of The Drought, referring to Shakespeare, the Bible and scorched earth policy amongst other points of reference. The album closes with Anemone Tube's take on The Crystal World, using field recordings made in Japan’s Mount Fuji forest. “Sea Of Trees” aims to show a devolutionary process, in which man gains access to his actual spiritual home – a primordial wisdom, which lets him discover an internal non-dual space, allowing to ultimately becoming one with the earth as body-being consciousness – the ‘perfect dream’ landscape.
Regular Edition Regular edition double LP in sci-fi neon yellow vinyl limited to 250 copies.
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2022 |
€27.50 |
|
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To Catch a Ghost - Field Recordings from Madagascar |
LP |
This is Sublime Frequencies’ second volume of transcendent musical field recordings from central and southern Madagascar, produced by Charles Brooks. Like the grand beauty and wonder of its flora and fauna, Madagascar’s music is completely unique. Whether the tempos are fast with polyrhythmic precision or slow in the form of a Kabosy ballad, once one gets familiar with its sound, it can never be mistaken again. Charles Brooks has been traveling to Madagascar and living with these spectacular artists for many years and has managed to document countless examples of their work, and regardless of how formal or informal a recording is made, the results always turn out magical. The following is an excerpt from Brooks’ liner notes:
The musicians on this album are storytellers and much of their craft is improvised and has a strong foundation of expertise in their respective cultural traditions. These field recordings have been collaborative from beginning to end and here, I’ve attempted to represent the finest of these talented artists. Their music journeys across endless landscapes with some movements having the qualities of a start and finish and yet no apparent end… Seeking, recording, and sharing the intangible experience, the best of all of this, is to catch a ghost.
• Charles G Brooks (2018)
(Limited edition LP with two-sided insert featuring images of the artist and highly detailed notes of the recording sessions)
https://www.sublimefrequencies.com/products/626114-to-
catch-a-ghost-field-recordings-from-madagascar
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2018 |
€22.50 |
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Ode to MARCO VERONESI |
CD |
"A compilation dedicated to the late Marco Veronesi, who founded the ADN label, in the 80's with Alberto Crosta, Piero Bielli and Rudy Pavesi. Without ADN and Marco the Italian / International experimental scene would have been much less important and relevant than it was, including releasing the very first Sigillum S LP, "Boudoir Philosophy" and introducing thousands of people to endless examples of gorgeous noise and industrial provocation. This compilation features a number of artists who were fundamental in the development of ADN during the 1980's: Angelo Avogardi, Bene Gesserit, Cellula Ascolto Attivo, Christina Kubisch, DDAA, Francesco Paladino, La 1919, La STPO, Merzbow, Ralf Wehowsky, Riccardo Sinigaglia, Sigillum S, T.A.C., Tasaday, The Motor Totemist Guild. Ltd x 300 copies in poster cover."
https://adnrecords.com/album/vv-aa-ode-to-marco-veronesi/
"Marco Veronesi was one of the founders of the Italian underground ADN label, who passed away in 2013 after a lengthy illness. This compilation (a limited edition of 300 copies) features various outtakes by a number of artists who were fundamental in the development of ADN during the 1980s. The set opens with “An Elegy” by the experimental electronic ensemble T.A.C. (Tomografia Assiale Computerizzata), an eerie five-minute piece featuring haunting wordless female voice backed by multi-layered pulsating and incidental electronics and metal percussion. Riccardo Sinigaglia offers “Magik,” a piece of haunting Middle Eastern exotica where Sinigaglia plays all the instrumentation (an experimental cauldron of strings, percussion, winds, and electronics) with beautiful wordless vocalizations by Lilli Coda. Jumping forward a bit, we have “Fetides Humbert et Jacques” by La STPO, the typical craziness one might expect from this French band, a mix of spoken parts, odd vocalizations, mallet and metal percussion, saxes, and low growling bass with strange electronic sounds in play that, all taken, really sounds like nothing else. Following up on that we have “Black Phoebe” by the Motor Totemist Guild sans Grigsby, an odd and quirky chamber-rock piece for flute, piano, trombone, and percusion. Italian duo Sigillum S guides us forward with “Happiness in the Kooky Cracks among Dimensions,” beginning as an airy and peaceful keyboard piece with much added ambience, adding many strange electronic embellishments as it goes toward an almost frightening end. Jumping forward again, La 1919’s offering “Hcabial” approaches near symphonic proportions using layered keyboards, electric guitar, and percussive loops, all twisted up in a stew of musical madness. Jumping further forward, Merzbow offers a pulsating electronic rhythm overlaid with mega-blasts of snarly grating noise with “Mix 05.23.” The set closes with “Japa(n)chinko” by Cellula Ascolto Attivo, a nine-minute piece mixing industrial sounds and field recordings with voices, loops, odd instrumentation, and more. There are fifteen tracks in all, I’ve only detailed about half of what’s here, but if one appreciates challenging and experimental musical styles of all kinds, then you can’t go wrong with this one! The CD is packaged in a huge poster that folds down to roughly the size of the disc." [Expose] |
2014 |
€13.00 |
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CYCLES II : Cyclic Law's 20th Anniversary Label Sampler |
do-CD |
In celebration of our 20th year as a label, we've gathered 22 artists on 20 tracks, all graciously presenting us exclusive and unreleased material. Featuring AJNA, ASCENDING DIVERS, ASHTORETH, BECKAHESTEN, CURSE ALL KINGS, DESIDERII MARGINIS, FUNERARY CALL, KAMMARHEIT, LEILA ABDUL-RAUF, NERATERRÆ & DØDSMASKIN, NEW RISEN THRONE & CORONA BARATHRI, NORDVARGR, ØJERUM, SHEDIR, SHRINE, SOPHIA, SUTEKH HEXEN, TAPHEPHOBIA, VISIONS and VORTEX. We’d like to dedicate this release to our worldwide supporters who’ve made this 20 year venture possible and to all artists involved throughout the years, whom with their unique approach to atmospheric music, have helped create the aural world that is Cyclic Law. Artwork imagery is by our close collaborator and friend Kristina Feldhammer.
Double CD Edition of 500 copies in 6 panels Digisleeve with 180x120mm poster, matt lamination. 20 Tracks. Running Time; CD1 56:57, CD2 57:17
https://cycliclaw.bandcamp.com/album/cycles-ii-cyclic-laws-20th-anniversary-label-sampler
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2022 |
€19.50 |
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FLUXUS & NEOFLUXUS: STOLEN SYMPHONY |
do-CD |
https://subrosalabel.bandcamp.com/album/fluxus-neofluxus-stolen-symphony-vol-1
This album features pieces by (in alphabetical order): Eric Andersen, John Cage, Henning Christiansen, Bengt af Klintberg, Milan Knízák, Opening Performance Orchestra, Terry Riley, Mieko Shiomi, Yoshi Wada and La Monte Young. The musicians and performers Anna Clementi, Agnese Toniutti, Deborah Walker, Werner Durand, Luciano Chessa, Miroslav Beinhauer, Petr Bakla, Nicolas Horvath, Petr Ferenc and Premysl Ondra have played, performed and declaimed the Fluxus pieces, Arditti Quartet and S.E.M. Ensemble provided one piece from their archives. Milan Knízák, Petr Rezek, Petr Kotík, Olaf Hanel, Eric Andersen, Per Brunskog, Peter van der Meijden, Pavlína Morganová, Natasha Lushetich, Joseph Nechvatal, Natilee Harren, Martin Patrick, Diedrich Diederichsen, Christopher M. Reeves and Hubertus von Amelunxen have written Fluxus-themed texts. Archivio Conz in Berlin provided access to their extensive Fluxus archives and Edizioni Conz provided co-production. Ursula and René Block made possible the realisation of John Cage's historical composition 'Rozart Mix' from the Edition Block archive. The photographic material comes from Marie Knízáková and Milan Knízák's private archive, the German photographer Wolfgang Träger, Archivio Conz's Fluxus archive and Opening Performance Orchestra's digital archive. The cover themes are paintings by Milan Knízák, while the graphic design is the work of Jaroslav Buzek. The whole release is produced by re-set production. The LP edition contains 18 pieces, new and old, live and studio, finished pieces and scores to be performed, acoustic and classical, solos and pieces for ensemble, using classical and special instruments. SIDE 1: 0. John Cage - 0'00'' (1962) (solo to be performed in any way by anyone) 0:00 1. La Monte Young - Compositions 1960 #15 to Richard Huelsenbeck (1960) 4:39 (Agnese Toniutti, piano) 2. Milan Knízák - DKH Quartet (edit) (1973) 4:40 (Arditti Quartet) 3. Henning Christiansen - Wolfsflöte (1986) 4:00 (Werner Durand, wind) 4. Giuseppe Chiari - Metodo Teorico E Pratico Per Suonare Il Violoncello (1962) 7:43 (Deborah Walker, cello) 5. Milan Knízák - White Process (from the cycle 'Processes Mainly For The Space Of Mind) (1978) 0:46 (Petr Ferenc, voice) SIDE 2: 1. Dick Higgins - Emmett William's Ear (1977) 9:40 (Agnese Toniutti, piano) 2. Henning Christiansen - Sturmsax (1986) 3:34 (Werner Durand, wind) 3. Milan Knízák - A Chromatic Scale In Countermovement (1971) 2:04 (Miroslav Beinhauer, broken piano) 4. Giuseppe Chiari - Gesti Sul Piano (1962) 4:40 (Luciano Chessa, piano) 5. Yoshi Wada - Lip Vibrator (1973) 2:24 (Ostravská Banda & Audience) 6. La Monte Young - Composition 1960 #7 (1960) 1:19 (Nicolas Horvath, piano) SIDE 3: 1. Eric Andersen - It Isn't Bad (2021) 1:05 (Eric Andersen) 2. Eric Andersen - Opus 1961 (1961) 5:29 (Miroslav Beinhauer & Petr Bakla, piano) 3. Bengt af Klintberg - Triad No.1 (2021) 5:10 (Werner Durand, bottles) 4. Mieko Shiomi - Imaginary Garden No.3 (2009) 7:38 (Miroslav Beinhauer, piano) 5. Terry Riley - Shoganigidi #1 (2021) 3:18 (Miroslav Beinhauer, broken piano) 6. Milan Knízák - Material Events (from the cycle 'Processes Mainly For The Space Of Mind') (1978) 1:28 (Premek Ondra, voice) SIDE 4: 1. Opening Performance Orchestra - Stolen Symphony (2021) 21:25 (Opening Performance Orchestra, electronics)
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2023 |
€20.00 |
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BOH Sampler |
CD |
Read all about this music in
BOH - de Komplete Uitgaven van de Binnenlandse Ontwikkelingshulp
by various authors
280 pages, hardcover, 17x24 cm
‘BOH’ was a short-lived fanzine from Den Haag. ‘BOH' - short for Binnenlandse Ontwikkelings Hulp. The editors were active in various bands, and the fanzine published one compilation, 'Boh Sampler'. The fanzine is all in Dutch, and 'BOH - de Komplete Uitgaven van de Binnenlandse Ontwikkelingshulp’ reprints all of these, without a translation. Foreword by BOH boss Jos van Vliet and an introduction by Wally van Middendorp, of the Minny Pops. Book design by Studio Bertin, CD mastering by Nÿland at 4 & Rising. Hardcover, 280 pages, black and white. Comes with a copy of this CD, without this cover.
kormplastics.nl/boh.html |
2022 |
€12.00 |
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Territorio del Eco : Experimentalismos y Visiones de Lo Ancestral En El Perú (1975-1989) |
LP |
Territorio del eco: experimentalismos y visiones de lo ancestral en el Perú (1975-1989)
The Land of Echo: Experimentalisms and Visions of the Ancestral in Peru (1975-1989)
First compilation brings together the Peruvian experimental scene from 1975 to 1989, a period was the most prolific for a generation of Peruvian artists who, based on musical conceptions derived from modern jazz and techniques inherited from avant-garde music, sought to integrate the sounds of Andean, Afro-Peruvian and Amazonian cultures in search of a new musical universe. Native instruments and folk melodies were used in compositions that demanded modern recording techniques and electronic sounds. This generation was articulated in Lima and was made up of musicians such as Omar Aramayo, Manongo Mujica, Arturo Ruiz del Pozo, Miguel Flores (Ave Acústica), Douglas Tarnawiecki (Espíritus), Luis David Aguilar, Chocolate Algendones and Corina Bartra.
But more than a movement, it was a set of individuals from dissimilar origins, who came from rock, jazz, contemporary classical and popular music, but also from the visual arts and poetry, and who had in common the cultural climate of the late seventies and early eighties in a country marked by a series of social and economic transformations, as well as the emergence of new visions and insertions of Andean culture and folklore in the city. The appearance of a mythical substrate connected the work of these musicians and defined an aesthetic, based on the deconstruction of folklore and the exploration of the possibilities that indigenous instruments offered. And from there they could go towards abstract, symbolic and conceptual forms, but also towards more melodic forms, with a strong influence of jazz, while also taking advantage of electronics and the possibilities of the recording studio.
Territorio del eco: experimentalismos y visiones de lo ancestral en el Perú (1975-1989) - The Land of Echo: Experimentalisms and Visions of the Ancestral in Peru (1975-1989) - is a compilation that offers an overview of what was one of the moments of greatest creative intensity for experimental music in Peru in its encounter with indigenous sounds. Rescued from private archives and limited editions on cassette, these pieces are reissued for the first time in vinyl LP format. The album includes extensive notes written by Luis Alvarado, author of the compilation, as well as much visual documentation. Cover art by Paloma Pizarro.
Beneficiary project of the Economic Stimuli for Culture 2020 of the Ministry of Culture of Peru.
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Primera compilación reúne la escena experimental peruana desde 1975 a 1989, período que fue el más prolífico para una generación de artistas peruanos que a partir de concepciones musicales derivadas del jazz moderno y de las técnicas heredadas de la música de vanguardia, buscaron integrar los sonidos de la tradición andina, afroperuana y amazónica en búsqueda de un nuevo universo musical. Instrumentos nativos y melodías del folclore fueron empleadas en composiciones que demandaron de novedosas técnicas de grabación y de sonidos electrónicos. Esta generación que se articuló en Lima, la conformaron músicos como Omar Aramayo, Manongo Mujica, Arturo Ruiz del Pozo, Miguel Flores (Ave Acústica), Douglas Tarnawiecki (Espíritus), Luis David Aguilar, Chocolate Algendones y Corina Bartra.
Pero más que un movimiento se trató de un conjunto de individualidades de procedencias disimiles, que venían tanto del rock, como del jazz, de la música clásica contemporánea, y popular, pero también de las artes visuales y la poesía, y que tuvieron en común un clima cultural como fue el de ese tránsito de los 70s a los 80s en un Perú marcado por una serie de transformaciones sociales y económicas, y de la aparición de nuevas visiones e inserciones de lo andino y el folclore en la urbe. La aparición de un sustrato mítico emparentó el trabajo de estos músicos y definió una estética, basada en la deconstrucción de lo folclórico y en la exploración de las posibilidades que los instrumentos nativos ofrecían para a partir de allí ir hacia formas abstractas, simbólicas y conceptuales, pero también hacia formas más melódicas, de marcada influencia jazzística y con un aprovechamiento de la electrónica y del estudio de grabación.
“Territorio del eco: Experimentalismos y visiones de lo ancestral en el Perú (1975-1989)” es una compilación que ofrece un panorama de lo que fue uno de los momentos de mayor intensidad creativa para la música experimental en Perú en su encuentro con las sonoridades nativas. Rescatadas de archivos privados y tirajes limitados en casete, por primera vez se reeditan en formato de vinilo LP. El álbum incluye amplias notas escritas por Luis Alvarado, autor de la compilación, así como mucha documentación visual. Arte de tapa por Paloma Pizarro.
Proyecto beneficiario de los Estímulos Económicos para la Cultura 2020 del Ministerio de Cultura del Perú.
https://buhrecords.bandcamp.com/album/territorio-del-eco-experimentalismos-y-visiones-de-lo-ancestral-en-el-per-1975-1989-essential-sounds-collection
|
2021 |
€23.00 |
|
| |
Fluxus & NeoFluxus: Stolen Symphony (Part I) |
do-LP |
https://subrosalabel.bandcamp.com/album/fluxus-neofluxus-stolen-symphony-vol-1
Double LP version. Gatefold sleeve; includes 24-page large booklet.
All in all, there are more than 50 pieces, new and old, live and studio, finished pieces and scores to be performed, acoustic and classical, solos and pieces for ensemble, using classical and special instruments. This Fluxus edition features (in alphabetical order): Eric Andersen, Ay-O, George Brecht, John Cage, Giancarlo Cardini, Giuseppe Chiari, Henning Christiansen, Philip Corner, Öyvind Fahlström, Ken Friedman, Sten Hanson, Geoffrey Hendricks, Toshi Ichiyanagi, Joe Jones, Bengt af Klintberg, Milan Knízák, Alison Knowles, Larry Miller, George Maciunas, Sara Miyamoto, Nam June Paik, Yoko Ono, Opening Performance Orchestra, Benjamin Patterson, Josef Anton Riedl, Terry Riley, Takako Saito, Tomas Schmit, Dieter Schnebel, Mieko Shiomi, Yasunao Tone, Ben Vautier, Yoshi Wada, and La Monte Young. The musicians and performers Anna Clementi, Agnese Toniutti, Deborah Walker, Werner Durand, Luciano Chessa, Miroslav Beinhauer, Petr Bakla, Nicolas Horvath, Petr Ferenc, and Premysl Ondra have played, performed and declaimed the Fluxus pieces, Arditti Quartet and S.E.M. Ensemble provided one piece from their archives. Milan Knízák, Petr Rezek, Petr Kotík, Olaf Hanel, Eric Andersen, Per Brunskog, Peter van der Meijden, Pavlína Morganová, Natasha Lushetich, Joseph Nechvatal, Natilee Harren, Martin Patrick, Diedrich Diederichsen, Christopher M. Reeves, and Hubertus von Amelunxen have written Fluxus-themed texts. Archivio Conz in Berlin provided access to their extensive Fluxus archives and Edizioni Conz provided coproduction. Ursula and René Block made possible the realization of John Cage's historical composition "Rozart Mix" from the Edition Block archive. The photographic material comes from Marie Knízáková and Milan Knízák's private archive, the German photographer Wolfgang Träger, Archivio Conz's Fluxus archive and Opening Performance Orchestra's digital archive. The cover themes are paintings by Milan Knízák, while the graphic design is the work of Jaroslav Buzek.
1.
La Monte Young Composition 1960 #15 to Richard Huelsenbeck (1960) by Agnese Toniutti (Piano) 04:27
2.
Milan Knízák DKH Quartet (edit) (1973) by Arditti Quartet 04:39
3.
Henning Christiansen Wolfsflöte (1986) by Werner Durand (Winds) 04:02
4.
Giuseppe Chiari Metodo teorico e pratico per suonare il violoncello (1962) by Deborah Walker (Cello) 07:45
5.
Milan Knízák White Process (from the cycle Processes Mainly for the Space of Mind) (1978) by Petr Ferenc (Voice) 00:47
6.
Dick Higgins Emmett William's Ear (1977) by Agnese Toniutti (Piano) 09:42
7.
Milan Knízák A Chromatic Scale in Countermovement (1971) by Miroslav Beinhauer (Broken Piano) 02:07
8.
Henning Christiansen Sturmsax (1986) by Werner Durand (Winds) 03:39
9.
Yoshi Wada Lip Vibrator (1973) by Ostravská Banda & Audience (Paper Tubes) 02:26
10.
Terry Riley Shoganigidi #1 (2021) by Miroslav Beinhauer (Broken Piano) 03:19
11.
Yasunao Tone Clapping Piece (1963) by Residents of the Institute Ostrava Days directed by Eric Andersen 02:37
12.
Mieko Shiomi Direction music for a pianist (1990) by Agnese Toniutti (Piano) 26:01
13.
Dieter Schnebel An-sätze (1985) by Anna Clementi (Voice) 05:39
14.
La Monte Young Composition 1960 #7 (1960) by Nicolas Horvath (Piano) 01:20
15.
Eric Andersen It isn't bad (2021) by Eric Andersen (Voice) 01:06
16.
Eric Andersen Opus 1961 (1961) by Miroslav Beinhauer & Petr Bakla (Piano) 05:31
17.
Bengt af Klintberg Triad No.1 (2021) by Werner Durand (Bottles) 05:15
18.
Mieko Shiomi Imaginary Garden No. 3 (2009) by Miroslav Beinhauer (Piano) 07:36
19.
Milan Knízák Material Events (from the cycle Processes Mainly for the Space of Mind) (1978) by Premek Ondra (Voice) 01:31
20.
Giuseppe Chiari Gesti sul piano (1962) by Luciano Chessa (Piano) 04:37
21.
Öyvind Fahlström Morgon (1952-55) by Anna Clementi (Voice) 05:33
22.
Philip Corner A really Lovely Piece Made For & by Agnese (2019) by Agnese Toniutti (Piano) 03:15
23.
Terry Riley Ear Piece (1962) by Luciano Chessa (Oscillator) 05:02
24.
Philip Corner Small Pieces of a Fluxus Reality (2018) by Agnese Toniutti (Piano) 02:28
25.
Benjamin Patterson Paper Piece (1960) by Luciano Chessa (Paper) 06:01
26.
Philip Corner Toy Piano (2012) by Agnese Toniutti (Piano) 02:21
27.
Sten Hanson A Living Man (Poem) (1971) by Anna Clementi (Voice) 03:53
28.
La Monte Young 556 for Henry Flynt (1961) by the Residents of the Institute Ostrava Days, direction: Eric Andersen) 09:22
29.
Yoko Ono Conversation Piece (1962) by Anna Clementi (Voice) 08:07
30.
Opening Performance Orchestra Stolen Symphony (2021) (Electronics) 21:27
31.
Milan Knízák & Phaerentz & Opening Performance Orchestra BROKEN REBROKEN edit (2020) by Milan Knízák, Phaerentz & Opening Performance Orchestra 03:00
|
2023 |
€25.00 |
|
| VAINIO, MIKA / PAN SONIC |
Lydspor One & Two |
LP |
"2015 wurde das ,Moog Sound Lab UK" gegründet, ein offenes Studio von Moog Music, in dem neue elektronische Musik erschaffen wird und das zum Anlass des zehnten Todestag des Moog-Erfinders Dr.
Robert Moog eröffnet wurde. Das mobile Studio wurde Moog Inc. designt und dreht sich um eins der seltensten Instrumente, die 2014er Version des legendären System 55 aus den sechziger Jahren - die Stradivari der modularen Synthesizer. Neben dem System 55 tummeln sich im Sound Lab auch noch komplett austauschbare Racks mit den neuesten Moog Instrumenten und Prozessore mit Moog Keyboard Synths und einem Vintage Taurus Bass Synthesizer. Mika Vainio kehrte im April 2015 im Moog Sound Lab ein. Er nahm seine letzten bekannten Solo-Studioaufnahmen in der Form von zwei langen Stücken auf, die genau auf eine Schallplatte passen und die er ,Lydspor" - Dänisch für ,Soundtrack" - taufte. Vainio arbeitete fast nur mit dem System 55. Als er fertig war, sagte er: ,Ich könnte für den Rest meines Lebens mit dieser Maschine arbeiten und würde nichts anderes mehr brauchen." Ursprünglich war eine weitere Moog Session geplant, doch tragischerweise starb Mika Vainio bei einem Unfall im April 2017, kurz nachdem er das Vinylmaster freigegeben hatte. "
|
2018 |
€20.00 |
|
| |
Lydspor One & Two |
CD |
2015 wurde das ,Moog Sound Lab UK" gegründet, ein offenes Studio von Moog Music, in dem neue elektronische Musik erschaffen wird und das zum Anlass des zehnten Todestag des Moog-Erfinders Dr. Robert Moog eröffnet wurde. Das mobile Studio wurde Moog Inc. designt und dreht sich um eins der seltensten Instrumente, die 2014er Version des legendären System 55 aus den sechziger Jahren - die Stradivari der modularen Synthesizer. Neben dem System 55 tummeln sich im Sound Lab auch noch komplett austauschbare Racks mit den neuesten Moog Instrumenten und Prozessore mit Moog Keyboard Synths und einem Vintage Taurus Bass Synthesizer. Mika Vainio kehrte im April 2015 im Moog Sound Lab ein. Er nahm seine letzten bekannten Solo-Studioaufnahmen in der Form von zwei langen Stücken auf, die genau auf eine Schallplatte passen und die er ,Lydspor" - Dänisch für ,Soundtrack" - taufte. Vainio arbeitete fast nur mit dem System 55. Als er fertig war, sagte er: ,Ich könnte für den Rest meines Lebens mit dieser Maschine arbeiten und würde nichts anderes mehr brauchen." Ursprünglich war eine weitere Moog Session geplant, doch tragischerweise starb Mika Vainio bei einem Unfall im April 2017, kurz nachdem er das Vinylmaster freigegeben hatte.
|
2018 |
€14.00 |
|
| VAN DER VLEUTEN, MAARTEN |
High Intolerance toward low Energies |
LP |
"Van Der Vleuten, 1967 geboren, veröffentlicht mit der "High Intolerance Towards Low Energies" LP sein erstes Album unter seinem Geburtsnamen, den er fortan für seinen musikalischen Output verwenden will. "High Intolerance Towards Low Energies" ist eine von Tonefloat sehr ansprechend gestaltete LP, limitiert auf 500 Exemplare, und auf 180g Vinyl gepresst. Das luxuriöse Gatefold Cover mit einem eher rostig anmutenden Artwork trifft gut den submarinen Charakter des Albums: Man meint von der Wasseroberfläche des Meeres langsam abzutauchen, Druck baut sich auf, je tiefer man sinkt. Dröhnen in den Ohren und plötzlich sieht man in der Tiefe ein altes, mächtiges Schiffswrack auf dem Grund liegen. Der Rost zeigt, dass es da schon gar Jahrhunderte liegt. Neugierig und interessiert umkreist man es, aber irgendetwas scheint nicht zu stimmen. Flüstern und Murmeln, wabernde Stimmen und rhythmisches, maschinelles Stampfen. Nervöse, pulsierende Bass- Frequenzen und seltsame, gebrochene Melodiefetzen. Halluzinationen? Tiefenrausch? Man weiß es nicht. Maarten Van Der Vleuten gelingt es auf "High Intolerance Towards Low Energies" ein eigentümlich dichtes Gewirr aus Drohnen und Ambiancen zu schaffen, das in seiner Gesamtheit zu überzeugen weiß. Dass Van Der Vleuten mit dieser LP ein anderes Bild im Kopf hatte als mein submariner Eindruck, ist nicht weiter schlimm. Er legt den Fokus der Interpretation eher auf eine radikale Darstellung unserer sich immer schneller beschleunigenden Umwelt und will diesen Eindruck mit "High Intolerance Towards Low Energies" eingefangen haben. Diese Intention passt auch wunderbar zu dem unruhigen, fast bedrohlich wirkenden Charakter des Albums. Die enthaltenen 4 Stücke offenbaren eine nervöse Welt in der man entweder immer wieder ob der Bildhaftigkeit paralysiert und staunend stehen bleibt oder eben wie im Fieberwahn durch einen Irrgarten voller unruhiger, fremder Stimmen stolpert." [Creative-Eclipse]
"Amidst an infinite ocean of information, finding yourself is turning into a complex mission nowadays. On his latest full-length, ambient house pioneer Maarten van der Vleuten is returning to the memories of demolished Dutch monastery Regina Coeli, his head still spinning from the confounding excess of images and impressions. on his long and winding journey, he has come a long way from his early dance singles to being recognised as a widely respected, colourfully uncompromising personality. High intolerance towards low energies, pressed in a limited edition of 500 copies in a luxurious gatefold sleeve, has consciously been conceived as a radical representation of our rapidly accellerating environment: nervously pulsating bass frequencies and frenzied percussion are underpinning shattered sonic figments like the ground drone of a surreal urban raga, with shardes of song and prayer forming broken melodies. Finding his way through this menacing maze has certainly paid off for van der Vleuten: after releasing under 26 different pseudonyms over the last two decades, he has found his definitive musical identity on this haunting soundscape, with future works to be published exclusively under his common name. The album is pressed as a 180 grams black vinyl lp in heavy gatefold picture sleeve." [label info]
www.tonefloat.com
|
2008 |
€16.50 |
|
| VAN HOEK, KASPER |
Minerva |
LP |
Raw experiments and rather un-elegant energetic noise-snaphots, synth-loop-lowfi bruitism, mechanic industrial structures... it seems all is based here on sounds made with help of old record-players and tape-decks. If you like rough & direct into the face low-fi noise, this is the right record for you!
www.heilskabaal.net
|
2006 |
€12.00 |
|
| VAN HOEN, MARK |
The Revenant Diary |
CD |
" "Don't look back," repeats one of several voices within Mark Van Hoen's The Revenant Diary, his fifth solo album and first release on Editions Mego. Surrounded by weighted beats, analog synthesizer drones and granular dirt, the unidentified, siren-like female voice's advice is as much seduction as warning. Tellingly so, for as well as being both Van Hoen's most ambitious and his most accessible work, The Revenant Diary is an eloquent meditation on the allures and dangers of memory, regret and nostalgia. The album's foundation was shaped by a memory and a chance encounter. While remastering some of his early '90s releases and Peel Session tracks, Van Hoen -- a founding member of Seefeel, who also worked as Locust and in Seefeel offshoot Scala and has collaborated with Slowdive, Robert Fripp, Edison Woods and Esben And The Witch, amongst others -- happened upon a track he had recorded in 1982. Attracted by its simplicity, he was inspired to record the basis of The Revenant Diary on 4-track tape, using a minimal set-up, reminiscent of his first early '80s musical adventures as a young teenager. The recollection of one of these -- a 13 year-old Van Hoen's experiment in reel-to-reel tape recording of an ineffectual pop song playing on the radio, which spuriously transformed it into a spooky amalgam of backwards church organ and unintelligible voices -- provided an evocative inspiration. The Revenant Diary pivots on this combination of complex reflection and simplified technology. A determinedly analog affair, it brims over with Van Hoen's signature sounds: immersively-decayed drones, almost broken ambient surfaces and lulling rhythms, with granular crackle providing spectral grit. Fragments of female vocals pepper the album, and notably dominate the 10-minute epic "Holy Me," one of Van Hoen's most complex compositions, in which non-verbal sounds rub delicately against each other in an otherworldly choral composition. Less song-based than his last solo work, the well-received Where Is The Truth (CCO 046CD/LP), its palette and structure are more descendants of the 1995 album Truth Is Born Of Arguments, which utilized a similar combination of decayed atmosphere against a granular/glitch rhythmic structure. Tracks like "Laughing Stars At Night" and "Unknown Host" exude a powerful emotional undertow, as alluringly woozy as they are intensely contemplative. But this is no exercise in Instagram-style disposable nostalgia. Van Hoen's adroit juxtapositions of gauzy textures evoke the blurred luminescence of 16mm film and the rich, color-saturated hues of rediscovered Polaroid photos, as the cover artwork, designed by Stephen O'Malley, acknowledges. The Revenant Diary expertly renders displaced memory daze in lushly melodic, gently delirious electronic sound. All titles composed by Mark Van Hoen. Recorded in Brooklyn & Woodstock, NY, 2011. All instruments & processing by Mark Van Hoen with additional vocals by Georgia Belmont." [label info]
www.editionsmego.com
"Over the years I didn't keep up with Mark van Hoen's solo work. I remember Aurobindo to be a nice work but haven't heard that in a long time, and also 'The Last Flowers From The Darkness' has faded from my memory, but then no less than fifteen years have passed. Van Hoen, once a member of of Seefeel, Scala and collaborator with Slowdive, discovered some old tracks which brought him in the a teenage mood again: why not use that old four track tape machine again with a minimal set up? When hearing this, I reminded of his older works again. Van Hoen plays, at least for me, pop like music, with rhythm, broken down guitar sounds, samples and occasionally a female voice dropping into the music. Grainy, down-sampled voices going back to the 2-bit sampling mood add a certain raw texture to the album. Hazy stuff, a bit blurry. Its a clash of the modern versus the old, new and ancient technology meet up in a very nice way. A well entertaining record, filled with melancholy, ambience, choir
like sounds and glitched up rhythms. I am told this is all a bit more abstract than his previous work, but I think this is some very nice alternative popmusic. Certainly the kind of popmusic I like." [FdW/Vital Weekly]
"The Revenant Diary (eMEGO 136) bringt ein Wiederhören mit MARK VAN HOEN, den ich seit den Tagen mit Seefeel und Scala oder als Locust lange nicht mehr auf dem Radar hatte. Maßgebend für die 11 neuen Tracks war, so heißt es hier,
die Erinnerung an sein jüngeres Selbst als tonbandelnder Teenager Anfang der 80er. 'Don't Look Back' und 'I Remember' halten das Motiv der Rückkehr fest, das ihn dazu bewegte, sich diesmal doch wieder althergebrachter technischer
Mittel zu bedienen. Entscheidender ist jedoch das emotionale Moment, ein Schwanken zwischen Nostalgie und Trauer. Da herrschen anziehende und abstoßende Kräfte, die auch in 'Why Hide From Me' und 'No Distance (Except the
one between you and me)' reflektiert werden. Downtempo-Triphopbeats transportieren orchestrale Samples und eine verwehte Frauenstimme (die vokalisierende Georgia Belmont). Orchestral? Vielleicht sind es schimmernde Gitarren, Klanggewölk aus Streichern? Van Hoen inszeniert da eine mehrspurige Unschärfe aus flackernden, kaskadierenden Klangfetzen. Auch Belmonts Gesang
wird dabei zu einem phantastischen Folklorechor. 'Ambient' ist wohl auch ein irreführendes Wort, Van Hoen macht phantastische Musik, durchsetzt mit tierischen Lauten ('Garabndl x'). Das poppige 'Don't Look Back' ist insofern eine schwache Nummer. 'I Remember' hat danach mit seinem verschleppten Beat einen Steampunk-Touch, der Gesang ist nur ein Schatten seiner selbst. 'No Distance' tickert wie ein elektronisches Spinett, über Synthienebelstreifen schimmert ein Knabensopran auf ü. Wieder mädchenhaft, schliert die zerhackte Stimme über das motorische Tuckern und Synthiegeflöte von '37/3d'. Die 80er und 90er im Reißwolf der Erinnerung? "Wo warst Du?" lautet die wehmütige Frage, die Van Hoen aber über krumme Beats stolpern lässt. 'Unknown Host' überbrückt als halbe Samba die Zeit bis zu 'Laughing Stars At Night' mit seinem Baritongitarrenloop über Breakbeats und Lyrics, die hier mehr sind als nur eine Catchphrase. 'Holy Me' multipliziert Belmont für ein verzerrtes Replikantenmadrigal a capella in der Kirche der verlorenen Zeit. Da darf man dann schon mal Einkehr halten." [Bad Alchemy]
|
2012 |
€14.00 |
|
| VAN WISSEM, JOZEF |
The Joy that never ends |
LP |
"Brand new full length CD/LP from acclaimed contemporary compser & Lutenis Jozef Van Wissem. Incuded among these palindromic trance pieces are new compositions are contributions from film maker Jim Jarmusch and vocalis Jeanne Madic. CD version includes a bonus track. Between the CD & LP are split a pare of pieces working in the theme of maternity/paternity. LP pressed in an edition of 500.
The Joy that Never Ends offers endless cinematic repetition of tortuously minimal beauty in five layered mirror image compositions from the "sublime
master of the lute," Jozef Van Wissem. Unlike his last album, Ex Patris (IMPREC267), Wissem is not alone. Featured here are waves of subtle guitar feedback meandering from the amplifier of filmaker Jim Jarmusch & vocals from Jeanne Madic." [label info]
www.importantrecords.com
|
2011 |
€16.00 |
|
| VELGENATURLIG |
Opalescent Pust |
CD |
"Our next release on the Winter-Light label is by the Portuguese sound sculpture VelgeNaturlig and is entitled 'Opalescent Pust'.
VelgeNaturlig is no stranger to Winter-Light, having appeared on our recent DCD compilation "...that first season", with his beautiful track 'Golden'. 'Opalescent Pust' has an entirely different feeling altogether, one of constant motion, one of change. 'Opalescent Pust'; the breath opal, the colour of pearl, the purest form of breath. A cleansing process, that of a purifying experience. Purity.
From the opening moments of the first track 'Onset', you know you are entering a world that is both familiar to you, but also somewhat alien at the same time. It's an inward journey that you have begun; a travel within yourself that you should feel comfortable with as it's you. But the dark tones and underlying menace of the music let you know that, in no uncertain terms, before you can reach that light, that purity, you must first traverse the dark paths of your own mind and wrestle with whatever it is you find lurking there. And so the tone is set.
Tracks such as 'Opal' push you further into the blackness where, lying there in state, you can hear the electrical impulses of your own thoughts, embellished through 'Amorphous Silence'. 'Diffraction','Gold Opacity' and 'Pust' will leave you floating and submerged in your own flotation tank. Drifting into nothingness, a time to shed and let go. 'Obsidiana', 'The Hum' and 'Plateau' push you upwards and on towards a ceiling of light, crashing first through barriers of your own constricting thoughts and feelings where finally...with 'Exhale', you can at last breath; the purest breath.
The album began life as a one take improvisational piece, which was then fine tuned in the studio by Ivo Santos (aka VelgeNaturlig), resulting in the fluid, organic wave of sound that you now hear. This full CD of new and original music comprises of 10 tracks of experimental drone and ambient soundscapes.
All music has been recorded by VelgeNaturlig, the end of 2016. Fine tuned by Ivo Santos, Home Studio in 2017. All tracks have been mastered by Cruel Sound Works. The cover concept and design is by Midnight Sun Studio © 2017.
The edition is presented in a 6-page full colour digi-pack. Running time 69:48."
www.winter-light.nl
https://winter-light.bandcamp.com/album/opalescent-pust
|
2017 |
€13.00 |
|
| |
Kundalini |
CD |
Having previously released the full length 'Opalescent Pust' on our label, the Portuguese sound sculpture VelgeNaturlig returns with an album of deep, immersive ambient drones - 'Kundalini'.
On 'Kundalini', Ivo Santos presents us with an album, layered with a rich tapestry of dense drones, reverberating sub-bass and circulating processed sounds, cleverly woven together with field recordings.
As with most, if not all of VelgeNaturlig's work, on 'Kundalini' the tracks flow together as one, creating vast musical landscapes to traverse within the minds eye. The music weaves an infinite pathway between the light and the dark, sometimes isolating but always keeping the listener engaged.
'Kundalini' is an album of true awakening, invoking a clash of primordial sounds and energies. Let the currents flow...
https://velgenaturlig.bandcamp.com/album/kundalini-2 |
2018 |
€13.00 |
|
| VENROOY, ESTHER |
Shift Coordinate Points |
LP |
Schon mit “To shape volumes, repeat“ (CD, Robo Records] war diese belgische Komponistin aufgefallen, jetzt erscheint diese sehr konzeptuelle Soundart-Platte als erste LP-Veröffentlichung auf dem britischen ENTR’ACTE, die ominöse Spionage-Radiodurchsagen als Soundquellen benutzt.
“Composed and produced by Esther Venrooy in 2005. Commissioned by Happy New Ears with the kind support of the Flemish community. In 1997, British maverick label Irdial-Discs collected a selection of so-called ‘numbers stations’ or ‘spy stations’ recordings under the title The Conet Project. This plays like a ‘best of’ of more than 30 years’ worth of secret radio and contains fragments of American, German, Swedish and Russian transmissions. Belgian composer Esther Venrooy was given permission to work with the material and for the occasion of the celebration of 75 years of Belgian radio created a highly personal interpretation of the medium’s secret history. Using manipulated sound and collage techniques she manages to distill an abstract poetry of sounds and thereby succeeds in extracting some meaning out of these hermetic transmissions.K9 moved back into the combat area ‹ Standing now in the Chineseyouth sent the resistance message jolting clicking tilting through the pinball machine ‹ Enemy plans exploded in a burst of rapidcalculations ‹ Clicking in punch cards of redirected orders ‹
Crackling shortwave static ‹ Word falling ‹ Photo falling ‹ Break through in Grey Room ¬ Pinball led streets ¬ Free doorways ¬“ [label description]
“About nine years ago, Irdial Records released a four CD 'The Conet Project', collecting sounds from number stations, or spy stations: transmissions found on radio waves of various secret services. A great and no doubt worrying work, if you understand the consequences of it, but also a wealth of great sound. I believe it is not allowed to use these sounds at will (I forget what the fuzz was all about, but somebody got sued for sampling some of it), but Esther Venrooy asked and got permission to use the material to create a sound piece for Belgium radio, which existed seventy-five years. If one is familiar with the original 'Conet Project' recordings, then it's easy to spot all the original voices ('five - three - two - zero - five'), but Venrooy knows her classics in music, especially that of musique concrete: the sudden shifts in sounds, the gentle gliding electronic tones, but also incorporating a little melody at the beginning of the second side. There is nothing really frightening about these voices anymore, they are isolated from the original context, and placed in this new, abstract picture, where they become voices of the unknown. They no longer have their original meaning, but rather a new one. This is a more than excellent record, and by far the best work by Venrooy to date.” [FdW / Vital Weekly]
|
2006 |
€15.50 |
|
| VERNON & BURNS MEETS LIED MUSIC |
Lost Lake |
LP |
Lost Lake sees the return of the collaborative project between sound art duo Vernon &: Burns (Mark Vernon and Barry Burns) and Lied Music (Luke Fowler and John W Fail). It is a sequel to the long-sold out LP Lied Music vs.Boy-Band Tax Returns (released on Ultra Eczema, 2006). This LP merges musique concrète compositional approaches with absurdist improvisational strategies. The four artists met in Glasgow where they recorded a series of sporadic improvised sessions using a diverse array of sound-making instruments (amplified toys and objects, guitar, analogue synths, percussion, squeeze box, field recordings and found tapes). Improvised sessions from 2008 were subsequently manipulated, tortured and caressed, both individually and collectively, into a series of highly idiosyncratic song-forms and sound collages.
https://vernonandburns.bandcamp.com/album/lost-lake
"The latest entry in the Vernon & Burns catalogue sees this Glasgow duo teaming up with Lied Music, the duo of Luke Fowler and John W. Fail. Lost Lake (SHADAZZ SHA.11) is one of the stranger and darker emissions from these talented creatives, particularly if you care to compare it with the sometimes more playful assemblages of V&B, or the deliciously offbeat melodic avant-pop tunes created by Fowler as part of Rude Pravo. At first spin the record is a near-bewildering toasted-cheese sandwich, a concoction which contains at least a zillion ideas apparently thrown together any which way. Faced with such an array, discerning avant-LP listeners may want to reach for The Faust Tapes as one touchstone, but another credible precedent is the unearthly Bladder Flask LP 1, that ne plus ultra of cut-up sound art put together by a teenaged Richard Rupenus as if possessed by some fevered desire to surpass the worst excesses of the lunatic fringe end of the United Dairies catalogue. But the Bladder Flask release had the underlying sinister aim of sending all those who heard it mad, through highlighting the complete absurdity and futility of everything. Lost Lake has a more benign mission, thankfully. The album has been very carefully crafted, using sets of recorded improvisation sessions produced by the four players, aiming to resculpt the near-chaos of that source material into a coherent structure. Within that structure, fractured songs and equally fractured stories emerge; yes, a scrambled form of a radio listening or cinematic experience, which is an effect Vernon & Burns have striven for with a good deal of their work (and have produced many items expressly in radiophonic mode). As to the cinematic, Fowler is also a film-maker. There is a logic to this scheme, but it is hard to follow and weaves its way around in a highly secretive and intuitive fashion, like an errant underground stream full of eccentric fish and darting river-insects stained in unnatural colours. We could account for some of this quirkiness by pointing out that all four creators were involved in the refashioning process, rather than a single editorial hand behind the editing knife; one can imagine the clashing dynamism generated by four powerful personalities, each of them bending the path of events in their favour. Additionally, the source material itself was not exactly straightforward music to begin with, but created using the now-virtually-standard set-up of the modern improviser, that is amplified instruments, toys, found tapes, field recordings, and live electronics. From this rich stew, voices and tunes emerge from amid a varispeeded and highly layered humid aggregation of extremely strange sounds. And yes, like the Rupenus LP, it is quite absurdist, but I like to think it’s a fun and cartoony absurdity, rather than bleak and Beckett-like. That said, this aural bric-a-brac crawls out from a dark attic of the mind, and is as much an unsettling listen as it is entertaining. Corin Sworn’s cover art encodes all the above information quite perfectly. Using collage technique (naturally), it depicts a figure sitting on a sofa surrounded by hideously “tasteful” drapes and furnishings. This image of bourgeois normality is thoroughly disrupted by replacing the outline of the figure with fragments of urban horror and machinery, then further scrambling the visual schema with concentric rings and diagonal bars, suggesting the power of the aural emanations on the record. The album is, we are told, a sequel to a 2006 release called Lied Music vs Boy-Band Tax Returns, which we reviewed in our Vinyl Viands issue." [Ed Pinsent, Sound Projector online, December 15, 2012]
|
2011 |
€16.00 |
|
| VERTICCHIO, GIUSEPPE |
Tjukurpa |
CD-R |
GUISEPPE VERTICCHIO is the man behind NIMH, who also pubished deep ambient works under his real name.
This private release from 1999 explores the beauty of Didgeridoo-sounds, six very nice pieces of ehnic ambience...
reminds on some works of AMIR BAGHIRI, GRASSOW, the AMPLEXUS-Label.
“Get in if you are into didjeridoo: Giuseppe's a skilled pratictioner, and though i'd have appreciated more a bunch of crude, unmediated recordings of the instrument's playing, this disc goes by way fascinating, enriched by tribal chants, processed crickets, synthesizer textures and a bunch of fx's that helps making the whole smoother. If the name of Steve Roach comes to your mind reading these words, be warned: this is less produced, less big studio imprinted than the before mentioned, therefore, at least to my ears, sounds more genuine, authentic, sincere. No loops, no tricks, just somebody blowing into a big hollow trunk and an old computer tricking backgrounds into existence while it happens. The jewel case presents a colour print of a cave painting, perfectly in argument."
[P.Ippoliti]
|
1999 |
€8.00 |
|
| VIDNA OBMANA |
Spore |
CD |
Die DANTE'S INFERNO Trilogie markiert einen starken Bruch mit den Jahren des "Transzendental-Ambients" und ist einer der letzten Arbeiten von DIRK SERRIES unter dem Namen VIDNA OBMANA. Basierend auf der dunklen Poetik der Dante'schen Verse setzt er hier schon Gitarren, metallische Obertoneffekte, elektronische Rhythmen & diverse handgespielte Perkussion ein, aber auch Ethno-artige Flötensounds und die typischen ultra-sphärischen OBMANA-Drones... auf LEGACY gibt es Gastauftritte von STEVE VON TILL (NEUROSIS), STEVEN WILSON (BASS COMMUNION) und anderen.. - das ist weit mehr als der vorher so perfekt ausgeprägte aber vorhersehbare Ambient-Stil, das ist post-industrieller, abgründiger dark ambient mit überraschenden Stilmerkmalen..
Sonderpreis: die ganze Trilogie (3 CDs) zusammen für Euro 33.00!
"Atmospheric music that induces trance states in listeners who understand the language of sound. The first Vidna Obmana recording in what will be a trilogy of albums drawing inspiration from the classic Dante poem // The second chapter in renowned ethno-ambient/electronic artist vidnaObmana's Dante trilogy, and follow-up to his critically acclaimed Tremor release, Spore is the apotheosis of vidna's fascination for Dante's Inferno poem. References to vidna's industrial past of the early 80's remain strongly present, while the fusion of his ambient soundscapes with bolder and less spatial combinations of harmonics, dynamics and experimentation is even more accentuated. // Legendary dark ambient sound sculptor vidnaObmana unveils Legacy, the haunting third chapter in the artist's Dante trilogy. The much anticipated Legacy supersedes vidna's critically acclaimed Tremor and Spore albums, interlocking with the two, while delivering a resounding communique all its own. Legacy bleeds other-worldly atmospherics, ghostlike industrial ambience and spiraling electrical waves, ushering the listener forever downward." [label info for the three chapters]
www.releaseentertainment.com
|
2003 |
€13.00 |
|
|
1984-1986 [Testament of Tape] |
3 x LP-Box |
"1984-1986 Testament Of Tape captures vidnaObmana in its most experimental phase during the obscure tape period, searching for its own musical voice, Dirk Serries (well-known sound-artist, especially known for his Fear Falls Burning-Releases) is moving on this Box-Set through various styles. From utterly relentless noise music to rhythmical industrial outbursts. This 3LP set features unreleased and extremely rare tracks from a personal friend's private collection (music that was recorded exclusively for him) to songs from early cassettes releases.
While Lp Number 1 combines very beat-orientated-material in best manner of early Blackhouse or even Esplendor Geometrico. Lp2 and 3 presents the fundament and roots for his later works (Lp1 lmtd.123 copies, 3LP-Box lmtd. to 477 (300 members, 177 for wholesale/distribution)" [label info]
www.vinyl-on-demand.com
|
2009 |
€46.50 |
|
| |
The Face that must die |
CD |
Vidna Obmana – The Face That Must Die CD (OCCD32)
Vidna Obmana is a pseudonym used by Belgian artist Dirk Serries. He has been one of the most significant names in the ambient scene for more than three decades, releasing over more than 50 solo albums and numerous collaborations. Apart from his main ambient colleagues, Vidna Obmana originates from the industrial cassette network scene in early eighties. ‘The Face That Must Die’ was recorded when Vidna Obmana was slowly transforming into his trademark ambient signature. In-between the noise outbursts and his melancholic ambient music Vidna Obmana produced a few albums which are industrial-oriented but more of an orchestral and percussion nature, in the vein of Autopsia. With turntables, shortwave radio, voice and synths Vidna Obmana recorded one of his most underrated albums full of tribalesque, doom-risen and dark ambient atmosphere. Originally released in a limited run on Vidna Obmana’s own Mechanical Orchestration Music and almost around the same time issued by Trev Ward’s The Order Ov Wolves, who also narrates the opening track, this is verily an indisputable masterpiece accompanied with four rare vinyl tracks from the same obscure era to turn the edition into a true collector’s precious document. Limited to 300 copies in a 4-panel matte-laminated black & white Digipak.
Tracklist:
1 Prologue Voice [Introduction By] – Trev Ward 04:10
2 Doom Asylum 08:48
3 Angel Of Life 04:10
4 Grave Upon Body 07:20
5 Sweat Session Pt. 1 04:09
6 Almost Certainly 04:31
7 Proto Anguish 03:55
8 Entombed 01:41
9 Bring Out Your Dead 03:43
10 Second Praise For Little Hope 07:11
11 Hidden Voice 03:39
12 Sweat Session Pt. 2 01:59
13 Burnpassion 02:31
14 Inferno 05:00
15 Another Earth To Pass 02:19
16 Bondage Doom To Creator 05:19
credits
released April 25, 2017
Original Tape Release : 1988 (Mechanical Orchestration Music, Belgium)
Tape Reissue : 1988 (Order Ov Wolves, UK)
BONUS TRACKS :
13.14. from A Thunder Orchestra/Vidna Obmana split 7” (Climax Productions 1988)
15. from Motop 1 LP (IF Records 1989)
16. from Cobwebs TAPE (Epitapes 1988)
Vidna Obmana : electronics, loops, turntables, shortwave radio, voice. Introduction by Trevor Ward.
https://oldcaptain.bandcamp.com/album/vidna-obmana-the-face-that-must-die |
2017 |
€13.00 |
|
| VIGROUX, FRANCK |
Ballades sur Lac Gelee |
LP |
Black vinyl LP pressing in gatefold jacket, printed inner sleeve, artwork by Olaf Bender.
We met Franck Vigroux for the first time years ago at Berlin's Berghain during a soundcheck. At that time he performed with Mika Vainio, with whom Vigroux often worked together.
The first track on »Ballades sur lac gelé« dates back to that time. It was created under the impression of this collaboration and friendship with Mika Vainio. This album is dedicated to him.
Vainio's oeuvre is also significant in connection with the history of raster, so it was only logical and our wish to release this album by Franck Vigroux.
With the beginning of the corona pandemic, Franck Vigroux took up this early material again, he continued to formulate it and completed the present album »Ballades sur lac gelé«. The title already defines the theme of the ballad, a "song/poem with very minimal structures" (quote Vigroux).
"Ballade" is also a play on words with the French word "balade", in this sense a ramble, a ramble over a frozen lake. The reduced, cool structures reflect this. But at the same time, under the surface, the (often distorted) sound carpets steadily increase to immense power. Like ice that grows and tectonic forces that have to erupt, glacier-like.
Vigroux is very skilled at creating music in this minimalist setting. The intertwining of very few musical elements creates a kind of soundtrack that is multi-layered and at the same time universally intelligible.
»Ballades sur lac gelé« will be released on June 26th, 2020 as a digital pre-release exclusively on our sites. The physical formats, i.e. CD and vinyl, can be pre-ordered. The official worldwide release date will be announced at a later point in time.
https://raster-raster.bandcamp.com/album/ballades-sur-lac-gel
|
2020 |
€21.50 |
|
| VINCENT, VERONIQUE & AKSAK MABOUL |
Ex-Futur Album |
do-LP |
"Crammed Discs founder Marc Hollander and Honeymoon Killers vocalist Véronique Vincent finally release their trailblazing avant-pop album, recorded and unfinished in… 1980-83!
This record was never completed. What was originally intended to become the third album by Aksak Maboul (the seminal band formed by Marc Hollander) had gradually evolved into a strange artefact, closely mingling (iconic Honeymoon Killers chanteuse) Véronique Vincent’s dreamy vocals and deceptively bubbly lyrics with Hollander’s musical ramblings. Electronic pop music with genre-wrecking leanings. But the project (too pop to be experimental? too quirky for early ‘80s pop?) was dropped at some point, and life went on.
When they were ‘rediscovered’ three decades later, it seemed obvious that the songs had aged delightfully well, and that they probably make a lot more sense now than they did then… So here’s that Ex-Future Album, collated from demos and rough mixes (some of them on cassette tapes), and brought to you in its original glorious unfinished state, with a slight delay of 30 years.
This most unusual story is far from being the only point of interest of Ex-Futur Album: the songs overflow with memorable melodies, with playful trademark Aksak Maboul instrumental moments and eventful arrangements which all give the album a retrofuturistic, almost timeless aspect, often predating certain hybrid musical trends which may or may not have emerged later on (think pop meets proto-techno, with African, Middle-Eastern, dub, jazz & cinematic French flavours…)
Recorded by M.Hollander & V.Vincent in collaboration with (Aksak Maboul member and Congotronics producer) Vincent Kenis, the album contains 10 tracks, plus 6 bonuses (including wild live versions of some songs), three of which will only come with the download code included in the CD and vinyl LP versions. The first single is Chez les Aborigènes (and its visionary lyrical stabs at the Western world’s exploitative attitude towards world music… this is 1981, remember…). It comes with a new remix by great electronic music duet EΔSY & C.O.U., stalwarts of the Nordic skweee scene (they’re the main –and sole- exponents of the sub-genre called Oriental Skweee…)." [label info]
www.crammed.be
|
2015 |
€27.50 |
|
| VINYL-TERROR & HORROR |
Nightmare Lullabies |
LP |
Odd name, odd sounds: Nice first LP from this new project from Berlin, encharming the listener with obscure loops & more...dense atmospheric industrialized fields & surrealistic collages...reminded us on VANCE ORCHESTRA for example. Lim. ed on clear vinyl !
|
2004 |
€11.00 |
|
| VIOLET |
Violet Ray Gas & The Playback Singers |
CD |
VIOLET gibt es schon seit geraumer Zeit (in der Cassetten-Szene bereits als "1348" und NEW CARROLLTON aktiv!), ist aber leider bislang im Drone-Katalog kaum in Erscheinung getreten... Dieses Album auf dem eigenen ZEROMOON-Label präsentiert rauhe, grobkörnige, experimentelle low-fi drones inkl. Einsatz von Schallplatten-Loops, Stimmzitaten & Feedbacks, zum Ende hin aber weniger noisige polyphone Sphären-Schichten, die schon fast an PHILL NIBLOCK gemahnen... ein weites Spektrum öffnet sich hier mit eigener Handschrift...
"Quite an intriguing burst of dark electronic and sample noise from Violet, whose Violet Ray Gas and The Playback Singers (ZEROMOON zero008 / SENTIENT RECOGNITION ARCHIVE SRA 10) is released in a digipack covered with Futurist-inspired monochrome images full of harsh diagonals and fuzzy dreams of the machine age. Jeff Surak arrives here from Washington DC, a hero of the 1980s cassette tape scene when he used to release music under his 1348 alias and ran his Watergate Tapes label. Consequently we can hear much stern authority and grainy power in these grim process-works. My fave so far is the opener ‘All Records Collapse’, with its implacable radio voice plucked from an indeterminate Eastern European zone, but ‘Snakehead Lapping’, ‘Plague Numbers’ and ‘Marionetki’ all communicate the requisite doses of futility. Two long tracks at the end, ‘Violet Ray Gas’ and ‘Interior Ghosts’, are somewhat more musical than atmospheric, shaped from queasy long-form drones tempered with alien sounds. Surak strives to offer ‘near-silence’ and ‘full-on tonal Brutalism’, with all shades in between." [The Sound Projector]
"... Dark and mysterious, mixing in bits of Jeck and Tim Hecker, Wolf Eyes, blending them into Violet's ominous world of sound. There's feedback all over the place, but it's far from harsh or jagged, instead it's used like color, to paint greyed out landscapes burnished reds, and melted oranges, thick tones, reverberating chimes, bits of buzz and crunch, disembodied voices, intercepted broadcasts, clouds of hiss, chugging machinery, industrial sonic detritus, warped strings, woozy synths, all wound up into dense walls of sound one second, blurred into delicate crystalline lattices the next. "Plague Numbers" is total Jeck, a skipping scratched record smeared into a gauzy washed out living portrait of sound, indistinct figures, flitting shadows, mysterious shapes, all moving as if through a thick field of static, not even four minutes, but we found ourselves wishing it would never end. Elsewhere the sound of lapping water is swallowed up by a crackling crumbling fog of burnt melodies, and slowed down riffs, a sort of sun dappled lysergic sonic swirl. The title track is a tuning up orchestra stretched out into a softly chaotic symphony of angular tones and fractured melodies, of sine waves and groaning creaking low end rumbles, augmented by curious crackles and strands of distortion arranged in patterns resembling speech, but rendered in impressionistic shards, finishing off with a gorgeous high end ur- drone, a softer Sunroof!, a field of static bagpipes, their overtones creating otherworldly patterns in the ether. Gorgeous." [Aquarius Records review]
www.zeromoon.com
|
2009 |
€12.00 |
|
| VIPCANCRO |
Xax |
LP |
Bass / Percussion / Tapes / Electronics / Voice / Metal. You can feel that this Italian quartet tries to sound like no one else, these are raw and suspenseful dronescapes with occasional outbursts, full of overtunes & small feedbacks, evoking quite a mysterious atmosphere...
"Lisca Records is a no form music label dedicated to sounds generated by environmental saturation and reflection. This is the debut LP from the Tuscan drone / post-industrial / experimental quartet of Andrea Borghi, Filippo Ciavoli Cortelli, Alberto Picchi and Nichola Quiriconi. Limited to just 150 copies in special handmade packaging - ACT FAST!" [label info]
www.myspace.com/liscarecords
|
2009 |
€10.00 |
|
| VIR |
Strika / Solaris (SOLD OUT) |
7 |
"VIR is a new project from Chicago, coming from the surroundings of the most spheric & experimental Projekt Records signing LOVESLIESCRUSHING, using the most beautiful four-dimensional guitar-sounds you can imagine, plus the enchanting female voice of K.JOY on Side A - all mixed up for an enlightning, and still very experimental music. The noises on the two sides "Strika" and "Solaris" here create a tremendous room, monumental distortion & overtones, deep rumbling & vibrating, melodies and harmonies in between... it's like falling into a staggering whirlpool of sounds and emotions. BLUE – GREY MIXED VINYL, HAND-TYPED AND NUMBERED SLEEVES." [press release]
|
2000 |
€ |
|
| VISIONS & PHURPA |
Monad |
LP |
Celebrating its 100th release, Cyclic Law presents an exclusive collaboration between label head Frederic Arbour’s long standing project VISIONS and Russia’s most enigmatic ritual formation, lead by Alexey Tegin, PHURPA. Merging PHURPA’s penetrating organic meditational chants and shamanic percussive elements with the slow-shifting, multi-layered textural drones of VISIONS, this unique joining of forces resulted in a vastly expansive and time bending opus. Channeled throughout are primordial sonorities to alter ones deeper psyche, a spiritual ascent unifying with the whole, the elemental cosmic life force that transpierces us, to the monad of creation.
CD Edition of 500 copies in 4 panels Digisleeve. 4 tracks. 40:37
LP Edition of 200 Copies in Standard LP sleeve with black paper inner sleeve. 4 tracks. 40:37
credits
released April 25, 2018
cycliclaw.bandcamp.com/album/monad
|
2018 |
€20.00 |
|
| |
Monad |
CD |
Celebrating its 100th release, Cyclic Law presents an exclusive collaboration between label head Frederic Arbour’s long standing project VISIONS and Russia’s most enigmatic ritual formation, lead by Alexey Tegin, PHURPA. Merging PHURPA’s penetrating organic meditational chants and shamanic percussive elements with the slow-shifting, multi-layered textural drones of VISIONS, this unique joining of forces resulted in a vastly expansive and time bending opus. Channeled throughout are primordial sonorities to alter ones deeper psyche, a spiritual ascent unifying with the whole, the elemental cosmic life force that transpierces us, to the monad of creation.
CD Edition of 500 copies in 4 panels Digisleeve. 4 tracks. 40:37
LP Edition of 200 Copies in Standard LP sleeve with black paper inner sleeve. 4 tracks. 40:37
credits
released April 25, 2018
Channeled by VISIONS & PHURPA 2017
Produced, Mixed & Mastered by Frederic Arbour
|
2018 |
€13.00 |
|
| VITAL |
Magazine for Electronic and Electroacoustic Music - The complete collection 1987-1995 |
BOOK |
Vital - The Complete Collection 1987-1995
various authors
580 pages, hardcover
Frans de Waard published Vital, a fanzine for electronic and electroacoustic music, from 1987 to 1995. It was a low-budget, Xeroxed publication, bearing the revolutionary instruction: ‘No Copyright Publication. Reprint Now!’ It featured interviews with Asmus Tietchens, O Yuki Conjugate, Merzbow, P16.D4, Pierre Henry, Jim O’Rourke, Brume, Döc Wor Mirran and many others, hosted discussions on copyright, plagiarism and plunderphonics, house music, ambient music, cassette culture and noise, and included contributions from musicians such as Leigh Landy, Godfried Willem Raes, John Duncan, and GX Jupitter-Larsen. Every issue included reviews of cassette releases, LPs, CDs and books. A total of 44 issues were published. Vital moved online in 1995, where it appeared every week since as Vital Weekly.
This book is a reprint of all 44 issues and is a lively record of the heyday of cassette culture and industrial music, but also of developments in the wider field of electronic music.
kormplastics.nl/vtcc.html |
2020 |
€20.00 |
|
| VIVENZA |
Fondements bruitistes |
BOOK / do-CD |
"Deluxe double-CD book, 108 pages in three languages: French, English, Japanese. Included The Art Of Noises - Futurist Manifesto - by Luigi Russolo (1913). 'The Bruitist Foundations of Action' (French title 'Fondements Bruitistes d'Action'), which came out in october 1984, opens the period in Vivenza's work on Bruitist sound when he started to incorporate the question of the relationship that holds between the technological and mechanical industrial fabric Ð which makes up the reality of the modern world Ð and the human and social environment. It is released in double albums as two separate vinyl LPs in the context of the Archives of Industrial Music from France." [label info]
http://rotorelief.com
|
2015 |
€26.00 |
|
| VOICE OF EYE |
Seven directions divergent |
CD |
Endlich das erste offizielle "volle" Album nach der Wiederbelebung des Ethno-Drone Paars, die stets alle Instrumente selber einspielen. Sie erweitern hier ihren Transzendental-Ambient mit psychedelischen und Song-orientierten Einflüssen, es wird gesungen, alles versinkt in wattigen Echo-Effekten und halluzinogenen Klangpulsen. Die sieben Stücke wirken in der Tat wie sieben verschiedene Richtungen ihres neuen Musik-Kosmos. Perkussive Bass-Gerüste bilden oft die Basis für die höchst harmonischen, warmen Stücke, die einen stark indisch-orientalen Touch aufweisen. Wunderbar z.B. das fünfte Stücke OM SHANTI, ein dronig-sanft & sphärisch-melancholisches Sehnen... engelshafte Gesänge und butterweiche Instrumentalparts bilden oft einen fast ozeanisches Flair, das letzte Stück "Transformational Birth " ist ein grossartiges schamanistisches Geister-Drone-Stück (18 Minuten) mit unheimlicher Sog-Wirkung !! Zwischen Transzendental-Pop und drone-basierter Psychedelic, VOICE OF EYE's Musik bleibt faszinierend spirituell & kontemplativ !
"Seven Directions Divergent (2009) is the latest release by Taos, New Mexico based artists Voice of Eye. Taking over a year to produce, Seven Directions Divergent is the third CD to be released on Conundrum Unlimited, and the fifth full-length Voice of Eye CD.
As artists experimenting with sound we have been inspired by many different styles of music and noise. Seven Directions Divergent pays homage to some of the diverse musical sources that have influenced us over the years from traditional Sanskrit chants to Steve Hillage to cute Euro pop to shamanic transcendence. This is an ambitious project melding many different sources together with the ethereal beauty and yearning magnificence you expect from Voice of Eye. This CD transports the listener along a narrative history of our personal journeys of change and transformation as told through the medium of sound. Seven Directions Divergent was mastered by award winning engineer Jon Gold for the best sounding Voice of Eye release to date. Comes in a Digipack with beautiful full color artwork by Jim Wilson.
Voice of Eye formed in 1991 out of the ashes of experimental bands Esoterica Landscapes 7 and Cruor. Through Voice of Eye, members Bonnie McNairn and Jim Wilson explore profound aspects of consciousness as the music is shared as a tool for entering different states of consciousness. The motivation behind forming Voice of Eye was to connect to a deeper truth we first sensed within our music. This unformed presence first revealed itself to us through music and has continued to manifest taking shape throughout our life’s journey leading to profound mystery.
Voice of Eye’s modus operandi is to take sound sources that are acoustic in origin, then process them through little black boxes to warp time and widen sonic perception. Voice of Eye’s sound shifts from gentle soundscapes to primal wrenching malevolence with such ease that the listener is unaware of the transition until it is too late and they are fully immersed in the voyage.
Voice of Eye took a hiatus from music in 1997 to build an off-the-grid sustainable home and studio in Taos, New Mexico. The process would take the next ten years. The result is an enormous sculptural free flowing work of art built entirely by the hands of Jim and Bonnie. Living in the open and empty spaces of the desert had the additional effect of deeply connecting them to the truth of their being as begun through music. The desert is the fire that burns away everything. Both members are now focused on the healing arts. Their journey has transformed what was begun through music into a way of life. Please see www.voiceofeye.com and www.myspace.com/voiceofeyemusic for discography, photographs and more information" [label info]
www.voiceofeye.com
"Since some time Jim Wilson and Bonnie McNairn, together known as Voice Of Eye are back. In 1997 they stopped creating music to 'build an off-the-grid sustainable home and studio in Taos, New Mexico', which took them ten years to build. Since their return their have been a couple of releases, which saw them return to their fine of lengthy, warm ambient electronics with great emphasis on the psychedelic quality of the pieces. Maybe therefore the opening piece here on their twelfth CD 'Seven Directions Divergent' is quite a surprise: its almost popmusic, slow rhythm, e-bow on the guitar, and Bonnie McNairn on some heavenly voice trip, and sounding a bit like Cosey Fanni Tutti. Laid-back popmusic. Almost. This is continued in the following piece 'Where Are You?', which is, me think, even better. Voice Of Eye changed that radical? Hard to believe, and no, they didn't. At least not to that extent. Throughout it seems indeed that elements of popmusic have been brought in, without losing the original ambient sound. 'Transformational Birth', the piece that closes this CD is one of those typical lengthy Voice Of Eye ambient excursions. A bit without any sense of direction, sounds flowing about, like being in space. They drift in and out of the mix, without any synthesizers (according to the cover), like the real cosmic music thing. That makes this a great CD. Drifting, flowing in all pieces, bouncing back and forth towards the more 'pop' like tunes and lengthy, atmospheric excursions. A great album, I'd say, an excellent combination of both ends, making a very mature album. Great psychedelic music." [FdW / Vital Weekly]
|
2009 |
€13.00 |
|
|
Primaera |
mCD-R |
"founded in the late 80's on the ashes of esoterica landscapes 7, voice of eye is the duo of bonnie mcnairn and jim wilson. they released several discs during the first part of the 90's on their own cyclotron industries, a 7" on drone records, a live lp on anomalous records as well as collaborations with another ethno/experimental/ambient band life garden, all of them documenting their fascinating and captivating atmospheres mostly made from self-built instruments, creating a unique sound.
after a 12-years hiatus, voice of eye was back in 2007 for a us & europe tour together with ure thrall, unleashing two new self-produced discs (recently re-released by old europa cafe) proving the magic wasn't gone. this 18min track, especially recorded for taâlem in 2008 confirms bonnie & jim haven't lost the touch!" [label info]
www.taalem.com
"Primaera; the first creation. Follow the journey of sound from its inception in silence as it enters the fertile soil of your mind and evolves through the yearning to know its purpose and fulfill its destiny only to expire back into silence. Recorded in the coastal redwood forests of northern California, Primaera is one 18 minute track released on CDr by French label Taalem. Full color disc artwork by delphine ancelle-b. January 2010." [Voice of Eye]
"Voice Of Eye is also a duo, but then from Houston and after a hiatus of several years, they seem to be fully back on track. This one is from last year and shows Voice Of Eye in a somewhat improvised mood, I think. All the machines they have at their disposal are set to play something, guitars are plugged in, microphones are open and here we go. A bit more experimental than y'r average drone release I'd say, but in its rawness I'd say this is a great piece. The edges are rough, like that howl of feedback towards the end of 'Primaera'. Great psychedelic mood music." [FdW, Vital Weekly]
|
2010 |
€5.00 |
|
| |
Anthology 2 (1992-1996) |
do-CD |
"Since a few years Texan group Voice Of Eye are back. Their various new releases have been reviewed before. But its the second incarnation of the group, a duo, which existed before from 1989 to 1996. They were pretty active back then too, with lots of releases, like CDs, cassettes, 7"s (for Drone Records among others) and contributions to compilations. Last year Vinyl On Demand already released a double LP of that older stuff, but now Troum's Transgredient label goes out even more, with a double CD of material from 1992 to 1996 (and makes it the first non-Troum release on the label). To say that Voice Of Eye play ambient music is not entirely true. Their music is indeed based on all things 'atmospheric', using an array of drone like sounds, percussion and the heavenly voice of Bonnie McNairm, but what sets Voice Of Eye apart from so many others is their free flowing sound, almost psychedelic, always full of sound effects (the reverb is hard to avoid here), widely meandering ab out.
There is always a rough edge with Voice Of Eye that makes them a bit different from many other drone artists, which is perhaps due to the fact that they use many effects and maybe due to the fact that the recording medium is not the greatest. Also they use various bits of percussion, acoustic objects (one track is entirely made of bicycle wheels). Its great to have this collection of rare CD compilation pieces, 7" vinyl and long unreleased pieces - especially the very free floating space of 'Sonic Works Live Dress Rehearsal'. Two long CDs of highly weightless space music. Excellent stuff." [FdW/Vital Weekly]
|
2011 |
€10.00 |
|
| VOISEY, VEN (V.V.) |
Note |
CD |
"C.I.P. and crank satori are proud to announce their co-release of the first CD by v.v., "note." v.v. are the initials of Ven Voisey, a sound artist and sculptor from Oakland, California. "note" evolves as a series of meticulously crafted sound events drawn from myriad sources, including a dynamic range of hisses, crackles, and tonal hums, field recordings, electronics, and acoustic instruments. While his work has been placed in the same arena as artists such as Joe Colley (Crawl Unit) and Toshiya Tsunoda, Ven's deft composing skills and innate sense of sound elements clearly define him as an artist with a unique vision for realizing captivating and rewarding audio. Ven's previous titles on cassette and CDR has been met with critical acclaim; with the release of "note," C.I.P. and crank satori hope to introduce v.v. to a much wider and deserving audience." [label info]
|
2003 |
€13.00 |
|
| VOLCANO THE BEAR |
The Mountains among us |
CD |
Die bereits 200ste Katalognummer des Portlander Labels ist für VOLCANO THE BEAR reserviert, und diese präsentieren hier ganz besonderes Material, 2 urlange Stücke mit sehr geräuschhaften Instrumental- Drones & field recording-Quellen, sehr frei & voller überraschender Wendungen und wunderbarer dunkler Parts. Das Album weist mitunter fast schon neo-klassische Qualitäten auf, ist
überraschend atmosphärisch, dabei aber von unheimlicher Stringenz. Unser definitiver Lieblingsrelease der britischen Band! Anklänge an NOISE MAKERS FIFES, ZEITKRATZER, MORPHOGENESIS.... erschien übrigens vor einigen Jahren bereits auf Beta-Lactam als LP in einer Auflage von nur 100 Stück!
"Die wohl beste Band des CTM Festivals 2006 mit zwei über 20 Minuten langen Tracks in oberdickem und teurem Pappcover. Natürlich werden VTB in keinem Weird Folk Artikel erwähnt, dafür sind sie viel zu weit draußen, zu windig, hölzern, befremdlich und abseits von allem. Es blasen alte, nach Gauklerfest klingende Tröten, aber nur selten zum Tanz oder Marsch. Streicher werden gekappt und geschnitten, Vögel und ein anonymes Publikum schauen teilnahmslos zu, an der Harfe wird semi-improvisiert, Gesang in die Länge gezogen etc etc. Trotz aller Experimentierfreude an den Instrumenten steht deutlich VTBs famose Studioarbeit im Vordergrund. Alle Spuren sind meisterhaft abgemischt, so dass klar der Eindruck des steten Machens über dem der fertigen Arbeit steht. Unheimlich, mysteriös und spitzengut." [Ed Benndorf / DE BUG]
"First edition of 500 numbered copies in a full color book bound cd case. This year sees the eruption of the Volcano with a myriad of releases leaving the town folk covered in a fine and mysterious silt of musical entropy. The limited release of "Mountains" finds our boy’s spelunking the creepiest of dream spawned caves, excavating crystalline fragments along the way, which are then set in beautiful mental jewelry appropriate for any formal occasion. Arpeggiated blurs and disinterred voices snap, crackle and pop as an unnamed rusted hulk is slowly pushed across an ever morphing open landscape. More accurately still, it's like that weird wind harp record from the 70's with a mid period NWW and Mauve Sideshow marching up opposite sides of the hill to claim the giant harp. And that's just in the first 19 minutes!. Afterwards, there is a slo-mo interlude battle between rarified VTB brand chamber music and the sounds of...things. As promised, the denouement is a brief, dare I say, pretty little whisper of pizzicato and drone. So pretty and little, in fact, that it caught the attention of my otherwise weirdness deaf partner. A real symphony of the spheres that showcases this Volcano's ability to blow its top and rain sweet tweeky kittens on the valley below." [label info]
www.blrrecords.com
|
2008 |
€15.00 |
|
|
Commencing |
5 x LP BOX |
"Leicester, England – mid 1990's. Aaron Moore, Nick Mott, Clarence Manuelo & Daniel Padden create a free form group named Volcano The Bear out of their frustration with standard musical limitations. Now, after 20 years of experimenting with improvisation, folk, Dada, Post Punk, Krautrock, noise, surreal comedy, pure avant-garde and more, the group has obtained a cult following and high critical praise across the globe. Reknowned for their highly theatrical and obscure live performances, as well as their mind-blowing catalogue of releases, VTB truly is a one of a kind group, consistently pushing forward with their own unique, experimental approach to sound making.
Commencing manages to be both a retrospective of the group's 20 year history as well as it ´s own unique release filled with vast amounts of material. The 5 albums, 64 tracks & over 4 hours in length, presented here has been carefully put together over the last couple of years to become an entity – working as much by itself as well as a whole. Expect an abundance of unreleased material, alt-versions, tracks from early cassette albums never released on vinyl, live recordings, pieces from forgotten compilation appearances and more, all mixed and compiled together to form 5 stand-alone albums.
The physical release also includes a book of writings, photos and flyers from their long history, along with a bonus download only album of tracks that didn't make the final cut. This is the ultimate VTB release for fans of the group and of surreal, experimental musical history in general.
Deluxe Silkscreened Box-set, incl. 5LPs with individual covers & linernotes for each track on the back, 50 page book of photos, artwork, flyers and stories of the band´s 20 years of existence. Also includes a free download of all 64 tracks + 10 track bonus album. |
2015 |
€90.00 |
|
| |
Yak Folks Y'Are |
CD |
Nefryt - N 029
Format: CD
Country: Poland
Released: 26 May 2018
Genre: Electronic, Rock
Style: Avantgarde, Experimental
Tracklist
1 Where Are The Bounds?
2 Banket Ball
3 Nobody's Falling
4 Egg Knowledge
5 Oslo Top
6 Hello Graham
7 My Favourite Lungs
8 Massive Furniture Invasion
Notes:
Yak Folks Y'are originally issued by Pickled Egg in 1999 as a mini LP. My Favourite Lungs & Massive Furniture Invasion originally issued by Alt.Vinyl in 2006 as a lathe cut 8".
Thank You Alan Jenkins, Stew Brackley, Steven Freeman, Steve Hill, Alan Freeman, Kev Reverb.
Copyright Volcano The Bear 1998
4 panel gatefold sleeve.
Limited to 444 copies.
"Out on Pickled-Egg from the UK, Volcano's first LP consists of 6 new songs by these growing and mind-expanding UK surrealists. On a whole, the release is filled with a bizarre emotion that leaves a sinking feeling in your stomach.
Side A ("Yak Folk") starts with the low-fi, reverb-drenched track, "Where Are the Bounds?," which is reminiscent in feel of the first track ("Planetary Bethlehem") from The Inhazer Decline. The second track is a short snippet of eerie noise, leading into "Nobody's Falling," which utilizes their eccentric—but extremely compelling—vocal work. With a very psychedelic-rock sound, they play horns, organs, and consistent high hats, which blend to conjure up a surrealist lounge. Side B ("Y'Are") has some beautiful, brilliant work—the best VtB I've yet heard. "Egg Knowledge" makes me feel as if I am in the presence of ghosts. The vocals are haunting and extremely bizarre (comparable only to a dying elderly), and combine with the tension-building noises and tribal-esque drums to leave a queasy, almost painful mindset. Next is "Oslo Top," made of twinkly noises with demonic vocals. And finally, "Hello Graham," the long ending track, tops the album with its usage of slurred vocals and beautifully simple acoustic guitar overlayed and interchanging, putting emotions out for grabs that are both frightening and captivating. The feeling for most of the LP is, in fact, a strange, ambiguous line between comforting and terrifying; but it is executed in such a manner that is purely hypnotic." [Brainwashed review on the original LP edition from 2000]
nefryt.bandcamp.com/album/volcano-the-bear-yak-folks-yare
|
2018 |
€13.00 |
|
| VOLLMER, CARSTEN |
Arbeit Nr. 23 - Ich arbeite mit Frequenzen Teil 1 - 3 (ansteigend / abfallend / 2600 Hertz / Phreaking) |
3 x CDR set |
The last part of the trilogy Ich arbeite mit Frequenzen forms a trilogy in itself: it is made up of three tracks while its two predecessors only contain one long track each. And while parts 1 and 2 work through a frequency grid of apparently mathematical rigour, this one focuses on the particularly distortion-rich frequency band around 2600 hertz. The two 2600 Hertz tracks are live recordings of a performance by Carsten Vollmer. Here, and on the opening track Phreaking, the first non-electronic sounds of the whole trilogy can be heard: the performer's screams put into relief the expressive quality of noise that was consciously underexposed on the 'antihumanist' parts 1 and 2.
The fact that all of Carsten Vollmer's releases come as numbered Arbeiten (works), but in particular the verb arbeiten (to work) in the title of this release, emphasise the (physical) labour of building up his walls of sound. Thus, part 3 of Ich arbeite mit Frequenzen once more enacts the drama of 'man vs machine' or 'body vs bodily harmful frequencies and volumes' through which the noise genre time and again confronts existential and social alienation with an ecstatic, but 'parole-less protest' against it (to borrow a phrase from Carsten Vollmer's fellow noisician Anton Kaun aka Rumpeln).
The first track of the album, Phreaking, also features a list, but not one of frequencies, but a list of textual references to Ron Rosenbaum's classic 1971 feature story The Secrets of the Little Blue Box about the hardware-hacking network of the Phone Phreaks, who built a counter-network within the official telephone network of the U.S.A. From the vantage point of the officially sanctioned telephone signals, these subversive actions were undoubtedly noise, and it is plain to see that Carsten Vollmer's Phreaking is a sympathetic homage. In a 'communication guerilla' practice such as this, Michel Foucault's basic tenet 'Where there's power, there's also resistance' meets the axiom of information theory: 'Where there's a signal, there's also noise'. The fact that this third and final album comes not as one monolithic track, but as an object fragmented within itself, is programmatic for ways in which noise can stand for the freeing of spaces in political contexts: instead of the monologue of an author(itarian) voice – 'I, and only I, work with frequencies' –, this album signals within itself the clamourous debate of different, dissenting voices, which in the political field is always preferable to the undisputed monologue of an absolute power. At the end of the live recordings, one eventually hears the voices of the audience; the author is no longer alone within his work, and someone says: 'It continues here, in the next room.' Thus the album ends with an invitation to claim new spaces of possibility.
File under: Noise
https://emerge.bandcamp.com/album/arbeit-nummer-23-ich-arbeite-mit-frequenzen-teil-1-ansteigend
https://emerge.bandcamp.com/album/arbeit-nummer-23-ich-arbeite-mit-frequenzen-teil-2-abfallend
https://emerge.bandcamp.com/album/arbeit-nummer-23-ich-arbeite-mit-frequenzen-teil-3-2600-hertz-phreaking
***
Der letzte Teil der Trilogie “Ich arbeite mit Frequenzen” bildet selbst eine Trilogie in sich – anders als die beiden Vorgänger, die jeweils nur aus einem langen Track bestehen, umfasst er drei Stücke. Statt ein mathematisch-kalkuliert wirkendes Frequenzschema durchzuarbeiten wie Teil 1 und Teil 2, wird hier auf 2600 Hertz in einem in Sachen Verzerrung besonders effektiven Frequenzbereich gearbeitet. Die beiden “2600 Hertz”-Tracks sind Livemitschnitte von einer Performance von Carsten Vollmer. Hier, aber auch auf dem Opener “Phreaking”, sind erstmals auch nicht-elektronische Klänge zu hören: Schreie des Performers rücken jene expressive Qualität von Noise in den Fokus, die auf den beiden “antihumanistischen” Teilen 1 und 2 betont ausgespart blieb.
Nicht nur die Titulierung von allen Veröffentlichungen Carsten Vollmers als durchnummerierte “Arbeiten”, sondern speziell das Verb im Titel dieser Veröffentlichung betont die (physische) Anstrengung, die in die Errichtung seiner Klangwände einfließt. So führt auch Teil 3 von “Ich arbeite mit Frequenzen” das Drama “Mensch vs. Maschine” bzw. “Körper vs. körperfeindliche Frequenzen und Lautstärken” auf, mit dem das Genre Noise immer wieder existenzielle und gesellschaftliche Entfremdung sowie den ekstatischen, aber “parolenlosen Protest” dagegen (eine Formulierung von Carsten Vollmers Noise-Kollegen Anton Kaun aka Rumpeln) inszeniert.
Das erste Stück des Albums, “Phreaking”, führt ebenfalls eine Liste auf, allerdings keine mit Frequenzen, sondern eine mit textlichen Anspielungen auf Ron Rosenbaums klassische Reportage “The Secrets of the Little Blue Box” von 1971 über das Hardware-Hacker-Netzwerk der “Phone Phreaks”, die im offiziellen Telefonnetzwerk der USA ein Gegen-Netzwerk aufbauten. Aus Sicht der offiziell im Telefonnetz vorgesehenen Signale waren diese subversiven Aktionen zweifellos “Noise”, und es ist unschwer zu erkennen, dass Carsten Vollmers “Phreaking” eine von Sympathie geprägte Hommage ist. In einer “Kommunikationsguerilla”-Praxis wie dieser trifft sich Michel Foucaults Grundsatz “Wo Macht ist, ist immer auch Widerstand” mit dem Axiom der Informationstheorie: “Wo Signale sind, da ist immer auch Rauschen”. Dass dieses dritte und letzte Album nicht als ein monolithischer Track, sondern in sich fragmentiert daherkommt, kann dabei programmatisch dafür gelesen werden, wie Noise auch im politischen Raum für das Schaffen von Freiräumen stehen kann: Statt des Monologs der Autor(itäts)stimme – “Ich, und nur ich arbeite mit Frequenzen” – wird hier innerhalb des Albums der lautstarke Widerstreit von verschiedenen Stimmen angedeutet, der im politischen Feld allemal wünschenswerter ist als der unumstrittene Monolog einer absoluten Herrschaft. Auf den Liveaufnahmen hört man dann am Ende auch die Stimmen des Publikums, der Autor ist nicht mehr allein in seiner Arbeit, und jemand sagt: “Hier im nächsten Raum geht es weiter.” So endet das Album ausdrücklich mit der Eröffnung von Möglichkeitsräumen, die es zu nutzen gilt.
File under: Noise
-----
VITAL WEEKLY
Origami derives from ori, meaning "folding", and kami meaning "paper". The mathematics of the fold is relevant, is analogical to 'the fold'. This can be understood as the new mathematics of the curve, of changing quantities which is often difficult for non-mathematicians, of which I am one. Put simply in simple geometry of a flat surface, say a chessboard, a piece, pawn, knight etc. can be located by two coordinates. These are static set properties, which Deleuze via Leibniz relates to Descartes. Complex curves, changing velocities, cannot be precisely modelled using such a method. This was accomplished by using mathematics to model dynamically changing events, the Calculus. If modernism in its linear development fixes and finalizes itself in a Cartesian / Euclidean fixed point, a null event, the Baroque does not. The metaphor of calculus is useful, for around it are mathematical objects such as the limit. In simple non-mathematical terms, a series of calculations can approach a limit but never reach it, and in getting closer, to a potential infinity of numbers. For non-mathematicians, this is best seen in the obvious Baroque of The Mandelbrot Set. Folding can produce an infinite variation. Associated with 'folding' in Deleuze derives the aesthetic, especially the visual aesthetic in the Baroque, one of the dynamic curves and dramatic events. “Leibniz is endlessly drawing up linear and numerical tables. With them he denotes the inner walls of the monad. Folds replace holes...” (The Fold). Elsewhere (in The Logic of Sense) Tenth series of the ideal game -”of which we speak cannot be played by either man or God. It can only be thought as nonsense. But precisely for this reason, it is the reality of thought itself and the unconscious of pure thought. This game is reserved then for thought and art.” Baroque music of the 'classical period' - (late 17thC- 18thC) used accomplished improvisation, complex polyphony, multiple independent melody lines, the fugue and ricercar (which explore the permutations of a given motif). The 'metaphysics' that the Baroque produced was significant in music. Bach, Vivaldi, Handel, Monteverdi, Scarlatti, Purcell, Telemann... such that with Bach there is the deployment of a pure abstract formalism which could be regarded as a metaphysics of the free play of the potentialities of the abstract (windowless) structures of music. And in thinking the Baroque we also arrive at Leibniz and German Idealism, but also the more recent 'idealism' of Deleuze and the Speculative Realists and Object Oriented Ontologists. To judge these metaphysics in 'scientific', empirical terms, would then be to miss the point. They are not in all cases Monads, as they are not closed off to ourselves. They are like Monads in that they seem closed in on themselves. The point is that 'Baroque Folding' is an internal programme. Thus it typically appears when genres become exhausted or fully mature. A very early classical example is the development of Corinthian Architecture from that of the Doric & Ionic, or the much more recent, post-modernism, especially noticeable in Architecture. A certain playfulness which can and does in Po-Mo reduce, at times, to mere sensation and irony. Within contemporary music, 'noise music' and 'harsh noise' was to lead to a reductionist, 'analytics' of the extreme minimalism of Harsh Noise Wall's monolithic unchanging noise. This cul-de-sac has an obvious problem, and various methodologies have evolved in order to circumvent its effective closure of the noise genre, from abandoning noise altogether (Wolf Eyes), to alternatives, such as shit folk and ultra shit folk (Romain Perrot). The process of 'folding' is synthetic, not analytic (reductionist, minimalist walls). Both processes are to be found in Metaphysics and Art. In The Critique of Pure Reason, Kant sets out to establish an a priori basis for his transcendental metaphysics and makes two distinctions, that of the analytic a priori and the synthetic a priori. The philosophy of this needn't concern us. What is useful is concerning the idea of The Fold. The epistemological, philosophical implications disputed by some also need not bother us here. For us, what is significant in Kant is that Kant maintains that the Synthetic can produce (a priori) new objects without recourse to finding them in the outside world. In Analysis, something is broken down or examined to find its fundamental form or origin (The Wall of Noise). This is normally regarded as a task that will arrive at something fundamental. In early philosophy – the Atom – in Jungian analysis the archetype. It may well be that such a final analysis is not possible, that analysis is potentially infinite, or results in a void. Synthesis is the reverse. Given some fundamental objects, we can create new objects and structures – out of what is already given. A triangle can be analyzed into its basic three sides of straight lines, but we can synthesize new objects given a triangle. We can make a quadrilateral with two triangles and continue – pentagons, hexagons, and no limit – and no recourse to anything external to our basic element. And whereas Analysis is contained by the analysis of 'what is there' synthesis creates new objects that are not 'already there'. The Baroque is this distinction between the Analytic A Priori and Kant's idea of a Synthetic A Priori. An example in the arts is that of Analytic Cubism and Synthetic Cubism. Whereas Analytical Cubism broke up the picture plane into its elements, Synthetic Cubism used these basic 'elements' to synthesize new compositions. The tendency in modernism was analytical. “What is painting?” “What is music?” “What is Art?”, the analytical desire of what is “essential”. In Cubism, the 'Analytical' phase was relatively short-lived, the Synthetic move allowing Picasso and others an alternative continuous productive methodology. The (Baroque) fold is a synthetic methodology. At the most pedantic Origami – (from ori "folding", and kami "paper"). An origami Swan is a synthesis of a flat sheet of paper. All creations of Origami are in the last analysis, flat sheets of paper. The methodology of Origami, of 'folding', is Synthetic and offers an infinity of productions. Which is occasioned in Noise – here! which is not the abandonment of noise or a retrograde movement back into music. The baroque fold, abstractly using the tropes, forms etc., of noise music not as an external expression but as internal work exploring the permutations and improvisational possibilities of a given motif. The tropes of Harsh Noise, the motifs of feedback, oscillator sweeps, distortion, white noise etc. Abstract sounds, found in Harsh Noise before its collapse into a minimal wall. What is removed is the idea of a linear 'progress' (modernism) replaced by that of infinite synthesis. Ansteigend, Abfallend and 2600 Hertz_Phreaking are 3 parts of Arbeit Nummer 23 - Ich Arbeite Mit Frequenzen.
www.vitalweekly.net/1316.html
"Steht 'Frequenzarbeiter' schon im Duden? CARSTEN VOLLMER arbeitet jedenfalls daran, mit seiner Arbeit Nr. 23: Ich arbeite mit Frequenzen (3xCDr, jeweils in DVD-Schuber). Dieser nächste Arbeitsschritt nach der bad alchemystischen „Arbeit Nr. 22“ (BA 103) ist ein in strenger Schwarzweiß-Optik vereinter Triptychon, den drei Labels stemmen: Teil 1 – Ansteigend (ACU 1027), Teil 2 – Abfallend (Cat Killer), Teil 3 – 2600 Hertz / Phreaking (Krater Recordings, KR05-010). Das oft genug unangebracht verwendete 'experimentell' ist dabei halbwegs gerechtfertigt durch die demonstrativen 'Versuchs'-Reihen mit 55 – 77 - 160 – 300 – 666 – 800 – 1000 – 2000 – 4400 – 5000 – 9000 Hz rauf und runter ('Ansteigend'/ 'Abfallend') sowie drei Episoden mit 2600 Hz. Darunter, neben zwei Live-Exzerpten vom Schrei/Ende/Ohren-Festival, eine Hommage an das in den 70ern popularisierte und bis in die 90er mögliche Phone-Freaking in den USA, wo die von Hackern entdeckte, von den Yippies popularisierte Freischaltung auf eben der 2600 Hz-Frequenz als Akt des zivilen Widerstands aufgefasst wurde. Aber diese Frequenz-Folklore erscheint wie ein narratives Surplus in Vollmers bildlos purer Darbietung eines Blizzard-Kontinuums, in dem McLuhans 'kalte' und 'heiße' Medialität verwischt. Indem ein schrillendes, zerrendes Zuviel mit myriodophonem Rausch überwältigt und lähmt, doch in seinem informatorischen Überschuss zugleich nach Kryptologen schreit. Für einen auch merkwürdig flötenden Code. Aber vor allem für ein Unsagbares, das sich als kataklysmische Schallmauer zeigt wie bei Wittgenstein das Mystische. Dass in allem, was der Fall ist, atomare Niagarafälle toben, die jedes menschliche Maß übersteigen. Der infernalische 'Gesang' der Neuronen, das heulende Elend der Elektronen, das universale Alpha, Vollmer hat es zwischen Infra und Ultra brachial orchestriert als kakophon schillernde Metapher für das Mega-, Giga-, Tera-Chaos im elektromagnetischen Radio- und Mikrowellendschungel. Als Sturz der Erkenntnis über die Marmorklippen durch die Stahlgewitter ins Spektrum der Strahlungen, als total mo-bilgemachter Black Metal vor einem Schwarzlicht-Horizont. Das von Ernst Jünger immer wieder gebrauchte Tat Tvam Asi [Das bist du] zeigt dazu seinen technologisch fitten 'Ar-beiter', der als 'organische Konstruktion' mit der technoiden Mobilmachung heißläuft. Und einige wenige, die, obwohl gleichermaßen involviert, in kühler Desinvoltura dazu Distanz halten. Vollmers akribische Abbildungen, 48 + 48 + 50 Minuten intensive Immersion, können als stoischer Härtetest erscheinen. Als stockholm-syndromatische Affirmation eines Factum brutum. Oder sogar als akzelerationistisches Vorwärts (Nick Land), das die transhumane Umgestaltung des Menschen (durch die aggressiven Metastasen des Kapitalismus) ins Auge fasst. Mit der Utopie einer KI-generierten 'technologischen Singularität' würde Jüngers 'organische Konstruktion' zum Pionier der transhumanen Erlösung. Jede durchgestandene Noisattacke wäre, gerade indem sie das hinfällige Fleisch von den Knochen schabt, ein Evolutionsschritt dorthin. Der Geist, schon bei Hegel ein harter Knochen, steckt seinen Kopf, wie sein Renaissance-Vorgänger durch die Käseglocke seiner Scheibenwelt, unter die Bremsscheiben eines endlosen Güterzuges, in einen brausenden Bienenstock, der Züge von StanisławLems Partikelschwarm auf Regis III trägt. Steht Hz auch für neuen Horizont, für abenteuerliches Herz? Vollmer gibt sich, wenn er 'ich arbeite...' sagt, beeindruckend cool und souverän. Oder verdolmetscht er so bloß die Mutter der Teilchen und Wellen? Alan Moores Parent of suns and substance, she! Womb of all possibility! Als menschliche Spur im Dauertrommelfeuer der Klangpartikelstrahlung bleiben dann nur die Schreie, die Vollmer zuletzt, von 2600 Hz-Stacheln an die Wand gespießt, ausstößt. Kein 'Banzai!', aber doch wie mit geballter Faust und mehr als nur Schmerz und Angst. Noise als Waffe der Kritik an Betonköpfen, verkrusteten Strukturen, Kalk, Rost, marmornen Popanzen. Als, o Killer-Kaninchen von Caerbannog, o schwarze Bestie von Aaa, als Speer, der die Wunde heilt, die von ihm herrührt?" [Bad Alchemy]
|
2021 |
€20.00 |
|
| VON EULER-DONNERSPERG, DITTERICH |
Blauholz |
BOOK |
"Ditterich von Euler-Donnersperg: Blauholz
Knarrende Strahlen stehen unbewegt über dem Sand. Nichts Harmloses birgt sich unter den Latschen und Kiefergliedern, denen man eigenartige Hilfslosigkeit ansieht. Schwach singt das Holz, trägt sein Lied über die Streu, die sich staubend über den müden Grund ergießt. Rindenbrot bettet sich gelassen auf die Matten, die sich längs unter die Büschel dahinstrecken.
Spitzhafer, Wegerich, allesamt dörrend, recken Flügelchen hoch, winken schwach gegen den Wind und versuchen, zu lächeln. Das Zahnweiß erstirbt unter dem Glast des Wollplunders aus Samenwolle und Brennnesselweben, deren Leuchtlunte ganze Buschzeilen deckt.
Starrer Ramsch aus Grassoden, Krüppelbüschen und Moder, der noch das tapferste Hölzlein erfaßt, um es den wuchernden Brachen einzuverleiben, steht schlafend neben den Wegen, wo sich das Streuland gegen die Ungemütlichkeit der Drögnis verteidigt. Kohlenmeiler ducken sich hasig hinter die von der Geschichte dahingespuckten Verwerfungen. Lehm kleistert die Gänge, sofern sie noch zu begehen. Der feuchte Dreck klebt krötig an den vom Morgenlicht verlassenen Hängen. Das Wechselgeschrei der Saatkrähen knarzt blechern röhrend über das wüste Hochamt aus Bodenrotz und Totenwald. Die Blödnis des Staubs, dem Niemand – nicht die Kalksenke, nicht die Sandkornbüchse, nicht der Sonnenbrand auf den Resten des Grases – Mut zum Erwachen zusprechen mag, packt und würgt voller Sanftnis und Großvaterliebe die Weiler, wo es nach Naßfäulnis wie in hundert Jahre alten Grabgruften stinkt.
MOLOKO PRINT 017 | 2015
Gestaltung: Robert Schalinski
Darstellungen aus Leichte Artellerie Fibel (1936) und Unterrichtsbuch für Soldaten (1938)
Paperback, 242 Seiten
ISBN 978-3-943603-18-7" [publishing house info]
www.molokoplusrecords.de
|
2015 |
€16.00 |
|
|
Verdunkeln. Der Feind sieht Dein Licht |
BOOK |
Ditterich von Euler-Donnersperg: VERDUNKELN – Der Feind sieht dein Licht!
EWIGER WALD
Wer kennt sie schon – die einsamen Wege der Welt, auf welchen es dumpf schackert und schockelt, rackelt wie gockelt? Wo der Hauklotz vom Arm des Waldmeisters widerhallt und sich der Stunkschierling still um den Schälpflug schmiegt? Wer kennt schon den Strahlenschimmel, der seine Netze auswirft, die Sporen in Zersetzung und Fäulnis verbläst und feingewirkte Latzdeckchen über den Wanderboden wirft? In der Dungstätte des geflocktstieligen Hexenröhrlings, dem auch das Kinderzerren nichts anzuhaben vermag, verflanschen sich all die verstoßenen Stinkröhrlinge und –morcheln, deren Leibesbeutel den Staub der Jahrtausende bergen und auf ihren Dungfladen die Schamfugen wetzen.
Inhalt
1. Die Pein vom Haupte trennen
2. Ich und Ich
3. Schnutbriggen
4. Kunst Statt Kunst
5. Keiler
6. Knüllungen, Wulstungen, Klumpungen
7. Entgeistung
8. Entgründung
9. Wie man einen kahlen Frosch entfedert
10. Schöne müde Welt
11. Kinder des Untergangs
12. Stube
13. Mehl
14. Ewiger Wald
Knüllungen, Klumpungen, Wulstungen. Zwischen einem Schriftsteller und seinen Lesern sollte immer Krieg herrschen: Industrial words for industrial people. Euler-Donnersperg, Sachwalter des Werkbundes und der Walter Ulbricht Schallfolien Hamburg, bekennender Kriegshetzer und Förderer von Feindseligkeiten, mit einer seiner abgestandenen Weltanschauungskaltschalen.
www.molokoplusrecords.de
|
2014 |
€16.00 |
|
|
Knüllungen, Wulstungen, Klumpungen |
LP |
Geierberg Sterben Sie Bitte!
Und Ist Kein Jammer In Der Welt
Wahres Gegen Nichtwahres
Die Schläferfalle Vom Ende Der Zeit
Studioaufnahmen 1980-82, geringfügig überarbeitet und ergänzt 2012. Recorded 1980-82, slightly enhanced and added to 2012
© MOLOKO+ 2015
MOLOKO PLUS 080 PICTURE DISC
donnersperg@web.de
www.molokoplusrecords.de
„Wer Versucht, Den Menschen Mit Seinem Tiersein Zu Versöhnen, Wird Selbst Zum Menschen.“
KLOPSTOCK
„The One Trying To Reconciliate Man To His Beastly Existence, Is Doomed To Become a Human Himself.“
KLOPSTOCK
VIRB:
Ein grauer Knurrhahn und Grummelsack, der eine Schule für Honiggewinnung und Schnittblumenzucht in Alt Wrietzen im Oderbruch betreibt. Steht neben Dr. Kurt Euler, dem Vorsitzenden der Parteikommission für Volksbildung und Kulturkampf beim ZK der Kommunistischen Einheitspartei Deutschlands (KED) in dem (ungerechtfertigten?) Ruf eines im Geiste Johann Gotthilf KLOPSTOCKs, des Lehrers einer irrenden Menschheit, wirkenden, sinnenfrohen Zuchtmeisters fehlgeleiteter junger, mitunter auch alter Menschen, welche in hemmungslosen Daseinsirrtümern schwelgen und ihr Leben von dessen Ende her betrachten. Tritt seit dem Rübenwinter 1946/47 als Sachwalter des Werkbundes und des traditionsreichen Tonverlages Walter Ulbricht Schallfolien unbedingt gegen Wirrnis und verstocktes, kleinbürgerliches Schwarzsehertum auf und betreibt unter den Leitgedanken Verdunkeln! Der Feind sieht dein Licht! Beginne den Tag mit Sterben! Das „Scheitern als schöne Kunst“.
Im Jahre 1980 gründete Euler-Donnersperg die WALTER ULBRICHT SCHALLFOLIEN Hamburg, welche sich im Geiste Walter Ulbrichts, des damals meistgehaßten Menschen der Erde, des Erbauers des Berliner Antifaschistischen Schutzwalls, unbedingt der Langsamkeit verpflichtet fühlen und unter dem Leitwort NEU KONSERVATIW die ehernen Werte des klassischen „Industrials“ zu pflegen bestrebt sind (vgl. SPK: The Cathedral of Death - Die Kultur der Todesverdrängung). Bis Ende der 80er Jahre des 20. Jahrhunderts veranstaltete Euler-Donnersperg zahlreiche Auftritte mit geistverwandten Klanggestaltern, u. a. mit Illusion of Safety, Jim O’Rourke, The Hafler Trio, Bourbonese Qualk, Nocturnal Emissions, Whitehouse, Gerechtigkeitsliga, The Legendary Pink Dots, Laibach, Asmus Tietchens. Gleichzeitig geben die Walter Ulbricht Schallfolien Dokumente der Gruppen SPK, Throbbing Gristle, Laibach, John Watermann, Asmus Tietchens, The Hafler Trio, Werkbund, Mechthild von Leusch, Column One, Evapori und Hyph heraus. Im Nebenamt Sachwalter des WERKBUNDES tritt Euler-Donnersperg mit Lesungen und Klangschöpfungen eigener Werke hervor – unter anderem mit Michael von Hausswolff, Leif Ellgren, Kent Tankred, The Hafler Trio, Asmus Tietchens, Dan Burke, Organum, John Duncan. Seit 1996 jährliche Herausgabe eine Heftes der Pelzwurstlieder, Bildschallplatte im handgestalteten Portfolio, Reimdichtungen im Geiste Klopstocks mit elektronischem Zuspielband: Zustandsbeschreibung der Welt mit den Augen der Listspinne, der Trugnatter, der Assel, der Klappnase, des Stachlers.
www.molokoplusrecords.de
|
2018 |
€18.00 |
|
| |
Klein:Rot |
LP |
NEUERSCHEINUNG
im Vertrieb der Walter Ulbricht Schallfolien, Hamburg & V I S
DITTERICH VON EULER-DONNERSPERG
LP KLEIN:ROT (V I S 007)
Eine Sammlung strenger eletronischer und elektroakustischer Übungen Erscheint im April 2021 auf rotem Vinyl in einer handnummerierten Auflage von 300 Abzügen.
NEW RELEASE
dist. by Walter Ulbricht Schallfolien, Hamburg & V I S
DITTERICH VON EULER-DONNERSPERG
LP KLEIN:ROT (V I S 007)
A bouquet of rigid electronic and electro-acoustic mouvements Printed as red vinyl in an edition of 300 numbered copies. Published April 2021
NO Digital Files at the moment
https://v-i-s.bandcamp.com/album/klein-rot-test-pressing
|
2021 |
€26.00 |
|
| VON HAUSSWOLFF, ANNA |
All Thoughts Fly (Pink) |
LP |
Sacro Bosco (“Sacred Grove”) is the starting point for Anna von Hausswolff’s new album All Thoughts Fly, incoming on Southern Lord on 25th September. Here in solo instrumental mode, the entire record consists of just one instrument, the pipe organ, and represents absolute liberation of the imagination. All Thoughts Fly radiates a melancholic beauty, and is distinguished by fluid transitions of contrasting elements; calmness and drama, harmony and dissonance, much like the place that inspires the music.
Sacro Bosco is a garden, based in the centre of Italy, containing grotesque mythological sculptures and buildings overgrown with vegetation, situated in a wooded valley beneath the castle of Orsini. Created during the 16th Century, Sacro Bosco was commissioned by Pier Francesco Orsini, some say to try and cope with his grief following the death of his wife Guilia Farnese, others speculate the purpose was to create art.
About the album Anna explains “there’s a sadness and wilderness that inspired me to write this album, also a timelessness. I believe that this park has survived not only due to its beauty but also because of the iconography, it has been liberated from predictable ideas and ideals. The people who built this park truly set their minds and imagination free. All thoughts fly is a homage to this creation, and an effort to articulate the atmosphere and the feelings that this place evokes inside of me. It’s a very personal interpretation of a place that I lack the words to describe. I’d like to believe Orsini built this monumental park out of grief for his dead wife, and in my Sacro Bosco I used this story as a core for my own inspiration: love as a foundation for creation.”
The accompanying video for the first single “Sacro Bosco” is, just like the music, an interpretation of the park with an imaginary twist. Directed by Gustaf and Ludvig Holtenäs.
Anna summarises, “Sacro Bosco in Bomarzo is a creation carved out from one man’s head. A frozen thought lasting throughout time and touching people across generations. All thoughts fly, Ogni Pensiero Vola, is about this: the importance of sharing for surviving, creating space and evolving. Once you’ve shared your words they are not only yours anymore.”
All Thoughts Fly ultimately embodies the exploration of any and all possibilities, and the audience is invited to listen, liberate the mind and let it wander.
Notes on the recording process:
The organ on All Thoughts Fly is situated in Gothenburg and is a Swedish replica of the Arp Schnitger organ in Germany. It is the largest organ tuned in Quarter-comma meantone temperament in the world. With it’s four manuals, one pedal and 54 stops, it was built as part of a ten-year research project reconstructing 17th Century North German organ building craft. The tuning temperament is an important detail to note here, as it deeply affects the sound and tuning, and thus radically changed the process of creating this album. Anna speaks of a pleasant surprise during recording, the organ’s ability to create beautiful “pitching” notes through its stops and air supply system. She remarks “We took advantage of this so most of the pitching sounds and notes that you hear on the album comes from the mechanics of this organ, effects made entirely acoustically.” The organ was recorded with two room mics for atmosphere and two pairs of close mics placed inside the organ to capture nuances and detail for further organ sound processing by Filip Leyman in his studio.
All songs written & played by Anna von Hausswolff
Organ sound design by Filip Leyman and Anna von Hausswolff
Produced and mixed by Anna von Hausswolff & Filip Leyman
Mastered by Hans Olsson at Svenska Grammofonstudion
Recorded in Örgryte New Church, in Gothenburg January 2020.
Organ recorded with mobile equipment from Svenska Grammofonstudion
Cover photo & inner sleeve photo by Gianluca Grasselli
Layout & design by Tina Damgaard
https://annavonhausswolffsl.bandcamp.com/album/all-thoughts-fly
|
2022 |
€25.00 |
|
| VON HAUSSWOLFF, C.M. & CHANDRA SHUKLA |
Travelogue [Bali] |
CD |
Travelogue [Bali] is the second in an ongoing series of collected international audio diaries (Travelogue [Nepal] was released by Touch in 2020). The premise is quite simple: the two meet at a mutually agreed upon destination along with the facilitation of something to record audio of these experiences on. The intent is to capture and augment these sonic documentaries of their travels which then are sculpted into soundtracks. This is done by sourcing the culture, environment, persons or events that make their voices available.
In February 2020, CM von Hausswolff and Chandra Shukla met in Bali, Indonesia, over the course of 9 days. Recordings were made at Pandawa Beach, Green Bowl Beach, Melasti Beach Ungasan, Uluwatu Temple, Pasar Senggol Gianyar, Pengosekan Kaja Ubud, Badung Market, Kintamani and Mt. Batur, Puri Saren Agung Ubud, Mandala Suci Wenara Wana (Sacred Monkey Forest Sanctuary) Ubud, Pura Tirta Empul Tampaksiring, Pandan Beach and Kelingking Beach Nusa Penida.
Special thanks to Dewa Alit and Salukat Gamelan, Dewa Sakura, Elisa Faires, Ivan Seng, Shannon Batten, Kecak Uluwatu, Made Surya and Dewa Aji Mangku. Also thanks to Ulrich Hillebrand and Gregor Krause.
https://cmvonhausswolffreleases.bandcamp.com/album/travelogue-bali
|
2023 |
€17.50 |
|
| VON HAUSSWOLFF, C.M. (CARL MICHAEL) |
800000 Seconds in Harar |
CD |
" CD digipak. CM von Hausswolff says: 'I was approached by my old friend and Radium 226.05 colleague Ulrich Hillebrand, now director of Angered Theatre in Göteborg. He informed me that there was a new play in the process of being written by author and theorist Michael Azar called 'Jag r en annan' (I is another) stemming form the famous letter written by Arthur Rimbaud in his youth. The play uses Rimbaud's life from being a young poet in Charleville ending with him being the trader in Harar, Ethiopia. Hillebrand asked me if I was willing to compose the music to this play. I accepted. I told Hillebrand that I needed to use material that had something to do with Rimbaud's life and as he had connections in Ethiopia and in the small city of Harar he said: why don't you go to Harar for 10 days and see what you can find ? So I went to Addis Ababa where a guy was waiting for me and drove me the 10 hours beautiful ride to Harar. I made recordings and looked for other useful material. There are 2 tracks. On the first track, which consists of three 'parts' I have used material from Harar. The long dronic sounds are taken form an instrument that I, after searching for days, bought in Harar - it's called a 'krar' and is a string instruments (it's quite clear that I have used a string instrument- also if you study Ethiopian music you came across the name of Saint Yared and he was the first to construct a notation system for music... much earlier than the Europeans). As I could not really master the actual playing of this instrument, I bought a bow for a violin and some rosin and with this I got one good tone out from this krar. Then the computer helped me to sort the modes and pitches out. On this piece there also two location recordings: the first one you hear is a recording I did outside Harar on a hill where there are next to no car sounds or other machine sounds - just the wind, insects, some kids and that (I wanted this recording to be more or less timeless or at least 19th century and forward...). The second location recording was done in the night in my hotel, where I woke up one night and became fascinated by the leaking taps in my bathroom so I decided to records this. On the second there are only oscillators used... several of them... And using one low pitch oscillator I ran a sound filtered through. This sound is the low 'rhythm' you can hear, and it's a low pitched morse code signal... and the text is the famous poem Rimbaud wrote in his youth called Le Dormeur Du Val (The Sleeper in the Valley). This poem is a beautiful text starting off in the nature, where a person is sleeping in the grass. Slowly Rimbaud zooms in and we read that it's a soldier and at the very end we are told he has two red wounds on his chest - the guy is dead!'
Arthur Rimbaud lived in Harar from 1884 until shortly before his death in 1891. This is Carl Michael von Hausswolff's first album for Touch, but the connection goes back many years, of course. Carl Michael von Hausswolff was born in 1956 in Linköping, Sweden. He lives and works in Stockholm. Since the end of the 1970s, Hausswolff has worked as a composer using the tape recorder as his main instrument and as a conceptual visual artist working with performance art, light and sound installations and photography.' [label info]
www.touchmusic.org.uk
"Dem Minimalismus wird definitiv in der heutigen Zeit viel Raum gewährt. Vergleichbar dem graphischen Design einer Designer Republic wird Weniger zum Mehr, ist die Leerstelle längst
Ausdrucksmittel für den mondänen Zeitgeist. Hausswolff fährt diese Schiene seit Jahren
erfolgreich, verlässt sie aber nur für kurze konkrete Zwischenhalte (siehe das Triptych für das Laton-Label) um dann wieder drei Alben mit konsequent kurzgeschnittener Konzeption und
Kuration zu veröffentlichen, deren Sinn sich in stehenden Tönen auf Viertelstundenbasis und
kraftvollen Feldaufnahmen äußert. Die Vergangenheit die Hausswolff hier besingt, schleicht sich auch in Künstlerreichweite, denn die Kuration aus alter skandinavischer Galeristenarbeit wirkt auch Jahrzehnte später bei Hausswolff nach. Sicherlich ist »800 000 Seconds in Harar« ein im heutigen Sinne weitaus ausgewogeneres Werk, auch wenn die spärlichen
Akkordwechsel der Drones eher lange auf sich warten lassen. Geduld muss vorhanden sein,
das Goutieren der Musik wird schlagartig zum Spiel mit Zeit und Raum. Erst im dritten Stück
entfalten sich orgelartige Strukturen, auf die John Cage angesichts seines Jahrtausendwerkes
ORGAN2 stolz sein dürfte. Ähnlich verlangsamt, aber mit präsenten Bassschwingungen hallen
die organischen Zutaten eines Besuchs in Harar umso mehr am Hörknochen noch. Nichtsdestotrotz ist Hausswolff auf dünnem Eis. Das sorgfältige Konstrukt aus Schwebungssummern und genau präzisierter Hertzzahl gerät angesichts der emotionalen Verortung in der Musik bisweilen ins Wanken. Dann muss man Geduld aufbringen, um dieses Werk in seiner vollen Länge zu würdigen.
4/5 " [Thorsten Soltau / AEMAG]
"Selbst wenn man die Hintergrundinfos zu dieser CD nicht kennt, ist es immer wieder ein Vergnügen dem "Meister des Drones" zu lauschen. - Nun, auf CD ist das bei CM von Hausswolff immer so eine Sache, da seine meisten Tracks sehr lang und auch abhängig sind von der Qualität der Stereoanlage, denn der Herr hier bevorzugt extrem tieftönendes Klänge. Live und direkt ein unglaubliches Erlebnis, wenn er die Filter zum glühen bringt, man in den Sitz gepresst wird und die Kleidung wie Folie sich um den ganzen Körper spannt und das nur durch einen herrvoragend aufeinander abgestimmten Drone. Für diese Veröffentlichung, die gleichzeitig Musik für eine Theaterstück über die letzten Lebensjahre von Arthur Rimbaud in Harhar ist, wurde CM kurzer Hand in ein Flugzeug verfrachtet und zehn Tage nach Äthopien geschickt und das nur, weil er sagte, er bräuchte Basicmaterial für seine Kompositionen. Also hört man hier die bearbeiteten Klänge der Originalschauplätze, Reiseeindrücke und Aufnahmen auf der Grundlage traditionellen äthiopischen Musikinstrumenten. Wunderbare und meditative fließende Drones umschmeicheln den Hörer und nehmen ihn mit auf diese (Traum)Reise!" [Carsten Vollmer / OX]
|
2011 |
€14.00 |
|
|
Plays John Cage II |
flexi-7inch |
"When John Cage was about to celebrate his 80th birthday in 1992, the Stockholm electronic Music Festival invited CM von Hausswolff to interpret Cage's piece Imaginary Landscape #5. At the time of the performance Cage had already passed away a month earlier. The piece was recorded and Joe Colley's label Povertech Industries agreed to release it. The second side contained Hausswolff's first version of Cage's legendary work 4'33'. The 7' was released in 1996.
In 1995 Hausswolff dedicated a second work to John Cage composed in Berlin and released on an LP by London based Ash International in 1997. The piece was called As Quiet As A Campfire Or Analogue Motoric And Electro-Magnetic Silence Disturbed By Intuitive Slumber.
In 2010 CM von Hausswolff and Petri Kuljuntausta performed 4'33' at IHME Contemporary Art Festival in Helsinki, Finland. This version was for two electric guitars and amplifiers.
CM von Hausswolff Plays John Cage II contains a new recorded version: 4'33' - for electric guitar (broken amplifier version)Êand was recorded as an hommage to Cage's 100 years anniversary in 2012. A white square 7' flexi disc limited to 200 copies." [label info]
idealrecordings.tumblr.com
|
2015 |
€10.00 |
|
|
A Lecture on Disturbances in Architecture |
CD |
R. Buckminster Fuller's voice on track one sampled from The Critical Path - Spirit of Health, recorded October 1982 in Maui, Hawaii (Dolphin Tapes, Big Sur, California). Track two is taken from the exhibition Red Code (CCA, Kitakyushu, 2001) and was recorded by Scott Olson and myself. A version of track four was also used in the exhibition 3D+ (Bruxelles, Berlin, Dublin etc., 2001 - 2002). Track seven is an earlier version of a designed sound used in Jesus_C_Odd_Size, a play by Hotel ProForma, Malm–, 2000. A shorter version was also released on the CD Because Tomorrow Comes #4 (btc, K–ln, 2001). Cover photograph from Red Code (CCA, Kitakyushu 2001) and from Hashima. Back cover photo from Red Code. All photographs by CM von Hausswolff. Special acknowledgements go to Akiko Miyake, Nobuo Nakamura, Scott Olson, Josefine Eriksson, Raytheon Fishfinder, Ericsson, Kirsten Dehlholm, Kyra Stratmann and the Esalen Institute. This record is dedicated to Marietta von Baumgarten All titles composed by C.M. von Hausswolff. Recorded between 1997 - 2002 and edited at the New Old Studio, Stockholm, 2002. All titles published by Touch Music, London.
www.fireworkeditionrecords.com
|
2002 |
€13.00 |
|
| |
Addressing the Fallen Angel |
LP |
"Two part sound piece based on sound installations at Pierogi Gallery (Brooklyn), Museo Rufino Tamayo (Mexico City) and ZKM (Karlsruhe), presented in 2001 - 2003." [label info]
"Renowned EVP expert and dark interpreter CMvH gets down to the nitty gritty of morality in art with a fascinating, newly augmented collection of sound installation recordings made 2001-2003 in response to Stockhausen’s controversial comments on 9/11 and now released by Sähko.
‘Addressing the Fallen Spirit’ employs an oblique collage of recordings from various installation works as the vehicle for Carl Michael Von Hausswolff’s thoughts on the intersection of art and morality. It’s obviously a dead sticky subject but one that CMvH tackles in the accompanying liner notes, which are crucial to understanding the LP, and take on a particular resonance in 2019 when discussions about political and moral responsibility are more urgent than ever.
The premise of the LP lies in Karlheinz Stockhausen’s 2001 assertions that Al Qaeda’s 9/11 attacks on the Twin Towers in NYC, the Pentagon, and Pennsylvania constituted a work of art. Stockhausen would later clarify his comments and condemn the attack as “Lucifer’s greatest work of art”, but CMvH finds fault with both assertions, essentially saying that a) the attack wasn’t a work of art because it caused death and tragedy, and b) that in qualifying his statement by invoking the mythological fabrication of Lucifer, and by extension Christianity, he was deferring responsibility to the big spirit in the sky.
As CMvH outlines in the liner notes, the argument is more complicated, and applies to a vast history of art in the last 50 years. This includes CMvH’s own highly controversial use of ashes from the victims of the Holocaust at Nazi concentration camp Majdanek in a painting at his 2012 gallery show, which was quickly cancelled.
Bookended by brief vocal snippets, concluding with the voice of Stockhausen, the piece’s collage of distressed radio signals, 666 Hz sine waves, guitar amp hum recorded at multiple CMvH installations between 2001-2003 thus act as a charred sponge or carbon sink for thoughts on the matter of “religious dogma and artistic pomp”, and society’s inability to properly grasp and take responsibility for its actions, or at least not even discuss the matter maturely. Taken in context of impending ecological disaster, too, he suggests that humans, even the ones we massively respect (CMvH is hugely inspired by Stockhausen), have difficulty coming to terms with objective reality and taking responsibility; now is the time to act." [Boomkat]
|
2019 |
€18.00 |
|
| VOX POPULI! / VOX 231 |
Ebats Spirituels |
LP |
Reissue of the same-titled tape, originally out in 1986 on CTHULHU Records (as CR 03).
With this release, VOX POPULI! offers, in collaboration with Pierre JOLIVET from PACIFIC 231 (as VOX 231 on this album) some deep dark atmospheres and ritualistic sounds using acoustic instruments such as flutes, cornet, guitar, trumpet, zither, as well as electronics : synthesizer and sequencer, many effects and voices. Lyrics in Persian. All material remastered.
LP comes in a limited edition to 491 copies on velvet purple vinyl including a folded 45x62 cm silk-screened poster on 120 g deluxe textured paper.
https://nuitetbrouillard.bandcamp.com/album/vox-populi-ebats-spirituels
|
2021 |
€20.00 |
|
| VROMB |
Jeux de Terre |
CD |
Das erste VROMB – Album erschien 1993 auf Tesco und wird inzwischen zurecht als Klassiker betrachtet – irgendwo in der Grauzone zwischen dunklem ambient Industrial und rhythmisch-futuristischer Elektronik siedelte VROMB seinen ureigenen Stil an..
"until 1993, hugo girard's only appearance on record had been on a canadian compilation cd (adolphe présente), but these new ambient industrial sounds caused enthusiastic reactions in europe and canada. the first full length release was a canadian / german label collaboration: 'jeux de terre' . this cd was beautifully packaged in a 7"x10" cover and the disc was in a hand numbered paper sleeve. also included was a postcard and several large prints of nicely drawn insects - the text was in both french and english. the original 'jeux de terre' has been deleted for years. now there is the opportunity for vromb addicts to get it again. this re-release is in celebration of the ten year anniversary of vromb. the concept behind 'jeux de terre' (earth plays) was of a journey through an imaginary world of
insects. insects that had not been identified yet - as you can now read in english for the first time. 'insects, go for food or discovery, warzone, life purpose at the insect dimension' as girard explains it. the sound on this disc is less beat oriented than later vromb releases, but nevertheless it is partly rhythmic. drones and basses create a hypnotic and sometimes threatening atmosphere. you might seem to hear natural, even sampled, insect sounds but there were no samplers used. just 'strictly analog and digital synthesis'. you can hear what makes vromb's music unique even on his debut.
a soundtrack to a film yet completed. the ant-zen re-release contains one unreleased extra track which was intended for the original version and an 8 page booklet which includes a modified version of the original artwork."
[label info]
|
2003 |
€13.50 |
|
| W>A>S>P>S / NACHT UND NEBEL |
split |
7inch |
"Comes on black vinyl, with red, green or white cover. nacht und nebel - 3 tracks of rumbling, scraping 'cello misuse.
W>A>S>P>S - 1 track of brutally heavy bass surf wall and electricity shock. "Stark and potentially horrifying sounds within"
[label info]
https://nachtundnebel.bandcamp.com/album/split-7-w-w-a-s-p-s
"I love that this singles like this exist. This split from experimental musicians W>A>S>P>S and Nacht Und Nebel is a conceptual single who's mere existence without even putting it on the turntable is proof enough of the vision and intent. This record isn't intended to be music for the livingroom or to illicit some kind of emotional response. Instead they're the the conclusion to their equation. A proof of a theory and making the conceptual an actual object you can hold in your hand to reenact this document of a particular set of circumstances. A crazy vision that they had to follow to it's end point.
In the case of W>A>S>P>S, Benjamin Hallat is presenting a sound, a long droning speaker-breaking low end crackle that would make anyone check their needle and amp, which hasn't ever existed in nature. This is a completely man made sound that exists entirely because of electricity. It's a humming dangerous sound. It's a transformer overhead jammed between poles of power lines that's shorting out in the acid rain. The lower end hum shifts through a narrow spectrum of tones because now we have to mention the limitations of whatever this was recorded on. The mic and tape have been turned up to maximum input which boosts that rumble and obscures everything else. Like some kind of circuitry didgeridoo it warbles and melts away under a static crackle that comes from malfunction. It could be a simple conversation on a telephone, a sample recorded off the tv...which was then successively rerecorded over and over. Each time a new one was made from the record of the last time, getting exponentially more broken. W>A>S>P>S have transformed it into something else completely that will never exist as a 'live' sound. It's a weird world we live in. Welcome to the future.
Nacht Und Nebel (or Night and Fog, which has equally ominous connotations as Nazi coined 'Joy Division') on the B-Side is the solo project, of Henry Davies. The press release says the three tracks on this side are manipulations of a cello but you wouldn't know it on "Those That Tremble as if They Were Mad" that features a cycling warm wooden sound that slowly works it's way through digital sounding crunches and crushes of various bit sizes, turning into a deadly swarm. A hiss of digital swarming bees from the '50s. Theremin warps and old synths sparkle and give off tesla sparks of lightning. It ends up underwater as a long past memory you'll want to forget in this stark apocolpytic future. "Derinkuyu" is the sound of a far off thunderous footstep from a massive robot and you're listening through an old tin can telephone, the only technology left. It's also on the heels of those fucking digital bees and walks ever so closer with pinging noises from an equally deadly submarine. It's as if we're listening to creatures who can't even hear and have no use for sound waves. These tracks are the leftover detritus of a forgotten way they used to communicate before theygave up on the whole damn thing.
Those bees are stuck inside an old Atari on "Anareta". I even forgot this came from a cello? Basically unimportant except for the fact there's deliberately no reference whatsoever to the original source. Henry is saying it doesn't make a difference how this started, it's been bent into a completely new thing. The traditional organic sound has been obliterated. This one skitters around in waves after the initial bzzzzz and fades out as the EQ was pushed down into negative Db's above 500hz. It's not happy, you aren't going to put it on in the car on the way to work but it's inspiring as hell.
Head over here to get one of these 250 copies, xerox sleeves, minimal as hell. Stark and potentially horrifying sounds within." [Jason /7inchesblogspot]
|
2013 |
€7.00 |
|
| WADA, YOSHI |
Earth Horns with Electronic Drone |
CD |
Bisher unveröffentlichte Aufnahmen eines Konzertes von 1974 (New York City)! Handgespielte Ritual & Transzendental-Drones at its best !!
"A world premiere from Yoshi Wada and EM Records-Omega Point: the first-ever release of Earth Horns with Electronic Drone, recorded live in 1974. Combining four of Wada's self-made pipehorns (made from plumbing materials, over three meters in length), with an electronic drone tuned to the electrical current of the performance space, this is a lost masterpiece of early minimalism, placing Wada rightfully in the pantheon with La Monte Young, Phill Niblock, Maryanne Amacher and Alvin Lucier. Recorded live in Syracuse, New York, this recording captures the room-filling complex overtones generated by the ever-shifting interplay of the breathing horns and the constant electronic drone. This is a music of ritual hypnotic power, its heavy low end mass and sense of change within constancy engendering a meditative transcendency. 'Earth Horns with Electronic Drone' is the fourth and ultimate release in our Yoshi Wada series, a must for all fans of minimalism, heavy drones, ritual, mystery and world-shaking transcendence. From an original performance of almost three hours, the CD features a 77 minute excerpt; we are especially honored to also offer the full performance as a triple LP set (sold out !). From Earth Horns to beyond the firmament: prepare to be elevated ! Composition by Yoshi Wada. Recorded at Everson Museum of Art, Syracuse, New York on February 24, 1974. Pipehorns constructed by Yoshi Wada. Electronic equipment designed by Liz Phillips and Yoshi Wada. Electronics: Liz Phillips. Pipehorn Players: Jim Burton, Garrett List, Barbara Stewart and Yoshi Wada. Recorded by Yoshi Wada."
[label info] |
2009 |
€16.50 |
|
| |
Singing in Unison |
3 x LP |
" 'Singing in unison' is the latest in a series of recordings from acclaimed sound artist, composer and performer Yoshi Wada. Recorded live over two nights, March 14 and 15, in 1978, at New York City's legendary performance space The Kitchen, Singing in Unison is a dramatic yet meditative work: modal improvisations for three male voices, singing, with great gravitas, in purposeful unison. These previously unreleased recordings, featuring vocalists Richard Hayman, Imani Smith and Wada himself are extremely powerful, with a glacial majesty and a sense of timeless wonder. Wada's earliest musical memories are of hearing Zen Buddhist ritual chants in his native Japan, and those memories are reflected in the deep vocalisations here; also evident is Wada's period of intense study with Indian master singer Pandit Pran Nath. Thus there is a definite Eastern feeling to Singing in Unison, with further elements added by Imani Smith's Sufi background and Wada's interest in Eastern European vocal styles, but the music is also informed by Wada's experiences in the Fluxus movement and as a member of the New York avant-garde community. The edgy atmosphere of 1970s New York City pervades these recordings, adding a hint of menace. Despite the fact that this is purely vocal music, fans of the slow-moving heaviosity of Sunn 0))) will appreciate Singing in Unison. It is available in two formats: a single CD of the March 15 performance, with gatefold sleeve; or a triple LP set featuring a complete version of both performances, March 14 and 15. 'Singing in Unison' is a massive, monumental, monolith of vocal sound. Unstoppable! Triple 12' LP set for the complete version of both performances on March 14 and 15. Two and a half hours in total. Quality pressing + liners." [label info]
www.emrecords.net
|
2012 |
€45.00 |
|
| WANDER |
same |
CD |
Viermal pure Drone / Minimal Music–Stücke vom BEEQUEENSeitenprojekt, warm und analog und sachte schwingend.... klingt sehr
„klassisch“ wie die Vorbilder aus den 70er Jahren.... am besten das vierte Stück wenn sich zu tiefen Drones Wassergeräusche mischen...
Dies ist die EINZIGE jemals erscheinende WANDER CD, da sie auf jeden Format nur einmal veröffentlichen!
“Wander are Freek Kinkelaar and Frans de Waard, also known as Beequeen. Since changing Beequeen's musical direction in the summer
of 2000 (drones out and 'popmusic' in). However, since they both love drone music, they founded Wander in 2001. In Wander they explore
drone music in it's widest possible form, with each new release exploring a specific concept. Wander will release their music on various
formats, but every format only once. Each release is called Wander, and there is a total absense of any information on the cover. So far they have released a 10" on their own Plinkity Plonk label, a LP for En/Of, a split 7" on Plinkity Plonk (a split single with Beequeen), a CDR on XZF and a 7" on Edition... and a forthcoming split 7" recorded in collaboration with Andrew Liles. The material was recorded in the analogue studio Geluidswerkplaats
Extrapool in late 2004 and early 2005, using a wide variety of vintage synthesizers (juno 60, korg MS20, roland SH 102 and Arp synthesizer)
and a Philicordia organ. The four long pieces breath an atmospheric, pastoral sound of slow and deep evolving drones. The CD was mastered by Raymond Steeg of The Legendary Pink Dots' fame. The images on the cover and the disc were made with the help of Elise de Waard. Released in a special cardboard package with varnished
images. Strictly limited edition of 600 copies only. Wander live performances are as rare as hen's teeth. So far two took place: providing a new soundtrack to Derek Jarman's 'In The Shadow
Of The Sun' and a gallery-show in Amsterdam (to much ignorance of a snotty and arty audience - but then we wouldn't have expected otherwise). official website at http://www.beequeen.nl/wander.htm“ [label info] |
2005 |
€8.00 |
|
| WAPPENHALTER, EDGAR |
On the Beach |
LP |
"About Edgar Wappenhalter: Wellknown facts: Edgar Wappenhalter is Steve Marreyt, co-founder of belgian psych-rockers Sylvester Anfang, and the Funeral Folk label, and is currently working for the Kraak-label. After leaving Sylvester Anfang II last year, Steve focussed on a string of tape-releases as Edgar Wappenhalter, his psychedelic fuzzed out dronefolk act, released on labels as divers as Goaty Tapes, Cabin Floor Esoterica and Young Girls Records. On The Beach is Wappenhalter's vinyl debut. Lesser known facts: Steve debuted ten years ago on Morc, with a comp-track of his band Elo vs Saturn, and did a few EPs as John Merrick Band on Morc as well. Although Wappenhalter creates a psychedelic sound world, he uses a very straight-ahead approach. About On The Beach: Whereas Edgar Wappenhalter's earlier tapereleases focussed on either his reverb-drenched folksongs, or his ecstatic tapeloop-experiments, On The Beach brings a perfect symbiosis of these two sides of mr Marreyt.. So you can expect plenty of songs that blend shoegaze and psychfolk, or that sound like a beachparty heard from so far away that you can't tell what the DJ is playing, only that it sounds familiar and that you like it. The LP is pressed in an edition of approx. 180 copies. The jackets were silkscreened by Levi Seeldraeyers of Smeraldina-Rima. Press quotes: Music for the missing link (Digitalis Industries). A blast of righteous lo-fi psychedelic-folk, beautifully crisp around the edges and soft n squishy in the centre (Kid Shirt). Recommended if you like drone, folk, experimental singer-songwriting, ecstatic psychpop, Ariel Pink, Drekka, Fabulous Diamonds, Urdog, The Doozer." [label info]
www.morctapes.com
|
2010 |
€17.00 |
|
| WARDROBE MEMORIES |
The Mean |
MC |
"Wardrobe Memories has been around since 1999 - serving Drones and melodic dark ambient on CD-R, vinyl and Cassette. After releases on Dhyana Records, EE Tapes and several other hard-to-purchase longplayers, sparsely spread in very limited runs, a new LP on shhhh records appeared in 2011 with foggy soundtracks and subtle beats. Now after 2 years (and almost one year in the making) the new album by Wardrobe Memories appears with a green C-50 audio cassette on Voluntary Whores, strictly limited to 48 copies, serving 14 soundtrack-songs for a never released steampunk-darkfuture-movie. Release comes with a futuristic object and oversized printed artwork." [label info]
www.voluntarywhores.de
|
2013 |
€8.00 |
|
| WATERMANN, JOHN |
Calcutta Gas Chamber |
pic-LP |
Wiederveröffentlichung dieses Klassikers, jetzt als picture Vinyl!
"....ein dunkles, dichtes Werk mit elektro-akustischen Qualitäten, viele konkrete Geräusche & Sounds & Cut-ups, meist undefinierbar, aber voll von unheimlich beseeltem maschinellen Leben... absolut packend!" [Drone Records]
"Re-release of the long out-of-print album by the late John Watermann. The idea for this project came about after a visit to Calcutta in 1990, and through the nightmarish experiences during that short visit. The concept of aurally conveying the horror of a gas chamber was realised through field recordings in an abandoned electrical power station in Brisbane in 1992. The sounds are grating and harsh, a mixture of field recordings and electronic manipulations. One can rarely pinpoint a location or action but the images the sounds conjure up are of all sorts of nefarious activites related to death by machinery. The sleeve notes take you into the horror that is the Calcutta Gas Chamber. John Watermann started the re-design for this re-issue (originally released in 1993 on US label ND), but tragically passed away in 2002 before its realisation. A beautifully composed and produced album, completely remastered and feat. new artwork. This special picture LP is limited to 444 numbered copies. A CD version of 'Calcutta Gas Chamber' was released by Cold Spring in late 2006." [label info]
|
2007 |
€18.00 |
|
| WE LIKE WE & JACOB KIRKEGAARD |
Time is Local |
LP |
Time is Local is a project by Danish collective We like We and sound artist Jacob Kirkegaard built around a 12-hour live sound installation and performance at Thorvaldsen Museum in Copenhagen.
The piece was initiated and performed by the artists during the G((o))ng Tomorrow Festival in 2017. As they slowly wandered the halls and rooms of the museum for a whole day, they performed extended sound compositions for a visiting audience at each of the 12 chambers for a longer session - a haunting experience as the outside world disappeared and the focus was on quiet sonic moments unfolding in midst of the grand, reverberous space. For this album they have collected 12 fragments revolving around the chambers in the museum. Each chamber is being represented by its own handful of tones, instruments and voice. The statues within, depicted by neo-classicist sculptor Bertel Thorvaldsen get their own soundtrack of quiet emanating gusts. Barely heard frequencies reflect through the walls. The marble carved busts of Greek gods that line the museum hallways gaze eternally with a blank stare as decades pass and new audience arrives.
Although We like We should need no introduction to followers of the Sonic Pieces label, the Danish all female sound quartet consists of Katrine Grarup Elbo (violin), Josefine Opsahl (cello), Sara Nigard Rosendal (percussion) and Katinka Fogh Vindelev (voice). Together they have forged a dynamic and intuitional sound beyond genres through the last decade. Only two years ago they released the nordic neo-classical opus Next to the entire All. This time they emerge in collaboration with sound artist Jacob Kirkegaard. Jacob’s works are sonic reflections on complex aspects of the human civilisation, treating themes such as radioactivity, melting ice, border walls and tones emitted by the ears. Through the last decades he has released records and sound documents through labels such as Touch, Important Records and more. As a document of their 12h performance, Time is Local is a beautiful sonic evocation that shines as a bright line of sun through the cracks of a tomb.
https://welikewe.bandcamp.com/album/time-is-local
|
2019 |
€29.00 |
|
| WE STOOD LIKE KINGS |
USA 1982. A new Soundtrack for the Movie Koyaanisqatsi |
do-LP |
"The Brussels-based post-rock band We Stood Like Kings announces the release of a new film music project entitled USA 1982, intended as an alternative soundtrack for the American cult movie Koyaanisqatsi directed by Godfrey Reggio.
After BERLIN 1927 and USSR 1926, this third opus USA 1982 – the band’s most ambitious project to this day, a musical reinterpretation of a movie famous for its original score by Philip Glass – embodies the musical maturity of the band which since 2012 has devoted itself to the accompaniment of masterworks of silent cinema.
In 2017, despite celebrating its 35th birthday, Koyaanisqatsi remains profoundly modern. The relationship between humanity, nature and technology illustrated by Godfrey Reggio, Ron Fricke and co. in the movie finds itself at the heart of the challenges of today’s society.
USA 1982 will be released on Friday, September 22, 2017 on CD, LP and digital through the German label Kapitän Platte.
At the crossroads between Chopin, Pink Floyd and Explosions In The Sky, We Stood Like plays instrumental progressive rock tinted with neoclassical influences thanks to the central presence of the piano."
https://kapitaenplatte.bandcamp.com/album/we-stood-like-kings-usa-1982
|
2017 |
€22.50 |
|
| WE WAIT FOR THE SNOW |
Lullabies from our Dreams |
CD |
"We Wait For The Snow project was born in the Winter season of 2004/05. The founding member of the project is Andrea Penso, alredy active with Selaxon Lutberg and Cold Current label , helped by her old friend Simone Zuccolin. The sound is deliberately lo-fi, and it is created exclusively with economical instruments: acoustic and electric guitars, cheap keyboards, accordeon, farfisa, varius non-musical objects, flute, toys, percussions, tapes ...The aim is creating a confidential atmosphere through the balance between "dream" and "sadness". You can find this sense of precarious balance in the songs that alternate moments of pure improvisation with much more studied and controlled tracks. "Lullabies From Our Dreams" is the band's first official album; the songs are about dreams, lullabies and tales from the forest, stories of stones, woods, leaves, dead men, big trees, and girls that speak with demons ...for fans of raw, occult and lo-fi recordings, Fursaxa, Troum, Current 93, Jackie O'Motherfu**er, Islaja, drone music and neo psych-folk, folk noir, field recordings, concrete noise and acoustic melodies...in few words, Troum meet Espers, or something like that! Beautiful digi-sleeve, limited to 600 copies." [label info]
www.finalmuzik.com
|
2007 |
€13.00 |
|
| WEHOWSKY, RALF / JOHANNES FRISCH |
Tränende Würger |
CD |
RLW COLLAB(or)IERT wieder ! Diesmal mit dem uns unbekannten JOHANNES FRISCH, der aus der Impro-Szene stammt.... Vier Stücke voller Überraschungen !
“ 1) Johannes Frisch: works since the late 1970s as a performer, composer and improviser of contemporary music between experimental rock, free jazz and other openminded styles. on his main instrument, the double bass, he works for more than three decades consequently on an individual expressive language. he played with lot of musicians of the international scene of free improvisation and all experimental fields - among others Lol Coxhill, Maggie Nicols, Johannes Bauer, Le Quan Ninh, Paul Hubweber, Michael Vorfeld, Misha Feigin. Compositions for theatre, film and dance theater actual projects: Kammerflimmer Kollektief; Home of the beast, with Peter Hollinger und Helmut Bieler-Wendt; Ensemble Sondarc, music for six double basses; rat'n'X; trio with Paul Wirkus & Mikolaj Trzaska; concerts & festivals all over europe.
2) Ralf Wehowsky: founded the group P.D. (in 1981 renamed P16.D4) and the label Wahrnehmungen (in 1982 renamed Selektion) in 1980. P16.D4 were one of the most influential groups of experimental industrial music. They developed concepts of materialaustausch long before the term remix was even coined. for their live appearances they were equally at home at punk and no wave festivals as at the holy grails of academic avantgarde like the Ferientage Neuer Musik, Darmstadt. since the early 90s Wehowsky worked under his own name (rlw). the quiet, highly complex style of composition, based on artifacts of instrumental and electronic lateral noises, evolving out of his collaboration with bernhard günter was influential for numerous artists in the fields of electronic and improvised music. some reflections on his work can be found on TULPAS, a 5CD-box-set, featuring more than 50 artists performing their versions of rlw pieces (incl. Jim O´Rourke, Brume, Achim Wollscheid, Toshiya Tsunoda, John Duncan, Antanas Jasenka, Ryoji Ikeda, John Watermann a.o.). the new decennium started with a surprise for many as first releases showed a new approach of integrating improvised music and composition (as can be found on the CDs VIEWS and SIGHTS, the latter w/ long-time collaborator Bruce Russell).
3) Tränende Würger: is based on free improvisations by the Frisch/Wehowsky duo, reworked with electro-acoustic means. the compositional process did not intend to mask the nonlinear nature of the improvisations. quite on the contrary their organic character has been emphasized by crystal-clear sharpening of details. you´ll find complex structures and dark atmospheres, not unlike those on some P16.D4-, This Heat- or Mnemonists- releases, though absolutely rooted in the 21st century. beauty and posoning are not far from each other.
'Tränende Würger' comes in a plastic bag, 15x15cm with the artwork on six seperate sheets, dealing with poisenious plants. Design by Meeuw.” [label description]
|
2005 |
€13.00 |
|
| |
Which Head are you dancing in? |
CD |
"An album 'Which head you're dancing in?' is full of weird rhythms and glitches but the most amazing thing here is the main inspiration. All of the pieces from this release wouldn't have been created without Ornette Coleman. Both Frisch and Wehowsky found many inspiring moments in music played by the father of free jazz. Their own work is full of glitches and noisy ornaments. In some parts one can find rhythmical structures reminiscing discotheque for spoilt laptops, other compositions show beautiness of contrasts between silence and prolonged, dark and wiry bass phrases.
Johannes Frisch works since the late 1970s as a performer, composer and improviser of contemporary music between experimental rock, free jazz and other openminded styles. on his main instrument, the double bass, he works for more than three decades consequently on an individual expressive language. he played with lot of musicians of the international scene of free improvisation and all experimental fields - among others Lol Coxhill, Maggie Nicols, Johannes Bauer, Lê Quan Ninh, Paul Hubweber, Michael Vorfeld, Misha Feigin compositions for theatre, film and dance theater actual projects include Kammerflimmer Kollektief; and collaborations with Helmut Bieler-Wendt.
Ralf Wehowsky founded the group P.D. (in 1981 renamed P16.D4) and the label Wahrnehmungen (in 1982 renamed Selektion) in 1980. P16.D4 were one of the most influential groups of experimental industrial music. They developed concepts of materialaustausch long before the term remix was even coined. For their live appearances they were equally at home, at punk and no wave festivals and at the holy grails of academic avantgarde like the Ferientage Neuer Musik or Darmstadt. Since the early 90s Wehowsky works under his own name (rlw). The quiet, highly complex style of composition based on artifacts of instrumental and electronic lateral noises, evolving out of his collaboration with bernhard günter was influential for numerous artists in the fields of electronic and improvised music. Some reflections on his work can be found on TULPAS, a 5CD-box-set, featuring more than 50 artists performing their versions of rlw pieces (incl. Jim O«Rourke Brume, Achim Wollscheid, Toshiya Tsunoda, John Duncan, Antanas Jasenka, Ryoji Ikeda, John Watermann a.o.). The new millennium showed a new approach of integrating improvised music and composition (as can be found on the CDs 'VIEWS' and 'SIGHTS', the latter w/long-time collaborators Bruce Russell and Johannes Frisch)."
|
2014 |
€12.00 |
|
| WHARTON, DONATO |
A white Rainbow spanning the Dark |
10inch |
"Donato Wharton is a composer based in London, UK. He has previously released three records for the Manchester and Berlin record label, City Centre Offices. The most recent of these was the 2006 release, 'Body Isolations'. 'A White Rainbow Spanning The Dark' therefore marks his first publicly released work in five years and his first for Serein.
Born in Cardiff and raised in Germany, Donato continues to travel extensively with his work as sound designer for stage and theatre productions. The influence of these journeys can be read in his chosen track titles; together, they evoke a sense of great distance and expanse.
These are not wistful tales of missing home, however, neither of new faces nor unfamiliar cities. The inspiration stems directly from the act of travelling, of being in transit thousands of feet above land. 'A White Rainbow Spanning The Dark' mirrors the changing landscapes of our planet, 'A Vast White Solitude', 'Ink Mountains', 'A Thousand Miles Of Grass'.
By pushing the limits of his tools of creation, primarily guitar and field recordings, Donato introduces swathes of noise into his compositions, shaping it as a sculptor chisels stone to form topographies of often rugged terrains, blustery, cold and unforgiving. The startling opening to 'In A Mute Scape' has you standing in the middle of a vast plain, your voice long lost to the wind, ringing in your ears.
There is something inherent to these pieces, though, which stops them from becoming too unforgiving or desolate. At times it is as if we observe these elemental environments from some safe haven or shelter, perhaps looking down from a window seat far above the land.
This record marks a sure-footed step forward for Donato on his quest for refinement, reduction and concentration. Artistically, one of his greatest triumphs is having crafted a style which is uniquely his own - 'A White Rainbow Spanning The Dark' couldn't have been written by anyone else, and that is surely a compliment of the highest order." [label info]
www.serein.co.uk
|
2011 |
€10.00 |
|
| WHITE NOISE |
An Electric Storm |
LP |
"Still available. 'An Electric Storm' (1969) is justly renowned among techno boffins as one of the first albums to fuse pop, psychedelia and electronic music before the advent of the Moog synthesizer. But you don't have to be versed in the language of sine waves and oscillators to enjoy this mostly delightful and hugely inventive album." [label info]
www.islandrecords.com
"White Noise's landmark 1969 album An Electric Storm might not the first thing most people think of when considering 1960s music, but there are few records anywhere tied more intrinsically to the moment of their creation. Recorded in the months immediately prior to the widespread availability of keyboard-based synthesizers, An Electric Storm might be one of the most painstakingly crafted electronic recordings of all time. Pieced together on improvised equipment via innumerable tape edits, this remarkable album is at once futuristic and unavoidably date-stamped, serving as a fascinating audio snapshot of a bygone era in sound generation and recording technology.
One of the few acts in pop music history able to trace their origins to the lecture hall, White Noise were first conceived when American electronic engineer David Vorhaus-- following a lecture by BBC Radiophonic Workshop veteran Delia Derbyshire-- enlisted Derbyshire and Brian Hodgson to integrate their experimental electronics with more pop-oriented material. (Derbyshire, of course, was by this point already responsible for the classic theme song from "Dr. Who" and other music for BBC TV and radio programs.) Commissioned by Island Records' Chris Blackwell, the three musical scientists soon holed themselves up for months in their Camden Town studio, fastidiously assembling what Vorhaus later surmised to be the most heavily tape-spliced album in history.
Yet knowledge of White Noise's academic or technical background does little to prepare the listener for the widescale psychedelic mayhem of An Electric Storm. Despite its brief 35-minute running length, the album covers an enormous amount of stylistic ground, as White Noise overlay their fractured pop songcraft with musique concrète effects, weird bits of radio theater, and long stretches of gothic horror. While other groups of the period--such as Silver Apples or The United States of America--made use of similarly primitive electronic equipment, An Electric Storm was a separate beast entirely, and its singular textures have been a primary influence on such subsequent acts as Stereolab, Broadcast and Belbury Poly.
Not originally issued in the U.S. until 1973, the album has seldom stayed in print for long, and surely owes at least a portion of its peculiar mystique to its rarity. With their latest reissue, Universal has kept the original tracklist intact, without unearthing any additional alternate or bonus material. The album has been splendidly re-mastered, however, and An Electric Storm remains a virtually requisite headphone experience with an otherworldly appeal that transcends its considerable influence.
Like so many ambitious albums of the time, An Electric Storm is consciously split into two distinct sides, the first half dubbed "Phase In" and the second "Phase Out". On the first side, White Noise indulge their daffy pop appetites with such bizarre trinkets as the cartoonish "Here Come the Fleas" and "Love Without Sound", the sensuous track which first encouraged Blackwell to pony up the cash for the full album. With the aid of rotating vocalists Annie Bird, Val Shaw, and John Whitman, the songs on the album's first half are melodic and memorable, and often infused with a cheeky sense of humor. The group's quirky wit is perhaps best witnessed on "My Game of Loving"; the album's notorious "orgy" track that follows an ecstatic bit of sexual frenzy with the sound of contented snoring.
Things get considerably scarier during the lengthy "Phase Out" segment, which begins with the group's 11-minute ambient centerpiece "The Visitations". This death-defying piece, which reportedly took over 3 months in the studio to assemble, ostensibly tells the tale of a motorcycle accident and its supernatural aftermath. Packed dense with disembodied noises and eerie panning effects, this intense track can become addictively engrossing, a perfect slice of audio theater that one can't help but ride through to the very end.
Vorhaus, Derbyshire and Hodgson took so long in recording An Electric Storm that Island started to get antsy, and well before completion the label began to demand the finished product. Presented with the challenge of such a time crunch, many groups might panic and fall back upon more conventional material. But true to their iconoclastic nature, White Noise instead improvised the still-astonishing "The Black Mass- An Electric Storm in Hell", a spirited cacophony layered thick with percussion, funereal chanting, and the tormented screams of the damned. Like the rest of An Electric Storm, this dark finale sounds quite unlike anything recorded before or since, and stubbornly refuses to ever settle in as background music.
And this unrehearsed episode of grotesquerie provides An Electric Storm with a strangely appropriate ending, as it stands as one final monument to White Noise's unique inspiration and eccentric approach to technical problem-solving. Theoretically, with the benefit of all the ensuing advances in recording technology, it should be easier than ever for today's musicians to duplicate such a production. Perhaps this deceptive sense of ease is precisely why no one has ever really been able to do so." [Matthew Murphy / Pitchfork]
|
2008 |
€20.00 |
|
| WHITE STAINS |
Singleminded Dualisms |
CD |
WHITE STAINS came into the minds of many listeners thanks to the regular debut album, recorded together with Psychic TV "Live At Stockholm". However, the history of this band and its metamorphoses goes back much further. Founded by Carl Abrahamsson, from the beginning it served as a tool for proclaiming manifestos inspired by the works of, among others, Aleister Crowley (White Stains is the title of one of the most important texts of the British magician) and other proponents of free thought. While the issues they raised were invariably focused around the subject of occultism and secret knowledge, in the musical layer the band underwent many metamorphoses: from occult/gothic rock through ambient to experimental electronics. As their style crystallized, Carl and Thomas Tibert renamed White Stains to Cotton Ferox. This publication opens the series of reissues of the Swedish group. It is a collection of all short publications that preceded their debut, recorded in the years 1987-1989 and released in the same time only on vinyl 7" and 12" EPs. So far, they have not been available on any other medium. The whole thing was provided with a proper commentary by Carl Abrahamsson, which is a great introduction to listening to the material, pointing to the context in which the compositions contained therein were created.
On the occasion of this publication, we have prepared a special collector's edition in a wooden box, limited to only 50 pieces, which, apart from the regular CD, contains various extras: cards with replicas of the original covers, a sticker, pins and a backpack (bag) with the characteristic logo of the Swedish band.
credits
released June 15, 2023
Previously released / tracks taken from:
1. Sweet Jayne*
2. Here to Do*
(1988, AOIT 001, 12” 400 copies w 40 in purple vinyl)
3. It’s Yours If You Want It*
(1988, TOPYSCAN 002 PETS, track on the compilation LP “Swedish Exotica Vol 1”, 1000 copies)
4. Express Your Desire*
5. Death At Hand*
(1989, TOPYSCAN 004, 7”, 500 copies)
6. The Energy**
7. Phase of Madness**
(1988, TOPYSCAN 001, 7”, 93 copies, with 23 copies in red vinyl)
8. The Awareness***
9. My Hallucination***
(1989, TOPYSCAN 003, 7”, 93 copies, with 23 copies in blue vinyl)
10. The Result***
11. Ov Like Mind***
(1989, TOPYSCAN 007, 7”, 93 copies, with 23 copies in green vinyl)
* Carl Abrahamsson: vocals, Jan Ekman: lead guitar, Tomas Sandell: guitar, Johan Sandell: bass guitar, Nicklas Hansen: drums
** Carl Abrahamsson: vocals, bass guitar, Jan Ekman: guitar
*** Carl Abrahamsson: vocals, Peter Bergstrandh: bass guitar, Jan Ekman: guitar, Thomas Tibert: synthesizers
https://zoharum.bandcamp.com/album/singleminded-dualisms
|
2023 |
€13.00 |
|
| WHITE, FRANCES |
In the Library of Dreams |
CD |
"I was going to write about how this is an absolutely beautiful and disturbing record, but I think quoting from the liner notes of James Pritchett really does sum it up. 'Frances White invites us to take a walk through her Resonant Landscape. Where are we going? We are walking through the woods, marshes, and streams of New Jersey. She points out the birds and frogs that make their home there, the water that flows through it and the wind that shakes the trees. But then we turn and there is that other sound world, the one in which these woodland sounds are transformed, or in which we find sounds altogether new: spectral birds singing to us through a sparkly haze; distant colored winds, like the breath of giants; the air around us, alive, charged with long, low drones and sudden electric crashes. There is something magical about this other world, and (like most magic) there is something disturbing here as well. We move between the two worlds almost at random, bumping into one sound after another. We find ourselves rising off the path and floating, then falling abruptly into silence, reappearing in a marsh full of geese and blackbirds. This is more than a sonic postcard from Princeton: it is a journey into the inner world of Frances White. We could call it an electroacoustic dream drawn from her memories of hikes in the woods. As in a dream, real experience is placed in a surreal context, a play of inner and outer. We fill in the gaps, supplying connections among the random fragments of reality, memory, and imagination. This gets to the heart of White's music. She has made a body of work in which she takes the real, brings it into her being, transforms it there, and then brings it out again in her compositions. Technically, she works by using the computer to manipulate recorded sounds and to synthesize wholly new ones. She mixes her timbres by hand as a painter would mix colors, and she applies them lovingly and painstakingly to her canvas of silence. But the power of her work comes from her ability to take listeners on journeys through her inner sense of sound, finding something luminous, exalted, dramatic, and at times frightening there. Her music is like the work of dreams, both the pleasant ones and the nightmares. It is not by accident that Gus Van Sant set the calmly-executed bloodbath of his film Elephant to one of White's Walks through 'Resonant Landscape'. White's unsettling juxtapositions of real and imagined sound work well with Van Sant's matter-of-fact treatment of almost unwatchable violence. Frances White studied composition at the University of Maryland, Brooklyn College, and Princeton University. She has received awards, grants, commissions, and fellowships from organizations such as the Guggenheim Foundation, Meet the Composer, the Alice M. Ditson Fund, the Mary Flagler Cary Charitable Trust, Prix Ars Electronica, the International Computer Music Association, ASCAP, the Bang On A Can Festival, and the Other Minds Festival. Ms. White's music can be heard on CD on the Wergo, Centaur, Nonsequitur, Harmonia Mundi, and Bridge Records labels. A CD devoted to her chamber works, Centre Bridge, was released in August of 2007 on the Mode label. Ms. White's music was featured as part of the soundtrack of three of Gus Van Sant movies." [label info]
www.pogus.com
"This new Pogus release is a work of a composer who is completely new to me. White studied composition at the University of Maryland, Brooklyn College, and Princeton University. Some of her work has been released by labels like Mode, Bridge, Harmonia Mundi, etc. This new release gathers six compositions for very different line ups. The first one, ‘Chosi’ is for solo shakuhachi, beautifully played by Ralph Samuelson. White studied Shakuhachi herself and feels inspired by traditional music that has shakuhachi in a main role. Also she feels inspired by nature. No wonder that she often uses natural field recordings in her electronic work. Just like Jonas Braasch, White has a comparable fascination for space and environment in her musical output, like titles as ‘Walk through Resonant Landscape 5.1’and ‘Walk through Resonant Landscape 5.2’ indicate. Both titles provide a picture or metaphor that describes how one can experience these pieces: it feels like a travel through different parts of a jungle. Here birdcalls dominate, there sounds from insects. The works are built up as a series of waves of manipulated environmental sounds. The works have a fine balance of acoustical natural sounds and electronics. White builds successful imaginary landscapes and surroundings. Also I would say she is searching for some spiritual quality in sound. The title piece ‘In the Library of Dreams’ is written for viola d’amore played here by David Cerutti, against a background of electronic sounds. Only one piece is for an ensemble, ‘The Ocean Inside’ played by Eight Blackbird, an ensemble of six musicians. It is a romantic piece of work of slowly moving patterns that disappear in a background of fragile sounds. The closing piece ‘The Book of Roses and Memory’ has very sensible playing by Liuh Wen Ting on viola and Thomas Buckner as narrator. The electroacoustic music of White takes you into dreamy atmospheres, with compositions that are not extremely complicated. In fact her work is very accessible. It is also very solid work and far from some easy romantic pastiche." [DM/Vital Weekly]
|
2012 |
€13.00 |
|
| WHITEHEAD, CHRIS |
Ravenscar |
CD |
“Ravenscar stands 600ft above the restless North Sea. To many it is simply a stopping off point between Whitby and Scarborough, commanding expansive views of the beautiful North Yorkshire coastline. Yet this place is also a canvas on which the overlapping layers of history have left their fingerprints.
The recordings that form this work were collected over two years during various seasons and in a range of weather conditions. Natural materials collected from the site were manipulated in several ways to add a sense of intimacy and perspective.
Although the piece is intended to be listened to as an unbroken whole, five distinct phases are passed through:
Wind: A consequence of Ravenscar’s exposure is its surrender to the wind which sculpts the cliff top trees and relentlessly batters the sparse buildings. Much the same prospect must have confronted the Romans when they built a signal station here in the 4th century AD.
Alum: In 1640 alum was discovered in the rocks, the production of which became the first British chemical industry. An alum works was built on the cliff top where the complex production process took place. It involved fire, seaweed and huge quantities of stale human urine.
Tunnel: When the railway came to Ravenscar in 1884, W. H. Hammond paid for a 279 yard tunnel to be built so that the view from his house was not compromised. The line closed in 1965. The disused tunnel now remains as a dark and baleful monument to the ghosts of steam.
Grass: In 1897 the Ravenscar Estate Company Ltd. began building roads, laying sewers and creating gardens. Their optimistic vision to fashion a holiday resort rivalling nearby Scarborough bore little fruit. Few plots were sold, and in 1913 the company folded leaving nature to reassert her dominance.
Radar: The stark remains of a Second World War radar station stand at Bent Rigg. Operational from 1941 to monitor shipping and aircraft, these long redundant concrete buidings are now used by sheep as a welcome refuge from the unceasing winds.” (Chris Whitehead)
www.unfathomless.net
"This Whitehead is not to be confused with the other, Gregory (of whom we haven't heard much lately, sound wise that is) and I don't think I heard music from Chris Whitehead before. He did his bunch of field recordings in a place called Ravenscar, in North Yorkshire but he also uses materials which he retrieved from the site. I looked the place up on google maps and it looks like a quiet small place near the coast. But maybe that was something I could have told you from listening to this forty-three minute work. It starts out with sea waves, it has the cracking of leaves, rusty agricultural devices (which occasionally buzz), all melted in a fine long piece that has somewhere between the twenty and thirty break (indicated on the cover as 'Tunnel') some hollow sounds, the tunnel probably, and some close range fire like sounds. It has a nice drone like texture to it. Towards the end the live farm stock plays a small role too, as well as a bit of street sounds. This is not the work of pure
sound documentation which we sometimes see in the area of music, but Chris Whitehead has perhaps (!) processed a bit of the sounds, and if not, then he surely did a more than fine job in putting all of these recordings into an excellent audio picture of that area." [FdW/Vital Weekly]
|
2012 |
€14.00 |
|
| WHITEHOUSE |
Halogen |
LP |
"First vinyl release of this classic Whitehouse album, "Halogen". Recorded by Steve Albini December 1993 at Electrical Audio, Chicago USA, and now remastered and cut By Noel Summerville. Art-work by Trevor Brown. The LP comes pressed in audiophile 180gm vinyl and a stunning gloss lami-nate sleeve." [label info]
|
2015 |
€23.00 |
|
| WICKED MESSENGER |
Officium Nocturnum |
do-CD |
"Each disc has its own catalog number, Plague 017 & Plague 018, and is housed separately in smartly designed cardboard jacket.
Do not file under dark ambient.
Tracklisting
1-1. Movement I (27:38)
1-2. Movement II (26:57)
2-1. Movement III (51:27)" [label info]
Reviews
"Some important dates and facts ...
539 bc: Cyrus II The Great concurs Babylon.
June 11th 323 bc: Alexander The Great dies.
64: Saint Peter dies in Rome.
June 8th, 632: Mohammed dies in Medina.
April 2, 747: Charles The Great is born in Herstal.
November 10th, 1483: Luther is born in Eisleben.
June 22nd, 1812: Napoleon declares war to Russia.
1913: Luigi Russollo introduces his "Intonorumori" to the world.
1959: Ornette Coleman releases The Shape Of Jazz To Come on Atlantic.
1986: Hellbastard releases their Ripper Crust demo.
March 2010: Wicked Messengers double CD Officium Nocturnum is released on Plague Recordings.
2013: The BBC broadcasts a documentary about undercover reporters that have filmed in dark rooms, watching 70 year old Catholic priests doing a bizarre occult ritual. Is it drugs? Is it a spiritual experience? Is it a religious experience? Questions that are not asked by the reporter but are asked by the music that accompanies this documentary. Music that makes you start to think about what is and what is not. The kindergarten-version of this documentary uses Sunn O)))'s Monoliths & Dimensions as soundtrack. The adult version of the documentary uses Officium Nocturnum as soundtrack.
2023: Vinyl-on-demand releases a Wicked Messenger 6XLP box.
3078: The human race is exterminated.
That's it folks."
(mudbirdshivers.blogspot.com)
***
"A new direction for Mr Messenger, evocative of medieval europe, the inquisition, dark monasteries, fire, torture and death. Followed by cataclysm, disaster and doom. It is intriguing, unsettling and hypnotic all at the same time and I really enjoy it.
New sound elements are very welcome such as church bells, monk chanting etc as well as the general mass destruction we have come to enjoy from WM. I was surprised by the spoken word section on the second movement but fascinated by the dark tones from a sacred text.
I'm glad that WM has continued to produce excellent work and it is a departure from the last album Vision Rites, showing that there is continued innovation in the areas of deep dark horror soundscapes and Grand Ambient.
Congratulations!"
(B.L.Underwood, UK)
www.plaguerecordings.com
|
2010 |
€18.00 |
|
| WIEMAN |
Alive Futarist Minifesta |
CD |
"In 1914 Luigi Russolo wrote his famous 'Art Of Noise' manifest. The 100th anniversary of 'Futurism' was celebrated all over the world but also in Tilburg, The Netherlands. Wieman was invited to perform their meltpot of futurist noise and since Tilburg is the hometown of their close friend Jos Smolders, and since he has switched to modular synthesis (and his synthesizer looks like a space ship control unit anyway), it was decided we would join forces for this project. In the usual fashion of home preparation and then spending a day to sort out the sequence of the tracks, Wieman and Smolders set to work, plundering freely from recordings of Russolo's original 'Intonarumori' instruments, via the sixties soundtracks of sci-fi movies (Star Trek, 2001 A Space Odyssey), Vivenza's machine recordings, industrial music and afro futurism, Wieman applied their usual meltpop techniques, while Smolders added his modular synth madness. It's bursting with mechanical rhythms, spacey choirs, and machine noise as well as sampled spoken word. In accordance with true meltpop the guessing game (hmmm, where have I hear this before?) is yours.
Wieman is the project of Roel Meelkop & Frans de Waard; the logical runner-up to Goem, first called Zèbra, but in 2012 they changed their name to Wieman. They call their music meltpop and take conceptual approaches to create new music. They created new pieces out of the catalogue of Factory Records, worked with music that had the word 'music' in it, remixed music from the cassette label Limbabwe Tapes, provided music for a performance leading up to screening of 'El Topo' by Alejandro Jodorowsky (together with Ben Schot), worked with Wally van Middendorp (of Minny Pops), reworked Cybe (80s synth musician) for an LP, dissected classical notions in pop music and even mined their own Goem catalogue as the source of music for a new piece of music. They only work on commissioned music.
Jos Smolders is a composer and mastering engineer, who recorded for Korm Plastics, Quiet Artworks and Staalplaat, is a member of THU20 and WaSm (together with Frans de Waard) and whose motto is that "Getting into the headspace and understanding the perspective of the artist is essential". His mastering clients include Merzbow, Pierre Henry and Scanner among many others." [label info]
|
2016 |
€10.00 |
|
| |
Cryptonesia |
LP |
"Ini.itu is releasing a new vinyl LP, composed by Wíeman (Roel Meelkop and Frans de Waard).
Roel Meelkop studied visual arts and art theory at the Willem de Kooning Academy in Rotterdam, The Netherlands. He is a member of Goem, Kapotte Muziek and THU20. In the last couple of years, Meelkop has focused on solo works in composition and installation work.
Frans de Waard is making music since more than 25 years under many aliases and in different line-ups, the most well-known being Kapotte Muziek, Goem, THU 20, Beequeen, Ezdanitoff, the Tobacconists and of course Freiband, under which name he already released an LP on ini.itu a few years ago.
Wíeman is their «meltpop» duo, which was previously known as Zèbra.
The project for this LP started when some obscure tapes released under the moniker Cybe in the early 80’s found their way to one of those MegaUpload accounts that disappeared a few months later.
So “Positive Movement Muzak / New Age Synthesis” “Cybernetika” and “Cybonesië -Tropische Klankbeelden” were temporarily out in the world again.
With the help of some synth forums the man behind that name could be located. With his approval and upon request from ini.itu, Wíeman, already famous for their reappropriation of Martin Hannett samples on “Live in Leugen”, used snippets from those Cybe tapes to create new pieces. What you have now with “Cryptonesia” is the unexpected meltpop child of dangdut and krautrock, filtered through electronica and post - exotica lenses. Refusing the temptation of going subtropical gabber, the good-natured beats, boisterous and carefree, exhale a cheerful and joyous mood. The epic 18 minutes long B-side is a freewheeling and energetic construction of meandering and hypnotic pseudo-gamelan riffs, resulting into trippy and lush washes of bliss. A record to enjoy, not only for its hedonistic take on music history reverse engineering, but also for the sake of its ecstatic feeling. The LP was mastered by Taylor Deupree." [label info]
|
2015 |
€13.00 |
|
| WIESE, JOHN |
Circle Snare |
LP |
"PPM31 - JOHN WIESE LP. FIRST PRESSING OF 500. BLACK VINYL. HEAVY UNCOATED PAPER STOCK. PRINTED INNER SLEEVES.
Description - John Wiese is an artist and composer from Los Angeles, California. His
ongoing projects include LHD and Sissy Spacek, with plenty of freelance work with many artists as diverse as Sunn O))), Wolf Eyes, Merzbow, Evan Parker, Smegma, Kevin Drumm, Cattle Decapitation, and C. Spencer Yeh (Burning
Star Core). He has toured extensively throughout the world, covering Europe,
Scandinavia and Australia as a member of Sunn O))), the UK as part of the Free Noise tour (a tentet including Evan Parker, C. Spencer Yeh, Yellow Swans, etc.), the United States alongside Wolf Eyes, and recently performed
in the 52nd Venice Biennale with artist Nico Vascellari. Consider “Circle Snare” a hard-wrought souvenir. Composed and realized in
the midst of a comprehensive Scandinavian/European tour in 2008, John
Wiese found himself tangled deep in dialogue with his instruments and ideas. wiese increasingly scrutinized his native tongue and vocabulary, seeking new forms of grammar and cadence, as only extensive dives in unfamiliar waters can inspire. his given electronic anatomy of drum machine, microphones, tapes, and msp folded out of their hard accustomed formations, breaking out into a more cogent and vital arsenal.
“circle snare” is the cumulative result, a finely detailed and dimensional evolution of an already unique voice. the circle is a spiral from the side, and the greatest trap is standing still. cd version released on no fun productions in 2009, this vinyl version is limited to 500 copies."
[label info]
www.postpresentmedium.com
|
2010 |
€16.00 |
|
| |
Deviate from Balance |
do-LP |
"John Wiese's long awaited Deviate From Balance is the artist's first album since 2011's Seven Of Wands (PAN). Recorded throughout Europe/UK, Australia, and the US, the album includes scored ensemble pieces including over 20 musicians on each, recorded in Melbourne and Portland, as well as audio documentation of installation pieces Wind Changed Direction, a four-channel sound piece presented in the garden of the Getty Center (curated by Liars), and Battery Instruments, an eight-channel piece presented at HSP in New Zealand, now heard for the first time. Also included are various collaborations and recordings from live performances. At over 80 minutes, Deviate From Balance has been packaged as a 2×LP with tip-on gatefold jackets. Musicians appearing include Joseph Hammer, Ikue Mori, Evan Parker, C Spencer Yeh, Joe Preston, Smegma and countless more. The material is extremely diverse and services as a comprehensive and detailed document of this prolific individuals work over the past several years." [label info]
www.gilgongorecords.com
|
2015 |
€32.00 |
|
| WINER, LESLIE |
When I hit you, you'll feel it |
do-LP |
Light in the Attic is ecstatic to announce When I Hit You—You’ll Feel It: a 16-track anthology that celebrates the extraordinary work of musician, poet, and author, Leslie Winer. When I Hit You—You’ll Feel It spans Winer’s three-decade-long musical career: from her groundbreaking solo work in the early ‘90s to her latest inspired projects. Featuring musical contributions from Jon Hassell, Helen Terry, Jah Wobble, Renegade Soundwave’s Karl Bonnie, and others, the collection also spotlights Winer’s diverse collaborations, and unearths previously-unreleased recordings.
Newly remastered by the GRAMMY®-nominated engineer John Baldwin, When I Hit You—You’ll Feel It will be available in multiple special 2xLP editions, on CD, and across digital platforms. The album includes a new interview with Winer, captured by the compilation’s co-producer, acclaimed author and critic Wyndham Wallace. Rounding out the package is an insightful essay by the award-winning writer and scholar Louis Chude-Sokei and an original cover collage by the renowned British photographer and artist, Linder, and design by designer Christopher Shannon.
"The definition of a hidden gem" - John Peel / "The world seems finally to be catching up to Leslie Winer, whose startling intelligence and singular vision shine through her copious recording life." - Max Richter / "She might just be the coolest woman on the planet!" - Boy George "When I Hit You - You'll Feel It" is a 16-track anthology that celebrates the extraordinary work of musician, poet, and author, Leslie Winer. The collection spans Winer's three-decade-long musical career: from her groundbreaking solo work in the early '90s to her latest inspired projects. Featuring musical contributions from Jon Hassell, Helen Terry, Jah Wobble, Renegade Soundwave's Karl Bonnie, and others, the collection also spotlights Winer's diverse collaborations, unearths previously-unreleased recordings and was newly remastered by the GRAMMYr-nominated engineer John Baldwin. The album includes a new interview with Winer, captured by the compilation's co-producer, acclaimed author and critic Wyndham Wallace. Rounding out the package is an insightful essay by the award-winning writer and scholar Louis Chude-Sokei and an original cover collage by the renowned British photographer and artist, Linder, featuring photography by Mondino, and design by designer Christopher Shannon. Musician, poet, iconoclast, model, artist, enigma. Leslie Winer is many things. She grew up in Boston with a voracious appetite for music and the written word and embraced the city's lively jazz and folk scene in the '70s. Moving to New York for art school, she formed an unlikely friendship with writer and artist William S. Burroughs and lived on-and-off with Jean-Michel Basquiat. In London, where Winer began her musical ventures in earnest, she was a regular at Leigh Bowery's underground club Taboo, where she met many of her collaborators, including filmmaker John Maybury, Kevin Mooney (of Adam and the Ants), and Boy George. Winer's striking looks also attracted fashion designers and photographers. Throughout the early '80s, she was an in-demand model-appearing in campaigns for Valentino, Christian Dior, and Yohji Yamamoto, and serving as a muse for a young Jean-Paul Gaultier, who later dubbed Winer "the first androgynous model." She posed for Helmut Newton, Irving Penn, and Pierre et Gilles, and graced the covers of The Face, French and Italian editions of Vogue, and Mademoiselle. But music was Winer's true passion and, at the turn of the '90s, she would unknowingly help invent the massively popular genre known today as trip-hop. On her debut, Witch, Winer masterfully blended the uninhibited sampling of early hip-hop with dancehall basslines and programmed beats, while weaving mesmerizing - and coolly-detached - spoken-word vocals into her ambient tracks. It was unorthodox in the most delicious ways. While Witch was finished in 1990, it wouldn't be released for three years, due to the whims of Winer's label. By the time the album saw the light of day (released under the pseudonym "c"), trip-hop was gaining mainstream traction via acts like Portishead, Massive Attack, and Madonna. Although Winer eventually gained wider acknowledgment (prompting the NME to give her the dubious distinction of "The Grandmother of Trip-Hop"), Witch initially went sorely unnoticed. Winer continued to record, undeterred by the elusive nature of mainstream success in the modern music business. Her network of inspired collaborators continued to grow and expand, yet her influence remained largely a secret except to those in the know, such as Grace Jones and Sinead O'Connor, who would cover her songs. In the modern era, one is hard-pressed to find an artist who continues to push the creative envelope as much as Winer does. And yet, three decades after her revolutionary debut, her work remains just as startling and fresh.
https://lesliewiner.bandcamp.com/album/when-i-hit-you-youll-feel-it |
2021 |
€39.50 |
|
| WISHART, TREVOR |
Journey into Space |
CD |
Wiederveröffentlichung einer obskuren do-LP von 1973, die in unbekannter Höhe erschien. Vor allen Dingen werden hier field-recordings und found sounds (Alltagsgegenstände, konkrete Materialien) verarbeitet, um eine sound-allegorische Reise des Menschen hin zur Selbst-Bewußtwerdung zu symbolisieren: Der Mensch wacht auf wie aus einem Traum und begibt sich auf eine Reise, an deren Ende eine weitere Geburt steht...(deshalb auch die drei Teile BIRTH DREAM, JOURNEY und ARRIVAL)..
aufgenommen im „Electronic Music Studio“ der
Universität von York zwischen Jan. 1970 un Dez. 1972. Sehr außergewöhnlich, detailreich und schön !!!
Re-release of an obscure do-LP from 1973, in which WISHART wants to symbolize the journey of man from a dream-like state into a higher sphere of self-realization (at the end there’s a new birth).
“ York University's music department houses one of the UK's first ever electronic music studios, and during the early seventies it was a hotbed of creative activity. Much of the released output from the studio at this time revolved around the work of the dynamic composer Trevor Wishart. Journey Into Space was his first release, composed between 1970 and 72, and was privately pressed (shortly before the formation of YES records), as two
separate LP's in 1973. (The CD cover amalgamates the 2 original designs). Along with other early private releases of experimental music in the UK (ie the LP of sound poems by Cobbing/Jandl, or the LP of musique concrète by Desmond Leslie), this record is also a total anomaly in the canon of British experimental music and has little to do with the current, or even subsequent work by Wishart.
The vast length of this piece has many different styles. There are acoustic sections, mostly of junk and toys (bike bells, squeeze horns, bottles, metal tubes, combs etc.) as well as flute and brass sections that are used as raw material. There are also sections of everyday field recordings, scraps of NASA Apollo transmissions, as well as plenty of multitracking, editing, vocal acrobatics and musique concrète.” [from the label press release]
|
2002 |
€15.00 |
|
| |
Fabulous Paris. A Virtual Oratorio |
CD |
"This 3-movement, secular oratorio explores our collective and individual experience of the mass industrial society in which we live, through the medium of the human voice. The source material for the first movement, 'The Division of Labor', is based on a text from Adam Smith's 'The Wealth of Nations', describing the division of labour in a Scottish pin factory spoken in a Glaswegian accent. The division of labour is then applied to the voice in a series of variations in the digital domain (e.g. resynthesis of the melodic-contour of the speech, canon-hocketing the time-shrunk syllables, texturing fragments cut from the tails of the syllables, generating 'choral' textures from 'iteration' of groups of material, etc.). In the second movement, 'Angel' a woman remembers some of those inconsequential yet special experiences which define an individual life. The oratoio ends with the voices of Neil Armstrong, President Kennedy, Adolph Hitler and many others in 'Fabulous Paris'. Approaching that exciting yet frightening labyrinth of information and experience which is the modern mega-city, 'Fabulous Paris' is first encountered as the prize destination on an American TV game show, but soon becomes the mysterious city of our dreams, hopes and fears." [from the credit notes]
www.trevorwishart.co.uk
|
2007 |
€14.00 |
|
| WOLF EYES |
Human Animal |
CD |
Material von 2006, das erste Album ohne AARON DILLOWAY, der sich jetzt seiner Solo-"Karriere" widmet. HUMAN ANIMAL ist ein mitunter ziemlich aggressives Noise-Brett mit sehr spannenden "Hinführungen", wie immer schwelend und bis zum zerbersten gespannt...
Wir meinen: WOLF EYES sind einer der wenigen Noise / Rock / Industrial - Bands zur Zeit, die es verstehen, "intelligent", d.h. mit Spannungsbögen & interessanten Sounds, zu agieren.. und wenn sogar das HELLDRIVER-Magazin schreibt: "....manchmal klingts auch ein bisschen nach Geisterbahn. Kurz und gut: Das ist gequirlte Scheisse, reiner Krach und versprengte, teilweise angejazzte Tonsprengsel ohne jede Struktur oder gar Wiedererkennungswert! Im Endeffekt nur anstrengend, könnte ich mir prima in den Top 10 der internationalen Foltercharts vorstellen – ich würde wohl nach ein paar „Songs“ alles Mögliche und unmögliche gestehen – wo soll ich unterschreiben Mr. Bush?" ... dann ist das für den geneigten Noise-Hörer doch eher als Auszeichnung zu verstehen ;)
"After a year of non-stop touring in support of 2004's Burned Mind, Wolf Eyes were ready; seasoned to travel through horrible new areas of sound. During one four-week period at the dawn of '06, they laid down ideas in their studio, the Terror Tank. Those ideas would shape what would be the new album, Human Animal. This new slab is the first with Mike Connelly (of Hair Police and the Gods of Tundra label) replacing Aaron Dilloway. Though he no longer tours with the band, Dilloway remains involved and helped to mix the new record with BMG (who also did the deed on Burned Mind). These songs are rotten with metal, reeds, consciousness-erasing islands of black doom. Bass-heavy rippers, late-night free-terror jams, afflicted dog-hearts, underwater crabs: pure mayhem. The new double bass attack is showcased on "Human Animal"/"Rusted Mange" with scraping strings and a full terror-shriek workout re-organized by Dilloway. New directions are countered by "Rationed Rot," which revisits the eerie Throbbing Gristle-esque vocal deployment that dates from Wolf Eyes' Dread LP. The album also features the band's first ever cover song: a dead-on rendering of No Fucker's rotten hXc anthem, "Noise Not Music," which closed out a lot of shows on Wolf Eyes' recent European tour. As ever, Wolf Eyes will be living on the road, with Australian and American tours in the works, and an invitation from Thurston Moore to play at All Tomorrow's Parties in December 2006 alongside Sonic Youth and The Stooges." [press release]
|
2006 |
€14.50 |
|
| WOLF EYES / SKULL DEFEKTS |
Yes I am your Angel |
LP |
Split-LP mit einem fantastischen, sehr experimentellen track von WOLF EYES auf der einen (ein reiner Geräusch-Sounds Maelstrom, spannend arrangiert), und den schwedischen SKULL DEFECTS, die hier schleppend & schwelend noisy in repetitiven Mustern eher nach WOLF EYES klingen. Weiss-marmoriertes Vinyl.
"A dark split LP battle featuring noise gigants Wolf Eyes and experienced Swedish newcomers The Skull Defekts. Wolf Eyes needs no further introduction, and neither would The Skull Defekts, had you already known the musical history of these men, ranging from Union Carbide Productions and Kid Commando to Alvars Orkester, as well as Anticimex, Cortex, and Lucky People Center. Hear feedback and rhythm merge and/or collide, slowly." [label info]
www.fangbomb.com
|
2006 |
€16.50 |
|
| WORBY, ROBERT |
Factitious Airs (Electronic Music) |
LP |
This LP by Robert Worby (Langham Research Centre) focuses on recorded sound and structures made with recorded sound. How the original sound was produced and the objects used in the production of the sounds is of secondary interest. Tiny details in the sounds are important and what might appear to be insignificant, dull or uneventful is often salient. Acute, obsessive listening brings these elements to the fore.
In the process of making these structures, meaning begins to emerge and unfold. This is always highly subjective, ambiguous and uncertain and might fleetingly resonate with many ideas, objects, narratives and situations that are not connected with sound.
Inspiration often comes from existing music but also from the entire history of ideas and, again, a tiny detail might produce a kind of creative resonance. Curiosity is predominant and drives forward the process of composition.
"Can a music made with the modern tools of digital music and contemporary production sound eerily as if created with the same equipment that Stockhausen, Henri and Berio all availed themselves of in the radio studios of the 50s and 60s – and yet sound bright and fresh to the ears of today's listeners? Robert Worby shows us how, with Factitious Airs." — Carl Stone
|
2020 |
€25.00 |
|
| WRIGHT, PETER |
Red Lion |
CD |
Londoner Aufnahmen von 2004: field recordings von verschiedenen Plätzen Londons (Red Lion Square, Tate Modern, etc.), feedbackin’ hyper-effektierte Drone-Guitars, merkwürdige Obertonräume entstehen, Daydream-Akustikgitarren verschmelzen mit Environmentals, sowas wie Helikopter-Vibrationen(?), einzelne metallische Töne ziehen Resonanzen wie Schweife hinter sich her, himmlische Vibratos, die in der Luft schweben & zu schimmern scheinen, sirrend-fräsende Klangwolken mit Siren-Effekt...
Wie fast kein Zweiter ruft PETER WRIGHT aus seinen Gitarren manchmal fast aberwitzig zu nennende Obertonresonanzenschwälle hervor, schafft sirrend-schwirrenden Singsang par excellence, der nie in langweiligen tumben Noise oder Drone abgleitet, sondern immer in fein- ästhetischer Balance bleiben....
RED LION ist ein poetisch-verträumtes Werk mit vielen Facetten und sei hiermit allen die PETER WRIGHT noch nicht kennen ans Herz gelegt. 9 tracks, ca. 55 min.
“You can remove a Kiwi from New Zealand but you sure as hell can't remove New Zealand from a Kiwi. Such is the case with Christchurch transplant, Peter Wright. Over the course of a decade, Wright has etched his name in glass in the annals of drone-world superstardom. And while I'm not sure what that really means, the point is that when it comes to soaring dronescapes, few do it better than Peter Wright. He has helped pave the way with contemporaries such as Birchville Cat Motel and Double Leopards, but clearly has his own distinct voice. With his past few albums, Wright seems the logical successor to native Kiwi, sound manipulator extraordinaire, Roy Montgomery.
"Red Lion" is Wright's latest incarnation and, once again, pushes the boundaries of what he can do with his trademark 12 string Danelectro to the absolute outer limits. He pushes the limits of simplicity without ever breaking. Wright's albums are a thing of sheer, pure beauty, existing in a vacuum where nothing on the outside can tamper with their grace. Even with his lofty intentions, "Red Lion" is immediately approachable and grabs the listener from the opening notes. As always, Peter Wright offers up something wholly infectious and undebatably magnificent.
Press about Peter Wright: "The finest in underground free noise / drone...mostly from New Zealand but all around the world as well. For those of you new to the CpsiP label, imagine classic Siltbreeze (Dead C, etc.) mixed with Jewelled Antler (Thuja, Blithe Sons etc.), dark and deep listening that sometimes verges on all out noise, but more often than not remains subtle experiments in avant drone and abstract sound." - Aquarius Records
"This is easily some of the most evocative proto-drone work to reach these ears in a while, with beautiful almost folk melodies that flutter on the edge of audibility cut up with a thick soup of early-evening smog and long forgotten geographies. Somewhere between early Flying Saucer Attack, Mirror and William Basinski. Highly recommended." - David Keenan, Volcanic Tongue
"If Windy & Carl's vision of Antarctica is your idea of bliss, you will drool over this soundscape depiction of Peter Wright's home in New Zealand. Now living in London, these are what the label calls "love-drones," as Wright's memories of his home's wide open spaces inspire slowly unfolding waves of lush guitar." - Jim Steed, Fakejazz “ [label info]
|
2006 |
€13.00 |
|
| |
Let's hide under the House until they're gone |
LP |
"NZ sound artist Peter Wright is back with his very first solo recordings since 2008's ‘An Angel Fell Where The Kestrels Hover’.
For this new offering he took the label’s name to heart and reconnected with his old bass guitar, gathering dust in storage for 7 years or more, using it as a new source of inspiration, in the process creating enough material over a two week period to fill at least three LPs. Combined with a down-tuned guitar and an assortment of laptop based effects the addition of the bass gives this record an atmospheric range that is both heterogenous in it’s vibes and homogenous in it’s inspiration.
I am then extremely excited to release this new album that has been recorded specifically for Basses Frequences !
180gr black vinyl with download code. Edition of 300." [label info]
www.bassesfrequences.org
https://bassesfrequences.bandcamp.com/album/lets-hide-under-the-house-until-theyve-gone
|
2011 |
€16.00 |
|
| WZT HEARTS |
Threads rope spell making your bone |
LP |
Bemerkenswertes Album einer Combo aus Baltimore, läuft lt. press-release unter "psych-rock", ist aber vielmehr eine Art komplexer Impro-Drone, wo sich vielerlei elektronische und instrumentelle Quellen zu rauschenden Soundformen vermählen.
"The second full-length from Baltimore’s WZT HEARTS (pronounced “wet hearts”). Threads Rope Spell Making Your Bones is an album of improvised electronic psych-rock action at times reminiscent of sound sculptors like Fennesz, but with a nice krautrock touch throughout. A blend of the organic and synthetic, digital and analog, difficult and easy." [label info]
|
2007 |
€14.50 |
|
| X-NAVI:ET |
Dead City Voice |
LP |
"Dead City Voice" is the second vinyl album by Rafał Iwański aka X-Navi:Et(of HATI, Voices of the Cosmos, KAPITAL, Innercity Ensemble fame). It's the follow-up to acclaimed "Soundtracks for the Dying Moments" LP released on Instant Classic last year. It contains 6 new electroacoustic compositions recorded from 2010 to 2013.
The theme of the city has appeared in the modern art territory quite a few times before. Wim Wenders, a cult German director, once said that "thecity shapes people, leaves its stigma on them and deforms them to its own likeness." Murray Schafer, a Canadian composer, while working on the concept of "soundscape", claimed that many of the surrounding sonic incidents infiltrates the music of our times. Following the footsteps of Charles Baudelaire among others, urban artists, Rafał Iwański and Ewa Bińczyk, replayed the city, penetrated its spirit and echoed it in their activities. Telling the city by means of sound and vision is becoming an inward journey as well.
Inside the cover one can also find the literary text by Dariusz Brzostek (Ph.D. at the University of Toruń, Poland) - a literari, anthropologist and music journalist who has collaborated with many magazines, such as Glissando, Trans/Wizje, Antena Krzyku, Teksty Drugie, Magazyn Fragile.
Visually the album is of the highest value. The gatefold cover is adorned with works by Ewa Bińczyk. Additionally, a special edition of 33 copies will include genuine intaglio prints signed by the author making it a true collector's item.
The album was released by Zoharum in collaboration with Eter Records, a label set up by Rafał Iwański to release music by his projects X-Navi:Et, HATI, Voices of the Cosmos in digital and analogue formats.
The album is released in a gatefold cover in a strictly limited edition of 250 copies." [label info]
www.zoharum.com
"On vinyl, in a fine fold out cover, we find Hati's Rafal Iwanski's solo project X-Navi:et. Both this and his Hati project are quite active when it comes to releasing music, so you could wonder: do they ever sleep? The main concept behind the six pieces on his new LP is the 'city', but not in a very strict sense I would think. This is not twice 20 minutes of city sounds, or something like that set to music, but pieces that depict the sounds of city through musical means. He uses analog filter machine, analog synthesizer, sampling pad, loop system, hulusi, bells, rattles, metal objects, field and found recordings and effects. Me think that a lot of the acoustic sources here have been sampled and treated extensively before finding their place inside a composition. Take for instance 'Tinnitus Auris': the tinkling of bells are the sounds that a lorry makes when trying to park. Next to that we hear a conveyer belt like sound - the other cars on the same street. Below that is a fiery drone-ventilation shafts on the side walk. That's what I heard. In the other pieces there is a similar liveliness, which we find a big cities - not in the street where I live, and not many cars or people pass on an ordinary working day. But of course all of this is easily said, when you look at the title(s), the picture, the text and such like and make these connections with a big city. I wonder what someone would imagine playing this music as it is, without knowing these references; it might not be the city. But who cares about that? We know what it is about and it's the gesamtkunstwerk that counts. This is a beautiful record of some fine, dark ambient music, with a nice industrial touch to it, very occasionally. Great release!" [FdW/Vital Weekly]
|
2013 |
€16.00 |
|
| XELA |
Divine |
LP |
" "The Divine" marks the second phase in the trilogy proposed by John Twells aka Xela. Crawling out of a castle dungeon in pursuit of its predecessor, "The Illuminated", this LP finds itself trapped in an abandoned church somewhere in a damp Southern wilderness. Church bells chime and rattle through the record's first piece, echoing and distorting through a fog of chattering voices and prayers. Tape loops stumble over tape loops and the solemn, ecclesiastical drone slowly decomposes into thick, crackling noise. Through the mists choirs sing, heralding the introduction of the second side of "The Divine" which takes the human voice into cavernous and smudged, yet strangely alluring territories. There is almost a Basinski-like charm to this work as the choirs effortlessly degrade into an unrecognisable mud of harmony and abrasiveness. This is music informed by a religious world; Xela has edged from the scriptures of cults and secret societies to the spires of organisation and power. God is in the detail.
Limited edition of 500 copies!" [label info]
www.dekorder.com
|
2010 |
€12.50 |
|
| XENAKIS, IANNIS |
Phlegra (etc.) |
do-CD |
1-1 Phlegra
Conductor – Michel TabachnikEnsemble – Ensemble InterContemporain
13:15
1-2 Jalons
Conductor – Pierre BoulezOrchestra – Ensemble InterContemporain
14:30
1-3 Keren
Trombone – Benny Sluchin
6:33
1-4 Nomos Alpha
Cello – Pierre Strauch
12:31
1-5 Thalleïn
Conductor – Michel TabachnikOrchestra – Ensemble InterContemporain
17:22
2-1 Naama
Harpsichord [Clavecin/Harpsichord] – Elisabeth Chojnacka
15:21
2-2 A L'lle De Gorée
Conductor – Huub KerstensEnsemble – Ensemble Xenakis*Harpsichord [Clavecin/Harpsichord] – Elisabeth Chojnacka
15:28
2-3 Khoaï
Harpsichord [Clavecin/Harpsichord] – Elisabeth Chojnacka
16:47
2-4 Komboï
Harpsichord [Clavecin/Harpsichord] – Elisabeth ChojnackaPercussion [Percussions] – Sylvio Gualda
18:04
Total timing: 131'01.
Includes a 16 page booklet in English, French and German.
All pieces were recording in the presence of the composer.
Recording locations: Städtischer Saalbau, Witten, April 1984 (2-4); Studio 107, Radio France, June 1987 (2-1, 2-3); Studio 103, Radio France, October 1987 (2-2); IRCAM, Paris, July 1990 (1-1, 1-2);Église Notre Dame du Liban, Paris, April 1990 (1-5), December 1990 (1-4), January 1991 (1-3).
CD 2: 4 is a Westdeutscher Rundfunk recording.
www.warnerclassics.com
|
2007 |
€14.00 |
|
|
Persepolis |
LP |
"Format: 180gr LP incl. 4c insert + DL code / download
Release date: march 2nd 2018
After “La Légende d’Eer” in 2016, the PERIHEL series presents one of the milestones of electroacoustic music: IANNIS XENAKIS’ mindblowing 54-minutes oeuvre “Persepolis”, mixed from the original 8 track tapes by MARTIN WURMNEST and mastered / cut by RASHAD BECKER.
“Persepolis” is the longest electroacoustic composition by IANNIS XENAKIS (1922-2001) who ranks among the most influential 20th century avantgarde composers. Commissioned by the Persian Shah, the piece was part of a multimedia performance – XENAKIS’ so-called “polytopes” – which premiered in 1971 in Shiraz-Persepolis (Iran) as a performance including light-tracks, laser beams, groups of children walking around with torches and 59 loudspeakers to project the music in an open-air situation.
XENAKIS had realized “Persepolis” on 8-track analogue tape in the Studio Acusti in Paris and released a stereo reduction on vinyl in the famous Philips series “Prospective 21e Siècle” in 1972, adding the new subtitle “We bear the light of the earth”, his most hymnal title ever.
Out of print for decades now, the LP became – especially the Japanese edition from 1974 – one of the most expensive collector’s item of electroacoustic music. There were some later CD versions with different durations – too long due to a wrong sample rate, others shortened by 3 minutes due to other reasons. The PERIHEL series now presents a new version: mixed from the original (!) master 8 track tapes by longtime zeitkratzer sound engineer MARTIN WURMNEST and mastered by RASHAD BECKER at D&M, Berlin – the same experts who had already taken care of the 2016 KARLRECORDS release of “La Légende d’Eer”, another milestone composition among the works of the Greek-French avant-garde composer."
|
2018 |
€18.00 |
|
| |
Orchestral Works |
CD |
Xenakis Edition 15
“Metastaseis A” (1953-54), original version for 65 musicians. Orchestra Sinfonica RAI. “Terretektorh” (1965-66) for 88 musicians dispersed among the public. Residentie Orkest The Hague. “Nomos Gamma” (1967-68) for 98 musicians dispersed among the public. Residentie Orkest The Hague.
The orchestral works on this recording include two of Xenakis’ adventurous + spatialized works along with Metastaseis, the work with which he emerged onto the international avant-garde scene. Metastaseis A is the original version, which is better known by its revision, Metastaseis B. The revision was the result of conductor Hermann Scherchen, who was critical of the size of the score and of elements of its instrumentation. He agreed to perform it if certain revisions were made. Ultimately, the première of the revised version, Metastaseis B, would be conducted by Hans Rosbaud at Donaueschingen in 1955, where it created a sensation. The public would have to wait until after the composer’s death before hearing the original version of Metastaseis A, which took place in 2008 in Torino under the direction of Arturo Tamayo, who conducts the work in this recording, its first commercial release.
Xenakis explained that the sound world of Metastaseis was inspired by his experiences as a member of the student Resistance during the Nazi occupation of Greece.
Terretektorh and Nomos Gamma are companion works. Both were composed in order to be performed with the orchestral musicians distributed in a large circle with audience members interspersed among the musicians. Both works feature a large string ensemble and complements of woodwinds and brass. The larger number of musicians in Nomos Gamma is due to an increased number of bassoons, trumpets, horns, and percussion.#Terretektorh, which Xenakis referred to as a “sonotron”— essentially a musical particle accelerator – also references Xenakis’s own experiences of solitude in nature: “[A] shower of hail or even a murmuring of pine-forests can encompass each listener … the listener, each one individually, will find himself either perched on top of a mountain in the middle of a storm which attacks him from all sides, or in a frail barque tossing on the open sea, or again in a universe dotted about with little stars of sound, moving in compact nebulae or isolated.”
Among the extraordinary effects in this work are hand-held percussion instruments played by the non-percussion orchestral members – whips, whistles, maracas, and wood-blocks – that help to convey the sense of the listener being buffeted by wind, rain, and hail.
In Nomos Gamma, the listener is struck by the increased size of the percussion section, which rings the orchestra and audience, lending a kind of ritual brutality to the piece.
|
2018 |
€17.00 |
|
| Y CREATE |
Madadayo |
CD |
Y CREATE ist ein neuer Name auf EE TAPES, das Projekt aus NL ist aber schon seit vielen Jahren aktiv. Auf MADADAYO sind 8 lange Stücke mit perkussivem, melancholischem ambient Industrial enthalten - getragene Stimmung verbreitend mit Synths & schwermütige Samples, die nach Trennung und Trauer klingen..
“After years of silence, Hessel Veldman, main person behind the legendary 70-80ies label Exart from Holland returns with astonishing new solo work! So you probably ask: Y Create? I didn't ask this question, as I knew Y Create was the solo project by one Hessel Veldman, from IJmuiden, The Netherlands. In the days when I was a little boy, he was the main man for experimental and electronic in The Netherlands and he ran Exart Tapes, worked with Willem de Ridder in FNTC (with a release on Staalplaat) and contributed a track to the very first cassette I released (also as Y Create, but with Gert-Jan Prins on percussion. With Prins he also was in a band called Gorgonzola Legs. Somewhere in the earlyb nineties I lost contact with him and he went on to do other things. But he's back, with Y Create and his old passion for radio plays. The recordings on 'Madadayo' were recorded between 1979 and 2002 and remixed in 2002-2003 for this release. Y Create uses the full eighty minutes a CD can offer to play his music, but with only eight tracks, you can imagine they are lenghty affairs. Y Create's pieces usually start out with a piece of drones, with lots of small variations in the EQ-ing, and percussion comes in. The percussive bits move around constantly in the background, being fed through an enormous amount of delay and reverb lines and in some case even develop into a banging rhythm with hints of techno. All of these eight pieces have a great ambient feel to them, but Y Create is pushing the boundaries a little bit more and things are just a bit more adventurous here. Great come-back album.“ [Frans de Waard / Vital Weekly]
|
2004 |
€13.00 |
|
| YEN POX |
Between the Horizon and the Abyss |
CD |
"Arriving on the scene in 1993 with their self-titled demo, Yen Pox immediately made their presence known with an ability to create monumental, light devouring soundscapes that transcended all that had come before it. Proceeding releases, including their debut CD, Blood Music, 2000’s New Dark Age, and the collaborative CD with Troum only solidified their standing and reputation. With Between the Horizon and the Abyss just being their first full length recording in over 15 years, Yen Pox will never be accused of being prolific. After all, with the two members spread out between Indiana and Washington State, creating new material doesn't exactly lend itself to convenience. But on the rare occasion that recordings do arise, it’s nothing short of masterful, reminding listeners why they’ve achieved such notoriety with such a limited discography, and why their recordings are consistently recognized as benchmarks within the dark ambient genre.
Time between releases has been well spent, with the new material taking the early template and expounding upon it greatly, adding layers of industrial churn and structure to the infernal kosmische sprawl they’re so adept at creating. And yet throughout its entirety, Between the Horizon and the Abyss is remarkably polished and fluid. Within its realm, no seconds feel wasted, and every sound feels purposefully placed, even as it moves and flows in perpetual motion; strains of a distant angelic choirs fall beneath a complex array of arcing tones, liquidous, molten textures, & harrowing orchestral shimmer, with fervent masses of malevolent atmospherics billowing forth in glorious detail.
While this technically falls under the banner of dark ambient, what Yen Pox has managed to create goes far beyond genre specifications and boundaries, crafting a new benchmark and adding a high water mark to an already stellar discography." [label info]
www.malignantrecords.com
"The year is 1995 and an extremely young label from Maryland has just begun to open its eyes to the world. Prior to this moment, its entire three-year existence had been dedicated to a ‘zine/compilation combination known as Audio Drudge, with a more official birth coming with a compilation of a different kind in 1994 that featured noise/industrial artists that ran the gamut from celebrated veterans in Illusion of Safety, Maeror Tri, and Contrastate, to what was at the time excruciatingly obscure in Söldnergeist, Vromb, and Kirchenkampf. It was an artist from the latter side of this list that was destined to give rise to one of the most important labels that post-industrial music has seen to this day—a label that, in the absence of Cold Meat Industry, has rightly taken its place at the helm as the leading name releasing the new generation of old-school industrial and dark ambient music today. That label is of course Malignant Records. And the artist? Yen Pox, the duo of Steven Hall and Michael J.V. Hensley, who tomorrow (May 5th) will be making their return after a full decade and a half of silence, save for a notable collaboration with another seminal dark ambient duo in Troum, Mnemonic Induction, and a little-known two-track 10″ on Drone Records, Universal Emptiness. This also requires one to overlook their respective solo projects in Veil of Secrecy and Blood Box, both of which have also been agonizingly slow to realize new music over the years.
Yes, this is the project that began the maelstrom of high-quality releases that would make Malignant the monolith of the genre that it has become today, and that in itself should leave expectations at an absurdly high level for any curious ear. For the uninitiated, the project’s name should be enough of a hint to bring about hallucinatory visions of slow-rolling drones and desperate metallic chatter. “Yen Pox” was famously written by William S. Burroughs in Naked Lunch as being “the ash of smoked opium,” which should immediately lead one towards assumptions of the surreal brilliance held therein. Indeed, “The Awakening” arrives with a bass-end rumble that moves with enough sluggish grandeur, complex drones, and vastly cinematic space that it warrants comparisons to some of the finest names in the genre including deep audio extraordinaire Bad Sector and the aforementioned Troum. It is with this impressive track that Between the Horizon and the Abyss opens with the full force of a black hole, slowing down time and stretching it infinitely over an unimaginably monstrous mass, ripping metallic atoms apart with the pulsing black heart of the cosmos. Even “Tomorrow in Ruins” somehow leaves a similar astral impression as that of Ben Frost‘s incredible recent work with A U R O R A.
There is a ritual edge present on some tracks as well, from the percussive clamoring and distant feedback howling of “Cold Summer Sun,” to the distant whispers and unnerving climaxing noise of “Grief Ritual.” However, this is only a minimal part of Yen Pox’s identity, as everything about Between the Horizon and the Abyss feels about as purely nihilistic as anything I’ve heard in recent years. The apocalyptic atmosphere present on the album is almost overwhelming at times, imparting an unforgiving amount of dread upon the listener as they float not through dreamy ethereal dimensions, but rather through the smokey black veils of what lies at the end of our journey. The intense album artwork and concise yet visionary track titles certainly don’t help one get an opposite impression though the radiant golds are an interesting and effective choice for such an atmosphere, but the music stands on its own as one of the most defining albums for dark ambient music of the past decade. Truly, at least to some degree, it sets a bar that leaves other modern releases from the genre sounding dry at best.
Between the Horizon and the Abyss is one of the few releases of the past few years that has simply come as advertised. It is a triumph of the genre and is destined to be a celebrated gem. One can only imagine that it is the lack of quantity that has provided such astounding quality on Between the Horizon and the Abyss, but with this reminder that there are still new levels to achieve, we can only hope that it isn’t another 15 years of near-dormancy before another full-length surfaces." [S.L.Weatherford / Heathen Harvest]
"A colossal record like this doesn't get made in a day, or even a year for that matter. It's actually been 15 years since Yen Pox has produced a new album. There was an excellent collaborative project the American industrial-ambient technicians did with the German pioneers Troum; and M.V. Hensley from Yen Pox has released a handful of albums under his moniker Blood Box. But, the last proper Yen Pox album, New Dark Age, arrived in the cold months of 2000. Not quite as slow in production as Giancarlo Toniutti, who took well over 20 years to issue a new solo album. But like Toniutti's immaculately conceived electro-acoustic wastelands, the records of Yen Pox are the stuff of epochal change, slowly revealing themselves through the dark veil between this world and another, or as the title implies between the horizon and the abyss. The scope of this work is suitably grandiose, following the template for the entire dark ambient genre that Yen Pox helped sculpt so many years ago alongside the likeminded projects Lustmord and Inade. The horror-laden drones that Yen Pox conceives are hardly static, as they spiral as if thrown from stable orbit by the all-consuming gravity of a black hole. The deep female vocal utterances are courtesy of the gothic siren Ruby Smith (aka Dark Muse) whose bellows and moans sporadically break through the dense clouds of Yen Pox' subterranean echo and reverb as the only ghosts of humanity to be found within this album. Bleak and heavy, to say the least." [Aquarius Records]
|
2015 |
€13.00 |
|
| |
Between the Horizon and the Abyss |
do-LP |
"Released on cd on Malignant in 2015 First time ever released on vinyl, a corelease with Malignant in the US Limited to 500 copies worldwide on yellow and black vinyl Between the Horizon and the Abyss is one of the few releases of the past few years that has simply come as advertised." [label info]
"It is a triumph of the genre and is destined to be a celebrated gem. One can only imagine that it is the lack of quantity that has provided such astounding quality on Between the Horizon and the Abyss, but with this reminder that there are still new levels to achieve, we can only hope that it isn't another 15 years of near-dormancy before another full-length surfaces." - Heathen Harvest -
www.burningworldrecords.com
"A colossal record like this doesn't get made in a day, or even a year for that matter. It's actually been 15 years since Yen Pox has produced a new album. The records of Yen Pox are the stuff of epochal change, slowly revealing themselves through the dark veil between this world and another, or as the title implies between the horizon and the abyss. The scope of this work is suitably grandiose, following the template for the entire dark ambient genre that Yen Pox helped sculpt so many years ago alongside the like-minded projects Lustmord and Inade. The horror-laden drones that Yen Pox conceives are hardly static, as they spiral as if thrown from stable orbit by the all-consuming gravity of a black hole. The deep female vocal utterances are courtesy of the gothic siren Ruby Smith (aka Dark Muse) whose bellows and moans sporadically break through the dense clouds of Yen Pox' subterranean echo and reverb as the only ghosts of humanity to be found within this album. Bleak and heavy, to say the least." [Aquarius Records] |
2016 |
€20.00 |
|
| YOMILLAK |
The Selection of Korean Classical Music. Performed by The Orchestra of The National Center for Korean Traditional Performing Arts |
do-CD |
Faszinierende Sound-Reise nach KOREA mit dem “Orchestra of The National Center for Korean Traditional Performing Arts”. Das lange Titelstück YÖMILLAK aus dem 15. Jahrhundert füllt eine ganze CD, eine kraftvolle Melange gespielt Blas- und Perkussionsinstrumenten mit fremdartiger Harmonik.
„....Die Musik geht auf die kulturelle Blütezeit Koreas zurück, die Zeit unter König Sejong, der selbst Musikwissenschaftler und Komponist war. Bei Yomillak handelt es sich entsprechend auch nicht um Volksmusik im herkömmlichen Sinne (auch wenn das westlichen Ohren so erscheinen mag), sondern um eine der weltweit ältesten Formen klassischer, also notierter Musik, entstanden zu der Zeit, als das koreanische Alphabet eingeführt wurde. Die höfische Musik, zusammengesetzt aus zahlreichen Saiten-, Blas- und Perkussioninstrumenten wurde ursprünglich während Banketten aufgeführt. Strukturell ist sie einfach gehalten, wird möglichst emotions- und dynamiklos wiedergegeben. Genau dies verleiht den Aufnahmen jedoch ihre herkömmliches Zeitempfinden aufhebende Kraft, die mit Errungenschaften der westlichen Avantgarde, etwa den späten Kompositionen eines Morton Feldman, korrespondiert.
[mb, testcard]
Fascinating Korean traditional music from 15th century played with original wind- and percussions-instruments, one of the oldest noted music of the world!
|
2003 |
€21.50 |
|
| YOUNG GODS, THE |
The Young Gods Play TERRY RILEY in C |
do-LP + CD |
The Young Gods release a record with Two Gentlemen, Play Terry Riley In C. Needless to say this is a fertile meeting between two monuments who have helped shape the cutting-edge music of the last few decades. Terry Riley, born in 1935, is the cornerstone on which a considerable number of artists have relied to liberate their relationship to the process and methods of creation. In the same way, The Young Gods revolutionized, from the second half of the 1980s, their relationship with rock music by converting guitars into samplers. Composed and premiered in 1964, In C is a major piece in the contemporary music repertoire of the second half of the 20th century, and a pivotal moment in its history. The score for In C is reduced to 53 musical phrases, which each musician must repeat in the order in which they appear, as many times as he or she wishes; the instrumentation is not specified; the impetus for the performance is not given by an orchestral direction, but by the musicians listening to one another. A perfectly open work, In C was the first work to offer a successful synthesis of repetition and variation. The Young Gods first approached In C in 2019 at the invitation of Benedikt Hayoz, director of the Landwehr wind orchestra in Freiburg -- this resulted in a performance of the work with 85 musicians. Other approaches were made with Ensemble Batida, a Geneva-based contemporary music collective, with the dance company Alias, and with the documentary filmmaker Peter Mettler, for his film Petropolis. In this album, The Young Gods offer a new interpretation of In C, as a trio and with their own sound vocabulary -- electronic instruments, drums, and guitars. They have chosen to follow the score and Terry Riley's indications, while allowing for some additional freedom, for example in terms of managing the sound intensity -- which evolves, in several long cycles, from almost silence to eruption and back again. They have also chosen to maintain a constant tempo throughout the live performance by building up a hypnotic flow and a continuous musical presence that meanders and oscillates in perpetually changing rings and atmospheres that transform in a perfectly fluid manner. By developing through a series of crescendos and decrescendos, by playing on the repeated addition and removal of musical phrases, by working sensitively on the sound quality (timbre, grain, alterations) of its elements, the piece aligns a series of ascents, ecstatic plateaus and lulls that give the work as a whole all the characteristics of a living form. Double LP version includes CD."
https://www.twogentlemen.net/products/the-young-gods-play-terry-riley-in-c-2/
https://theyounggods.bandcamp.com/album/the-young-gods-play-terry-riley-in-c
|
2022 |
€32.00 |
|
| Z'EV |
live 03.01.86 |
10inch/object |
Z’EV is back! Z’EV is more than back ! Nicht nur war der legendäre Klangkabbalist in 2004 wieder auf Tour in Deutschland, es sind auch diverse neue Sachen erschienen. Von der Coverartwork am eindruckstvollsten ist sicher diese live-10“ mit einer Aufnahme aus Chicago 1986, denn sie kommt in einem schweren Metall-Cover in 333er Auflage, wobei die Nummer der Edition in jede der Metallplatten einzeln eingraviert wurde! Z’EVs unkonventionelles 1-Mann Metall & Gong-drumming, das sich auf den KLANG und die DYNAMIK konzentriert und nicht aufs Metrum, ist wohl einmalig zu nennen... und genauso sollte man sich auf seine Sounds wohl auch einlassen und sie betrachten: nicht als Komposition, welche es zu analysieren gilt, sondern als Klangalchemie, welche das Selbst in Schwingung versetzt...
„Three excerpts from a 1986 performance at N.A.M.E. Gallery, Chicago. Given the special packaging with this release, it was essential to have the audio component be as special. After listening to a handful of unreleased material Z'EV had given me and comparing it to his released work, I found this performance contained elements I'd not heard developed in previous releases. For one, the components of the pieces shifted quicker; he'd add new instruments and rhythms at more frequent intervals, say 3 to 4 minutes, giving a continuous piece (still between 9 and 12 minutes) a much different dynamic than other recordings. This is presented on side one, and the piece features one of the few instances I've heard where there is a secondary, or "triggered," percussive element. In this case, something akin to ball bearings were placed on a gong, adding a second layer of rhythm as Z'EV worked the gong. This is similar to his well-known car spring on bass drum pieces. Side two opens with one of the few live recordings of Z'EV's rubbing pieces (scraping a metal tube/pole or rubbing a rubber ball on a sheet of metal to make dronish, almost whale-like sounds) which segues into a subtle tonal wash of gong sounds. The final piece on side two is a rapid fire downpour of furious percussion. A unique addition to Z'EV's output, this release comes in an edition of 333 copies in steel plates. Each plate is sequentially hand-stamped, and each copy has an insert signed by Z'EV.”[label info] "Also by Z'ev, but from a historical perspective is a really beautiful 10": packed inside two metal plates which are stamped with 'Z'ev' and the copy number (of a total edition of 333 copies). It resembles that other metal packaging, by Chop Shop from so long ago. Crippled Intellect has released a 3" with historical live recordings before and this 10" features recordings made at the N.A.M.E. Gallery in Chicago in 1986. On the first side there is a rhythmic piece, which doesn't sound like it is kept in the same rhythm, but rather like an exploration of the sounds metal on metal can produce. Side B starts with slow rumbling of metal sheets being rubbed with balls which built in a peaceful way. The second piece is a fast drumming on metal piece‹maybe better known as Z'ev trademark playing. A fine addition to the already vast catalogue of material by Z'ev of which much is no longer available. It could also serve as a fine introduction to his work, in case you missed him out in the eighties." [Frans de Waard, Vital Weekly #411]
|
2003 |
€22.00 |
|
| |
Heart Beat Ear Drum |
DVD |
“Heart Beat Ear Drum” is a feature length documentary about the late artist and musician Z’EV (1951-2017), known for his punk era scrap metal music – an extraordinary range of acoustic phenomena resulting in trance-inducing sounds.
This documentary shows how his music changed and grew and how his personal journey led him to the margins of art and the depths of heart. From 2007-2015, director Ellen Zweig followed Z’EV, shooting concerts and interviews, and collecting archival footage. In addition to interviews with Z’EV, there are interviews with a community of artists who have known him since the 1970’s, curators who have encountered him in the 1990’s, and younger people who have only heard his recorded music or read his philosophical texts (Bob Bellerue, Bow Gamelan Ensemble, HATI, Barbara Stevini, Simone Forti, Zach Layton, Carl Stone, Ned Sublette, Johanna Went and more).
Z’EV began with a “wild style”, crashing and throwing pieces of metal to make sound. He collected the materials for his art at scrap yards. 30 years later, almost all the scrap yards are closed. Z’EV now uses mallet percussion to explore acoustic phenomena. Z’EV was a crusader: for art, for trance meditation, and for living a thoughtful life. His found object aesthetic made us see art in all of the objects around us. His art activities included drumming, sculpture, gardening, even cooking.
This film is divided in chapters and organised with both a narrative and a digressive structure. The structure is topic based, not strictly chronological. The first half of the film uses archival concert footage and interviews to establish Z’EV’s place in the world of art and music. The second half uses contemporary concert footage and interviews to explore the changes that led Z’EV to a more contemplative style. The film ends with an extended concert.
There is music throughout the film, but at the end, you are immersed in the music and in Z’EV’s exploration of resonance.
Director: Ellen Zweig
Co-Editor: Lili Chin
Sound Design: Ron MacLeod
DVD case with inserts. PAL, Region 0.
https://coldspring.co.uk/2019/12/zev-heart-beat-ear-drum-dvd/
|
2020 |
€17.50 |
|
| ZBEEN [ENNIO MAZZON, GIANLUCA FAVARON] |
Tonal Whiplash |
CD |
Tonal whiplash is a dissonance between tones, a lack of narrative coherence or the evil headache caused by a nonsensical explanation. One might argue that this is the defining characteristic of modern political discourse. Zbeen (Gianluca Favaron and Ennio Mazzon) translates this jarring disconnection into music, daring the listener to locate patterns and linear equations. But the mind is more creative than one might think. The more one plays these tracks, the more one detects some overall threads: isolation, dehumanization, menace. The warm cover image reflects a false sense of security.
Once again something is lurking around the corner, but while the duo’s previous installments inspired images of laboratories and aliens, the evolution of the news cycle since 2013 has sparked a brand new set of associations: technology, surveillance, encryption. The music now sounds like signals attempting to break through, hackers intercepting whispers, cellphones charging, then ringing unbidden. In real life, we struggle to make sense of all these buzzes and beeps, or we simply ignore them, content to be told that everything is safe so that we can continue to consume.
Tonal Whiplash defies its title. Each track adopts a particular pace, while the fragments of sound whirl around the speakers like shattered glass in a vortex. This sound and fury must signify something. An aerosol can is shaken; an alarm sounds; static breaks through the upper levels of the atmosphere. The music is not catchy, nor is it intended to be. It serves instead as an aural Rorschach test. What do you hear in these sounds? If the “warmest” seems like a cellphone (“Marciulionis’ Tash”), and the coldest the complete electronic stop in the center of “Tea Cube”, this says a great deal about our addiction to technology. But the titles themselves provoke tonal whiplash. This is not music for drinking tea and watching old videos of a Lithuanian basketball player; or is it? Have we become so acclimated that we no longer recognize tonal whiplash as such, or worse, that we recognize it, but now accept it as a way of life? (Richard Allen/acloserlisten)
https://capillarywaves.bandcamp.com/album/tonal-whiplash
|
2017 |
€10.00 |
|
| ZEALLEY, ANDREW |
Themes & Variations |
LP |
"ANDREW ZEALLEY: THEMES & VARIATIONS is the third installment in Zealley's "How To Explain Silence To A Dead Hare" series of vinyl project editions. The album showcases selected film, video, installation and performance music by Zealley, commissioned by visual artists - including Luis Jacob, Joey Medaglia, Benny Nemerofsky Ramsay, and Scott Treleaven. Produced by PSBEUYS, THEMES & VARIATIONS is released on Tourette Records (USA). This vinyl-only edition of 300 numbered LP's launches at Art Metropole on Saturday April 25, 1-3 PM.
On THEMES & VARIATIONS, Zealley intersects various aspects of his sound practise: field recordings, audio art, existential house, tonal mantra, and musical form/composition. At the center of THEMES & VARIATIONS are the scores for Scott Treleaven's trilogy of short films: GOLD, SILVER and LUSTRE. Composed and produced in 2005-2006, this group of instrumental compositions is punctuated, for the album, by four thematically-related works: APOTHEOSIS II, HABITAT THEME 2, SIGNAL, and ARENA.
TRACK NOTES:
The score to Treleaven's film on pandrogyny (starring Genesis P'Orridge and the late Lady Jaye Breyer), GOLD's cycling vortex of digital and acoustic sounds is followed by two variations on the same melodic and tonal themes: APOTHEOSIS II (an early audio sketch for GOLD), and HABITAT THEME 2 (developed for Luis Jacob's HABITAT installation at AGO). The plaintive love-pop electronics of SIGNAL, originally produced for Benny Nemerofsky Ramsay's CONSTELLATION performance piece, is newly remixed by PSBEUYS for the album. The swirling dream-scape of SILVER, the score to Treleaven's homage to John Dee (starring AA Bronson), is a seemingly endless sustain of electronics, violin and bell tones. ARENA, featuring the "beatbox" vocals of Luis Jacob, is the audio score to Joey Medaglia's video RE: FORM (BECOMING VISIBLE). An alternate version of ARENA's motifs can be heard on Zealley's exhibition soundtrack, AA Bronson School For Young Shamans. THEMES & VARIATIONS concludes with the 3-part score for LUSTRE, Treleaven's super8 tryptich starring Massimo & Pierce (Black Sun Productions). Here Zealley turns to a more classical interpretation of "themes and variations," literally voicing the score's tender melodic main theme (written for a local violin busker), through a series of pastoral string and oscillating electronic deconstructions.
ANDREW ZEALLEY: THEMES & VARIATIONS is mastered for vinyl at The E Room, by Peter J. Moore, and features performances by Luis Jacob, Benny Nemerofsky Ramsay, violinist Adm Shedden, and the PSBEUYS-directed Prospect Cottage Strings.
THEMES & VARIATIONS is released on Tourette Records (USA), catalogue number TOURETTE009, and is available online at www.artmetropole.com and directly from the artist's site.
more info : www.andrewzealley.com"
[website info]
www.touretterecords.com
|
2009 |
€25.00 |
|
| ZEITKRATZER |
Zeitkratzer performs Songs from 'Kraftwerk' and 'Kraftwerk 2' |
LP |
Format: 180gr LP incl. DL code + insert, 500 items
Release date: march 24th 2017
#DOUBLE BIRTHDAY RELEASE !! KARLRECORDS celebrates its 10th birthday, ZEITKRATZER even its 20th! And the party starts with the necessary re-interpretations of early compositions by electronic pioneers KRAFTWERK.
Founded in 1997 by REINHOLD FRIEDL, ZEITKRATZER have since been creating an impressive catalogue of recordings that embraces 20th century avant-garde composers (CAGE, STOCKHAUSEN, LUCIER) as well as electronic artists (CARSTEN NICOLAI, TERRE THAEMLITZ) or underground experimentalists like THROBBING GRISTLE or COLUMN ONE. In their 20th anniversary year, the critically acclaimed ensemble will release a series of diverse albums that will explore new grounds in the typical, adventurous zeitkratzer way – the first of these albums is dedicated to KRAFTWERK and their early, kraut-esque albums “Kraftwerk” and “Kraftwerk 2”. As KRAFTWERK never re-released these albums, ZEITKRATZER gave its best to cover the first tranche of the songs (second tranche to come…).
Recorded in Marseille / France in May 2016, the six tracks reveal a bucolic and even psychedelic aspect of the ensemble that’s mostly known (or feared) for its interpretatory and aesthetic acerbity. And yet there’s no doubt that “Songs From The Albums „Kraftwerk“ And „Kraftwerk 2“ turned out a true ZEITKRATZER recording in the best and full meaning!
zeitkratzer directed by Reinhold Friedl
Frank Gratkowski / flute, clarinets, Elena Kakaliagou / french horn, Hilary Jeffery / trombone, Reinhold Friedl / harmonium, piano, Didier Ascour / guitar, Maurice de Martin / drums, Lisa Marie Landgraf / violin, Burkhard Schlothauer / violin, Elisabeth Coudoux, violoncello, Ulrich Phillipp / double bass
Recorded and mixed by Martin Wurmnest
Mastered & cut by Mike Grinser at D&M, Berlin
www.karlrecords.net
|
2017 |
€18.00 |
|
| ZELIENOPLE |
Give it up |
CD |
"Der weite Weg zum Popsong: das Chicagoer Trio zwischen Doom und Ambient:
Das Trio Zelienople gehört zu den festen Größen der Underground-Szene Chicagos. Der Perkussionist Mike Weis spielt regelmäßig mit der Alternative-Folk-Legende Scott Tuma, zusammen mit dem Zelienople-Gitarristen und -Sänger Matt Christensen bilden sie die Band Good Stuff House. Doch trotz aller Nebenprojekte liegt das Hauptaugenmerk auf Zelienople, die mit dem Multiinstrumentalisten Brian Harding komplettiert werden. Mit "Give It Up" entstand das bis dato ausgereifteste Werk des Trios. Die Band bewegt sich weg von früheren Vergleichen mit Talk Talk, Slowdive und Bark Psychosis und entwickelt einen
wagemutigen, frischen Sound. "Give It Up" ist zudem "poppiger" als der Vorgänger "His/Hers", ist eine Sammlung sich langsam wälzender Songs. Von dem an Bohren und der Club Of Gore erinnernden Opener "Aging" über den Americana-Doom von "All I Want Is Calm" bis zum diesigen Ambient von "Water Saw" reicht
die Klangpalette. Und das perkussive und traumhafte "I Can Put All My Faith In Her" kommt dem Popgedanken des Trios am nächsten. Musik für den Abend am Kamin." [label info]
"Another fantastic disc of gauzy, shimmery otherworldly dronemusic, from the seemingly infallible Type label. Long time aQ faves, Chicago's Zelienople moved to Type, after a handful of releases on PseudoArcana, Digitalis and Root Strata, and it was a pretty perfect match. Rameses III, Alps, Goldmund, Grouper, Xela, North Sea, Helios, Svarte Greiner, Black To Comm, it's not difficult to see that maybe this was where Zelienople belonged all along.
On Give It Up, the group deftly mix light and dark, weaving softly smoldering dreamscapes, all muted and hushed, with sun dappled dronefolk, all chiming soft focus guitars, and minimal percussion, hazy and gauzy and slightly blurred, vocals surfacing here and there throughout. A sort of ethereal slowcore, pop songs pulled apart and set in amber, this record a shadow produced by the muted sunlight
shining through.
Some tracks are brooding and doomy, laced with ominous creaks and deep moaning low end tones, wheezing organs, and layered ambience, others are folky and reverbed, strummed guitars wreathed in a patina of muted thrum, spread out over some almost Neil Young sounding vox, but buried way down in the mix, still others are skeletal and barely there, voices drifting in the ether, over spare tendrils of melody, only to slowly shift, and get lost in a cloud of prismatic chordal hum. Absolutely gorgeous, the perfect blend of minimal doom folk, hushed slowcore and abstract dronemusic.
The lp version comes with a bonus cd (NOT a cd-r, an actual pressed cd), featuring Zelienople's soundtrack for a film called Gone, stunningly beautiful, even more minimal than the record proper, the first half of the disc all gauzy drones, the second half, bleary eyed
slow motion chamber music. Be careful removing the cd from the lp, it's attached by a little dollop of glue or something, but a quick
pull will take some of the lp sleeve with it..." [Aquarius Records]
|
2009 |
€15.00 |
|
| |
His/Hers |
CD |
"Zelienople (named after a borough in Pennsylvania) is the moniker of Chicago based musicians Matt Christensen (guitar/vocals), Mike Weis (percussion) and Brian Harding (guitar/clarinet) and between them, in a desolate suburban basement, they have come up with a record of pure psych-rock sludge. Now on their fifth album, the band have struck upon their finest moment yet, honing their skills to create something singular and utterly unique. There is certainly no shortage of acts willing to throw down waves of experimental guitar noise and clattering percussion, but with the benefit of focus and experience, Zelienople sound like something totally out of time and almost impossible to place.
Residing in a hazy drunken world in-between slow-core pioneers Low, psych-folk outsiders Charalambides, Japanese overlords Boris and Dead Man era Neil Young 'His/Hers' is a faded photograph of rock music past, yet still manages to keep a firm footing in the present.
Guitars echo like disappearing ghosts and vocals moan and wail mercilessly while percussion bubbles up in glorious waterlogged waves.
'His/Hers' isn't a concept album, but it might as well be with five bravely sculpted tracks acting like chapters, taking you through a whole gamut of emotions, from pensive and lonely through to aggressive and impulsive and beyond. Fusing the warring factions of blues, noise, metal, folk and jazz the trio have made as breathtaking a psychedelic album as you're likely to find, and unlike so many others in the scene it never threatens to overwhelm you with meaningless academia or pretension. This is an album made for listening, for enjoying and sinking in to, an album that is made as an illicit treat for the discerning music fans among us. Grab hold and step aboard, Zelienople are just about ready to take you on a universal journey into the subconscious, and it's gonna be quite some ride." [label info]
www.typerecords.com
|
2007 |
€15.00 |
|
| ZGA |
Sub Luna Morrior |
CD |
Die musikalische Sprache dieser legendären russischen Experimental-band um NICK SUDNICK ist schwer in Worte zu fassen: Haufenweise selbsgebaute Instrumente, oft auf Metallbasis, aber auch klassische Instrumente wie Akkordeon, Klarinette, Trompete, Spielzeug, etc.. und Gesang auf russisch. Es gibt Strukturen, sowohl harmonische als auch rhythmische, es gibt Gesang, Dynamik, Melodien und Gesangslinien, alber alles scheint in einem fremdartigen Parallel-Universum stattzufinden. Super! Dies sind letzten Studio-Aufnahmen ZGA’s (Januar 1995) vor dem Tod von Alexander Zhylin, der im März 1995 auf Tour in Italien tragisch verstarb....
“Latest recording by the ever deeper Russian instrument builders and masters of live electroacoustic/song/sound sculptures. Dangerous, Bitter, Desperate and Down to the Bone, but carrying a huge emotional charge and a rare beauty. This is lived music, both mature and profound.“ [ReR]
|
1993 |
€14.00 |
|
| |
Zgamoniums |
CD |
“.... Musik, die in ihrer Originalität schwer zu beschreiben ist: Industrial-Noise-Rock-Improvisationen zwischen AMM, EINSTÜRZENDE NEUBAUTEN, DDAA (nur um eine vage Klangwelt anzudeuten). Harsche Rhythmen, knirschendes, schrillendes Metall, monotoner Sprechgesang, gequälte Trash-Elektronik – invalide Cyberpunks wühlen als Schamanen der Zukunft im postatomaren Schrott – Lähmung, Statik, gegen die ein archaischer Beat ostinat antrommelt...“ [Rigobert Dittmann in Bad Alchemy Nr. 14 zur ersten ZGA-LP (1990)]
“New works from the extraordinary Rigan Quartet; sound bites from 'real' and electrified scrapyard instruments; an indescribable and incomparable group who have succeeded both in defying genre and creating radically new sounds.” [ReR]
„ZGA pflegen die Perkussion auf eisernen Objekten, wie es so manche Band in den 80er Jahren tat. Aber anders als diese entfachen sie kein Industrialdonnerwetter, sondern loten mit kratzender oder streichender Behandlung die eher leisen Gefilde bzw. atmosphärischen Möglichkeiten des Materials aus. Die senkrecht aufgehängten Spiralen, Eisenplättchen und -¬stangen bilden zudem das Herzstück für Stücke, die einen entfernten Rockkontext lediglich in dekonstruierter Form erahnen lassen. Plötzliche Brüche im Aufbau geben den Stücke einen rohen und fragmentarischen Charakter. Wenn mit einem plötzlichen Schwenk die Geräuschkulisse kippt und eine verquerte Klarinette Volksweisen anstimmt, wirkt das nicht als beliebige Geste. In die Aufnahmesession, die die Band erstmals in ein professionelles Studio führte, haben ZGA ihr Erfahrung im Umgang mit nicht vorhandenem Equipment, will sagen die Bastlermentalität des Improvisateurs im Gegenständlichen nochmals mit herüber genommen. Immerhin fuhrwerkeln ZGA seit 1984, noch hinter dem eisernen Vorhang und unter erschwerten Bedingungen, an ihrer Musik herum und da steckt nun mal auch immer der geniale Schuss Punk drin, der die Dinge so erscheinen läßt wie wir sie mitunter gar nicht gern sehen: ständig reparaturbedürftig. _ZGA are working on iron objects like some of the industrial bands from the 80ties. But in spite of them, they are more in the quietly fields sounding out the materials possibilities with scratching and stringing. Coil springs and/ or iron plates played with iron bars are the heart for pieces far away from any rock context. Sudden breaks are disturbing the structures giving them a rough and fragmentary character. When in a sudden move the sound scenes are changing and a strange clarinette starts playing in terms readily comprehensible to the layman, it is not only any gesture they like. Since 1984 they have been existing as a band working behind the iron curtain. Maybe for that reason they developed an improvising talent in dealing with heavy circumstances especially for musicians like them. Now for this session ZGA have worked the first time in a professional studio and they used their brilliant punk spirit which makes that the things seem to be in a way we do not always like to see them: currently under construction.” [Mr. Schlewinski for Drone Records]
|
1991 |
€14.00 |
|
| ZIMIAMVIAN NIGHT |
Zimiamvian Night 3 |
do-CD |
The recording was dead. A lifeless piece of audio "lost" (filed) on a dusty hard drive and purposely dropped under a nameless 'untitled' folder. The men and women of the Zimiamvian Night collective were content to move on, record more pieces, capture other lights, and bathe in distant ambiences far, far away.
The Wolf (indeed his real name) caught word of this abandoned audio and offered to inject some life, and perhaps revive what was left behind. After careful listening, tape splicing (uploading) and pain staking attention to the neverending, everlasting drone notes, blowing wind and dappled environmental samples - a new recording emerged and is now presented here. Alive and well.
Zimiamvian Night 3 is the collection over 2 discs of the before, after and in-between. It is meant to document this transition and serves as a reference point to the story that spans years, the accidental audio diary passively collected on tape and the mysterious end result.
Double CD set. 1st CD available via digital stream, download and digital consumption. 2nd CD available only through the physical product, no download. Keep the physical medium alive - thank you.
Gatefold mini-lp Stoughton tip-on sleeve with each disc housed in its own cardstock envelope. 300 or so copies. Design by none other than Tim O'Donnell.
https://infraction.bandcamp.com/album/zimiamvian-night-3
|
2018 |
€17.50 |
|
| ZOS KIA |
23 |
3 x LP |
The final and complete anthology of ZOS KIA recordings known under title “23” now released on limited vinyl set with different artwork and remastered especially for vinyl by Martin Bowes(Attrition) on The Cage Studio.
- DELUXE 3LP Triple-Gatefold Set, limited to 450 copies.
infinitefog.bandcamp.com/album/zos-kia-pre-coil-23
|
2018 |
€46.00 |
|
| ZOVIET FRANCE |
Tables are Turning |
do-LP |
"Somewhere in the rainy, misty forests of the Pacific Northwest of America, three ladies have the unlikely task of sewing together the packaging for a new album by :zoviet*france:.
:zoviet*france: are releasing ‘The Tables Are Turning’ on compact disc and double LP through Soleilmoon Recordings. The music was composed as the soundtrack to ‘Designer Body’, a dance that toured England from 2008 to 2009. The work explores the transformational relationship between humans and the clothing they wear. Seven dancers, performing on continuously rotating plinths, slowly remove layers of their costumes, revealing the sensuous nude bodies beneath. The music accompanying the dancers is by turns dense and moody, then lyrical and soaring, underlining the mounting vulnerability of the dancers as they undress.
Liv Lorent, balletLORENT's artistic director and choreographer, spoke with Kelly Apter, writer for The List, saying “At the beginning, the body is the most designed it can be. They’re wearing hats, coats, heavy costumes and make-up – all the man-made and artificial things we do to disguise ourselves everyday. Then, over 50 minutes, we take it all away. And because there are several layers, there’s a real sense of metamorphosis.”
The members of :zoviet*france:, who prefer to remain annonymous, write “We've known Liv Lorent for a long time. When she started to conceive 'Designer Body', which she wanted to be a hybrid of contemporary dance and performance art, she decided that an unconventional performance needed an unconventional soundtrack. The composition of the soundtrack and the choreography evolved alongside each other so it became a dialogue between Liv and ourselves. The main inspiration that we took from the production's concept was rotation; throughout the one hour performance, the dancers are located on turntables that turn continuously, at varying speeds and changing direction. We mirrored this in much of the soundtrack, with circular and rotating sounds.”
Both formats (CD and double LP) are presented in a deluxe dual-layer green satin bag with fold-over flap. The letters ‘ZF’ are hand-stitched into the flap in white thread, and a two-sided color insert printed on sturdy cardstock completes the package. There are 400 LPs and 600 compact discs in the first edition. The LP, with music on three of the four sides of the records, will go out of print when the initial pressing sells out." [label info]
www.soleilmoon.com
"With hindsight it is of course not easy to tell when you first heard something, let's say the music of :Zoviet*France:. I think, in my case, this must have been at my friend Peter, when staying over one night after a concert, and he would proceed to play me records, as that was the kind of stuff he was into, unlike me, who was more into cassettes (and waking up, always, to the sound of 'Erector' by Whitehouse). I am however pretty sure I knew the name before as their records where sold by the then existing mail order of Ding Dong Records. Slowly over the years in the mid 80s I got to hear and see those crazy packed records and was immersed by them. In 1990 or so I saw them play live, in the UK, where Peter's band was due to play also, in a multiple day event. I think one night just had :Zoviet*France:, and they played for what I remember as two hours in a seated theatre. Their extended sound tapestries of acoustic sounds, lots of electronics went on and on, from mood to mood.
A bit later I remember them playing at the Dutch radio station, VPRO in this case, for a recording that later turned out to be 'Mort Aux Vaches'. They were downstairs fiddling with the soundcheck and I was up in the control room. 'You can start the recording', one member said, and after 90 minutes the DAT was full. One of the radio people went down and told them it might be time to stop, which they did with a quick fade out. Now I could have been disappointed by that, being cut out of such beautiful music, but I wasn't. Seeing them playing around with the simplest of means, tea cups, flutes, and electronic devices was great. Following the extreme productivity of the 80s, there were some releases in the 90s, and in the 00s? One CD, and one 12"/10"/7"if I recall well. Zoviet*France, since many years a duo do play live and share live recordings easily but for whatever reason it never comes to a release that easily. Maybe they foresee that physical releases may disappear, maybe their sometimes complex packaging proofs to be difficult (this new one comes in a 'dual layer green satin bag with fold over flap') but more realistic: :Zoviet*France: are no longer part of the world of concerts, CDs and such like. For quite some time now they create soundtracks for dance companies and performances, and you don't sell CDs at those gigs (I guess, actually). 'The Tables Are Turning' was created for Ballet Lorent in 2008 and I am sure this is not a live recording, but I am also not sure how it works. There are twelve pieces here, quite distinctive pieces, so maybe these are used in this order, no breaks in between or maybe in some other configuration. There is an interesting distinction between the live releases by :Zoviet*France: and their studio work. A typical live CD has one or two pieces in which everything flows right into each other, like an endless stream of subconscious sounds. In their studio work they perform much shorter pieces which occasionally have an odd start or ending , like it's being cut out of a bigger whole. In the dance piece, the dancers are located on turntables - hence the title - and the revolving sound, the looping sound is something that returns in the music. From spacious and melodic in 'Prophecy Loved A Child' to the processed music boxes of 'Green Air' to the gritty organ opening of 'The Grit In The Cloud'. In the past :Zoviet*France: would refer to this as 'songlets', as opposed to real songs, but the shorter ditties here like 'The Fire Of Revolution', 'Sandbox', and 'A Moment Of Film' hark back the best days of 'Popular Soviet Songs' or 'Lohland'. I played this pretty much everyday for a week, and decided this is a great :Zoviet*France: release; not their best, which would be for me 'Mohnomishe', 'Shouting At The Ground', 'Digilogue' and 'What Is Not True', but it's up there with pretty much everything else I know by them, and which is a lot. This christmas will be spend with an entire day of :Zoviet*France: music." [FdW/Vital Weekly]
|
2013 |
€65.00 |
|
|
Look into Me |
do-LP |
"First vinyl reissue of ZF’s elusive ambient noises, originally transmitted in 1990 on their Charrm label and including parts used for a Stan Brakhage soundtrack, now resurfacing as part of V-O-D’s ongoing archaeological survey of the Northumbrians’ seminal early years.
Far as we can make out, ‘Look Into Me’ marks one of the last Zoviet France appearances of Mark Spybey, who was a band member 1987-1989. Alongside founding members Ben Ponton and Robin Storey they conjure a rawer, coarsely hypnagogic sequence of events and textures that recalls a folk drone symphony played by wraiths on high moorlands and in the pits of derelict collierys.
A section of the 24’ opening side’s wizened strings loops and windswept ambient noise in ‘Cair Camouflet’ was used as part of the soundtrack to the film ‘Loud Visual Noises’ (1987) by Stan Brakhage, and the rest of the record follows in a fittingly enigmatic allegory of synaesthetic sound abstraction and experimental de/composition, to deeply psychedelic tracts of drone noise reminiscent of Two Daughters, mottled voices reminding of Delia Derbyshire’s Dreams records, and clangorous, feral ambient noise that could really only come from these epochal shaman and masters of their craft." [Boomkat]
"Look Into Me contains a combination of industrial grinding, modified guitar and electronics. Other tracks apply synthesizers and tape loops with far more sophistication and impact than on the earlier albums. Zoviet France cycle and recycle abstract noises into a constantly changing texture, composed of sonorous drones, grindings, scrapings, squeakings and so on. It's atmospheric without conjuring up any obvious imagery at all, thanks to the unreality of most of the sounds used. Occasionally, the overtly machine-like nature of some sounds has a familiar feel. The LP consists of the spacious and disjointed side-long Cair Camouflet, backed by ten other tracks, and the 45rpm companion record provides another three. Enjoyable and imaginative.." [Soundohm]
|
2020 |
€31.50 |
|
|
Further Collusion |
do-LP |
"First vinyl edition of a new 1hr40min compilation of ZF’s hard-to-find compilation cuts, pursuing the model of 1992’s ‘Collusion’ with work spanning nearly a decade, arriving as part of Vinyl-On-Demand’s comprehensive reissue programme.
‘Further Collusion’ looks down lesser heard ginnels and hidden ravines of Zoviet France’s singular, textured ambient noise with a range of obscure cuts sequenced into an inimitable trip. Inspired by their native North East English regional landscape of rural wilds and post-industrial waste, they using a patented, encrypted palette of loops and FX to conjure sounds and sensations that describe the natural world and may well induce deeply uncanny, hypnagogic states of mind with certain listeners." [Boomkat]
"Like its predecessor Collusion (1992), Further Collusion is a record which brings together tracks that Zoviet France have contributed to various compilations down the years. The Tyneside post-industrial pioneers have long been feted for their unique approach to making music for compilations - rather than simply offering up a single piece, the outfit often actively involve the compiler in the creation of the music. It is an approach which makes Further Collusion both an LP which demonstrates the many different facets of the Zoviet France sound and also reminds one of how wide the project’s net is cast. Crushing drone, wispy ambience, mind-boggling sonic collage and experimental concrete can all be found here, but the overall listening experience remains awe-inspiring throughout." [Bleep]
|
2020 |
€32.50 |
|
| |
Chasse 3 |
16 x LP BOX |
VOD172: ZOVIET FRANCE Châsse Vol. 3 16 Lp Wooden Box with Shirt / Booklet (ltd. 500 in black Vinyl)
VOD 172 1/2 in.version (1996) 2LP – first time on vinyl
VOD 172 3/4 Digilogue (1996) 2LP – first time on vinyl for the original expanded CD release
VOD 172 5/6 Feedback (Mort aux vaches) (1998) 2LP – first time on vinyl
VOD 172 7/8 The Decriminalisation of Country Music (2000) 2LP – first time on vinyl, including additional unreleased recordings
VOD 172 9/10 A Long Walk (2011) 2LP – first physical release
VOD 172 11/12 7.10.12 (2012) 2LP
VOD 172 13/14 The Tables Are Turning (2013) 2LP – including additional unreleased recordings
VOD 172 15/16 A Third Collusion (new) 2LP - tracks from compilations, first time on vinyl
|
2022 |
€325.00 |
|
| ZSOLT SORES |
Astro-Noetic Chiasm (Ahad's Flux Worlds 2) |
LP |
Representing Ahad's 'Flux Worlds 2', this album arrives as the companion to the 'Flux Worlds 1' DOUBLE-CD, 'Memo Point Soundmap...'. Recorded live, 'Astro-Noetic Chiasm X' once again takes us through an immersive setting where real time electronics converge with improvised viola, percussion, cello, trumpet, synths, gadgets and so on to create vast washes of avant-garde turbulence that assumes a stance rarely seen outside very early electroacoustic-
flavoured kosmische music or abstract droneworks.
https://hingethunder.bandcamp.com/album/astro-noetic-chiasm-ahads-flux-worlds-2
In listening to Astro-Noetic Chiasm χ by Zsolt Sőrés, one quickly has the impression that the sounds being heard are coming from an anomalous nowhere. As if they were not generated here but received from there. They simply sound otherworldly. So, what is their actual address in space and time, as well as the sender’s or the receiver’s? How are we to identify them?
We could of course try to single out the sonic settings and processes we hear according to the technology that produced them (unconventionally played musical instruments and diverse electronic sources), but this strategy would be counterproductive in terms of poetics. Sőrés is not a technocrat and the titles he gives to his pieces reference philosophical concerns that are represented both conceptually and sonically. In his dystopic sonic fiction he is a time traveler, but not the one we know from science fiction; rather than going against time to generate an extraterrestrial experience, he composes present, past, and future the way we compose our percepts, affects, desires, or utopias. Once the sound he or his sonic collaborators create starts to evolve in space-time, the battle to control its identity begins. This does not necessarily mean mastering a sound in terms of appropriation, but grasping it conceptually, purposefully registering its existence in order to use its physicality as a potential means of expression. Naturally, not all generated sounds are worthy of Sőrésʼs aesthetic attention or utilization, only those that his experience identifies as suitable vehicles for significant differentiation. This happens in real-time, composed improvisation, scored for five musicians; on this recording are trumpet player (Franz Hautzinger), two cellists (Anthea Caddy, Judith Hamann), sound effects producer (Mihály Kádár), and Sőrés himself playing viola with the help of various objects and devices.
And so, welcome to Ahadʼs sonic garden and lend your ear to the flux sound manifestations of “astro-noetic chiasms” that are woven successively and synchronically into a pliable decentralized patchwork, visually represented by the hermetic symbol χ in the pentagonal “middle” of the non-hierarchical score. Sőrés as composer does not approach his work in a centralizing way, he designs flexible structures so that musicians can playfully recombine and deconstruct the entire central structure and linear order. Ahadʼs creative philosophy simply refuses to think in terms of a restrictive and pointless metaphysics.
Jozef Cseres
April 2022
"For a moment, I thought this was the re-issue market going bonkers. Didn't I review a CD with this title two weeks ago? While I said, it was the best piece on the CD, I don't think it needed a re-issue on LP immediately. I am wrong, of course, not for the first time. I am just confused by the words 'Flux Worlds'. Effectively, this LP is an extension of the double CD and contains a recording from a concert from January 2022 at the "Ultraschall Berlin - Festival für Neue Musik" at Heimathafen Neukölln, and Zsolt Sőrés plays with some guests, such as Franz Hautzinger (trumpet), Anthea Caddy (cello), Judith Hamann (cello) and Mihály Kádár (live sound, effects). The man himself is on the 5-String Viola, Cymbal on the Top of the Viola, Vibrating Objects, Mole-Rat Electromagnetic Field Explorer, Domino Synth, and an EBow. One Jozef Cseres delivers the liner notes, which I didn't quite comprehend, but I loved the words "sonic fiction" in there. I understand there is some composition at the core of all of this, but I believe there is some freedom of interpretation. Like with his double CD, improvisation plays an important role, going hand in hand with a love for all things sonically forceful. This LP connects to the final piece on the 2CD in that this is, most of the time, at least, a work of loud, aggressive droning. The instruments are all amplified, there is some voice material (on the second side), and the ritual aspect plays a role. I wrote that this is the kind of music by Zsolt Sőrés where I can see a dialogue with sounds and instruments, and that's what works best here. Buy the LP and download the music; thus, it is possible to enjoy the whole work uninterrupted. I know, people like vinyl, but in work like this, I think the constant flow is an important factor for enjoyment." [FdW / Vital Weekly]
|
2023 |
€20.00 |
|
| ZYLO, ARVO |
UPHEAVAL |
CD-R |
In 2005, Arvo Zylo constructed a drone piece out of several layered samples from pop divas holding sustained notes. It was submitted to a compilation with this information ahead of time, and rejected out of fear of copyright retribution. Thinking that since no single sample therein is easily recognizable in the slightest, "Upheaval" was reworked in a total of 100 different versions, the final version being four hours long ("The torture has been transcended" - WIRE Magazine).
This release, which has been released in a cassette edition at Czech label Nova Alternativa, is now available on pro CDR in the states. More than just drone material, it traverses several different approaches, from soundtracky ambient "vistas" to abrasive industrial repetition.
https://nopartofit.bandcamp.com/album/upheaval-2
"It has been a while since I last heard some new music from Arvo Zylo, following quite a bit of his work on LP, CDR and cassette. Much of his work is about noise, but not exclusively, which he proofs on 'Upheaval'. In 2005 he "constructed a drone piece out of several layered samples from pop divas holding sustained notes", and submitted to a compilation, who refused out of being sued by said (sad?) pop divas. That piece was worked over by Zylo for 100 times and on this CDR we get 'Upheaval Version 93' to 'Upheaval 99". It was previously available as a cassette by Nova Alternativa, and now as a great looking CDR. As is to expected you couldn't recognize any pop diva in here and let it be known I could not name many pop divas, old or new, but the nature of Zylo's processing means that is surely not the case to recognize any of it. As his tools, Zylo uses, so I believe, a combination of digital and analogue tools. The digital ones to pitch the material up and down and to get a loop going, while analogue stompboxes are used to further colour the material. 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 in not so ambient but also not so noisy excursions such as 'Upheaval 96', which reminded me of Vivenza. I prefer that more 'subtle but not too subtle' approach by Zylo, perhaps more than the blunt noise of 'Upheaval 99'. It is, however, the variety of approaches here that makes this a most enjoyable release, even when the noise pieces could have been shorter." [FdW/Vital Weekly]
|
2019 |
€9.00 |
|
| [AD]VANCE[D] |
Two Events |
LP |
Waystyx goes vinyl! Fabulöses neues Werk vom niederländischen Projekt um MARS WELLINK, allerbeste atmosphärische Collagen-Musik und archaische Drone-Fliessmuster, loopig-pulsierende Strukturen in typisch VANCEiger Machart. Bisher seine überzeugendste Veröffentlichung! Limitiert auf 200 im Poster-Cover mit Postkarte!
"Not much info on this otherwise beautifully packed LP. The story should be known: following the split of Vance Orchestra, Mars Wellink started (ad)vance(d), together with Jan Dekker. The music of (ad)vance(d) is a continuation of lines set out by Vance Orchestra: that of the cross road of ambient music, bit of rhythm (mainly through samples) and a hint of industrial music. Two side long pieces, an event per side me thinks. The music slowly evolves and develops - the archetypical form of drone music, which is in these four hands in great form. Deep rumbles from below the earth's surface, which grow in intensity and take a big shape, almost without the listener realizing this. Voices (?) seem to mumble, the rattling of a bike, all against a nice, thick brick wall of sound. It reminded me of some of the best work of zoviet*france. The rotating swirls fit the medium, or the medium fits the swirls of sound. Two particular great pieces that one keeps rotating on end. Fabolous headspace
music." [FdW / Vital Weekly]
www.waystyx.com
|
2009 |
€16.00 |
|
| |
Unseen Intelligence |
mCD-R |
"once half of the wonderful VANCE ORCHESTRA, mars f. wellink still creates multi-layered soundscapes full of details. not very productive, his past works were released on absurd (one cd-r), waystyx (one lp and one dvd) and more recently on the 10" series of drone records, substantia illuminata. "unseen intelligence" is a wonderful "sound travelogue", as stefan knappe described his 10"." [label info]
www.taalem.com
"Mars F. Wellink came from Ain Towh and Vance Orchestra and since some years is (Ad)Vance(d), which is never very active with releases, but always creates a fine piece of drone music. Here he works with one Jan Dekker and its never known what they use sound wise. For all I know there is a bunch of field recordings, voices and tons of processing on going, but then its hard to say which kind of processing. Does (Ad)Vance(d) use a lot of analogue electronics, or is it perhaps in the world of computers? Its all not easy, if not impossible to tell. 'Unseen Intelligence' consists of three distinct parts. The first has a slight light metallic ring to it, with voices taped on a dictaphone. The second part, with some ten minutes also the longest, an obscure piece of crackling sounds (radio?), voices, and some sounds of scraping metal, which grows in intensity and the short third piece builds in a log fade up to the conclusion and contains, perhaps, all sounds elements as before. Its once again an excellent piece of music of a highly atmospheric nature, which should appeal to drone-heads world-wide." [FdW, Vital Weekly]
|
2012 |
€5.00 |
|
| [LAW-RAH] COLLECTIVE, THE |
Innovation |
CD |
the latest output by the [law-rah] collective is called 'innovation'. on this release the utrecht based duo consisting of martijn pieck and bauke van der wal chose to explore new methods within each of the steps it takes to create an album.
the experiments have led to an album with seven coherent yet diverse tracks with a total playing time of just under an hour. from this perspective, the story that is being told never gets boring in any way. it grabs your attention from the first tones of 'the theory of co-evolution' and it doesn't let you go until the final moments of 'diffusion of innovation'.
while they were working on 'innovation' pieck and van der wal stayed close to the sonic palette for which the collective is known and appreciated; it's still those massive drones - or if you prefer noisey soundscapes - which at moments hurt either your ears or your emotions. but the album is called 'innovation' for a reason, so how the album was created has changed in all possible ways: sound sculpting, composing, mixing, mastering and even collaborating ...
the sound sculpting part was done all with modular synthesis. all sounds have been created from scratch, which was long trajectory of pulling and patching cables and intensive listening until the sound was what it needed to be.
as for the collaborating part, with 25 years of working together it was hard for pieck and van der wal to try something new. for 'innovation' the workflow of creation was considerably different than any other album by the [law-rah] collective. the outcome could have gone two ways: either all the tracks had no relationship to each other, or the tracks would form a coherent story with matching production.
with 'innovation' the [law-rah] collective asked themselves whether it pays off to leave the beaten track; to take a step back and question yourself and your ways.
it's a proven fact: 'innovation' has become a very intense and consistent album with a clear message. it's not for your average background listing sessions. the sounds are all over the frequency spectrum and the compositions are quite demanding to the listener.
it's intense ... it's dynamic ... it's innovative ...
https://soundcloud.com/raubbau/sets/the-law-rah-collective-innovation
|
2018 |
€13.00 |
|
| [SIC] |
Gorilla Masking Tape |
CD-R |
Hinter [SIC] verbirgt sich die junge Nachwuchs-Elektronikern Jen Morris aus Montreal, die hier auf sechs Stücken analog-elektronischen dark ambient entwirft, der aber sehr UN-minimal ist, d.h. sich ständig verändert & neue Sounds & Färbungen aufnimmt.
Sehr subliminal & z.T. mechanisch-maschinell, sehr zu empfehlen !
“Having listened to and zoned out on this release at least half a dozen times, it should be obvious what it is that is so compelling about [sic]'s compositions of dusty long drones, deep ambient spaces and bump-in-the-night tension, but it's not. On the one hand, this is difficult listening: all uneasy sounds and dischordant timbres rubbing up against one another to create an ambiguous feeling of dread. On the other hand, for those familiar with the work of like-minded artists like those featured on the quasi-legendary "Isolationism" compilation, [sic] fits perfectly into a already-defined niche of dark, brooding ambient characterized more by its claustrophobia than by its use reflection of space as an expanse. I could tell you that Gorilla Masking Tape is a beautiful, haunting record, or that it's alpha-wave inducing at the right volume, or that it's a perfectly quiet record for people who lead unquiet lives, but none of that really captures the force that these tracks embody. Perhaps the record's most defining characteristic is that it is indeed so malleable that it can be both loud and quiet, both serene and disturbed, both beautiful and terrifying and that it does all of this effortlessly. I often wonder what more can be said about music like this that is both barely there and a force of nature all at once, depending on your volume knob. I always think that it will be impossible for someone to release yet another essential dark ambient disc in a world where artists who do this sort of thing tend to have voluminous discographies of equally affecting work already. I think that, and then I hear a record like Gorilla Masking Tape and it suddenly all sounds fresh and important and essential again and I'm left wanting more. It doesn't get much better than that.”
[Matthew Jeanes - Brainwashed Brain]
|
2004 |
€11.50 |
|
|
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