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ALDINUCCI, GIULIO & THE STAR PILLOW

Hidden

Format: CD Label / Cat: Midira Records MIDIRA 057 Year: 2018

Format: CD Label / Cat: Important Records IMPREC385 Year: 2013

€13.00

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NADJA & VAMPILLIA

Imperfection

Format: LP Label / Cat: Throne Records TR56 Year: 2015

€15.00

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NEST (Otto Totland & Huw Roberts)

Body Pilot

Format: 10inch Label / Cat: Serein SERE11.3 Year: 2011

€13.00

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Pilgrimage

Format: CD Label / Cat: Southern Lord SUNN86 Year: 2007

€15.00

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PILEWICZ, ANNA & RAFAL IWANSKI (X-NAVI:ET)

Aqualuna - Alchemical Transformation through Vision and Sound

Format: CD + DVD Label / Cat: Zoharum ZOHAR 039-2 / Eter Records 13 Year: 2013

€15.00

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PILIA, STEFANO

Action Silence Prayers

Format: CD Label / Cat: Die Schachtel ZEIT07CD Year: 2008

€14.00

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PILIA, STEFANO

The Suncrows Fall and Tree

Format: LP Label / Cat: Improved Sequence Records IMP014 Year: 2020

Format: CD Label / Cat: Glacial Movements GM 052 Year: 2023

€16.00

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SATORI

Pillars of Salt

Format: CD Label / Cat: Cold Spring - CSR346CD Year: 2025

€15.00

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SKARE

Polar Night Pilgrimage

Format: MC Label / Cat: Cloister Recordings - CRUS-125 Year: 2024

€14.00

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SKULLFLOWER

Fucked on a Pile of Corpses

Format: CD Label / Cat: Cold Spring Records CSR151CD Year: 2011

€12.00

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SUNN O)))

Eternity's Pillar (Opaque Purple)

Format: 12inch Label / Cat: Sub Pop SP1713* Year: 2025

€30.00

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33 rpm : Ten Hours of Sound from France

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

€12.00

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Alliance

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

€13.00

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Antologia de Musica Electronica Portugesa

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

€15.00

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ARTIFICIAL MEMORY TRACE presents: Interpretations

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

€9.50

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Chromaticfield Remixes

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

€10.00

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Circuits of Steel

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

€8.00

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Coilectif. In Memory ov John Balance and Homage to COIL

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

€14.50

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Construction Sonor

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

€17.50

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Consumer Electronics

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

€21.00

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Dark Transmissions

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

€10.00

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Death's last Life's Breath

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

€13.00

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

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

€16.00

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Dissolution Tapes: The Musique Concrete Ensemble remixed

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

€10.00

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Ein Prosit zur letzten Tide

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

€12.00

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Epitaph for John

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

€13.00

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Evolved As One - a Collection of emotional Ambient Drones

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

€13.00

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Floating Foundation Vol. 1

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

€13.00

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Four Studies for a Human Portrait : Tribute to Francis Bacon

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

€13.00

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Go-To-Cat-Man-Do

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

€13.00

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Guitars undressed

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

€12.00

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Holy Mother Russia

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

€15.00

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Ikebana: Merzbow's Amlux Rebuilt, Reused and Recycled

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

€16.00

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INFERNAL PROTEUS

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

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

€300.00

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Runeology 2

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

€8.50

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Salon Bruit

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

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

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

€15.00

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Water & Architecture

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

€14.00

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

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

€18.00

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

€8.00

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Polyhedric Tetrapak

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

€8.00

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Abschied aus Berne

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

€7.50

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

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

€13.00

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Thalamus II

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

€12.00

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Avanto 2006

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

€13.00

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Table For Six: All Quiet?

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

€13.00

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How to stay young & healthy in a modern world

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

€14.00

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Penumbra EP Collection Vol. 8

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

€12.00

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Listen to something different

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

€13.00

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Noise Factory Records Sampler Vol. 3

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

€12.00

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4 sides a circle

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

€15.00

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KKH 1 LOCK GROOVES

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

€6.00

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Sur-Terre.Net

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

€13.50

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Three aural interpretations of a drawing by Eric Lanzillotta

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

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

€9.00

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Roulette Russe pour un peu de Caviar

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

€13.00

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

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

€12.00

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Wild Tigers I have known

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

€14.50

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

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

€12.00

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MUZYKA VOLN

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

€13.00

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Table For Six: All Quiet? # 2

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

€13.00

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Musics in the Margin Vol.1

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

€13.00

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Dark Ambient Radio Volume 1

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

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

€10.00

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Audioscoop Compilation 1

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

€25.00

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OEC 100 / THE OLD EUROPA CAFE

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

€38.00

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>Manifesto Rumorarmonico Post Futurista. Tributo a LUIGI RUSSOLO

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

€22.00

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ELEKTROFONI. NEW ELECTROACOUSTIC MUSIC FROM SWEDEN

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

€13.00

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TEKNOIR

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

€8.50

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ELECTRIC LIGHT (COLUMN ONE REMIXES)

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

Format: CD Label / Cat: Zelphabet Year: 2008

€10.00

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SACRAL SYMPHONY

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

€13.00

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The Recommended Records Sampler 1982 - 25th Anniversary Edition

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

€17.50

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Table for Six: All Quiet? # 3

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

€13.00

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They've got the whole World in their Hands

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

€15.00

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ANGST - A Spectre Compilation

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

€16.50

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TESLA : Werkstatt Klangapparate

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

€12.00

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Zelphabet Vol. E

Format: CD Label / Cat: Zelphabet Year: 2009

€11.00

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Zelphabet Vol. F

Format: CD Label / Cat: Zelphabet Year: 2009

€11.00

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

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

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

€7.50

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Abnormal Beauty

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

€12.00

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Risveglio Di Una Citta (In Memory of Luigi Russolo)

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

€33.00

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Soundtrack for the End of the World

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

€10.00

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YA JI

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

€12.00

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

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

Sold out

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

€105.00

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Dutch Fidelity

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

€7.50

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Zelphabet Vol. H

Format: CD Label / Cat: Zelphabet Year: 2009

€11.00

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Neurot Recordings I

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

€7.50

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DruckEmpfinden-Festival

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

€13.00

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Dark Ambient Radio Volume 2

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

€13.00

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TOTAL Volume One

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

€16.00

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Le Mystere des Templiers

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

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

€14.50

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String of Artifacts

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

€20.00

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Lenghedivacje

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

€12.00

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SECRET ASSEMBLY (live CANYON Club 16. May 2009)

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

€16.00

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Must be Musique

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

€15.00

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Shapes and Phases of Ambience

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

€7.00

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Stählerne Lichter

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

€13.00

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Avtogen-Shaitan

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

€12.00

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ERRATUM # 4, Revue Sonore

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

€26.00

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Things that happened

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

€17.50

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

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

€10.00

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Musics in the Margin Vol. 2: Musik Oblik

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

€13.00

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Twenty Centuries of Stony Sleep

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

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

€12.50

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Audible Geography

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

€14.00

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Zelphabet Vol. K

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

€11.00

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Magnetic Traces

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

€13.00

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I.D. Art # 2

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

€13.00

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A tasty Swarm of small Signals

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

€18.00

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Vox:one

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

€12.00

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IMPREC300

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

€12.00

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The Sound Ecology: Range

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

€13.00

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Message from a Subatomic World

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

€13.00

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

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

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

€12.00

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...plays BAD SECTOR

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

€6.00

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Compilation Festival Electronica en Abril * 2003-2012

€24.50

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DRONE-MIND // MIND-DRONE Vol. 2

Sold out

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

€15.00

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Complete 10inch-series from Cold Blue

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

€24.00

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Japanoise of Death I+II

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

€29.00

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

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

€18.50

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Cycles: Cyclic Law's 10th Anniversary Label Sampler

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

€14.00

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ZugZwang-Festival III

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

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

€12.00

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30.2 - Electronica, Experimental and Noise from Africa

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

€12.00

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DRONE-MIND // MIND-DRONE Vol. 3

Sold out

Sold out

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

€13.00

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Epicurean Escapism III

VIDNA OBMANA

Memories Compiled : Three Tapes

Format: 3 x CD Label / Cat: Zoharum ZOHAR 260-2 Year: 2022

€20.00

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VIOSAC (VIOLENCE AND THE SACRED)

Rustypile

Format: CD Label / Cat: Viosac VATS1 Year: 2008

€13.00

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Z'EV / FRANCISCO LOPEZ

Buzzin' fly / Dormant spores

Format: CD Label / Cat: Lapilli LAPCD3 / Black Rose Recordings BRCD 06-1008 Year: 2006

€13.00

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Artist	Album	Format	Label & Cat. Number	Year	Price (incl. 19% VAT)
ALDINUCCI, GIULIO & THE STAR PILLOW	Hidden	CD	Midira Records MIDIRA 057	2018	€13.00
BLOOD RHYTHMS	Horror Pilation	CD-R	No Part Of It	2022	€10.50
BUCK, TONY & MASSIMO PUPILLO	Time Being	LP	BUCK, TONY & MASSIMO PUPILLO	2019	€19.50
CONTAGIOUS ORGASM	Spill Drop	CD / object	Waystyx WE 09	2005	€13.00
ENSEMBLE NIST-NAH	Spilla	LP	Black Truffle - BT130	2025	€28.00
MENCHE, DANIEL	Drunk Gods	maxi-CD	Lapilli Recordings lapcd2	2004	€8.00
MILAN SANDBLEISTIFT / AIDAN BAKER / RELAPXYCH.O	Saite an Saite (a string based compilation)	CD	Licht-Ung	2009	€12.50
MUNDAL, ARE	Compilation Vol. 1	do-CD	Telesterion Records 008	2023	€16.00
NADJA & VAMPILLIA	The perfect World	CD	Important Records IMPREC385	2013	€13.00
	Imperfection	LP	Throne Records TR56	2015	€15.00
NEST (Otto Totland & Huw Roberts)	Body Pilot	10inch	Serein SERE11.3	2011	€13.00
OM	Pilgrimage	CD	Southern Lord SUNN86	2007	€15.00
PILEWICZ, ANNA & RAFAL IWANSKI (X-NAVI:ET)	Aqualuna - Alchemical Transformation through Vision and Sound	CD + DVD	Zoharum ZOHAR 039-2 / Eter Records 13	2013	€15.00
PILIA, STEFANO	Action Silence Prayers	CD	Die Schachtel ZEIT07CD	2008	€14.00
	The Suncrows Fall and Tree	LP	Improved Sequence Records IMP014	2020	€27.50
	Spiralis Aurea	do-LP	Die Schachtel DS Zeit 17	2022	€45.00
	In Girum Imus Nocte et Consumimor Igni	LP	Die Schachtel - DSDM02 (Decay Music N 2)	2019	€25.00
PILLOW	From Dusk to Dawn	CD	City Centre Offices Towerblock CD 050	2012	€15.00
PITRE, DUANE / PILOTRAM ENSEMBLE	Organized Pitches Occuring in Time	CD	Important Records IMPREC154	2011	€13.00
PSYCHON	Apocalypse has been dubbed the weekend pill	CD	Scarcelight Recordings SLR27 / Narrowminded NM013	2004	€10.00
PUPILLO, MASSIMO	Our Forgotten Ancestors	CD	Glacial Movements GM 052	2023	€16.00
SATORI	Pillars of Salt	CD	Cold Spring - CSR346CD	2025	€15.00
SKARE	Polar Night Pilgrimage	MC	Cloister Recordings - CRUS-125	2024	€14.00
SKULLFLOWER	Fucked on a Pile of Corpses	CD	Cold Spring Records CSR151CD	2011	€12.00
SUNN O)))	Eternity's Pillar (Opaque Purple)	12inch	Sub Pop SP1713*	2025	€30.00
V.A. (VARIOUS ARTISTS) (COMPILATIONS)	33 rpm : Ten Hours of Sound from France	CD	23five Incorporated and the San Francisco Museum of Modern Art, 23F/SFM 903	2003	€12.00
	Alliance	CD	L White LW031	2005	€13.00
	Antologia de Musica Electronica Portugesa	CD	Tomlab TOM38	2004	€15.00
	ARTIFICIAL MEMORY TRACE presents: Interpretations	CD-R	Wachsender Prozess WP20	2006	€9.50
	Chromaticfield Remixes	CD	Apostrov Dodek # 1	2004	€10.00
	Circuits of Steel	do-CD	SSS Records 57	2002	€8.00
	Coilectif. In Memory ov John Balance and Homage to COIL	CD	Rotorelief ROTORCD0001	2006	€14.50
	Construction Sonor	do-CD	Pro Helvetia / Gallerie 57>34.6km	2003	€17.50
	Consumer Electronics	do-DVDR	L White V03	0000	€21.00
	Dark Transmissions	CD	Force of Nature Prod. fon01	2002	€10.00
	Death's last Life's Breath	CD	Beta-lactam Ring Records bb08	2004	€13.00
	Debris Field (MAX EASTLEY / LOREN CHASSE / COLIN POTTER / PHIL MOULDYCLIFF / KEITH ROWE / etc.)	CD & book	Bolton Museum / ICR Distribution ICR 53	2006	€16.00
	Dissolution Tapes: The Musique Concrete Ensemble remixed	CD	Zeromoon ZERO 004	2003	€10.00
	Ein Prosit zur letzten Tide	do-CDR	Hörbar e.V. Hamburg	2004	€12.00
	Epitaph for John	CD	Korm Plastics KP 3016	2005	€13.00
	Evolved As One - a Collection of emotional Ambient Drones	CD	Evolvedasone evol 01	2003	€13.00
	Floating Foundation Vol. 1	CD	Sub Rosa SR146	2002	€13.00
	Four Studies for a Human Portrait : Tribute to Francis Bacon	CD	Vital Records Vital 002	2005	€13.00
	Go-To-Cat-Man-Do	CD	Monotype Records MONOTYPE 001	2005	€13.00
	Guitars undressed	CD	Marrakech Recordings MRKC-CD001	2003	€12.00
	Holy Mother Russia	LP	Steinklang SK-IN 02	2004	€15.00
	Ikebana: Merzbow's Amlux Rebuilt, Reused and Recycled	do-CD	Important Records imprec016	2003	€16.00
	INFERNAL PROTEUS	BOOK / 4 x CD	AJNA	2002	€45.00
	INstruments	CD	List L5	2004	€10.00
	Inventionen 2000	do-CD/book	Pfau-Verlag / Edition RZ Parallele 10012/10013	2001	€29.00
	Ju-Jikan	do-CD	23five Incorporated and the San Francisco Museum of Modern Art, 23F/SFM 901	2002	€15.00
	Kompilation	do-CD	Kranky KRANK077	2004	€8.00
	Lust from the Underworld	do-CD	HORUS CyclicDaemon HCD 02-2	2004	€22.00
	Minima	CD	List L1	2002	€10.00
	Montreal Sound Matter / Montreal Matiere Sonore	CD	Pogus Productions P21041-2	2006	€13.00
	On Paper	do-CD	Cronica 005	2003	€10.00
	Oscotarach	do-LP	Deafborn Records Dbvn04	2005	€10.00
	Paranoise One	CD	Paranoise Records pnp10	2005	€10.00
	Radiation	CD-R	L White LW021	2005	€10.00
	RECORDS ARE NOT FOR BAKING [RANFB] (Full Subscription)	12 x 12inch	Beta-Lactam Ring Records RANFBUSA	2005	€300.00
	Runeology 2	CD	Rune Grammofon RCDS 2	2005	€8.50
	Salon Bruit	CD-R	Sciss	2003	€10.00
	Serene Moments (NACHT / NORTHAUNT / SHINJUKU THIEF / UMBRA)	do-7	Fluttering Dragon Rec. DRAGON 0.27	2004	€10.00
	Si'ka-del-ik	CD	Psychform Records PFR01CD	2004	€10.00
	SPIRE (ORGAN WORKS PAST PRESENT & FUTURE)	do-CD	Touch Tone 20	2003	€19.50
	Spire: Live in Geneva Cathedral	do-CD	Touch TONE 21_2CD	2005	€19.50
	Swarm	do-CD	Cold Spring Records CSR60CD	2006	€13.00
	Tel Aviv Aftermath	CD	Tophet Prophet TP001	2002	€8.00
	Text-Sound Compositions. A Stockholm Festival	5 x CD-Box	Fylkingen Records FYCD 1024:1-5	2005	€45.00
	The Golden Road	7	Early Morning Records EMR COMP-7	2003	€6.00
	The Walls are whispering Vol. 2	CD	EE Tapes EE05	2004	€12.00
	This Place is Dreaming	CD	Argos / Kraak K047	2004	€13.50
	Ultrason	LP	Association ÜNE V01U02	2002	€14.50
	Variable Resistance	CD	23five Incorporated and the San Francisco Museum of Modern Art, 23F/SFM 901	2002	€13.00
	Variations	CD	Paradigm PD01	1995	€13.50
	Variations 2	CD	Paradigm PD05	1998	€13.50
	VARIOUS (Chartier, Brume, Tsunoda, M.Prime, Pimmon, Meelkop, J. Hudak, etc etc)	do-CD	Intransitive Reordings INT013	2001	€16.00
	Verfassung	LP	Hörbar Hamburg	2005	€15.00
	Water & Architecture	CD	Sub Rosa SR120	1998	€14.00
	Widerstand (PROPERGOL, ORPHX, GENITOR LVMINIS, PREDOMINANCE, DREAM INTO DUST, SURVIVAL UNIT, CON-DOM, etc )	do-CD	State Art SAZERO	2003	€18.00
	Yokomono 02 (Staalplaat Soundystem + FENNESZ, PALESTINE, FM3, RADIAN, TIM HECKER, ILPO VAISANEN, etc.)	LP	Staalplaat	2005	€13.50
	Zeitenwechsel 2	CD	Edition RZ / Parallele 20002	2001	€14.00
	Zeitenwechsel: JOHN CAGE	CD	Edition RZ / Parallele 20001	2001	€14.00
	IZNUTRI	CD	Ewers Tonkunst HHE 014 CD	2007	€13.00
	IDIOSCAPES	CD	Idiosyncratic Records idcd 001	2007	€10.00
	Nekton Falls	3 x CD	Sonic Dragon	2006	€16.00
	Nonplace Souvenirs	CD	Ooze.bap Records	2001	€8.00
	Polyhedric Tetrapak	CD	Ooze.bap Records	2001	€8.00
	Abschied aus Berne	MC	Wachsender Prozess WP 01	1995	€7.50
	... It Just Is . In Memoriam: Jhonn Balance	do-CD	Fulldozer Records FDCD20 / NHCD02	2005	€13.00
	Thalamus II	CD	KultFront KF-II	2005	€12.00
	Avanto 2006	CD	Avanto AAAAA	2006	€13.00
	Table For Six: All Quiet?	CD	EE Tapes EE09	2006	€13.00
	How to stay young & healthy in a modern world	do-CDR	Abgurd AB-28	2006	€14.00
	Penumbra EP Collection Vol. 8	CD-R	Penumbra 038	2006	€12.00
	Listen to something different	CD	Ars Macabre AMREC 04 CD	2007	€13.00
	Noise Factory Records Sampler Vol. 3	CD	Noise Factory Records NOISECD113	2007	€12.00
	4 sides a circle	4 x mCDR	Banned Production	2006	€15.00
	KKH 1 LOCK GROOVES	7inch	Royal Records / Royal University College of Fine Arts	2007	€6.00
	Sur-Terre.Net	CD	Ytterbium 17	2006	€13.50
	Three aural interpretations of a drawing by Eric Lanzillotta	7inch	Anomalous Records NOM28	2007	€8.00
	20 Jahre Inventionen VI	CD	Edition RZ 10016	2007	€10.00
	Archives GRM - les visiteurs de l'aventure concrete	CD	INA GRM ina c 1031	2004	€9.00
	Archives GRM - l'art de l'etude	CD	INA GRM ina c 1032	2004	€9.00
	Archives GRM - le son en nombres	CD	INA GRM ina c 1033	2004	€9.00
	Archives GRM - le temps du temps reel	CD	INA GRM ina c 1034	2004	€9.00
	Archives GRM - le grm sans le savoir	CD	INA GRM ina c 1035	2004	€9.00
	Roulette Russe pour un peu de Caviar	CD	Monochrome Vision (mv12)	2007	€13.00
	Beyond ignorance and borders. An African, Middle-Eastern, Asian noise and electronic compilation	CD	Syrphe S002	2007	€12.00
	Wild Tigers I have known	CD	Durtro Jnana	2007	€14.50
	A tribute to the wor(l)ds of Jhonn Balance	CD	Creative Fields Records CF CD 01	2007	€12.00
	MUZYKA VOLN	CD	Zhelezobeton / Muzyka Voln MV-I	2008	€13.00
	Table For Six: All Quiet? # 2	CD	EE Tapes EE11	2007	€13.00
	Musics in the Margin Vol.1	CD	Sub Rosa SR254	2007	€13.00
	Dark Ambient Radio Volume 1	CD	Dark Ambient Radio	2008	€13.00
	An Uncommon Nature	LP	Anomalous Records NOM 6	2001	€16.00
	FRANNCE	3 x CDR	Ruralfaune rur024	2007	€18.00
	Destroying the Night Sky (CADAVEROUS CONDITION-remixes)	CD	Klanggalerie gg119	2008	€12.00
	AIRPORT SYMPHONY	do-CD	ROOM 40 EMDR 417	2007	€18.00
	SPIRE LIVE FUNDAMENTALIS	do-LP	Autofact FACT12 / Touch Tone 28	2008	€18.50
	ESCAPING FROM COLOR: RAPOON RECOMPOSED & REMIXED	CD	Quasi Pop QPOP CD45	2008	€13.00
	Zelphabet Vol. A	CD	Zelphabet	2008	€6.00
	Landscape I / The Forest	CD-R	Centre of Wood C.O.W.004	2007	€10.00
	Audioscoop Compilation 1	do-LP	Audioscoop / Intro in Situ IS 01	2008	€25.00
	OEC 100 / THE OLD EUROPA CAFE	7 x CD-Box	Old Europa Cafe OEC 100	2008	€38.00
	>Manifesto Rumorarmonico Post Futurista. Tributo a LUIGI RUSSOLO	do-LP	Old Europa Cafe OELP009	2008	€22.00
	ELEKTROFONI. NEW ELECTROACOUSTIC MUSIC FROM SWEDEN	CD	Elektron Records EM 1009	2005	€13.00
	TEKNOIR	do-CD	Hymen Y701	1999	€8.50
	ELECTRIC LIGHT (COLUMN ONE REMIXES)	CD	90% Wasser WCD004	2001	€13.50
	ARYAN MEMORY. Musical Traditions in Pamir	do-CD / DVD / BOOK - set	Kailas Records KLS 041, 042, 043	2007	€50.00
	DIY CANONS	do-CD	Pogus Productions 21036-2	2005	€16.00
	The Black Square	CD	KultFront KF-VI	2006	€13.00
	This Infernal Love of Life	CD	Monochrome Vision (mv23)	2008	€13.00
	Zelphabet Vol. B	CD	Zelphabet	2008	€10.00
	Zelphabet Vol. D	CD	Zelphabet	2008	€10.00
	SACRAL SYMPHONY	CD	EE Tapes EE14	2008	€13.00
	The Recommended Records Sampler 1982 - 25th Anniversary Edition	do-CD	ReR 25 A/B	2008	€17.50
	Table for Six: All Quiet? # 3	CD	EE Tapes EE15	2008	€13.00
	They've got the whole World in their Hands	do-CD	Methods to Survive 001	1999	€15.00
	ANGST - A Spectre Compilation	do-CD	Spectre Records S20	2004	€16.50
	TESLA : Werkstatt Klangapparate	DVD	Edition RZ 20005	2007	€12.00
	Zelphabet Vol. E	CD	Zelphabet	2009	€11.00
	Zelphabet Vol. F	CD	Zelphabet	2009	€11.00
	SOURCE RECORDS 1-6. Music of the Avant Garde, 1968-1971	3 x CD	Pogus P21050-2	2009	€33.00
	John Barleycorn Reborn : Dark Britannica	do-CD	Cold Spring Records CSR84CD	2007	€16.00
	BRAINWAVES 2008	3 x CD	Brainwashed BRAIN013	2008	€30.00
	Pangaea Noise	CD	Syrphe S009	2008	€13.00
	Zelphabet Vol. G	CD	Zelphabet	2009	€11.00
	HÖGA NORD	LP	Segerhuva SEGER 26	2009	€14.00
	Million Ways to spend your Time	CD	Quasi Pop Records QPOP040	2006	€12.00
	TESTAMENT	CD	RRRecords RRR-CD-21	1993	€12.00
	Music of our time - Wergo Collection II	CD	Wergo WER 6600-2	1997	€7.50
	Abnormal Beauty	CD	Beast of Prey bop 4.3	2009	€12.00
	Risveglio Di Una Citta (In Memory of Luigi Russolo)	6 x CD-R / book	Impulsy Stetoskopu IS 009	2008	€33.00
	Soundtrack for the End of the World	CD	Self Abuse Records SAD-01	1994	€10.00
	YA JI	CD	Kwan Yin Records YJ001	2008	€12.00
	SUBSTANTIA INNOMINATA STARTER SET : 10 SUBS (your choice) as SET (SOLD OUT)	10 x 10inch-SET	Substantia Innominata SUBXXTEN	2022	€105.00
	Dutch Fidelity	7	Antenne AN01	2002	€7.50
	Zelphabet Vol. H	CD	Zelphabet	2009	€11.00
	Neurot Recordings I	CD + DVD	Neurot Recordings NR032	2004	€7.50
	DruckEmpfinden-Festival	CD	Chamber Music Records CMR001	2009	€13.00
	Dark Ambient Radio Volume 2	CD	Dark Ambient Radio	2009	€13.00
	TOTAL Volume One	LP	Parade Amoureuse PHOE 012	1991	€16.00
	Le Mystere des Templiers	CD	Naive Classique AMT195	2009	€13.00
	MOM	CD	Beta-lactam Ring Records bb11	2009	€13.00
	FREQ_OUT [0 - °°Hz]	CD	Ash International # 5.8	2004	€13.00
	FREQ_OUT 2	CD	Ash International # 6.8	2005	€13.00
	Twisted Cabaret Vol. 1	CD	Volvox Music VOLCD92	2010	€14.50
	SURFACE TENSION	BOOK & CD	Errant Bodies Press EBP 09655570-4-9	2003	€25.00
	Pop Ambient 2009	LP + CD	Kompakt KOM186	2009	€14.50
	String of Artifacts	do-CD	Fish Pies AU 010 / Resipiscent RSPT007	2005	€20.00
	Lenghedivacje	do-CDR	Finalmuzik FM15 / Hybrida	2008	€12.00
	SECRET ASSEMBLY (live CANYON Club 16. May 2009)	DVD	OMS Records OMS DVD 01	2010	€16.00
	Must be Musique	LP	Dark Vinyl DV#15	1992	€15.00
	Shapes and Phases of Ambience	CD	Ghostsounds PXYCH.01	2008	€7.00
	Stählerne Lichter	CD	Licht und Stahl LICHT 006	2009	€13.00
	Avtogen-Shaitan	do-CDR	Ostroga OTR-015	2007	€12.00
	ERRATUM # 4, Revue Sonore	3 x CD	Erratum Musical EM004	2004	€26.00
	Things that happened	do-CDR	Reduktive Musiken REDUKT 013	2010	€17.50
	Clicks & Cuts 5.1 - Paradigm Shift (The Bonus Package)	CD	Mille Plateaux MP 306	2010	€10.00
	Musics in the Margin Vol. 2: Musik Oblik	CD	Sub Rosa SR299	2010	€13.00
	Twenty Centuries of Stony Sleep	do-LP	Rune Grammofon RLP 3100	2010	€22.00
	Offstrings	LP	Complacency Records CR201001	2010	€18.50
	Psychogeographical Dip	CD	GD Stereo GD013	1997	€13.00
	Ekhnaton	CD	Silentes Minimal Editions sme1036	2010	€12.50
	25 Years of Kapotte Muziek	CD	Korm Plastics KP 3039	2010	€10.00
	XXXII° Concorso Internazionale die Musica Elettroacustica e Rumore	do-CD	Monochrome Vision mc33	2010	€17.00
	Trans_Canada. ZKM Karlsruhe	DVD-Audio	Empreintes Digitales IMED 09100	2009	€12.50
	Audible Geography	CD	Room40 EDRM416	2008	€14.00
	Zelphabet Vol. K	CD	Zelphabet K	2011	€11.00
	Magnetic Traces	CD	Swarming 002	2009	€13.00
	I.D. Art # 2	CD	Paradigm Discs PD23	2007	€13.00
	A tasty Swarm of small Signals	DVD-Audio	Störung str008	2010	€18.00
	Vox:one	CD	Ohm Records 0.8 ohm	2010	€12.00
	IMPREC300	LP	Important Records IMPREC300	2011	€12.00
	The Sound Ecology: Range	CD	Nitkie label patch two	2011	€13.00
	Message from a Subatomic World	CD	Hypnos Recordings hyp2854	2008	€13.00
	DRONE-MIND // MIND-DRONE Vol. 1 : HALO MANASH, UBEBOET, JARL, B*TONG (SOLD OUT)	LP	Drone Records MIND-01	2011	€15.00
	From Earth to Sirius	do-CD	Zoharum ZOHAR 020-2	2011	€15.00
	Ambient of TIME	CD	Whereabouts Records WHACD-5	2011	€13.50
	The Ballad of Genesis and Lady Jaye (OST)	CD	Sweet Nothing SNCD55	2012	€13.00
	Departure of Melancholy	CD	Firework Edition Records FER1076	2008	€12.00
	FUCK YOU. Fucking Noise in China now	DVD	Sub Rosa / OME#13	2012	€15.00
	Gravity's Drop Out. Tracks for non-existing Movies	CD	Alrealonmusique ALRN037	2012	€12.00
	...plays BAD SECTOR	mCDR	Bastets Kitten BK003	2011	€6.00
	Compilation Festival Electronica en Abril * 2003-2012	do-LP BOX	La Casa Encendida	2012	€29.50
	Yokomono 03.5 ("triple grooved" MERZBOW, MIKA VAINIO, NO ARTIST, JAAP BLONK, CYNTHIA ZAVEN)	LP	Staalplaat - Yokomono 03.5	2012	€12.00
	Six Winners: The Stockholm Electronic Arts Award 1991-1996	CD	Fylkingen Records FYCD 1014	1999	€15.00
	5 Composers - 3rd Hearing	CD	Fylkingen Records FYCD 1006	1995	€12.50
	Strade Trasparenti	CD	Staubgold staubgold digital 9	2011	€15.00
	The constant Rise of Expectations	CD-R	Klappstuhl Records SP 003	2012	€12.00
	5 Composers - Second Coming	CD	Fylkingen Records FYCD 1003	1994	€12.50
	Swedish Contemporary Music	LP	Fylkingen Records FYLP 1030	1983	€16.50
	Revenge? Yes! NORDIC AUDIO MODERN 2012	CD	Autarkeia acd 086	2012	€13.00
	Benefiets for Japan	do-CD	Licht-Ung	2012	€17.00
	TOUCH. 30 Years and counting	do-LP	Touch Tone 33	2012	€24.50
	DRONE-MIND // MIND-DRONE Vol. 2 (SOLD OUT)	LP	Drone Records MIND-02	2012	€15.00
	Complete 10inch-series from Cold Blue	3 x CD	Cold Blue Records CB0014	2003	€24.00
	Japanoise of Death I+II	do-CD / metal box	Steinklang Industries SK-IN 12 BOX	2008	€29.00
	Tensions at the Vanguard: New Music from Peru (1948-1979)	do-CD	Pogus Productions POGUS 21065-2	2012	€18.50
	Cycles: Cyclic Law's 10th Anniversary Label Sampler	do-CD	Cyclic Law - 50th Cycle	2012	€14.00
	ZugZwang-Festival III	CD	Chamber Music Recodrs CMR004	2012	€10.00
	VERNACULAR	do-CD	Whereabouts Records WHACD-13	2013	€14.00
	In Progress II	CD	Laznia - Centre for Contemporary Art	2013	€8.00
	EXTRACT. Portraits of Soundartists	BOOK // 2 x CD	Nonvisualobjects NVO 011	2007	€36.00
	70 Years of Sunshine	do-CD	Monotype Records mono070	2013	€16.00
	The Post Romantic Empire Album	do-LP & 7inch	Our Sweetest Songs OSS001	2013	€39.00
	Art of the Muses	CD	Syrphe S012	2012	€12.00
	30.2 - Electronica, Experimental and Noise from Africa	CD	Syrphe S013	2012	€12.00
	DRONE-MIND // MIND-DRONE Vol. 3 (SOLD OUT)	LP	Drone Records MIND-03	2013	€15.00
	Hassaniya Music	LP	Sublime Frequencies SF083	2013	€27.50
	Es läuten die Glocken	CD	E-Klageto EXKLAGETO 11	2014	€10.00
	EIDOLON. A Tribute to REUTOFF	CD	Old Europa Cafe OECD 189	2014	€13.00
	INVENTIONEN VII : 30 Jahre Inventionen 1982-2012	do-CD & DVD-BOX	Edition RZ 3006-8	2012	€29.00
	Gyalpo	CD	Gterma gterma005	2012	€13.00
	Incendium #4	CD	LOKI Foundation LOKI 61	2014	€4.00
	Smm: OPIATE	LP	Ghostly International GI 187LP	2013	€17.00
	Musics in the Margin Vol. 3 : Inside Out Music	CD	Sub Rosa SR393	2014	€13.00
	United States Bestial Forces	3 x CD	L. White Records LW 064	2014	€20.00
	MV X : Monochrome Visions 2004 - 2014	3 x CD	Monochrome Vision [mv50]	2014	€20.00
	Presque Rien	CD-R	Rhizome.s rhizome.s # 03	2013	€11.00
	DRONE-MIND // MIND-DRONE Vol. 4 (SOLD OUT)	LP	Drone Records MIND-04	2015	€15.00
	Wandlungen Unplump	CD	Edition DEGEM ed02 / CD 11	2014	€13.00
	Tincture of Japanoise	CD	Attenuation Circuit ACU 1002	2014	€8.00
	BALI 1928, Vol. II : Tembanf Kuna - Songs From An Earlier Time	CD	World Arbiter - 2014	2014	€14.00
	Epicurean Escapism I	CD & DVD	Silken Tofu stx.23 / The Epicurean cure 1	2013	€20.00
	Wieza Cisnien II	CD	Zoharum ZOHAR 095-2	2015	€12.00
	Insane 80's [EV01>EV10]	CD	EE Tapes EE30	2014	€12.00
	Nostra Signora delle Tenebre	do-LP	Backwards BW20	2015	€20.00
	Phra Rahu	do-CD	Gterma [gterma040]	2014	€19.50
	Anthology of Turkish Experimental Music 1961-2014	do-CD	Sub Rosa SR390	2016	€17.00
	AUSGEWÄHLTE GERÄUSCHE	do-CD & BOOK	Auf Abwegen AATP50	2016	€22.00
	DRONE-MIND // MIND-DRONE Vol. 5	LP	Drone Records MIND-05	2016	€15.00
	Now it's dark: DAVID LYNCH tribute	CD	KultFront KF-XXVII	2016	€13.00
	Epicurean Escapism III	CD & DVD + book	Silken Tofu stx.48 / The Epicurean cure.3	2016	€22.00
	PYRE	CD	Cold Spring Records	2016	€4.00
	Musique Concrete	LP	Cacophonic!!! 17CACKLP / Finders Keepers Records	2016	€21.00
	25YLOKI	do-CD	LOKI Foundation LOKI 65	2016	€13.00
	A Taste of MOLOKO PLUS / 1996-2016	do-CD	MOLOKO+ PLUS 088	2016	€15.00
	Anthology of Noise & Electronic Music Vol. 3	3 x LP	SUB ROSA SRV220	2016	€35.00
	'... that first Season' - A Winter-Light Compilation	do-CD	Winter-Light WIN 007	2017	€16.00
	Fluxus Anthology : A Collection of Music and Sound	LP	Song Cycle Records CY997	2017	€28.00
	Projekt Neue Ordnung II	4 x LP BOX	Tesco Organisation TESCO 111	2017	€78.00
	NEW SONGS OF THE HUMPBACK WHALE	CD	Important Records IMPREC433	2015	€15.00
	Magnetic Traces 2	CD	Swarming 005	2013	€13.00
	Avantgarde is happening because..	CD	Dirter Promotions DPROMCD132	2017	€14.00
	DRONE-MIND // MIND-DRONE Vol. 6 : NAM-KHAR, FOR KINGS AND QUEENS, MARKIAN VOLKOV, KEVIN DURR	LP	Drone Records MIND-06	2017	€15.00
	Your Reality is broken	LP	Black Rose Recordings BRV 17-1014	2017	€20.00
	Visions of Darkness (in Iranian Contemporary Music)	do-CD	Cold Spring CSR 242CD	2017	€16.00
	TOUCH Movements	BOOK + CD	Touch - FOLIO 002	2017	€42.50
	TROUM TRANSFORMATION TAPES: The 20th Anniversary Celebration (1997-2017)	do-CD	Transgredient Records TR-13	2018	€12.00
	Ich glaube ich höre Genesungswerk	CD	Genesungswerk GW 16	2002	€8.00
	Playing with Words	do-CD	Gruenrekorder GRUEN 065	2010	€14.00
	Karl Marx's 200th!	do-CD	Karlrecords KR058	2018	€20.00
	Tal Mont de Lune	CD	FinalMuzik FM03	2006	€7.00
	Dark Ambient Radio Volume 3	CD	Dark Ambient Radio DAR003	2013	€13.00
	Scatter	CD	Ash International Ash 3.5	1997	€13.00
	Earthen	do-CD	Cold Spring Records CSR250CD	2018	€8.00
	DRONE-MIND // MIND-DRONE Vol. 7: OPENING PERFORMANCE ORCHESTRA, MYTRIP, SKELDOS, SPECIMENS	LP & CD	Drone Records MIND-07	2019	€18.00
	Fluxuus aan de Waanzin	LP	Psych.KG 207	2015	€25.00
	Decay, Death and Darkness: Aural Visions of BEKSINSKI's Art	CD-R	Eighth Tower Records ETR016	2018	€11.00
	Turritopsis Nutricula	LP	Psych KG. FLUXUS series Psych.KG 439	2018	€22.00
	Wire Recorded Pieces	LP	Sound Miracle Recordings SSMM 004	2019	€22.50
	Die Rückkehr in Parallel-Meeseversum (2. Kepler-452b Pre-Sequel)	LP	Psych KG. FLUXUS series Psych.KG 459 - Edition Kepler-452b - Section C-4	2018	€23.00
	An Anthology of Greek Experimental Electronic Music 1966-2016	do-LP	Sub Rosa SRV471	2019	€20.00
	Music of Indonesia	LP	Fantome Phonographique OME1013	2018	€18.50
	Anthology of Electroacoustic Lebanese Music	CD	Unexplained Sounds Group USG047	2019	€13.00
	SEITO: In the Beginning, Woman Was the Sun.	CD	Akuphone AKUCD1016	2019	€13.00
	CHANGEZ RETRAVAILLE (Changez les Blockeurs)	3 x CD	RICERCA SONORA RS7	2019	€26.00
	Homo Strepitus	CD	Entartete Musik EM12	2019	€13.00
	Incantations For Tape	LP + CD	Sound Miracle Recordings SSMM 002	2018	€22.50
	The Godfather of Odd: A HARDY FOX tribute	CD	Klanggalerie gg300	2019	€15.00
	Shared Meanings	12inch	Shared Meanings SHARED001-12	2018	€15.00
	METALCHEMY	CD	Phage Tapes PT:293	2019	€10.00
	SEITO: In the Beginning, Woman was the Sun	LP	Akuphone AKULP1016	2019	€22.50
	Anthology of Contemporary Music from Middle East	CD	Unexplained Sounds Group USG055	2019	€13.00
	Thousands of Eyes in the Dark	LP	Ghostly International GI-345	2019	€20.00
	INSANE	2 x 7inch set	Vinyl-on-Demand VOD 158.INSANE	2020	€20.00
	Terässinfonia Vol. 1	CD	Freak Animal FA-CD-116	2020	€10.00
	Terässinfonia Vol. 2	CD	Freak Animal FA-CD-117	2020	€10.00
	Bookwar Records - Famous Lathe Cuts	LP	Bookwar Records book53	2017	€18.00
	Sonic Resonance (UPD Compilation 2018)	CD-R	UPD Organization UPD 183	2018	€10.00
	F/EAR THIS!	BOOK + 2 x CD	Stella*Nera - X / Silentes / Dethector	2020	€20.00
	BRÜSK - A Compilation of Harsh Noises	MC	Grubenwehr Freiburg GW/FR:19	2020	€8.00
	Replace	CD	Degem CD10	2011	€13.00
	Dies Natalis Invicti Solis	CD	Live Bait Recording Foundation LBRF056	2020	€13.00
	Escape	CD	Edition Degem ed05 / DEGEM CD 14	2016	€13.00
	Drop the Beat	CD	Edition Degem ed07 / DEGEM CD 16	2018	€7.00
	Transit	CD	Edition Degem ed08 / DEGEM CD 17	2019	€13.00
	20_20	CD	Edition Degem ed09 / DEGEM CD 18	2020	€13.00
	Speech after the Removal of the Larynx	LP	Fantome Phonographique OME 1025	2019	€20.00
	BRÜSK II - A Compilation of Harsh Noises	MC	Grubenwehr Freiburg GW/FR:23	2020	€8.00
	R L E (2020)	CD	Attenuation Circuit ACU 1024	2020	€5.00
	R L E (2021)	CD-R	Attenuation Circuit ACU 1033	2021	€7.00
	Made to Measure Vol. 1	LP	Crammed Discs MTM 1LP	2021	€18.00
	Miniatures 2020	do-CD + BOOK	The 62nd Gramophone Company - 62-GC1/2	2021	€25.00
	PRSNT (Ryuichi Sakamoto, Pascal Comelade, Laurie Spiegel, Lyra Pramuk, Chassol, Nicolas Godin, Pierre Rousseau, Pedro Vian, Pierre Bastien, Visible Cloaks, Kelman Duran, Refree, Lucrecia Dalt, Lafawndah)	LP + BOOK	Modern Obscure Music	2021	€55.00
	Drone Islands : Stellar	CD	Eighth Tower Records ETR031	2021	€13.00
	Well known Strangers - UNROCK's ARCHIVAL SINGLE BOX SET	14 x 7	Unrock 25	2021	€95.00
	DRONE-MIND // MIND-DRONE Vol. 8: AUME, K. ISHIGAMI, HIROSHIMABEND, BALDRUIN	LP	Drone Records MIND-08	2021	€16.00
	The Harmonic Series Volume 2	3 x LP	Important Records IMPREC500	2021	€45.00
	This is Tehran?	CD	30M Records - SMR002-2	2021	€14.50
	Gudelnaya Polyana - Solar Systo Togathering 2020	3 x CD set	Zhelezobeton ZHB-LXXXV	2021	€20.00
	Terässinfonia Vol. 3	CD	Freak Animal FA-CD-131	2021	€10.00
	Terässinfonia Vol. 4	CD	Freak Animal FA-CD-132	2021	€10.00
	44 x 44 - Orphax Reworked	4 x CD BOX	Moving Furniture Records MFR092	2021	€25.00
	TIME ENDS - A Tribute to J.G. Ballard's Tetralogy of Transformation (special ed.)	do-LP / CD	The Epicurean - cure 24 / Auf Abwegen AATP85	2022	€36.00
	Anthology of Exploratory Music from India	CD	Unexplained Sounds Group - USG071	2021	€13.00
	Anthology Of Experimental Music From China	CD	Unexplained Sounds Group - USG070	2021	€13.00
	An Oblique Reference to Zeros	do-CD	Fourth Dimension Records FD2CD132	2022	€14.00
	Wieza Cisnien - WC ei8ght: Zona Electronica	CD	Zoharum ZOHAR 250-2	2022	€10.00
	To Catch a Ghost - Field Recordings from Madagascar	LP	Sublime Frequencies SF 111	2018	€22.50
	CONTEMPORARY HOMEMADE MUSIC FROM SWEDEN	CD	Discreet Music DMCD02	2021	€15.00
	Visions of Darkness II ( (In Iranian Contemporary Music )	do-CD	Cold Spring CSR316CD / Unexplained Sounds Group USG079C	2022	€17.50
	RE/VERSION	CD-R	Krater Recordings KR05-002	2011	€7.00
	Ode to MARCO VERONESI	CD	ADN (Agnostics Dumplings Nursery) AgDuNu 001	2014	€13.00
	Hyperakusis II	CD	Audiophob auphcd 020	2014	€6.00
	Sintomas de Techno: Ondas Electronicas Subterraneas Desde Peru	LP	BUH Records BR149	2022	€25.00
	CYCLES II : Cyclic Law's 20th Anniversary Label Sampler	do-CD	Cyclic Law - 200th Cycle	2022	€19.50
	FLUXUS & NEOFLUXUS: STOLEN SYMPHONY	do-CD	Sub Rosa SR539	2023	€22.50
	BOH Sampler	CD	Korm Plastics	2022	€12.00
	LA MATERIA VERBAL - Antologia De La Poesia Sonora Peruana	LP	BUH Records BR158	2022	€25.00
	Bhogavati	CD	Gterma - GTERMA 060	2022	€13.00
	Territorio del Eco : Experimentalismos y Visiones de Lo Ancestral En El Perú (1975-1989)	LP	BUH Records BR148	2021	€23.00
	Музыкальное Приношение (Musical Offering)	CD	Cold Spring CSR326CD	2023	€15.00
	Terässinfonia Vol. 6	CD	Freak Animal Records FA-CD-151	2023	€10.00
	XKatedral Anthology Series II	do-LP	XKatedral XK 023LP	2023	€45.00
	Pole Reports from Space	do-CD	Bölt / Polish Radio Experimental Studio - BR ES17	2014	€18.00
	The Last Dossier	CD	Impulsy Stetoskopu 055	2022	€13.00
	In Fractured Silence	CD	Souffle Continu Rec. FFL087	2023	€14.00
	Fluxus & NeoFluxus: Stolen Symphony (Part I)	do-LP	Sub Rosa SR539	2023	€25.00
	Anthology of Electroacoustic Music from Finland	CD	Unexplained Sounds Group - USG084	2023	€13.00
	Soundscape-Komposition. Aktuelle Positionen	CD	DEGEM - CD 22 / Edition Degem ed11	2022	€13.00
	Struppig Schweben (LES MARQUISES / TROUM / KILLER+LICHT-UNG / ANDREW LILES)	CD	Licht-Ung / StRuPpiG tAnZeN	2023	€12.00
	Spectra Ex Machina - A Sound Anthology of Occult Phenomena 1920-2017 Vol.2	LP	Sub Rosa SRV462	2023	€19.50
	DAIS223 (DAIS X RETROSPECT) COMPILATION	MC + Portable Cassette Player	Dais Records DAIS223	2023	€100.00
	Anthology of Experimental Music from Latin America	CD	Unexplained Sounds Group - USG083	2023	€13.00
	NEW STATE OF FLUX	do-CD	Reverse Alignment RA51	2021	€15.00
	Nyarlathotep - A Tribute To Howard Phillips Lovecraft	MC	Eighth Tower Records ETR035	2022	€10.00
	In Memoriam : An Ambient Introspection Compilation	LP	Yann Feels Better - GKW001	2024	€20.00
	DRONE-MIND // MIND-DRONE Vol. 9	LP	Drone Records MIND-09	2024	€18.00
	DRONE-MIND // MIND-DRONE - bundle	5 x LP	Drone Records - MIND-BUNDLE	2025	€65.00
	The ReR Quarterly - Selections from Vol. 2	CD	ReR Megacorp - ReR QCD2	1991	€13.00
	The ReR Quarterly - Selections from Vol. 1	CD	ReR Megacorp - ReR QCD1	1991	€13.00
	EMERGE 20	3 x CD	Attenuation Circuit - ACU 1057	2023	€20.00
	NOISE FOREST	do-LP	Cold Spring - CSR340LP	2025	€35.00
	Deep Red. A Tribute to the Cinema of DARIO ARGENTO	CD	Eigth Tower Records - ETR042	2023	€14.00
	Herz aus G.R.O.S.S. Live Akt 2	do-CD	Ferns Recordings - stern_20	2024	€17.00
	8th Annual Report	CD	Unexplained Sounds Group USG081	2022	€13.00
	Anthology of Experimental Music from Indonesia	CD	Unexplained Sounds Group USG058	2020	€14.00
	ADN 40th Anniversary - 40 Years 40 Tracks	3 x CD BOX	ADN (Agnostic Dumblings Nursery) - AgDuNu 002	2024	€52.50
	Als die Welt noch unterging: German Post Punk Underground 1979-1984 (clear vinyl)	LP	Tapete Records - TR573	2024	€25.00
	Terässinfonia Vol. 5	CD	Freak Animal Records	2022	€12.00
	The Sounds of Sound Sculpture	LP	Art Into Life - AL034	2024	€30.00
	The Sounds of Sound Sculpture	CD + booklet	Art Into Life - AL034	2024	€20.00
	Love Potion	LP	Love Potion Number 999 (aka The Long Playlist - The Big Bubble Party)	2024	€25.00
	When Worlds Collide	do-LP	Fourth Dimension Records FD150	2025	€28.50
	Piitu Lintunen presents : 7Ai9	LP	Sähkö Recordings - PUU-54	2023	€25.00
	Terässinfonia Vol. 7	CD	Freak Animal Records	2024	€12.00
	The Neuromancers. Music inspired by WILLIAM GIBSON's Universe	CD	Unexplained Sounds Group USG105	2025	€13.00
	Электронная Музыка АНС (ANS Electronic Music)	CD	Cold Spring - CSR307CD	2025	€15.00
	KRAUTROCK ERUPTION (An Introduction to German Electronic Music 1970-1980)	LP	Bureau B - BB478 / Ventil Verlag BB478	2025	€26.50
	Anthology of Post Industrial Music from BALKAN	CD	Unexplained Sounds Group - USG061	2020	€14.00
	Morality	do-CD	Fourth Dimension Records FD2CD165	2026	€17.00
	In Fractured Silence	LP	SouffleContinu Records - FFL087	2023	€27.50
VIDNA OBMANA	Memories Compiled : Three Tapes	3 x CD	Zoharum ZOHAR 260-2	2022	€20.00
VIOSAC (VIOLENCE AND THE SACRED)	Rustypile	CD	Viosac VATS1	2008	€13.00
Z'EV / FRANCISCO LOPEZ	Buzzin' fly / Dormant spores	CD	Lapilli LAPCD3 / Black Rose Recordings BRCD 06-1008	2006	€13.00

“pil” entries in album descriptions

3/4HADBEENELIMINATED

Speak to me

Format: LP Year: 2016

the trio of STEFANO PILIA, CLAUDIO ROCCHETTI and VALERIO TRICOLI is back with their 6th full length release - a dense amalgam of all kinds of improvised, concrete and electronic sounds gathered through the years, re-constructed by VALERIO TRICOLI, more dynamic phases interchange with sombre instrumentals..."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... "

€17.50

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AGUILAR, LUIS DAVID

Ayahuasca: Musica Para Cine de Luis David Aguilar 1978-1983

Format: LP Year: 2022

"Ayahuasca: Music for Film, by Luis David Aguilar (1978-1983)" compiles works by Luis David Aguilar, one of the most prolific composers of film scores in Peru. It shows the great versatility and avant-garde style that has distinguished his work." - music for three films, blending orchestral composition with electronics and native instruments into an interesting form, for example for "El Viento del Ayahuasca" (1983).. - lim. ed. 300 copies, on the profilic BUH Records from Peru

€25.00

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ALIO DIE

Sit Tibi Terra Levis / Introspective

Format: CD Year: 2009

back in stock this re-issue of earliest ALIO DIE material from the tapes with same name (HSL000 & HSL001, from 1990 & 1991), plus cassette only compilation track from "Ars Obscura" MC, later released as first HSL CD - silver-black art digipack, lim. 333 copies "…Beautiful ambient sounds and textures which provide a thought provoking atmosphere." [ND magazine]

€15.00

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AMENRA / CAVE IN / MARISSA NADLER

Songs of Townes van Zandt Vol. III

a compilation of long deleted tracks 1991-1999 by the martial & neo-classic industrial project from former Yugoslavia with always interesting philosophic concepts behind; special offer now! "Colonia is a project that implements death as its theme in order to represent the epoch: the colonial age"

€8.00

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Metal Forest

Format: CD Year: 2012

compilation with collected material culled from long out print releases (1995-1997) by this project of ANTHONY DI FRANCO (RAMLEH, ex SKULLFLOWER, JFK, etc..); crunching post industrial soundscapes, overdriven guitar psych & doom noise drones, strange effectpedal sounds, powerful & focused,,, here everything is handplayed & analogue...

€12.00

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BAKER, AIDAN

Triptychs: Variations on a Melody

Format: CD Year: 2014

new album influenced by ERIK SATIE'S 'furniture music' concept, using simple melodic lines as basis which are repeated and slowly develope & enlarged, performed by various invited artists such as PETER BRODERICK, JULIA KENT, LEAH BUCKAREFF (NADJA), AKI YAKAMOTO (VAMPILLIA) and others..

€15.00

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BARBIERI, CATERINA

Fantas Variations

Format: do-LP Year: 2021

remix compilation with excellent / surprising material (all tracks are reworks of the original composition "Fantas" by C. BARBIERI from the album 'Ecstatic Computation' [EMEGO 259] ), focused on many tracks on one instrument : EVELYN SAYLOR (female choir with STINE JANVNI), KALI MALONE (two organs), WALTER ZANETTI (E Guitar), KARA-LIS COVERDALE, CARLO MARIA, BASECK, BENDIK GISKE, BASECK. and BARBIERI remixes her own material, too...

€25.50

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BARRETT, NATASHA

Toxic Colour

Format: CD Year: 2025

5 track compilation based on field recordings made with use of 3D ambisconic microphones..

€17.50

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BASINSKI, WILLIAM

September 23rd (Arcadia Archive Series]

Format: LP Year: 2024

unreleased piece from 1982, based on slow piano tunes he recorded already in the 70's.. - lim. ed. dark blue vinyl - "..it bears all the key trademarks of Basinski’s musical concepts. Tape manipulation in various shapes and forms, constant repetition of phrases with intricate, minute, changes, with one constant – the deception of simplicity which is much more complex than piling up of notes upon notes.. " [Echoes and Dust]

€34.00

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BIANCHI, MAURIZIO & RYAN MARTIN

As strong as Death is

Format: do-LP Year: 2016

this remarkable collaboration by M.B. with RYAN MARTIN (co-founder of DAIS Rec.) is inspired by the biblical "Song of Solomon" (Chapter 8, Verse 6), a collection of poetic lovesongs; the four long tracks are based on strings, prepared electronics and tapes and sound like smooth, rusty noise, as coming from a 1000 years old past... "an ambient religious compilation to understand the desire to be ONE"; mixed and edited by HOOR-PAAR-KRAAT; lim. 400 in black vinyl - LAST COPY

€22.50

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BISCLAVERET & FEINE TRINKERS BEI PINKELS DAHEIM

Both Sides of the Looking Glass

Format: 7inch Year: 2012

intense dark ambient & post industrial from Poland & Germany on this spilt 7", comes in luxurious gatefold design, numb./lim. 200

€8.50

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BRUME

Erzatz # 0 / Tout

Format: do-CD Year: 2006

re-release of rare TOUT CD-R (1998), plus rare compilation-material on ERZATZ # 0 (recorded 1994-1995) ! lim./numb. 212 in real art design !!

€16.00

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BRUME

Stable

Format: CD Year: 2008

4th part of the Brume-anthology which comes in a special cover-design, all lim. to 375 numbered copies! Re-edition of MC from 1995 (Bandaged Hand Produce) plus one rare compilation track

€13.00

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BRUME

Lost in Karrack

Format: CD Year: 2008

8th part of the Brume-anthology which comes in a special cover-design, all lim. to 375 numbered copies! This one is a compilation of rare tracks, which mainly appeared on numerous tape compilations, e.g. on SPH, TRANSFIXIONAL, ORGANIC TAPES, etc..

€13.00

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BRUME

Early Tracks

Format: CD Year: 2008

9th part of the Brume-anthology which comes in a special cover-design, all lim. to 375 numbered copies! This one is a compilation of very early recordings made 1981-1986, 19 tracks in total !

€13.00

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BURROUGHS, WILLIAM S.

Nothing Here Now but the Recordings

Format: LP Year: 2023

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)

€25.00

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BURROUGHS, WILLIAM S.

Break Through in Grey Room

Format: LP Year: 2023

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)

€25.00

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BURROUGHS, WILLIAM S.

Break Through in Grey Room

€13.00

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DEAF MACHINE

Found Noises

Format: CD Year: 2008

compiled material 1992-1995 of this swedish project by one of the founding members of MEGAPTERA, includes one previously unreleased track

€13.00

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DENIER DU CULTE

Messe Around

Format: do-CD Year: 2015

great collection / compilation with rare material by this pretty unique French "Avantgarde / Industrial rock" band from the 80's feat. LT. CARAMEL, ALAIN BASSO and SYLVIE LOQUET (anyone remembers the awesome LA SONORITE JAUNE?), with extreme vocals, bass, violin, percussion, drums, electronics, think of a more noisy and desperate DDAA, LA STPO, or early ETANT DONNES, all very raw and low-fi; lim. 300 with DIY full colour booklet, in metal box

€15.00

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DESACCORD MAJEUR

Les Primordiaux Crepusculaires

Format: do-CD Year: 2024

a collection of "Homework" online compilations contributions, the fine series of TAALEM from France (see taalem.bandcamp.com), together with other older / rare tracks (11 in total), it's a great example of D.M.'s slow ethno-electronica, filled with synths - sequencersounds - shortwave snippets - philosophic quotes- female whispers - exotic instruments, all perfectly out balanced.. - lim. 250 copies, 4 page booklet, cardboard gatefold

€16.00

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DESIDERII MARGINIS

Thaw

Format: CD Year: 2014

collection of tracks (1997-2012) from compilations plus 3 tracks from the rare split CD with MOAN and ARTEFACTUM (2004) - showing impressively the development of this Swedish project known for ultra melancholic & cinematic dark ambient, surely one of the best projects within this genre; lim. 1000

€13.00

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DIMUZIO, THOMAS

Slew

new anthology re-edition which collects all of the ElpH material which didn't appear on their later "Worship the Glitch" album, namely the pHILM #1 10", a host of very rare compilation tracks as well as a number of at the time unreleased pieces in the same vein...(incl. the RASTER NOTON 20' to 2000 series mCD); re-mastered + comes with mini poster replica

€26.00

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ELPH VS. COIL

Format: 5 x CD BOX Year: 2022

this collects the complete early EIG recordings for Cherry Red, compiled and curated by MARTIN BATES and PETE BECKER, with their new sleeve and "song-by-song" notes, sorted stylistically / thematically per disc: "Rock and Rhythmic", "Pop Tunes Etc,.", "Approximate Ballads..", "Atmos-Songs", and "Experiments and Improv", each reflecting one of their many sides.. 102 tracks, clamshell box

€49.50

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FEAR DROP

No. 10

Format: mag & CD Year: 2003

inkl. compilation CD with exclusive material from NEX, SCANNER, THOMAS KOENER, SZKIEVE, CDATAKILL, CONTAGIOUS ORGASM, JOE COLLEY, ALAIN BASSO, 2TOKIISLANDS, VEN VOISEY, M² , ROGER ROTOR

€9.00

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FEAR DROP

No. 15: SAIWALA - enquete sur l'esthetique musicale du vent

Format: mag & CD Year: 2010

great issue (60 pages) with long essay "La belle ambiante" about romantic metaphors of drone, nature & wind music; incl. compilation CD with PREVIOUSLY UNRELEASED tracks by T. KÖNER, C. PEYRONNET / TOY BIZARRE, T. FURUDATE, MICHAEL NORTHAM (with "Suhina" 10" bonus-track), BJ NILSEN, CHRIS WATSON, THE [LAW-RAH]-COLLECTIVE, JANA WINDEREN, BLACK TO COMM, FRANCISCO LOPEZ, etc.. absolutely must have, highly recommended!!! French language- BACK IN STOCK !

€12.00

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FEAR DROP

No. 16: LA ZONE GRISE

Format: mag & CD Year: 2012

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 !

€12.00

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FEAR FALLS BURNING

Once we all walk through solid objects

Format: 5 x LP-SET Year: 2007

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 !

€62.00

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FELIX KUBIN & ENSEMBLE INTEGRALES

Echohaus

Format: do-LP Year: 2010

highly experimental collaboration by FELIX KUBIN (ex KLANGKRIEG) with ENSEMBLE INTEGRALES, a contemporary music chamber group, who work together based on a special recording technique (the musicians played simultaneously under headphones in separate rooms) .. the result is 15 pieces of really daring & unusual miniatures; "a fine piece of work where dissonance and discordance, horripilation and disconcerted listening teeter into sometimes quavering moments of reflexive beauty" [Freq.org]

€18.50

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GENOCIDE ORGAN

Civilization

Format: do-CD BOX Year: 2017

re-issue of the sought after second GO "Save our Slaves" album (1991) plus a rare live performance (Mannheim Dec. 1990) and diverse compilation tracks and the Klan Kountry 7" (1998) - this limited CD version comes as luxus slipcase (linen-paper, foilblocked & debossed) with ext. 24 page booklet; "Save Our Slaves stands out as the landmark release that definitively executed each hallmark element of sound, visuals and thematic content with flawless accuracy.." [Spektrum Mag]

€28.00

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GERSTEIN

Kiawaltz

Format: CD Year: 2018

a compilation of early / rare material by this interesting Italian artist who was active in the cassette-scene since 1984, merging melancholic synth ballads and experimental noise, dramatic / romantic / minimal "songs" with a very experimental and electronic edge, he had cassettes out on BROKEN FLAG, MISTY CIRCLES, MINUS HABENS or OBUH Records... very worth to re-discover! lim. 250 copies

€13.00

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GIARDINI DI MIRO

Good Luck

€29.50

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MUSLIMGAUZE

Al-Zulfiquar Shaheed

Format: do-LP Year: 2025

one of the MG classics from the mid 90's period, newly re-issued after the version of Essence Music.."Four intoxicating suites showcasing Bryn Jones' ability to create lengthy, slow burning and detailed compositions soaked with trance inducing percussive impetus and beautiful-never again to be reproduced- middle eastern atmospheres.." - heavy gatefold cover with UV-spot print + one bonus tracks from the "Ophir" compilation (Desaccord Majeur label, 1994) - black vinyl

€34.00

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NEW BLOCKADERS (THE)

VIVA NEGATIVA Vol. 1

Format: do-LP Year: 2022

the second part of COIL interpretations, 13 years after the beautiful "Dark Age of Love" (praised by PETER CHRISTOPHERSON at that time) = 10 pieces with a focus on the dark & melancholic side ("Dark River", "Cold Cell", etc.), created by a total of 19 gifted musicians which forms this virtual "ensemble", such as CHRISTINE OTT, MATT ELLIOT, MASSIMO PUPILLO, KRISTOFFER RYGG, STAN WESTERHUS, AIDAN BAKER, etc.. / vinyl version w. gatefold cover

€26.00

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THU20

Vroeg Werk

re-issue of the BLACK MARA - box from 2017 - a compilation of TROUMs 7" vinyl releases (+ one digital only EP) through the years 2004 - 2016, all re-mastered and with stunning new artwork (6 panel digipak)... "12 dreamscapes that range from soothing, etheral and meditative through emotional and mysterious to dark, industrialesque and nightmarish."

€13.00

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URUK

The Great Central Sun

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

€260.00

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Goodnight, Civilization

Format: 12inch Year: 2014

three furious tracks by the Italian jazzcore band with MASSIMO PUPILLO (drums, sax, bass), here with shouter BARNEY GREENAWAY from NAPALM DEATH on one track! - last copies in stock

€13.00

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[SIC]

Gorilla Masking Tape

Format: CD-R Year: 2004

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

€11.50

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2KILOS & MORE

Kurz vor5

Format: CD Year: 2012

2kilos & More is a french electronica duo from Paris created in 2003 and consisting of Séverine Krouch und Hugues Villette (Von Magnet). Before finding their way to audiophob, they released one 3" CD and two albums on different labels as well as a lot of other contributions to compilations and movie soundtracks. The new album "Kurz vor5" is once again produced by Norscq (The Grief, Atlas Project, Von Magnet, dDamage, Colder, remixer for Meat Beat Manifesto, Depeche Mode etc.) in his Parisian studio. The duo has invited Phil Von (Von Magnet) and Black Sifichi (a great spoken-words artist from New York who worked with Black Dog, Burnt Friedman, Simon Fisher Turner, Rodolphe Burger, High Tones etc.), two important voices from the independent French scene, to feature three new vocal compositions. Using samples and digital sounds, the duo composes by improvising on long evolving sound waves. They shape every song like a journey through sonic universe, playing with tension and surges punctuated by instrumental interventions (guitars for Séverine or drums for Hugues), often reminding us of the cinematographic world of David Lynch or Steven Soderbergh (Solaris). (auphcd018) 2kilosandmore.bandcamp.com/album/kurz-vor5-album-2012

€7.00

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3/4HADBEENELIMINATED

Theology

Format: CD Year: 2007

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

€19.50

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A.G. (AGHIS GIANNOULIS)

Colours in Black & White : 2017-2018

Format: DVD Year: 2018

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 _

€12.00

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AALFANG MIT PFERDEKOPF

Mutatis Mutandis

Format: MC Year: 2012

€10.00

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AALFANG MIT PFERDEKOPF

Mutatis Mutandis

Drei Platten die wir auch mit Drone anbieten wurden vom PITCHFORK Magazin (zur Zeit wohl DIE Referenz im Alternativ-Bereich) zu den "besten Platten des Jahres 2009" erkoren: SUNN O)))s "Monoliths & Dimensions", JIM O'ROURKE - "The Visitor", und "The Crying Light". Zurecht, denn dies ist das Meisterstück des aussergewöhnlichen Sängers mit der fragilen Stimme und den herzzereissenden Arrangements! "Mit seinem dritten Album "The Crying Light" setzt der Songschreiber, dessen empathisch emotionaler Kopfgesang kein Geschlecht kennt, aber dafür die Tiefe menschlicher Gefühle, einen intimeren Fokus. Im Interview mit der britischen Musikzeitschrift "Wire" spricht Antony von einem "inneren Garten", dessen Mauern er nun überwinden möchte, weil es dahinter ja noch viel mehr zu entdecken gibt - "the landscape beyond my inner landscape". Es ist eine Meditation über das Paradies, das für Antony viel mit der Entfaltung der Natur und ihrem Formenreichtum zu tun hat. 30 Songs hat er in den letzten sieben Jahren für das enorm geschlossen wirkende "The Crying Light" geschrieben - und schließlich trotzdem nur zehn davon verwendet. Ein Prozess der Verfeinerung. Auch bei den Arrangements wurde alles Überflüssige gestrichen. "Dust And Water" klingt deshalb so pur wie schwebender Morgennebel, und hinter dem gesamten Album steht offensichtlich mehr eine suchende Zen-Haltung als ein exaltiertes Pop-Ego. "Her Eyes Are Underneath The Ground", der erste Song des Albums, weckt Erinnerungen an Schubert und das deutsche Kunstlied. Da ist vor allem Antonys Stimme, dazu ein sacht ertastetes Klavier und eine Ahnung von Violinen und Cello im Hintergrund. Erst ganz zum Schluss drängen sich harsche Bässe in den Vordergrund, wie Gewitterwolken an einem heiteren Nachmittag. "Epilepsy Is Dancing" tänzelt hoffnungsvoll und verspielt "One Dove" schält sich ganz langsam aus dem Nichts, wie viele Stücke hier. Später setzten Dissonanzen ein, mehr und mehr Instrumente tauchen auf und verschwinden wieder, bis nur noch seltsame Tierstimmen zu hören sind. "Kiss My Name" schwelgt dagegen in einem orchestralen Klang- und Melodie-Reichtum, der fast schon an Freund Rufus erinnert. Der Höhepunkt, "Another World", ist ein hellhäutiger Blues und ein banges Abschiedslied auf die Welt: "I need another place, will there be peace? I need another world, this one is nearly gone." Es folgt eine Liste der Dinge, die der Sänger in einer anderen Welt vermissen würde: die Bäume, das Meer, den Schnee, die Bienen und überhaupt alles, was wächst - "I'm gonna miss you all". "Aeon" mit seiner rauen Gitarre ist dagegen fast schon ein Rocksong, aber eben nur fast. Zu "The Crying Light" kann man nicht tanzen, und das Album gehört auch nicht zu den Platten, die einem mit packenden Refrains durchs eigene Leben helfen. Die Schönheit dieses bisher reifsten Antony & The Johnsons-Werks liegt darin, dass es nach der Seele sucht, wo andere nur in den Spiegel blicken. Ein Meisterwerk, eine andere Welt und ein Refugium für alle, die es zu schätzen wissen." [Jürgen Ziemer, Rolling Stone] "Zeitlos und doch aktuell: das lang ersehnte dritte Album. "The Crying Light" heißt das lang ersehnte dritte Album von Antony and The Johnsons. Auf "The Crying Light" legt Antony seinen Fokus auf ein neues Thema und gibt uns einen Einblick in seine Beziehung zur Umwelt. Der Album-Opener "Her Eyes Are Underneath The Ground" ist ein liebevolles Zwiegespräch mit Mutter Natur und Ausdruck des Wunsches, dass sie am Ende über ihre Zerstörung siegen wird - "no one can stop you now!" Darauf folgen der schwindelerregende Walzer "Epilepsy Is Dancing" und das herzzerreißende "One Dove", dessen detailreiche Instrumentierung Antonys Stimme - bildlich gesprochen - regelrecht umarmt. Mit "The Crying Light" ist Antony and The Johnsons ein zeitloses Meisterwerk gelungen, das uns die folgenschweren Entwicklungen in der Welt und unsere Rolle darin ins Bewusstsein ruft. Es kann zum Sinnbild dieser turbulenten Zeit werden; eine Momentaufnahme und ein Anstoß für uns alle, Courage zu besitzen und uns sowohl in unserem persönlichen Kosmos als auch in der Welt als Ganzes rücksichtsvoller zu bewegen." [Indigo] "ANTONY & THE JOHNSONS' breakthrough second album "I Am a Bird Now" won the UK's prestigious Mercury Prize in 2005. The success that followed introduced many to a pioneering soul singer unafraid to explore themes that traversed darkness and light, life and death, male and female. Antony's inimitable voice sparked the interest of artists ranging from Bjork to Hercules and Love Affair, resulting in a series of critically acclaimed collaborations. "The Crying Light" is the highly anticipated full-length follow-up to "I Am a Bird Now". Here, Antony shifts the thematic focus and explores his relationship with the natural world. The intimacy of the Johnsons' sound is enveloped by avant-classical composer Nico Muhly's symphonic arrangements. The record's centerpiece, "Another World" traces the singer's dispair in the face of a vanishing landscape. Antony and the Johnsons' music bridges the gap between avant-classical music and the blues, and the band's sold out performances have resulted in standing ovations from Carnegie Hall to the Apollo. "The Crying Light" is a soul-stirring new work with its daring compositions and captivating vocal performances. Antony and the Johnsons have created a subtle and timely work that brings a magical and yet changing world to the forefront of our consciousness." [press release]

€16.00

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APOPTOSE

Schattenmädchen

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/

€29.00

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BATES, MARTYN

Unsung

Format: CD Year: 2012

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

€13.00

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BAUMANN, FRANZISKA

Eternal Ice melts

Format: CD Year: 2006

Faszinierendes Gletscher-Dröhnen & erhabene Voice-Poetry von FRANZISKA BAUMANN, dazu 5 Remixe ihres Stückes von MICK HARRIS, SEETYCA (soon on Drone Rec!), SUBMERGED.... "...Highly recommended compilation to anyone interested in contemporary electronics from subtle field recordings to expressive breakbeat-science." [NMP / Vital Weekly] "In the fall of 2003 Franziska Baumann performed at the Matrix Festival of contemporary music, in Leipzig, Germany. Her manipulated recordings of melting glacier ice wowed the audience, but just as memorable were the 125 copies of a remix CD distributed at the event. Noted artists Lull, Seetyca and Clemmens Presser were drafted to compose pieces based on her works. For Mick Harris (Lull) fans, finding a copy of this CD has been their holy grail. On October 16 Soleilmoon puts an end to their frustration, and does it in typical over-the-top Soleilmoon fashion, with a hand numbered limited edition presented in a silkscreened vellum slip cover. Fortunately, the quantity is more reasonable this time: 500 copies will be made. And finally, just for this new edition, Kurt Gluck (Submerged) has contributed a heart pounding new drum’n’bass track. Lull is the name of the dark ambient side project of Mick Harris, former drummer for Napalm Death and current leader of challenging industrial music band Scorn. German artist Seetyca is a prolific artist who records his bleak, isolationist soundscapes music for many labels, including darkwinter.com. Clemens Presser, another German artist, has contributed to several compilations and is now working on his first solo album. Kurt Gluck runs the Ohm Resistance label and is a famous drum’n’bass DJ. He has collaborated with Bill Laswell and John Zorn, and regularly moves back and forth between the dance and experimental music scenes. Franziska Baumann is fascinated by the glacier as a listening space. She has been examining the forms of sound in and upon the glacier, inspired by the enormous tide of ice and its multilayered temporal and spatial dimensions, and she sets her own voice in a dialogue with its icy spaces Using stereo, zoom and contact microphones, Franziska Baumann senses the aliveness and dynamics of ice and the poetry of the sounds that live in glacial crevasses and grottos. The sounds of the glacier (creaks, drips, rumbles, shuffles etc.) were recorded at different times on and within. Her voice touches the icy crevasse walls in their various states, from karstic to icy smoothness. Warmth and cold produce different sound pictures. In collaboration with glaciologists from the Federal Institute of Technology (ETH) and the Swiss Computing Center in Zurich, she has transformed seismographic recordings of glacial movements into sound paintings. A portrait of this work was broadcasted on Swiss television in December 2001." [press release]

€13.50

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BECUZZI, GIANLUCA

Trax to Trax

Format: do-CD Year: 2012

"Here comes Gianluca Becuzzi’s fourth release on Silentes. This electronic / electro-acoustic composer and sound-artist boast an enviable curriculum: active since the first half of the ‘80s as founder of the historic Darkwave / Industrial project Limbo, since 1999 his artistic production is characterized by a strong experimental imprint and by a clear tendency toward abstract aesthetic forms and micro/macro noises/sounds. Among his recent artistic production - in addition to what he has published under his own name - we should at least mention his projects Kinetix, Noise Trade Company and Grey History, and his many collaborations in duo with Fabio Orsi. "Trax To Trax" is a double CD that collects tracks recorded between 2006 and 2011, most of them have already appeared on compilations or on limited edition CD-Rs. Among the musicians who have collaborated on some of these tracks, we’d like to mention Simon Balestrazzi (T.A.C.), Nigel Ayers (Nocturnal Emissions), Fabio Orsi and Pietro Riparbelli/K11. Surrounded by dark presences we enter this listening experience enjoying Gothic scenarios covered with electronics and noise, pressing and suggestively evocative, in a relentless series of images and sensations, in the emotional crescendo of a close confrontation with our inner world." [label info] www.silentes.net

€13.00

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BEEQUEEN

Aughton

Format: LP Year: 2004

“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]

€17.00

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BEGG, MICHAEL

Vanitas

Format: CD Year: 2019

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

€13.00

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BEGG, MICHAEL

Witness: Ambient Chamber Works 2020-2024

"Bob Downes was a name you’d see everywhere in the late ‘60s/early ‘70s – always up to his neck in something interesting and experimental. Last year I tracked down a composition of his for Alphorns for the Probes series (it will be in No.22) and a few months later he sent me an unreleased recording of his 1970 Dream Journey, a great dance composition that speaks volumes about the general musical climate of the time (it’s for 3 percussionists, two flautists, saxophone, trumpet and bass). I asked if there were more and we soon shuffled this compilation together, which covers a lot of ground: from solo to 65-piece wind band, recording experiments to library music and the years 1970 to 2004. And, of course, Alphorns. Several tracks feature the legendary John Stevens, classical percussionist Derek Hogg and bassist Daryl Runswick. It’s constantly engaging, inventive and a pleasure to listen to; and it’s also a fascinating window onto a (sadly) vanished aesthetic."

€13.00

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BODIN, LARS-GUNNAR / BENGT EMIL JOHNSON

Semikolon

Format: LP Year: 2013

"LP, 500 numbered, 4 page insert. Originally created as a 6 part radio series in 1965, and released in 1966 by Sveriges Radio. This is the first LP recording by either of these composers. Recorded at EMS (Elektron Musik Studion), the newly established studio facility at Swedish Radio. This pioneering work did not easily fit in any category that existed at the time. Inspired by the work of Öyvind Fahlström (who was a pioneer of concrete poetry along with the Lettrists and Futurists), a few young Swedish artists began exploring new text based experiments. The only other artist releasing records of similar soundworks at this early time in Sweden was ke Hodell who had released two 7' singles. These Swedish sound poets differ in style from their other European counterparts mainly due to their easy access to the high quality facilities available at EMS, with its own in house engineers and sophisticated studio equipment. Given the close relationship at that time between EMS and the national Swedish radio station, their works often have a strong narrative (radio art) quality. Semikolon is one such work, but it also uses found sounds, musique concrète and electronics to create a collage, the likes of which had not been heard before. By 1967, Bodin and Johnson had together finally agreed upon a term for this particular style of sound poetry; text-sound composition. This term was then taken up by other Swedish artists working in the same field including Hodell and Sten Hanson, and soon became internationally recognised. The following year Bodin and Johnson in association with Fylkingen inaugurated the first annual festival of text-sound composition. This international festival, and the commissions it gave rise to, became a major part of the work at Fylkingen and EMS. The festival ran for 10 years. 7 LPs from the early years were released by Sveriges Radio and more recently Fylkingen have compiled the series as a 5CD set. Naturally, both artists were included in the festivals, but they also created a large body of work which appeared on many of the essential anthologies of European sound poetry at the time, including the OU Revue and Klankteksten (released by the Stedelijk Museum in 1970 to accompany their exhibition of concrete poetry), as well as other international compilations. Both artists have also worked in the area of pure electro-acoustic composition, and these works are also mostly available on compilations. This record though, is a collaboration rather than a compilation and retains a timeless contemporary feel that is shared with other radio art projects like the Hörspiel Heute series released by Luchterhand in the 70s. This new vinyl edition of the original LP adds an extra 7 minute composition by Bodin, also taken from the original Semikolon radio series." [label info]

€18.00

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BOHMAN, ADAM

Burnhill Row

Format: LP Year: 2006

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

€17.50

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BOHREN & DER CLUB OF GORE

Patchouli Blue

Format: CD Year: 2020

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

€16.50

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BOMIS PRENDIN / MAMA BAER

Die Zöglinge der Dalaia Lama

Format: LP Year: 2011

"Now here is one of those names which I remember seeing in the past, and even have a couple of pieces on that Bain Total compilation LP (from 1980), but honestly don't remember, nor having heard any of their other work. I do remember they released two flexi discs, which I thought was cool. I am quite surprised to see they are still around and apparently they never stopped. This seventh installment of split LPs by Mama Baer and Kommissar Hjuler has five pieces by them, from 1994 to 2005. Bomis Prendin sound very much like boys who never grew up. If you are old enough to remember the late 70s/early 80s were a fertile ground for experimenting with sound, usually from a rock context. Armed with guitars, bass, drums, keyboards but also toys and loose circuits they create what was then called 'no wave', and after thirty years Bomis Prendin still manages to create the same kind of music, like they never learned a bit on their guitar, or notions about melody, rhythm, timbre. A very free sound - the real anybody can do this. I have no idea if these tracks are very representative of the old sound, but somehow I think they do. In their most recent piece they sound suddenly strangely coherent - hammering away in free rock mode. I was playing some old Metabolist record the other day, and this came close to that. Excellent (re-)discovery. On the other side we have Mama Baer, solo this time. Her work, either solo or Der Kommissar, always leaves me puzzling, to say the least. They seem to be operating very much on the outside of the musical spectrum, with what seems at times therapeutic music. Here however there is one piece that covers the entire side of the record of tape (reel-to-reel) manipulations which sound like an older Nurse With Wound record of manipulated voice (pitched up high) and a woman moaning, far away percussion and microphone abuse. Excellent piece all around. Very thoughtful, so these people aren't that crazy I thought." [FdW/Vital Weekly] www.psych-kg.de

€20.00

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BORISOV, ALEXEI

A Polished Surface of a Table

Format: CD Year: 2004

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

€12.00

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BRADLEY, JULIAN

Miss Modern Venus

Format: CD-R Year: 2003

Format: CD Year: 2008

"This is the 7th CD in the 13 CD Brume anthology. C. Renou - all instruments, tapes, mix, Marie-France - voice. Compiled, recorded and mixed at Brume Rec. in 1999. Originally produced by Prion Tapes as a limited edition CD-R in 1999. Remastered from the DAT-master at Brume Rec. in winter 2006. Dedicated to Philip K. Dick." [label info] www.waystyx.com

€13.00

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BU.D.D.A.

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]

€13.00

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CIULLINI, DANIELE

Cosmetic for Mannequins

In late 1983, Frans de Waard published the first edition of De Nederlandse Cassette Catalogus, listing all known, independently released cassettes in The Netherlands up to that point. No images, no descriptions, just a list. In the following years, three more editions were published and then De Waard ceased producing these booklets. This book contains all four catalogues, along with a 100-page selection of 'source material, articles from Vinyl, Muziekkrant Oor, De Nieuwe Koekrand, the complete one-off K7 fanzine, along with letters, flyers and label information. This book includes an English introduction to the background of the various catalogue editions, as well as translations of the instructions on how to consult the catalogues. Otherwise, the rest is in Dutch. The front cover is an homage to The International Discography Of The New Wave by Martha DeFoe and B. George, which was itself the direct inspiration for me to compile the first edition. Design by Alfred Boland image: http://kormplastics.nl/ncc.html

€16.00

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DE WAARD, FRANS

America’s Greatest Noise

Format: BOOK Year: 2024

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

€15.00

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DE WAARD, FRANS / MARTIJN COMES

Various Weights

Format: CD Year: 2020

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

€12.00

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DEAD CAN DANCE

Dionysus

Format: CD Year: 2018

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

€16.00

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DEAD CAN DANCE

Dionysus

Format: LP Year: 2018

€28.00

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DEATH & BEAUTY FOUNDATION

same

Format: CD Year: 2009

"... beide CDs sind da natürlich erstmal für die interessant, die die limitierten LPs nicht haben, aber, nicht nur für die: neben schickem cover-artwork (martina verhoeven + carl clover/aleph) und genau so schicker ausführung als pappschuber, kommen beide reissues mit je einem, dafür gleich ellenlangen (27.57 + 34.22) bonustrack: "and the land torn down" (live aufgenommen von ronald marien am 16. may 2006 bei den audio-unit living room concerts in hamburg) und "dead wisdom". ersterer in unbedingt vergleichbarer qualität zu den auf "the infinite sea of sustain" kompilierten 6 konzerten, allerdings, im gegensatz zu den meisten der dort versammelten (und auch im gegensatz zu dem auf "the rainbow mirrors a burning heart" konservierten live-set) vollständig auf langsamen, fast endlosen aufbau setzend; ohne breaks, ohne harmonische veränderung, fast ein suchspiel, was sich / ob sich überhaupt etwas verändert / ab einem bestimmten punkt (etwas) verändert hat. perfekte ergänzung der oben genannten und musterbeispiel für "wie lange laufzeiten gleichzeitig hypnotisch UND abwechslungsreich anlegen“. "dead wisdom" dann gleich vom start weg sperriger; passt ja, ist / war die original "numb" ja auch schon. und viele der sounds auf "dead wisdom" sprechen dafür, dass alle drei stücke aus der gleichen session stammen. siehe z.b. die von mir damals als fast twang / surf / dub abstraktionen etikettierten, leicht schrägen, abstürzenden flächen, die auch hier, schon innerhalb der ersten 10 minuten, auftauchen. und nach ungefähr der hälfte der spielzeit auslaufen und vorgeben, das stück beenden zu wollen. nach dieser antäuschung dann der echte auslauf, fast 20 minuten lang... und tatsächlich: die "numb" bleibt auch in der extended version noch immer so ein ding ohne fassbaren anfang, ohne fassbares ende... irgendwie faszinierend." [N, Unruhr.de] "when the carnival of ourselves and i'm one of those monster numb with grace were originally released, dirk serries had only just started recording under the name of fear falls burning. the albums turned out to be decisive in shaping his vision of an ongoing drone-manifesto: during several exploratory sessions initiated in mid-2005, he quickly expanded the project's catalogue by a staggering eight releases within a single year. these would take the cosmic, post-rock- and kraut-infused production of his early recordings into new directions and eventually lead up to his current, raw and unpolished symbiosis of hypnotic guitar power and percussive thunder. the carnival of ourselves was the first full-length to follow the double-album »he spoke in dead tongues« and pointed towards an immersive and ghostly ambient sound. an extensive european tour, however, catalysed the inclusion of rock elements and heralded the advent of a more edgey and tribal approach: i'm one of those monster numb with grace, especially, was an important record, as it aligned the more refined studio output of fear falls burning with its direct and passionate live sound. as these strictly limited releases sold out in no time (resulting in numerous requests for a second print), tonefloat and fear falls burning decided to leave the legacy of the vinyl untouched and to reissue both albums on cd - featuring new cover designs and bonus tracks culled from the abovementioned sessions. the astounding quality of these discoveries from the vault should convince even those already in possession of a vinyl copy: the twenty-eight-minute »and the land torn down« (on the carnival of ourselves) at first seems to build into a dense, dirge-like drone-sheet but intruigingly cools off to a disturbing soundscape haunted by muffled feedback and echoes of theremin-chants. the monumental bonus track to i'm one of those monster numb with grace, »dead wisdom«, meanwhile, would have made for a complete album in its own right: thirty-four minutes of subcutaneous feedback hum lead the listener down a spiral staircase into a place of deep calm and tantric concentration." [label info] www.tonefloat.com

€6.50

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FEAR FALLS BURNING

Format: do-CD Year: 2009

"Zwei junge Klassiker der Liveelektronik von 1999 und 2002 wiederveröffentlicht. Als Bonustracks mit aufgenommen wurden der Beitrag zur Sonar‘99-Compilation und ‚Adidas Sun Tanned Avant Man‘, der nur auf der japanischen Edition von Return Of enthalten war. Christian Fennesz, Jim O‘Rourke & Peter Rehberg hatten bei ihren Konzerten 1998/99 und 2001 - alles Material entstand damals als Livemitschnitt - als Indieallstartrio den Versuch unternommen, Avant-Electronica, d. h. komplexe, beatarme, polymorph-pervers improvisierte und untanzbare ‚Konzertmusik‘, als Attraktion auf der Höhe des Zeitgeistes etwas breiter zu streuen als üblich. Mit falschen Erwartungen von einseitigen O‘Rourke-Fans, die von ihm akustische Gitarre (wie mit Mazzacane Connors) oder gar Sonic Youth-ähnliches erhofften, musste man zurecht kommen. Gegen Borniertheit und Schmalspurigkeit kann man letztlich nicht mehr tun, als auf die verführerische ‚Magie‘ der eigenen Qualitäten zu setzen. Die Soundcollagen bis hin zum orchestral-opulenten ‚Fenn O‘Berg Theme‘ mit der Lizenz zu Betören sind geschichtet und verzopft eben nicht aus allem, was die Laptopspeicher hergeben. So beliebig und als bloße Summe ist Klangzauber nicht machbar. Ständiges Morphing und wuchernde Vielspurigkeit, Loops, Verzerrungen und Kompressionen, molekulare Diffusität, Einbrüche von Noise ebenso wie ungeniert melodiöse Einschübe von orchestralen Samples kitzeln die Empfänglichkeit und spotten - mit Schreibmaschinengetippe - dem Versuch, etwas derartig Logofugales in Worte zu fassen." [Bad Alchemy] "All tracks by Christian Fennesz, Jim O'Rourke & Peter Rehberg. Artwork by Tina Frank. Remastered at Piethopraxis, Köln, January 2009. The legendary Fenn O'Berg are resurfacing eight years since their last performance. Starting with this double CD reissue of their two albums; 'The Magic Sound Of...' and 'The Return Of...', originally released in 1999 and 2002. Fenn O'Berg (Christian Fennesz, Jim O'Rourke and Peter Rehberg) first hit the scene after a surprise appearance at the Nickelsdorf Festival in 1997. Throughout 1998 and 1999 the trio toured extensively throughout Austria, Germany, Belgium, France, Italy, Switzerland and Spain, as well as shows in North America and Japan. The highlights of these trips were presented on 'The Magic Sound'. Although they were not first group to utilise mainly mobile computing devices, they were the first to bring such a set up to venues that would not normally book or even be interested in such things. This resulted in some very polarised reactions from both audience and promoters alike. In many instances the group needed to 'escape' the city they played. In Rome Jim O'Rourke was even given an acoustic guitar and more or less forced to play a short acoustic set before anyone could leave the building. Despite all of this, there was a generally positive response, with some shows going down as local legend. However its worth considering that the technology at the tine didn't offer the convenience of 'plug in and play' of current operating systems and applications. This of course led to set of recordings like no other. Not only was the rule book ripped up but the tour book as well. Each show became an improvised twisted journey through the various strands of electronic music where popular music sources (some more obvious than others) clashed with more academic tricks, but never sounding like being part of either. By 2002, the groups live output was drastically reduced due to all three members schedules moving in different directions. Only two performances were committed that year, and although the sound was more polished and one could even suggest that 'they knew what they were doing', their polarising effect was still there. One show was a sold out over enthusiastic Centre Pompidou in Paris, and the other a miserable 'count them on one hand' turnout at a jazz club in Vienna. Edited highlights of these shows made up 'The Return Of'. Since then the trio has been on a constant pause. In October 2009 they will get together in Tokyo to record a new studio album planned for early 2010 release. This reissue is repackaged with new artwork by Tina Frank, and contains two bonus tracks from the same period." [label info] www.editionsmego.com

€18.00

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FIBO-TRESPO

Askel oikeaan suuntaan

Format: CD-R Year: 2002

low-fi as low-fi can! Vergriffenes Vinyl (1997 & 98) des Inbegriffes oder absolutesten Steigerung des low-fi-drones aus Norwegen, auf dieser CDR versammelt... Im handgezwirbelten Tapetencover zu einem gar lächerlichen Preis. “ Excellent droning lo-fi ambient improvisation - or nor-wave - from this highly acclaimed Norwegian duo. This CD-R features their sold out 10" and 7" lathe cuts and two extremely rare compilation tracks from a few years back.” [press release]

€6.00

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FIEBIG, GERALD

Gasworks

Format: CD Year: 2019

„Gasworks“ by sonic artist Gerald Fiebig collects his sound installations, radiophonic compositions, and live performances relating to the former gasworks in Augsburg-Oberhausen. They were created between 2010 and 2016, some in collaboration with colleagues EMERGE and Christian Z. Müller. Among the compositional materials of the album are processed recordings of the sounds of gas and industrial machinery, stories told by a former gasworks employee, and live improvisations in the echo chamber of the large gas tank. Liner notes by Gerald Fiebig: Cities phosphorescent on the riverbank, industry’s glowing piles waiting beneath the smoke trails W.G. Sebald, After Nature The former gasworks in Augsburg-Oberhausen (not to be confused with the better-known Gasometer in the city of Oberhausen in the Ruhr area) have been a subject of my artistic practice for more than a decade. This album collects all the works related to the gasworks except a site-specific installation version of Echoes of Industry that did not lend itself to documentation as a recording. Opened in 1915, the gasworks are a testimony to the spirit of what one could call the ‚heroic‘ age of industrialisation. The architecture of the ovens and machine halls features stylistic quotes from the façade of Augsburg’s renaissance city hall as well as from cathedrals. Technological progress is presented as both raison d’état and religion. This stands in stark contrast to the extremely hard, dangerous and – for a very long time – poorly paid working conditions described by long-time gasworks employee Johann Artner in Nach der Industrie / After Industry. From our contemporary viewpoint, informed by climate change and the impending end of fossil resources, the optimism expressed in the beautiful architecture of the gasworks also appears less than justified for ecological reasons: until 1968, the gasworks actually produced gas by burning coal in large ovens. They then continued to operate as a distributing station for fossil gas from transcontinental pipelines into the local network. Operations ceased in 2001. After almost two decades of merely intermittent use for festivals and other events, 2019 saw the re-opening of the gasworks area as an arts centre featuring a theatre as well as artists‘ studios, rehearsal rooms, and office spaces for creative businesses. This seems to imply that it has now entered the ‚post-industrial‘ age where clean, almost immaterial computer screens have replaced the factory floors once so dirty and dangerous. In fact, there is no such thing as a ‚post-industrial‘ age, just globalised capitalism increasingly outsourcing the dirty and dangerous work (manufacturing the microprocessors for the ‚post-industrial‘ devices, for example) to poorer countries. And of course industrial manufacturing still does form an important part of economies of the global North, even if the leading role in ideological narratives of growth and prosperity has been taken over by the ‚post-industrial‘ businesses. Both post-industrial, which is partly based on processed sounds of a metal tool factory quite close to the gasworks, and Echoes of Industry can be heard as reminders of these ambivalences. Echoes of Industry brings the space of the gasworks into contact with the sounds of textile machines. This is a reference to the fact that the decline of the gasworks as an industrial site paralleled that of Augsburg’s once-thriving textile industry. It also alludes to the role of the textile industry as one of the most prominent examples for the exploitative use of cheap offshore labour. But my interest in the gasworks is not only due to its historical ‚echoes,‘ documented so well by the committed friends of the gasworks, or Gaswerksfreunde Augsburg. As an artist working with sound, I am constantly fascinated by the literal echoes inside the large metal gas tank, 84 metres high and 45 metres in diameter. This unique sound effect is at the heart of Echoes of Industry, as well as the two live performances I did inside this space in 2016 under the title Ohrentauchen mit Echolot / Ear-diving with Echo Sounding. Doing this live improvisation in which acoustic sound-generators, from hammers to whistles, interacted with the physical features of the room as well as with its resonant properties, I felt it brought to completion the work I had begun in 2007 with a tour of the gasworks, guided by members of Gaswerksfreunde Augsburg, and the interview with the late Johann Artner. This album is dedicated to his memory. Excerpts: 1. post-industrial Excerpt of a sound installation in the so-called Apparatehaus during Grenzenlos festival, 2014 Sounds of hissing gas from a kitchen stove, processed by Gerald Fiebig, are combined with field recordings from a nearby factory in a building even older than the gasworks, processed by EMERGE. Composed & realised by Gerald Fiebig & EMERGE Commissioned by Christa Spaniol (Künstlergruppe 38/40) 2. Ohrentauchen mit Echolot Excerpts from performances in the large Gaskessel during Asche zu Farbgut festival, 2016 Various unamplified tools, toys, and instruments, as well as Gerald Fiebig’s voice and body, were used to create sounds inside the 84-metre high metal chamber. This included hitting the metal surfaces themselves. The performance took place in the centre of the chamber, with the audience walking around the performer. Live sound mix: www.yetiplanet.de Commissioned by Christa Spaniol (Künstlergruppe 38/40) 3. Nach der Industrie Sound installation at Lange Kunstnacht festival, 2010 (reworked version) The late Johann Artner worked at the gasworks from 1947 to 1989. He was interviewed by Gerald Fiebig in 2007. Excerpts from more than two hours of recorded material were arranged and combined with processed sounds of gas from a kitchen stove. A transcript and English translation of Johann Artner’s narration can be found at www.geraldfiebig.net/gasworks.pdf. Narration: Johann Artner Commissioned by Elke Seidel (Stadt Augsburg – Kulturamt) 4. Echoes of Industry Radio piece for Radioatelier on Radio Vltava, Czech Republic, first broadcast on 29 May, 2015 Two of Augsburg’s major industrial monuments meet in this piece: sampled recordings of textile machines (heard in part 1 of the piece) from the State Textile and Industry Museum Augsburg are played back inside the large Gaskessel. As they are transformed by the echoes of the room, a saxophone takes up an improvisational interaction with both the samples and the echoes. Part 2 of the piece is composed from live recordings of these improvisations in the gas tank. As the ‚remembered‘ machine sounds of industry become increasingly blurred, the theremin in part 3 gestures at the ambivalent perspective of a disembodied, ‚virtual‘ future of digital production. Christian Z. Müller: saxophones, theremin Gerald Fiebig: sampler, field recordings, processing Composed and realised by Gerald Fiebig & Christian Z. Müller Commissioned by Michal Rataj (Radio Vltava) 5 Tracks (68′18″) CD (500 copies) Credits: Composed and realised by Gerald Fiebig except where noted Audio mastering: Tomislav Bucalic and Tobias Schmitt Design: Martina Vodermayer – www.martavictor.design Photography: Sigrun Lenk, Martina Vodermayer, Gaswerksfreunde Augsburg Thanks to: Tobias Brenner, Oliver Frühschütz (Gaswerksfreunde Augsburg); Julia Quandt (Museen und Kunstsammlungen Augsburg); Wolfgang Riß, Annette Trass (Stadtwerke Augsburg); and to Jutta Weber, Manuel Schedl, Bonnie Lee Turner, and Tine Klink. Archival photographs are used by kind permission of Gaswerksfreunde Augsburg. www.gaswerk-augsburg.de The completion of this album was made possible by a residency at ELEVEN artspace, Starzach-Börstingen, Germany, in August 2018. The production was generously supported by Arno Buchegger Stiftung, Augsburg, and Kurt und Felicitas Viermetz Stiftung, Augsburg. www.gruenrekorder.de

€13.00

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FIRST HUMAN FERRO

Stardust

Format: CD Year: 2011

"Dedicated to the 50th anniversary of the manned flight into space a Russian label Nitkie presents a new recording by a Ukrainian project First Human Ferro. "Stardust" is an ambient anthem tribute to the scientists, engineers and space pilots who contributed to the remarkable date. Their earthly dust is drifting like particles of god in the infinite space now, endlessly multiplying through the minds eye of the enthusiasts to come and carry the banner of scientific and technological revolution further. The album was recorded in 2004-2010 and featured by collaborations with Claustrum, Oda Relicta, and Louisa John-Krol. Designed by Marcin Lojek the release is limited to 500 copies in a digisleeve." [label info] www.nitkie.ru "Vor einiger Zeit hat OLEGH KOLYADA im NONPOP-Interview Bedenken geäußert, dass ihn sein Studium wohl zukünftig von musikalischen Aktivitäten abhalten würde. Dies scheint nicht der Fall zu sein, denn die Dichte an Veröffentlichungen, die auf den Ukrainer zurückgehen, hat eher noch zugenommen. Immerhin kümmert sich OLEGH mit seinem zweiten Hauptprojekt FIRST HUMAN FERRO nun schon zum zweiten Mal innerhalb kurzer Zeit um eines seiner Lieblingsthemen, den Weltraum. Erst vor wenigen Monaten erschien mit "Homo Shargey" (NONPOP-Besprechung) die Hommage an den ukrainischen Raumfahrtvordenker YURI KONDRATYUK, nun folgt mit "Stardust" eine allgemeine Reminiszenz an die bemannte Raumfahrt, die am 12. April 2011 ihren 50sten Jahrestag feierte; JURI GAGARIN umkreiste 1961 als erster Mensch in einem Raumschiff die Erde. Von der Anlage her ist "Stardust" ähnlich wie "Homo Shargey": OLEGH hat Stücke zusammengestellt, an denen er schon seit einigen Jahren arbeitet und die klanglich gut zusammen passen. Die zehn neuen Tracks sind in den Jahren 2004 bis 2010 entstanden, und wie auch auf dem Vorgänger merkt man dem Album diese Zeitspanne nicht an, es klingt wie aus einem Guss. Neu sind dagegen die Gäste: OLEGH KOLYADA war ja schon immer ein Bastler, hat mit seinem anderen Großprojekt ODA RELICTA mehrfach bewiesen, wie er ganz unterschiedliche Puzzleteile zusammenfügen kann. Diese Eigenschaft schlägt nun auch bei FIRST HUMAN FERRO durch, denn "Stardust" ist eine wohldosierte Mischung aus Dark Ambient, majestätisch-sakralen Klängen und einigen weiteren Einflüssen von CLAUSTRUM und LOUISA JOHN-KROL, die – neben dem eigenen Projekt ODA RELICTA – auf dem Cover genannt werden. Mit dem Dark Ambient-Projekt CLAUSTRUM aus Lettland ist es nicht die erste Zusammenarbeit, wohl aber mit der australischen Folk Pop-Nymphe LOUISA JOHN-KROL, die das hier schon häufiger besprochene PRIKOSNOVÉNIE-Programm ziert. Mit den ersten Tönen fängt die Reise an, alles klingt und riecht nach kühlen, fremden Welten und Sternenstaub. Flirrende Synthieklänge werden ab und an unterbrochen von Morsezeichen, später setzen auch bedrohlichere Klänge ein, dröhnend navigiert das Sonar durch unbekannte Sonnensysteme. Überraschend, aber nicht unpassend sind die sich langsam einschleichenden, klassischen Klänge, militärische Bläserfanfaren wie aus einem Filmsoundtrack mit Verweis auf das erste (Marsch)Album von ODA RELICTA (NONPOP-Besprechung). Die Stimmung wechselt im weiteren Verlauf, hinter bedrohlichen Drones lauert ein Knistern und Kratzen, der eingespielte Funkverkehr eines Weltraumspaziergangs mit dem Klassiker "one small step for man" klingt wie ein Original, und die zahlreichen Geräusche symbolisieren perfekt die Zerbrechlichkeit und Gefährlichkeit des Unterfangens. Über klassischen, höhligen und grollenden Dark Ambient arbeitet sich OLEGH in geheimnisvollere Gefilde vor, russischer Funkverkehr kratzt zwischen militärischen Trommeln und weichen, gleitenden Drones, dann dringt "Stardust" endgültig in die unendlichen Weiten vor. Einzelne Signale verschwinden im All, hinterlassen trommelnde Schallwellen. Eines der beeindruckendsten Stücke des Albums ist "Spectra Of Sferics" (08), Weltraumgefühl mit wenigen Mitteln: nur ein leises Knistern, dazu fremde, schöne und schwerelose Töne. Die Feenstimme macht "Of Earth Pristine" (09) zum ätherischsten Stück auf "Stardust"; wenige Keyboarddrones, auf die die Stimme von LOUISA JOHN-KROL vor sich hinsummt. Erinnert ein wenig an JACK OR JIVE. Das eindeutig ergreifendste Stück ist das letzte und längste, "Stars Scattered Pain" (10) zusammen mit CLAUSTRUM. Wunderschön und glänzend wird der Moment im Spacefilm vertont, an dem in der Einsamkeit ein Planet sichtbar wird und die Crew ahnt, dass sie doch nicht den Kältetod sterben muss. Eine langsame und majestätische Melodie, viele Klänge und Geräusche dazugepackt, wie ein 'Best Of' des ganzen Albums. OLEGH kann es halt, so einfach ist das. Seine All-Epen verkörpern immer die richtige Mischung aus Erhabenheit, Melancholie und düsteren Gedanken. "Stardust" sticht dabei noch einmal besonders hervor, weil zusätzliche Elemente beigemischt wurden, die einzelnen Songs – vor allem den drei letzten – ein besonderes Gesicht geben. Feines Album!" [Michael We. für nonpop.de]

€12.00

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FIVE ELEMENTS MUSIC

VarunaGhat

Format: CD-R Year: 2007

"To the food industry, water is increasingly turning into a lifestyle product. For Russian artist Sergey, it is source of great purity which should be treated thoughtfully and with respect. On “Nameless Droplet”, his recently released and already all but sold-out Mystery Sea debut with his main project Exit in Grey, the metaphors were still covered by dark clouds and hidden in musical metaphors. The album represented a shoreless sea slowly being sucked down a vast and increasingly vociferous vortex. Under his “Five Elements Music” disguise, however, the metaphors are facing themselves in a Kirlian mirror, their souls exposed and their true nature revealed. Samples of various water recordings, therefore, are at the heart of “VarunaGhat”. For an artist who holds the traditional drone ethos even higher in his solo work than in his collaborational activities (which, on “Nameless Droplet” allowed for diversifications such as sombre guitar figures), this can hardly come as a surprise. With its complexly vivid inner pulsation and a constant outward frequency, after all, the sound of water is essentially a drone itself and compliments the suspended harmonies of the genre perfectly. On the other hand, Sergey is not content travelling to the same places others have already visited. Just like Exit in Grey caused minor erruptions by fluently shaping their intangible compositions into very concrete textures, Five Elements Music finds a niche between a traditional and a progressive use of its field recordings. Rhythm especially plays a vital role in this concept. There is a very simple logic behind this thought, as water in itself is silent and only becomes audible through movement. Whether it isparkles from a fountain, rushes through a ravine, gallops like fugitive horses or murmurs peacefully, Sergey concentrates on its pulse as well as its irregular gravitational centre. He doesn’t need all too many exterior extrapolations to achieve this effect and instead choses to leave most of the natural emmissions intact. His work lies rather in developping the samples through timbre and by allowing different sources to overlap and form new patterns. Simultaneously, he contrasts these waterscapes with the expansions of his drones. The vast, twentytwo minute long opening track takes this to extremes, as a single recording is awarded emotions ranging from aggression to tranquil zeal, while the sky is increasingly covered by black cumuli and distant lightning flashes. On the second untitled track, a sinus tone is softly stretched, forming a tender, wooly surface. Here, the basic technique is most apparent, as organic and surgically dissected material are brought together, while immobile frequencies clash with the underlying stillness. One has to see this as a decided step against the arbitrary use of water in electronic music. Many recent releases have both shown the great effect it can still have, as well as the danger of ending up a cliche. On “VarunaGhat”, no drop of water is carelessly spilt. It relies on the beauty of its path through nature, yet changes its course whenever this offers a chance for creating new sensations. You need to listen closely to this album to actually become aware of this seemingly insignificant but really quite important shift. If you do, however, there are great rewards lurking underneath its surface." [ By Tobias Fischer / Tokafi ] "Russian project Five Elements Music is a shoot coming from exit in grey's rich compost of sound experiments, and also Sergey's solo highly organic vehicle... the name comes from a vedic concept of "Five Elements" (ETHER, Air, Fire, Water, Earth) needed to have a global approach of reality, one that goes beyond appearances, words and consciousness for an enhanced experience of Life both on an emotional, physical & spiritual level... ETHER is the central element of this bouquet, holding all forms & colors, and the human body is the perceptual tool... Five Elements Music paints a sound canvas, trying to reach a sort of supra-awareness through the manipulation of chosen sensible sonic fragments coming from some essential elemental sources... - On "VarunaGhat" we share a common mystery with a pool of trembling water, being both in a dormant state, waiting to bloom while listening to its nocturnal flow... an imperturbable stream in phase with the world we speak as a river, our voices among stones, singing into the liquid like a choral of fluctuating micro-energies... In all those elements lies a detailed universe Drink its traces, slip into its convolutions, sense its immanent drift till your awakening..." [label info] www.mysterysea.net

€12.00

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FLETINA

Serrof

"Die schlimmen Kriegsereignisse in Nahost bestimmten die Titelgebung des 9ten Albums des kanadischen Postrockkollektivs genauso massiv wie sie auch die Band beschäftigte, die heftig darüber diskutierte und stritt, bevor sie aufnahm. Das hatte auch Konsequenzen bei der musikalischen Entstehung der wie immer ellenlangen Songs, die teils eine ganze LP-Seite ausfüllen. Das drohende Kriegsunheil und das Aufkeimen des Bösen ist schon immer wieder spürbar, auch wenn der bekannte ästhetische Rahmen nicht anders als auf den vorhergehenden Alben klingt. Z.B. auf der dritten LP-Seite in "Devils own this town": Von dumpfen Schlägen durchbrochene mahlende Distortiongitarren und die den GYBE immer auch mit prägende Geige schwingen sich lautmalerisch auf, dann kommen fernöstliche Klänge ins Spiel, dann zerreisst eine geschrammelte Gitarre den Aufbau. In den wiederum rein instrumentalen Stücke verbinden sich Kummer, Schmerz und Angst vor der Brutalität (drohenden) Krieges. GYBE zeigen sich spielfreudig und wirken hochemotional in den epischen Stücken, die unerwartete Wendungen nehmen, sich immer wieder steigern, abfallen, sich verändern und wenig Grund für Optimismus bieten. THE PLAIN TRUTH== we drifted through it, arguing. every day a new war crime, every day a flower bloom. we sat down together and wrote it in one room, and then sat down in a different room, recording. NO TITLE= what gestures make sense while tiny bodies fall? what context? what broken melody? and then a tally and a date to mark a point on the line, the negative process, the growing pile. the sun setting above beds of ash while we sat together, arguing. the old world order barely pretended to care. this new century will be crueler still. war is coming. don't give up. pick a side. hang on. love." godspeed you black emperor is/was/is = Thierry Amar – electric bass + contrebasse David Bryant – electric guitar + tape loops Aidan Girt – drums Timothy Herzog – drums + glockenspiel Efrim Manuel Menuck – electric guitar + tape loops Michael Moya – electric guitar Mauro Pezzente – electric bass Sophie Trudeau – violin Karl Lemieux + Philippe Léonard – 16mm film projections all of it recorded at thee mighty hotelatango winter of bombs 2024. engineered + mixed by Jace Lasek. mastered by Harris Newman at Grey Market. front cover photo by Stacy Lee. voice on "raindrops cast in lead" = Michele Fiedler Fuentes. 2x180gLP pressed at Optimal (DE) in 350gsm gatefold jacket + 300gsm inners printed LE-UV on uncoated Alaska artboards + DL card. https://godspeedyoublackemperor.bandcamp.com/album/no-title-as-of-13-february-2024-28340-dead

€33.50

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GODSPEED YOU BLACK EMPOROR! [GYBE]

No Title as of 13 February 2024 28,340 Dead

Format: CD Year: 2024

"Die schlimmen Kriegsereignisse in Nahost bestimmten die Titelgebung des 9ten Albums des kanadischen Postrockkollektivs genauso massiv wie sie auch die Band beschäftigte, die heftig darüber diskutierte und stritt, bevor sie aufnahm. Das hatte auch Konsequenzen bei der musikalischen Entstehung der wie immer ellenlangen Songs, die teils eine ganze LP-Seite ausfüllen. Das drohende Kriegsunheil und das Aufkeimen des Bösen ist schon immer wieder spürbar, auch wenn der bekannte ästhetische Rahmen nicht anders als auf den vorhergehenden Alben klingt. Z.B. auf der dritten LP-Seite in "Devils own this town": Von dumpfen Schlägen durchbrochene mahlende Distortiongitarren und die den GYBE immer auch mit prägende Geige schwingen sich lautmalerisch auf, dann kommen fernöstliche Klänge ins Spiel, dann zerreisst eine geschrammelte Gitarre den Aufbau. In den wiederum rein instrumentalen Stücke verbinden sich Kummer, Schmerz und Angst vor der Brutalität (drohenden) Krieges. GYBE zeigen sich spielfreudig und wirken hochemotional in den epischen Stücken, die unerwartete Wendungen nehmen, sich immer wieder steigern, abfallen, sich verändern und wenig Grund für Optimismus bieten. THE PLAIN TRUTH== we drifted through it, arguing. every day a new war crime, every day a flower bloom. we sat down together and wrote it in one room, and then sat down in a different room, recording. NO TITLE= what gestures make sense while tiny bodies fall? what context? what broken melody? and then a tally and a date to mark a point on the line, the negative process, the growing pile. the sun setting above beds of ash while we sat together, arguing. the old world order barely pretended to care. this new century will be crueler still. war is coming. don't give up. pick a side. hang on. love." godspeed you black emperor is/was/is = Thierry Amar – electric bass + contrebasse David Bryant – electric guitar + tape loops Aidan Girt – drums Timothy Herzog – drums + glockenspiel Efrim Manuel Menuck – electric guitar + tape loops Michael Moya – electric guitar Mauro Pezzente – electric bass Sophie Trudeau – violin Karl Lemieux + Philippe Léonard – 16mm film projections all of it recorded at thee mighty hotelatango winter of bombs 2024. engineered + mixed by Jace Lasek. mastered by Harris Newman at Grey Market. front cover photo by Stacy Lee. voice on "raindrops cast in lead" = Michele Fiedler Fuentes. https://godspeedyoublackemperor.bandcamp.com/album/no-title-as-of-13-february-2024-28340-dead

€15.00

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GOGOOO

Long, lontain

Format: CD Year: 2007

"Gabriel Hernandez, das Gesicht hinter dem Namen GoGooo, hat ein außerordentliches Gespür für das Strecken einer kleinen harmonischen Idee. »Long, Lointain« (Baskaru) ist dadurch ein sehr freundliches, wenn auch in gewisser Weise unscheinbares Album geworden: Was sich hier an Tönen und Geräuschen tummelt, hinterlässt einen Gesamteindruck, der sich blendend mit der klassischen Ambient-Definition nach Brian Eno verträgt. Diese Musik also verschwindet scheinbar, schon während sie erklingt. Doch das Erlebnis wird dadurch andererseits ein sehr gegenwärtiges, das auf den bleibenden Eindruck zu Gunsten einer feinsinnig ausgestatteten Begleitung durch den Augenblick verzichtet. Die Art von Field Recordings, die Hernandez seinen geschmackvollen musikalischen Miniaturen beigegeben hat, ist recht stark konzentriert auf Regen und Schlamm, auf organisch schmatzendes Material, das dem kurz gehaltenen Longplayer in der abschließenden Zusammenstellung eine charmante persönliche Note verleiht. Andernorts hat man all das schlicht elektroakustischen Folk genannt – eine Beschreibung, die dem sanften, kuriosen und gewitzten Wohlklang von GoGooo tatsächlich gerecht wird." [Kai Ginkel / SPEX] "Far-away sounds, close to the heart... Delicately-played instruments whose sounds, once sampled and digitally treated, seem to permeate our ears from a distant world both strange and strangely familiar. And yet, the resulting music is intimate as can be, full of untold and evocative imagery. GoGooo is Gabriel Hernandez, born in 1979 in Grenoble, France. Gabriel started making music because he wanted to accompany his guitar-playing cousin. Untrained, he turned to the computer, and thus came to life their duo Simagrée. Other collaborations ensued with Alain Basso (Sol III) and Daisuke Miyatani (Miyagooo). "Long, lointain" [Long, far] is GoGooo’s first professional full-length release, following a number of net releases, CDR EPs and compilation appearances. 2007 is a coming-out year for GoGooo, with additional releases on labels such as (1.8)sec Records (Canada), Magic Book (Japan), EKO (France) and his own netlabel Rain Music. "Long, lointain" features 10 short pieces exerting a fleeting charm, populated with field recordings, found sounds and skeletons of melodies, all delicately arranged to titillate and soothe your ears. This music can be compared to electroacoustic folk for its instrumentation, but is actually unique in style. Gabriel Hernandez is also a drawing artist, photographer and video artist, and most of these other facets of his art are represented in "Long, lointain"s packaging, including drawings decorating the digipack cover and four short videos." [label info] www.baskaru.com

€12.00

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GOL & CHARLEMAGNE PALESTINE

Pandamoniahbleeumm!!!

€13.00

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HALO MANASH

Unetar

Format: CD Year: 2019

All audio material on this album originates from the “Tulitania” private ritual held in the deepest forest of Northern Ostrobothnia in December 2006. “Unetar”, an entity awakening after a decade-long hibernation was evoked by Anti Ittna H. in the somniferous Katajan Kaiku studio during January and March 2016. The album’s opening track “Unetar” also features a spectral appearance of JKV captured on tape right after the ritual in 2006. The first two liminal hymns were weaved together on the night of Total Solar Eclipse, 9th of March 2016. This CD edition also includes the original “Tulitania” version, that previously appeared on the “Desert Space” compilation album released by Tosom 2007. The album is enclosed in an oversized, screen printed covers including three insert cards. Limited to 400 copies.

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HANNO, YOSHIHIRO

Format: CD Year: 2004

“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]

€12.50

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HAURAS

Pervades

Format: MC Year: 2023

Head to the western neighborhoods of San Francisco, and the city becomes a very quiet place after midnight. By 3am, one can almost hear the fog spilling past the sodium lights that illuminate a lonesome street corner at Judah and 15th. Whatever soundtracks that emerge from that time and that place inevitably embody that nocturnal atmosphere, a narcoleptic weariness, a waking dream of the insomniac. Such is the psychogeographical realm as channeled through sound for Hauras, the obliquely musical concern for San Franciscan Howard Ryan. In Pervades, Hauras returns to the fragments of guitar warbling through chains of echo and flange, his Basinski-esque loops of crushingly sad ambient melody, his EVP impressionistic vocals, and his curious interruptions from scanner radio. More than before, he expresses a confidence in his oblique craftsmanship that allows him to push the sounds to include a very compelling drum machine plus guitar noise track in "Stellaged." Richard Youngs, Gate, and Graham Lambkin all come to mind, as does the terminally obscure project Dial (Jacqui Ham's post-Ut band of similarly late nite expressionism). Pervades concludes a trilogy of recordings made during the pandemic era, that also includes In These Coming Days (2020) and The Glare of the Nave (2021). Inspired by Rinko Kawauchi and Audrey Szasz. Mastered by Brian Pyle. https://www.helenscarsdale.com/published/hauras-pervades.htm https://helenscarsdale.bandcamp.com/album/pervades

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HAVDIS

Fugloya

Format: CD Year: 2020

"On a distant shore far from the prying eyes of city nightlights we encounter a bleak and rock-strewn cliffscape, inhabited mainly by small colonies of pelagic birds. It can be an eerie and desolate experience but nowhere is the horizon as vast and at night the skies sing in mysterious colours. Journey with us to this forbidden islet and bring a thick blanket and a thermos of your favourite hot beverage. Composed and performed by Havdis between 2012 and 2019 Compiled and edited by mr_rehn Mastered by A.P in February 2020 Photography and design by mr_rehn https://gterma.bandcamp.com/album/fugl-ya

€13.00

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HECKER, TIM

Harmony in Ultraviolet

Format: CD Year: 2006

Klang, schimmernd wie helles Licht! TIM HECKER ist nun auf Kranky gelandet, was seinem recht einmaligen Drone-Sound keinen Abbruch tut, im Gegenteil, HARMONY IN VIOLET erscheint uns wie der vorläufige Höhepunkt seines Schaffens: HECKER schafft es, seine digital-sphärischen Drones fast gleichzeitig wie einen monumentalen Noise-Sturm und doch höchst emotional harmonisch & zärtlich-melancholisch erklingen zu lassen.... "Hecker geht den auf seinen letzten Alben eingeschlagenen Weg weiter, baut ihn aus, erweitert ihn. Vielleicht ist "Harmony In Ultraviolet" nicht so hart wie das letzte Album "Mirages", aber Stücke wie "Chimeras" sind nicht weniger eindrucksvoll. Sie berauschen und entziehen den Hörer der Realität. Epische, weite und hocheindrucksvolle sphärische Momente brillieren da. Sie zeigen Heckers grosses Talent für Klangforschungen im Bereich der "spektralen" Musik. Überhaupt, Tim Heckers Klangkompositionen bewegen sich wie auf einem Farbspektrum: immer wieder werden neue Facetten und Färbungen abgetastet und herauspoliert. Feinfühlig, sensibel ebenso wie kalt, dunkel und zerfahren. Doch einerseits klingen die 15 neuen Stücke auf "Harmony In Ultraviolet" so bedeutungsvoll und geladen, andererseits aber so leicht zugänglich, durchschaubar... und bedeutungslos? Wie steckt man den Rahmen ab wenn man Heckers Musik beschreiben soll? Tim Hecker bewegt sich auf einem Feld von Ambient, Drone, elektronischer Musik, Noise und einem gefühlsmässigen Metal. "Harmony In Ultraviolet" ist ein Herbstalbum und erscheint genau zur richtigen Zeit. Denn zusammengefasst klingt es einfach wie der Herbstwind in all seinen Daseinsformen." [Creative-Eclipse] "Call Canadian Tim Hecker's fourth full-length release (and first for drone-oriented American label Kranky) "ambient for bombardiers." Like onetime-tourmates Isis, Hecker's focus is on the molten core of metal—the drones, distortions, compressed crunching, and industrial noises that course underneath its notes and riffs. Not surprisingly, one of his earliest releases deconstructed and distended Van Halen's "Ain't Talking 'Bout Love" to more ambient ends. The display of WWII-era portraiture on Harmony in Ultraviolet's cover suggests a cenotaph to downed pilots (in actuality it's an anti-fascist memorial), while the overhead shot of Bologna, Italy, on the interior forebodes the imminent firebombing. Hecker's focus, though, is on the interior of that flying fortress, a blurry suite of movements rife with churns and buzzes. At these stratospheric heights, the guitar's distinct qualities are made fuzzy and uncertain via laptop and digital effects. If you melted off the pop structure from My Bloody Valentine's Loveless with some molten magma, you'd have a good idea of Hecker's sound. Flow is maintained throughout, as Tim Hecker apparently understands that ever-tricky notion of fluid dynamics. He breaks up motifs (see "Palimpsest") with churning ebbs and digressions but keeps together the pinnacle suite, "Whitecaps of White Noise." And while Hecker has always been an adept craftsman, Harmony reveals his mastery of the idiom. Washes now feel oceanic, as epic and evocative ripples take shape out of unplumbed depths of feedback and distorted peals." [Andy Beta] "....Harmony is, paradoxically, Hecker's most dramatic and most oceanic record. The former implies twists, arc, and carefully planned change intended to evoke specific effects; the latter suggests stasis, immersion, and a state of dreamy contemplation. Harmony manages to be both these things by surprising as it mesmerizes, with Hecker reigning in or tempering any jarring effects just enough to keep the self-obliterating sense of endless drone intact. One key is that the tension never really dissipates, varying only in degree and quality. The opening "Rainbow Blood" sets the scene with a screeching and trebly drone, like an orchestra tuning up in the darkened theater where Rebecca del Rio performed in Mulholland Drive, and for the next 48 minutes, Harmony keeps the pulse elevated..." [Mark Richardson / Pitchforkmedia]

€14.50

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HECKER, TIM

Norberg

Format: maxi-CD Year: 2007

"....Imagine if you will sitting on the sand of some enchanted beach somewhere, precisely at the intersection between land and ocean, where the waters break upon the shore. This is like an endlessly crashing wave of drones and rumbles, the sound swirling around one’s ears, initially breaking into myriads of liquid cut-diamond arpeggios glinting in the pure sunlight and submerging the body in womb-like warmth; and then slowly and infinitesimally receding, the music clinging longingly, almost reluctant to let go. Paradoxically, one doesn’t feel stifled or as if grasping for breath; instead, there’s a feeling of timelessness and limitless freedom, as if one could be absorbed by the waters and somehow find oneself a part of every single drop of water in the oceans and seas. Also paradoxically, even though the drones drape one in the velvet of the deepest ocean depths there is contradictorily a fragile beauty, airiness and lightness evident throughout." [S:M:J63, Heathen Harvest] "Recorded at the Norberg Festival (Sweden) amidst the mineshafts and cluttered buildings strewn throughout parts the city, this 21 minute live piece summarises much of what makes Tim Hecker’s music so vital and compelling. Adept at counter-pointing the most ferocious of distorted platters with smooth beds of ambient sound and potent melodic overtones, Tim Hecker creates music with a vast depth. On Norberg, this depth seems almost endless, as layer upon layer of sound are compiled into a swelling and all together visceral oceanic sound wave. Recently touring Australia and New Zealand and performing at ROOM40’S annual festival Open Frame, this CD comes on the back of some incredible live performances in the Southern Hemisphere." [label info] label-website: www.room40.org

€10.00

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HELVACIOGLU, ERDEM

Altered Realities

Format: CD Year: 2006

"Meine erste Post aus Istanbul macht mich bekannt mit einem mehrfach preisgekrönten Elektroakustiker mit weltweiten Performance- und Installationserfahrungen, mit einem breiten Fächer an Sounddesigns für Film, Theater, Tanz, an Produktions- und Sessionjobs, an Auftrags-kompositionen, Kollaborationen (etwa mit Kazuya Ishigami von Neus-318) und Kompilationbeiträgen. Bei seinem Beitrag Kicking Memories zum Projekt Audio Elf beim ScoreCologne-Festival zur letzten Fußball-WM zeigte er polyglotte Fußballerinnerungen als global gemeinsamen Nenner. In seiner Performance Living in Istanbul zur Ausstellung BLUT & HONIG - Zukunft ist am Balkan (2003) operierte er u.a. mit Soundtracks populärer türkischer B-Movies und, ähnlich wie bei seinem CDDebut A Walk Through The Bazaar 2003, mit Straßenmusik und dem Alltagslärm von Istanbul, den er zusätzlich elektronisch abwandelt. Trash und Mischmasch ist das einzig ‚Folkloristische’ und ‚Balkan-spezifische’ dabei. Abwandeln, to alter, scheint Helvacioglus Leitmotiv zu sein - wo Blut [türkisch kan] war, soll Honig [türkisch bal] werden. Seinen neuen Arbeiten gab er Namen wie ‘bridge to horizon’, ‘sliding on a glacier’, ‘dreaming on a blind saddle’ oder ‘pearl border’. Sie entsprechen vollkommen dem impressionistischen, träumerischen, eskapistischen Charakter der Klänge, die er mit einer akustischen Ovation Custom Legend 1869-Gitarre erzeugte und gleichzeitig liveelektronisch mit Multieffektprozessor, Midi foot controller und Audiomulch-Software so modulierte, dass Wohlklang betont schwerelos und frei veränderlich sich entfaltet. Der folkloristische, mehr kosmo-politische als rein orientalische Aspekt des Saitenspiels wird transferiert durch ein Hightechmorphing, das ungeniert Wohlfühlsignale ausstrahlt, Entspannung jenseits so erdenschwerer Trivialitäten wie EU-Beitrittsverhandlungen, unbewältigtem ‚Armenierproblem’ und ‚Beleidigung des Türkentums’. Ohne Scheu vor Kitschverdacht lässt Helvacioglu seine Gitarre harmonieverliebt und zart blinken und all seine virtuosen elektronischen Manipulationen scheinen das Ziel zu haben, zuckersüßen Tee zur Entspannung zu servieren und spielerisch Veränderlichkeit zu realisieren. Einfacher sagte es Ishigami: "Ich fliehe in den Klang, es ist die Flucht aus einer kleinen Welt in eine große." " [Bad Alchemy] "Altered Realities is an album of solo acoustic guitar and live electronics. All of the compositions were recorded in real-time, directly to DAT (Digital Audio Tape) without any overdubs, mixing, editing, post-processing, or the use of previously recorded material. All of the textures were created based only on the acoustic guitar signal with no other sound source used during the recording. Within these textures, there are long sustaining single notes, beautiful shimmering chords and rhythmic clusters. During the making of this album, Ovation Custom Legend 1869 acoustic guitar, TC Electronic Fireworx multi effects processor, Behringer FCB1010 midi foot controller and the software Audiomulch were used. With no post-processing, no editing and no use of previously recorded material, the moment that is recorded is the moment that we hear on the cd." [label info] www.newalbion.com

€14.00

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HENNIX, CATHERINE CHRISTER

Further Selections from Electric the Harpsichord

Format: LP Year: 2024

https://blankformseditions.bandcamp.com/album/further-selections-from-the-electric-harpsichord-2 Rediscovered and compiled for release shortly before her death in November 2023, Further Selections from the Electric Harpsichord presents a never-before-heard recording of composer and artist Catherine Christer Hennix’s early magnum opus. Originally debuted in 1976 at the festival Brouwer’s Lattice at Stockholm’s Moderna Museet, The Electric Harpsichord has steadily mystified fans and students of Western minimalist music for its implacable, transformative qualities, and the long-held, relative obscurity of its creator. Like the work of Hennix’s close friend La Monte Young, the piece is set in just intonation and focuses on the transcendental potentials of precise tuning, inspired by their studies with Pandit Pran Nath. Composed of bursts of oscillating, synthetic tones using a carefully retuned synthesizer and a tape-based system for feedback delay, the sounds swirl, twinkle, and appear to bend time, space, and perception. Additional, sustained chords on the sheng, most likely played by her Deontic Miracle bandmate Hans Isgren, are present at the opening of the piece and reemerge towards the end of the recording. The release of Further Selections constitutes the most comprehensive original recording of this foundational work to date. Originally billed as The Well-Tuned Organ during its debut in Sweden, The Electric Harpsichord has developed a legendary reputation, predicated on a twenty-six minute fragment salvaged and circulated by Hennix’s friend Henry Flynt. Promoting its importance on multiple occasions, Flynt aired the work on WBAI radio, organized a pair of tape concerts at New York alternative arts spaces in 1970s, and later penned a 1998 essay which served as the liner notes to its eventual CD release in 2010. For him, this work not only represented a sterling milestone in minimal sonic aesthetics, but also spawned a new genre that he dubbed “hallucinogenic/ecstatic sound environments (HESE),” which in turn inspired his own drone-like compositions. Gradually, interest in the recording led to a spate of archival projects, public performances, and new compositions by Hennix in the 2010s, in turn drawing into focus her multifarious practice, which includes serious contributions towards mathematics, poetry, sculpture, Noh drama, philosophy, and light art.

€28.00

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HENNIX, CATHERINE CHRISTER

Further Selections from the Harpsichord

Format: CD Year: 2024

€16.00

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HENRIKSEN, ARVE

Strjon

Format: CD Year: 2007

Drittes Album von ARVE HENRIKSEN für Rune Grammofon, eher bedächtig und melancholisch, eine Art ethno/world-ambient/drone-Jazz von allererster Güte ! "This is Norwegian Arve Henriksen's third full-length release on Rune Grammofon. On Strjon, Henriksen is joined by his Supersilent colleagues Ståle Storløkken and Helge Sten, who also produced the album. Strjon brings together the various sides of Henriksen, from the zen-like solo pieces of his debut album Sakuteiki to the open-ended melancholia of Chiaroscuro to the dark, brooding lyricism of Supersilent. "Strjon" is the medieval name of Arve's hometown Stryn on the west coast of Norway, referring to a streaming river or water. The nature around Stryn is fantastic and the changes between winter and summer are quite drastic, from crashing avalanches in steep mountains to calm beauty and majestic tranquility. Some of the music dates back to sketches made by a young Arve Henriksen in these surroundings, later worked on by both Arve himself and Helge Sten. Arve Henriksen is without doubt one of Norway's leading instrumentalists and a master of the trumpet, as can be heard on his previous solo albums, numerous Supersilent albums and as a side player for musicians such as Trygve Seim, Christian Wallumrød, Dhafer Youssef, David Sylvian and Frode Haltli to name only a few. As Henriken himself explains: "Most of the music comes from my own 'library' of sounds and music created during my days at Stryn. At the age of 16 I started to make sketches and recorded lots of cassettes with improvised electronic sequences, and over the years loads of tapes and discs have been added to the pile of homemade studio sketches. My idea has been to look into this material to search for a history, for moods, perhaps to understand a little bit more and maybe discover some reasons for why I play like I do." Performed by: Arve Henriksen (trumpet, voice, keyboards and electronics), Ståle Storløkken (keyboards) and Helge Sten (guitars and bow)." [label info] www.runegrammofon.com

€15.00

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HET ZWEET

2XLIVE88

Format: CD Year: 2023

"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]

€13.00

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HIS DIVINE GRACE

Le Grand Secret

Format: CD Year: 2006

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]

€6.00

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HOARFROST & INNER VISION LABORATORY

Decline

Composed and recorded by Olegh Kolyada and Sergey Svistelnik in 2000 - 2001. Additional mastering by Olegh Kolyada in 2015/2019. Female vocals by Ooteka. Photos by Svetlana Kazmerika, taken in summer 2003, Zhytomyr. Design by Mauro Berchi. A compilation of the two official early albums of the project "Les Fleurs Du Mal" and "Uterus" with three exclusive tracks recorded during the same period. In memory of Sergey Svistelnik († 2nd January, 2018). https://oldcaptain.bandcamp.com/album/in-meditarivm-plexus-uterus

€13.00

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INFANT CYCLE / JARED DAVISON

Periodical I

Format: mCD-R Year: 2005

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]

€6.00

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INTERNAL FUSION

NedenBahe

Format: mCD-R Year: 2002

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! “ Internal Fusion is a rare group. In almost fifteen years of activity, it has only released one solo CD (the fabulous "om vaira sattva hum" through Staalplaat), one CD in collaboration with Désaccord Majeur under the Tlön Uqbar moniker ("la bola perdida" also through Staalplaat), two tapes (through Désaccord Majeur) and taken part in a handle of compilations (including two on our own Harmonie). In spite of (or thanks to, who knows) this limited production, Internal Fusion knows perfectly its field and succeeds once again in captivating the listener. Staalplaat once described Internal Fusion’s music like "the French response to Rapoon and Muslimgauze." Add a good Lustmord proportion (one of the absolute references of Internal Fusion) and you will have a good idea of its music : dark ambiences rhythmed by numerous ritual sounds (bells, ethnic percussions, foreign languages...). listen: https://taalem.bandcamp.com/album/nedenbahe-alm-3

€5.00

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IOLINI, ROBERT

Songs from Hurt

Format: CD Year: 2005

„ROBERT IOLINIs ‚Silent Motion‘, der erste Teil von Songs From Hurt (ReR RI2), ist ein Stück für actor, besser Sprecherin (Virginia Baxter), sampled film projectors, pianos and 1927 fotoplayer und setzt sich auseinander mit einer aus widersprüchlichen Texten über (Stumm)Filmmusik collagierten Theorie derselben. Fast kniggemäßig wird ein Katolog von Empfehlungen, Gebrauchsanweisungen und Warnungen verlesen, das Repertoire von Lautmalerei, Phantasie-handläufen und Stimmungstriggering - Grotesque, Mysteriouso, Sinister, Religiouso etc., das Leitmotiv wird eher verdammt, der heutige Usus, Gefühle durch bekannte Hits mit bereits eingeimpften Assoziationsreflexen zu gängeln, sowieso. Iolinis eigener ‚Silent Motion‘-Soundtrack, der mit seinem ‚Funiculì, funiculà‘-Auftakt gleich ungeniert in eines des Fettnäpfchen tritt, ist wie Stummfilm ohne Bild, ein Cowboy ohne Pferd, das er verkehrtrum sattelt. Abstrakt und ironisch wird die emotionale Magie von Stummfilmmusik demonstriert, mal mit, mal gegen den Text. Mit den Songs zu Phillip Crawfords Doku Hurt und mit ‚Black Sheep‘ geht der 1960 geborene Australier, der mit seinem Beitrag ‚Hong Kong: City in Between‘ zur Soundscapes Be)for(e 2000-Compilation schon einmal in BA auftauchte, dann den Schritt von formalen Fragen zu praktischen Verknüpfungen von Form und Inhalt. Bei ‚Songs from Hurt‘ for voices and rock band kommen jugendliche Misfits zu Wort. Ihr O-Ton vom alltäglichen Horror, von Drogen, schlagenden Vätern, Müttern und Polizisten skizziert lakonisch und im Zeitraffer, wie sie im Jugendknast landeten und fungieren 1:1 als ‚Lyrics‘. Iolinis Versuch, in einer falschen und kaputten Wirklichkeit als Künstler realistisch zu werden, collagiert bei ‚Black Sheep‘ erneut ausschließlich O-Ton von Insassen, aktuellen, ehemaligen und potentiellen (sic!), des Don Dale Detention Centre in - ausgerechnet - Darwin, Australien, gemischt mit Aussagen von Sozialarbeitern und Experten für Jugenddelinquenz. Als musikalischer Fond dient minimale Elektronik aus Fieldrecordings, die Jugendliche im Umfeld des Gefängnisses aufgenommen haben. Iolinis schwer zu kategorisierende Audio-Art, „part music, part documentary and part drama“, zeigt verwandte Züge mit Arbeiten von Gregory Whitehead, Jon Rose oder Bob Ostertag, deren Radiophonien Fact & Fiction, Form & Function, Was & Wie so neu justieren wie Raymond Chandler einst den Kriminalroman. Und das mit einer Credibility, die das Maulheldentum des Rap krampfhaft sucht.“ [Rigobert Dittman, Bad Alchemy # 47] “Robert Iolini is a composer who transcends the divisions between music, documentary and radio art, mixing investigative journalism, sound ecology, storyboarding and conventional notated composition -- using songs, spoken word, field recording, improvisation and electroacoustic manipulation to make complex audio works that might equally be music, documentary or fiction. He works, initially, like a radio journalist: researching, collecting materials, conducting interviews. The bulk of Songs From Hurt have been constructed in this way, around the extraordinary testimonies of aboriginal teenagers, prisoners, shadow communities and witnesses to a world in which the interviewees are continually told that they are surplus to requirements. Then this raw data is organised, transformed and integrated into complex musical compositions, becoming itself musical in the process -- its pitches no longer simply prosaic, its rhythms driving the structure of its setting while remaining intact -- not looped or pressured into becoming servants to the overall organisation of an aesthetic fiction. The witnesses and sounds converse and conspire in Iolini's work, but never give way to one another. It is rare for conventional and electronic compositions to remain so respectful of voices and what they have to say, and this plain matter of fact-ness makes most rap sound like bluster, and most opera sound like history." [press release]

€14.00

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IRM / SKIN AREA

Purple Screen // Red Eruption / Red Discharge

Format: 10" Year: 2003

Harsh Noise with a sometimes jazzy (yes!) feel to it from SKIN AREA, who use also drums and bass and voice, in fact they begin with harsh noises and end up in an improvisation. Very strange and beyond good and evil. IRM create one long dark piece interesting soundwalls... new swedish noise on a new swedish label ! “ Two of Sweden's finest bands share this slab of vinyl. Skin Area delivers a 14-minute track that begs you to push the volumes louder and louder until your brain becomes one with the raging hardcore noises they produce. You'll wish there were drugs as hard and vicious as these sounds, but I'm afraid western science hasn't come that far yet... Skin Area's versatility might shock (and offend) some listeners who are unprepared to blow their minds on a regular basis. IRM makes full use of the 10" format with what could very well be their finest moment yet -- a 12 min epic that expertly combines menacing electronics and more traditional sounds (this should be among the top-five of any best-power-electronics-with-glockenspiel list ever compiled). Since none of you are regular church-goers, why not make it your Sunday ritual to blast the neighborhood with this 10"? You will be rewarded.” [label info]

€10.00

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ISABELLA, JASPER & SIMON FISHER TURNER

Savage Songs of Brutality and Food

Format: CD Year: 2020

"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

€14.00

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ISHIGAMI, KAZUYA

Trash, Rubbish, poor Works

New Forces is pleased to offer a reissue of Jeph Jerman's "Keep the Drum," originally released on cassette by Apraxia in 1990. Since the 1980's Jeph Jerman has been a key figure in experimental music, from the textural noise of his legendary Hands To project, to more recent studies in field recording and acoustic sound recorded under his own name. On "Keep the Drum" Jerman explores what he calls "concussion music," working with a pile of hubcaps, sheet metal and "other bits of junk" to rethink the traditional drum kit. The sounds on this disc crackle, pop, and thud. Each tactile scrape conjures up the rusted edge of some bit of scrap-metal as the ambiance of the physical space hums in the background. As Jerman tells the story, these recordings were a continuation of his interest in “using things other than musical instruments to construct sound works… I think 'Keep the Drum' was also the very beginning of my interest in small sounds. One afternoon Darren Soule brought over a bunch of tiny metal pipe pieces which he had mounted on bent paper clips so that they could be played. They rang like bells, but were very difficult to control. I loved that about them. There’s also a short piece wherein I played small bones, foreshadowing a lot of my later live work.” Recorded on a borrowed 4-track with two battered old mics, “Keep the Drum” is full of Jerman’s trademark textural intimacy. The recordings have been remastered by Grant Richardson to bring them to life without sacrificing their individuality, making these extremely rare recordings once more available. https://newforces.bandcamp.com/album/keep-the-drum-concussion-solos

€14.00

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JESU

Why are we not perfect?

Format: maxi-CD Year: 2008

"... 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

€11.00

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JOAQUIM, VITOR

A Rose is a Rose

Format: CD Year: 2004

Very complex digital-ambience soundscapes from this portugesian composer, hard to describe but much acoustic happenings are going on here on different levels, carefully constructed and drowns everything into a surrealistic, ominous atmosphere.... excellent stuff ! “Der Gertrude Stein’sche Titel seines rosenfarbenen Solos ist ja eigentlich das Motto jeder Musik. Sounds sind Sounds und können nicht übersetzt werden. Alles narrative und imaginäre Beiwerk ist subjektiv, ja geradezu idiosynkratisch. Allerdings ist eine rigorose Idiosynkrasie mein bad alchemystischer Generalschlüssel zur Welt, um sie zu durchstreifen als ein Spiegelkabinett, eine Echokammer des Imaginären, eine Passage voller synästhetischer Reize und kryptischer Symbole. Und Rilke hat schon gewusst, dass die Rose nicht nur eine Rose ist, sondern ein „reiner Widerspruch’ und die „Lust, Niemandes Schlaf zu sein.’ Joaquims bruitistisches Cinema pour l’oreille, imprägniert mit unkenntlichen TV-Samples, ist, wie alles Abstrakte, eine vieldeutige Projektionsfläche. Acht Tracks, alle namenlos, stoßen die Phantasie in ein traumlandschaftliches Erewhon, in dem sie sich unwillkürlich zu orientieren versucht - stotternder Funkverkehr im verrauschten Wellensalat (1), eine Unterwasserwelt (5), ein Fabrikgelände in der Nacht (6)? Das Gewebe aus vibrierendem grauem Rauschen ist wie durchpulst und durchatmet von etwas, das gleichzeitig organisch ist und automatisch, vital und mechanisch, elektronisch und psychophysisch, etwas wie Eshuns Futurhythmachine, wie eine Wunschmaschine. Die war schon bei Sade fähig zu glossolalischen Flüchen wie „Chivarusmarbarbarmavosacromicrepanti!’. Und von Sade stammt auch die weitsichtige Erkenntnis, dass es nicht die Maschine ist, sondern „das unreine Reptil, das eine Rose schändet.’ Joaquim fungiert als ein weiterer Pilot eines oulipoetischen Perpetuum mobile, das unermüdlicher ‘Autor’ einer ecriture automatique ist. Er (der Künstler) „präsentiert paranoische, Wunder- und Junggesellenmaschinen, als wären es technische Maschinen, stets bereit, die technischen Maschinen mit Wunschmaschinen zu unterlaufen. Vielmehr ist das Kunstwerk selbst eine Wunschmaschine. Der Künstler füllt seine Schatztruhe für eine bevorstehende Explosion...’ (Deleuze/Guattari) Joaquims Tracks 7 & 8 zeigen die Klangmaschine in der Metamorphose vom kalibanisch gurgelnden Poeten zum knurrenden Hund zum rückwÄrts lallenden Orakel. Laut M. Pfister & S. Zweifel ist es die „Imachination’, die die Verhältnisse zum Tanzen bringt.“ [Rigobert Dittmann / BAD ALCHEMY 45]

€13.00

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JUNKIE FLAMINGOS

Lemegeton Party

Format: LP Year: 2019

"Lemegeton Party is the narcotic and occluded industrial-ambient debut for the Junkie Flamingos, a project conceived in 2017 by Luca Sigurtà, Alice Kundalini, and Daniele Delogu. Each of these musicians has their distinctive sounds: Sigurtà with his vertiginous electronica, Kundalini best known as the author behind the death industrial project She Spread Sorrow, and Delogu in the bombastic folk of the Barbarian Pipe Band. Their collective amalgamation shifts but does not denude each of these aesthetics in the construction of this oblique, sidereal album. Inspired by Freidrich Holderlin’s Hyperion, Lemegeton Party is gilded with a neoclassical sheen that alludes to both the divine and the diabolical. Kundalini’s whispered invocations which have so creepily effective in addressing psychosexually abject conditions in She Spread Sorrow are immediately recognizable here. Yet, she shifts the content towards messages of power and strength, even if cast in the shadows of desolation and solitude. The arrangements ebb and flow upon a rhythmic spine of drum machines and cybernetic sequences, laden with acoustic instrumentation bathed in effects and treatments that all serve to bolster Kundalini’s allegorical declarations. To think of Coil’s post-MDMA experiments in chill-out isolationism wouldn’t be far from the mark, with the Junkie Flamingos making a stark nod to the slow motion, proto-techno torpor of Elettronica Meccanica instead of ‘90s British rave culture. Mastered by James Plotkin and photograph by Stefano Majno."

€20.00

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K-SPACE

Going Up

Format: CD Year: 2005

"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

€14.00

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K-SPACE

Infinity

Format: CD-ROM Year: 2008

K-SPACE ist das Projekt von TIM HODGKINSON, KEN HYDER und GENDOS CHAMZYRYN, die für ihre dritte Veröffentlichung eine (soweit ich weiss) Weltneuheit geschaffen haben: Das 20 minütige "Infinity" klingt bei jedem abspielen (geht nur auf Computer) neu und erschafft sich quasi jedesmal selbst noch einmal, da eine auf der CDR mitgelieferte Software die einzelnen Klangelemente & Parameter jedesmal individuell "mischt". Enthalten sind perkussive & vokale Ritualsounds von diversen Schamanen, RADIK TYULYUSH (Mitglied bei der legendären sibirischen "throatsinging" Gruppe HUUN-HUUR-TU), ein ganzer russischer Chor aus Kyzyl, sowie diverse ethnische & klassische Instrumente die von den K-SPACE Mitgliedern eingespielt wurden. Die INFINITY-Versionen die ich bisher hören konnte klingen nach einer organischen Melange aus Ethno- und (Geräusch)-Jazz-Elementen, dunkler Geräuschmusik und rituellem Post-Industrial. Faszinierendes Konzept und sehr stimmiges Ergebnis ! "A first in formatting. This CD will only play on your computer, on the on the other hand it will always be different, every time you listen to it. K Space is Tim Hodgkinson (electronics, Hawaiian guitar, reeds), Ken Hyder, (percussion, voice) and Gendos Chamzyryn (voice and percussion), but this doesn't tell you much. There are also environmental recordings here, and deconstructed fragments, all pooled so that specially written software will compile and sequence 20minute pieces according to complex algorithms (rather than just randomly) that will never repeat. In other words there is no object here that will deliver what you know; there are materials that are constantly recombined so that each audition will be something unexpected. A great idea, brilliantly realised." [label notes] www.adhocrecords.com

€14.00

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Kinky Tape Collection 1981-1983

Format: do-LP Year: 2014

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

€26.50

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KA-SPEL, EDWARD (LEGENDARY PINK DOTS)

Lyvv, China Doll

Format: CD Year: 1993

"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

€14.50

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KABUKABU / KLEZMER CHIDESCH

performs The KREV Underwater National Anthem # 3 / 4

Format: 7 Year: 2007

Die "Nationalhymne" des Königreichs Elgaland-Vargaland (KREV) in der afrikanischen und Klezmer 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, Teil 2 der vierteiligen Serie entstand im Haus der Kulturen der Welt in Berlin im Oktober 2006 und enthält zwei wilde live-Versionen von KLEZMER CHIDESCH und KABUKABU.. "These recordings were regally made on 21 October 2006, Haus der Kulturen der Welt, Berlin at the opening of the Elgaland-Vargaland Embassy for Germany in the presence of the Kings, Michael I and Leif I, Consul Hans Ulrich Obrist (who made the inauguration speech) and the KREV Ambassador Bernd M. Scherer. This 7” is the second in a series of vinyl acoustic versions of the National Anthems of Elgaland-Vargaland. See also the Mariachi version on Ash 7.2 ~ Ash International, 2007. Genuflections to: Dorothea von Hantelmann and Vera Dorsch. BERLIN AFROBEAT DYNAMITE... Kabukabu Vocals and percussion: Akinola Famson Drums and vocals: Ekow Alabi-Savage Bass and vocals: Patrick Frankowski Trumpet: Daniel Allen Keyboards: Matti Klein Tenor/baritone saxophone: Michael Holder Percussion and vocals: John Famodimu 2005, after the dissolvement of the then only afrobeat band in Berlin “Rhythmtaxi”, the city witnessed the birth of a new offspring of Afrobeat family christened “KABUKABU”(a slogan used in Lagos / Nigeria for Buses used in transporting the masses. The bus not only transports people from one point to another, but also serves as a medium of desseminating news and messages to the people). A band formed by Akinola Famson, Ekow Brown and Patrick Frankowski (pillars of Afro and Reggae scene in Berlin) alongside with other international outstanding musicians, who have dedicated their artistic life to improving on the legacy laid by Fela Kuti “God father of Afrobeat” , an explosive combination of Westafrica rhythms with Funk and Jazz Americas. Irresistable groove travelling round the globe. KABUKABU stands out as the only unbeatable “Afrobeatdynamite”. Through its new style of playing and the introduction of diverse musical acts as well as other indigenous percussive instruments, the band had added a new dimension into the way Afrobeat is being played, taking afrobeat to another level which conforms with the present musical demands of all music lovers without neglecting the original intention of “ANIKULAPO” the initiator . The band had created a musical delicacy termed “Explosive-Afrobeat” through its mix of HipHop, Reggae, Dancehall, Soul, Funk with african traditional elements. This new dimension enables the band to cooperate and work with other solo artist as well as Dj’s and Mc’s e.g. the collaboration work with exotical musicians like JIMI TENOR, TM STEVENS, MFA KERA…etc. With just one year of refining the left overs of Rhythmtaxi, KABUKABU’s just finished EP with “3 delicious tracks” will be release soon. So stay tuned and watch out when next the rhythm bus is passing through your area. Klezmer Chidesch Accordion: Jossif Gofenberg Clarinet: Igor Sverdlov Drums: Mark Szmelkin Double bass: Alexander Franz BERLIN KLEZMER: (the miracle called Klezmer) brings the most cheerful and heart-moving mood in the music halls with its rapid tempo. The four musical souls bring nostalgia, melancholy, love and amusement together in a feeling of life: The Klezmer. Their Klezmer music is particularly facet-rich, since all four musicians have professional music training and an experience of many years. The lovely Band from Berlin, that consists of trained musicians, who originally come from Ukraine and White Russia, plays the original Jewish instruments and the folks music of eastern Europe with a lot of soul and energy. "We play very gladly at your weddings, birthdays and also all other occasions and guarantee for the fact that, our Jewish folks music that comes from the heart will inspire you will draw you along." www.klezmerchidesch.de [full label info] www.ashinternational.com

€7.50

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KALLABRIS

Off Mind

Format: mCD-R Year: 2006

„Things happen. This is obviously wrong.“ Nach langer Sendepause eine weitere Kallabristische Exkursion in abseitige Bereiche! Schon die Verpackung (verschlossene Senftüte mit einer Art Zeitung darin die sowas wie philosophische Aphorismen bzw. logisch aufeinander aufbauende Widersprüche enthält) ist aussergewöhnlich genug, das akustische Sprach- und Musik-Material verwirrt und regt weiter an: verfremdetes endloses erkenntnistheoretisches Geschwurbel garniert mit seltsam halb-rhythmischen Mantra-Strukturen und ebenso seltenen Geräuschen.... wir sind begeistert vor so viel Geist im Nicht-Geistigen. Ein genialer Streich. “Kallabris’ scientific research has always been outstanding: their North Pole expedition, the chemistry of change that can be experienced in mocha, the ondadynamical theory as a clue for the explanation of mental phenomena - just to mention a few, well-known highlights. This time, they go for the core of it all: epistemology covered with ontological speculations. The Apologia gives a rough, yet charmingly delivered sketch of the project -- impressions and reflections performed with an impressing beat. The Corpus Maior is a dance of condensed thought, a playful and enchanted rhythm that cheerfully leads to the Epilogus which, with its skeptical melancholy, makes plainly obvious how little is done when the answers are given. A tribute to quest, but in no means to discovery.” [label info]

€13.00

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KAMMERFLIMMER KOLLEKTIEF

Schemen

Format: LP Year: 2023

11. Album des einzigartigen Kollektivs: Psychedelia und Free Form Jazz (not Jazz) bilden die Grundlage für ausgedehnte Exkursionen mit eigentümlichen Texturen und drastischen Wendungen. Disloziert dichte Musik voller geheimer Zusammenhänge! Bevor die Vernunft siegt, auf die sich jene berufen, die wollen, dass alles so bleibt wie es ist, unterbricht das Kammerflimmer Kollektief die etablierten Lieferketten der Töne. Es sucht interessantere Wege, sie zusammenzusetzen. Im Vertrauen darauf und besonders im Satthaben dessen, dass sowieso jeder Ton, der noch aus Gitarre und Bass und Harmonium und Schlagwerk und Elektronikapparaturen heraus geschliffen kommt, schon in die Bedeutungsmangel genommen worden ist. Schluss damit. Hier wird nichts mehr erklärt. Hier wird in Schemen gesprochen. Verschliffen und ruckartig. Die Bilder, die das Kammerflimmer Kollektief heraufbeschwört, passieren daher nicht im Fokus des Bewusstseins, sondern in dessen äußeren Bereichen. In jenen, denen man gerade nicht seine volle Aufmerksamkeit schenkt, die aber trotzdem wahrgenommen werden. Wenn beispielsweise im Augenwinkel ein Blatt vom Boden zurück an den Baum fällt und ein Moment entsteht, in dem du das für möglich hälst, bevor du erkennst, es war ein kleiner Vogel, der in den Baum fliegt: In solchen irritierenden Momenten zwischen Wahrnehmung und Erkenntnis findet auch die Kunst des Kollektiefs statt. Wenn nämlich auf »Schemen« vertraute Fragmente sanft um ihren Kern schweben – ein Fender-Rhodes-Ton, eine Bassfigur, ein Gitarrenmotiv, ein meisterlicher Drum-Shuffle, ein dem Harmoniumspiel Christa ›Nico‹ Päffgens entlehnter Moment der eisigen Stase – und dabei kurze Assoziationen triggern, bis sie durch Free-Jazz-informierte Editierarbeit langsam in andere Richtungen abrauschen, dann können ebenfalls solche Zonen entstehen, in denen die Wahrnehmung ein paar Tricks bereit hält und sich früheres Erleben plötzlich ganz anders ins Jetzt bricht. Halb vermutet, halb gesehen. Halb-Musik wie sie auch die Kölner Can – ebenfalls Meister des Impro-Editierens – vor ein paar Jahrzehnten bisweilen in ihren Zwischenmomenten produziert haben. Dort wo gerade nicht der Liebezeitliche Groove den augenblicklich nachvollziehbaren Takt gibt. Die ersten Minuten von »Future Days« etwa, die sich sachte einblenden und von allen Richtungen des Raums aus eine kaum konkret zu greifende Gestalt skizzieren. Auf ähnlich offene Entwicklungsmomente lässt sich auch das Kammerflimmer Kollektief ein. Locker entzieht es sich den ersten prägenden Eindrücken und hält sich für Zeitpunkte bereit, die keiner Verabredungslogik folgen. Diese Lockerheit im Umgang macht das Kammerflimmer Kollektief so fluide hörbar, selbst wenn sich dissonante Spitzen und freies Spiel zeigen. Was für Cans Kompositionsverständnis Karlheinz Stockhausen ist, sind für das Kammerflimmer Kollektief dabei vielleicht die Aufnahmen von The Cocoon. Letzteres eine Zusammenkunft von Garagenpsychedelikern aus dem Raum Hannover mit freien Jazzern der Galaxie Dream Band, dessen 1985 in unbeobachteten Augenblicken aufgenommenes Album »While The Recording Engineer Sleeps« in ganz ähnlicher Weise mit dezentralen Wahrnehmungsambivalenzen operiert und erst vier Jahre später mehr oder weniger heimlich auf Wilhelm Reich Schallspeicher erschienen ist. Andere Spuren von »Schemen« führen zum Debutalbum der Quicksilver Messenger Service. Die ungezwungen auf sich Bezug nehmenden Gitarren von Gary Duncan und John Cipollina sind Anleitungen zum Loslassen. Sie wollen nicht in jeder Note als Solo nachgespürt werden, sondern sie geben ihrer Musik ein Gefühl, dass sich das Wesentliche außerhalb des Zentrums abspielt, im gegenseitigen und intuitiven Beschenken von liebevollen Hinwendungen. Bewusstseinsfrei. Liebevolle Hinwendungen wie diese eine kleine Gitarrenphrase, die wie eine Art Leitmotiv immer mal wieder mehr oder weniger unverändert durch die Alben des Kammerflimmer Kollektiefs geistert. Eine Coricidin induzierte, sehr einprägsame, aus uraltem Æther herausgefilterte Slide-Idee, die – wer weiß – vielleicht sogar schon vor Jahrhunderten ihren Weg von irgendwo nach Amerika fand – das alte, das unheimliche – und von da aus durch die Zeiten weiterwaberte in das südliche Deutschland, in ein verräuchertes Studio in der oberrheinischen Tiefebene. Als eine Erinnerung, von der selbst die Erinnerung nicht mehr weiß, an was sie einmal erinnerte. Ungesagt, dann vergessen. Im Kammerflimmer Kollektief findest du zudem einen Freund sich langsam aufbauender, ungehetzter Musik, die wohl auch der alte Franz Mesmer geschätzt hätte, der vor gut 200 Jahren nach tranquillierenden Behandlungen seinen Patienten manchmal noch ambiente Weisen auf der monströsen Glasharmonika vorzuspielen pflegte. Um sich jedoch nicht vollständig dem Fluss der eigenen Lebensenergie hinzugeben, wie es Mesmers Therapien vorschwebte, legt das Kammerflimmer Kollektief beizeiten noch hektische Spannungen unter, sanft umarmt vom Dröhnen eines Sinusgenerators, als könnte man in Trance noch mal kurz eine Erfrischung nehmen. Dieser alte, analoge Sinusgenerator ist neu im kammerflimmerischen Sortiment der Töne. Die Kunst des Kollektiefs dockt also gerne mal an moderne Zeiten an, während sie Vergangenheit im Schilde führt. Zustände beginnen zu flackern zwischen Einbildung und Gewissheit, zwischen kulturgebundener Kunstäußerung und Zufällen: Ein Krächzen und Schaben kann bei ihnen auch immer einfach nur ein Krächzen und Schaben sein, wie bei Andy Warhol ein Pilzesser einfach nur einen Pilz isst. Heike Aumüllers Cover-Arbeiten, die alle Alben des Kammerflimmer Kollektiefs illustrieren, wirken zusätzlich als Verstärker nicht erklärter Brechungen. Ihr Stil besteht aus Augenwinkel-Kunst, die es auch dann noch bleibt, wenn sie direkt angeschaut wird. Ihre Aufnahmen bleiben unbehaglich, weil sie sich auch im Nachhinein nicht zurecht ruckeln in eine beruhigende Ordnung. Statt sich aber der aufkommenden Angst beim Betrachten durch den Versuch zu entziehen, sich irgendeinen irrationalen Reim darauf zu machen, gilt es sie auszuhalten. Das gilt auch für die Musik. Der Trick besteht darin, Teile Teile sein zu lassen, ohne sie zwanghaft zu in falsche Sicherheit wiegende wahnhafte Muster zu verknüpfen und sich dadurch womöglich selbst etwas vorzumachen. Freiheit bedeutet in diesem Zusammenhang, nicht ängstlich in allem einen herbeifantasierten übergeordneten Sinn sehen zu müssen. »Schemen« wirkt antiverschwörerisch. Liner notes: Werner Ahrensfeld https://karlrecords.bandcamp.com/album/schemen www.kammerflimmer.com

€19.50

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KAMMERFLIMMER KOLLEKTIEF

Grossartiges meist surrealistisch-dunkles Material auf dieser ANDREW LILES – Remix Compilation von vielen namhaften v.a. britischen Projekten! "Various artists remixing, re-ordering, adding and subtracting the recordings of Andrew Liles. Paul Bradley Journey Remix Colin Potter All Doors Open Aaron Moore Auto Manipulator - Trumpet Mix Jonathan Coleclough Aviophilia Ruse The Ether Reel Rendered Band of Pain Apathy in the UK (Blast# 3) Bass Communion Something to do with Hans Bellmer in a Pub at Last Orders using 15th Century Rural Magic Aranos Auto Manipulator - Gong Mix Darren Tate Lite Irr. App (Ext) Ape Greasing Resonant Curvature Around Antiseptic Orifice The Hafler Trio Song of the Ergophile Unsong Te Whare Ao Aitu (Waits In Double Bed) vidnaObmana 8 O'Clock Nurse With Wound Soliloquy for Lile(s)th Freiband Reis" [label credits] “...In fact so busy, that his latest CD is a remix project. On this poetically entitled disc (Liles loves his titles) we find a host of well-known Liles-friends such as Paul Bradley, Colin Potter, Jonathan Coleclough, Bass Communion, Aranos, Darren Tate, Irr. App., Hafler Trio, Nurse With Wound, Vidna Obmana and Freiband paying aural tribute to the man. Each of these artists re-work one of Liles tunes with often-impressive results. At times the mixes remain close to the original gentle collages (like the mixes by Bradley or the very recognizable piano theme Potter uses) or more like soundscapes such as the tracks by Coleclough, Tate, Nurse With Wound (a Soliloquy no less) and Bass Communion. Ruse and The Hafler Trio deliver trademark, more abstract versions and Freiband submits, compared to the other tracks, the noisiest piece of them all. It is interesting to note that as much as these tracks are made by individual artists with individual styles, this CD still sounds as a coherent project, which makes for enjoyable listening and is probably why this is released under the name Andrew Liles. Another intriguing and highly enjoyable addition to the already impressive Liles-catalogue.” [FK / Vital Weekly] Address: http://www.adverse-effect.com

€14.00

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LILES, ANDREW

Somnambulance to Dream General

Format: CD Year: 2008

Bevor Mr. LILES v.a. durch die Beteiligung an NURSE WITH WOUND einem grösseren Hörerkreis bekannt wurde, werkelte er jahrelang recht versteckt an seiner bizarr-surrealistischen Soundwelt herum, hier bestehend aus Synth-Drones & sperrigen Elektronoises, Pianosequenzen, Sprachmaterial, traditionelles englischsprachiges Gesangsmaterial (wie Kinderlieder und Abzählreime, die ein nostalgisches Flair verbreiten), melanchronische Instrumentalquellen, wirre found sounds und Versatzstücke aus Jazz, etc. etc. SOMNAMBULANCE ist eine Neubearbeitung einer CDR-Compilation mit frühem Material - gleich 21 Stücke fanden den Weg auf dieses äusserst kurzweilige Album, schwankend zwischen Düsternis und anregender Exzentrizität. Als Einstieg in LILES recht einzigartige, verschrobene Klangwelt wohl ideal !! "Somnambulance" is a reworking of an album of odd and obscure tracks that was released in a microscopic edition on CD-R before. For this CD, Mr. Liles has provided his funniest and possibly most controversial artwork as of yet. You get an hour of music of many different styles: Andrew Liles' trademark of eerie and spooky sounds is there; also electronics and a whole range of instruments are placed in between sketches and longer tracks. And if all this weren't enough, you get three bonus tracks that didn't appear on the CDR at all. After a long line of collaborations, finally a new album by Current 93 and Nurse With Wound man Liles himself!" [label info] www.klanggalerie.com

€14.00

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LILES, ANDREW

Miscellany Deluxe

Over 13 years after the release of [ O T H E R ] , Pelagic Records has gathered 16 bands and solo artists to record their own unique takes on tracks from the Other-sessions. The result is an album that is more than a compilation, and more than the sum of its parts; covering a wide range of musical niches and directions, but sharing the same underlying mood and vibe defined by Lustmord's timeless soundscapes: from the ambient solo performances provided by IHSAHN, ENSLAVED or JONAS RENKSE to the subdued voice of ZOLA JESUS woven into Lustmord's sombre fabric to the industrial carnage that is GODFLESH's version of 'Ashen'. What demonstrates the profound influence of Lustmord on this contemporary music underground showcased here is that artists from disparate ends of the sonic spectrum all feel inspired to explore the essence of his idiosyncratic sounds within their own realm: experimental electronica icons ULVER excel on a stunning, hazy rendition of ‘Godeater’, while Japanese post-rock act MONO deliver a crushing version of ‘Er Eb Os’, and THE OCEAN take us on a cathartically heavy mindtrip back to our 'Primal [State of Being]'. In the end, each of these 16 artists delivers an interpretation that pays the deepest respect to this pivotal artist, while also standing out as a new track of its own. As Williams himself often puts it in interviews: “Copying someone you like with the right equipment isn’t going to be the least bit interesting. What matters is that you have good ideas and interesting things to say.” The Others (Lustmord Deconstructed) is not only a tribute and an excellent entry points into the discography of the founding father of dark ambient. It is also a celebration of the most accomplished visionaries in the underground music scene of today, and a manifestation of what binds them together—an undeniable devotion to attitude over ability and the courage to remain in the shadows and be The Other. https://lustmord.bandcamp.com/album/the-others-lustmord-deconstructed

€20.00

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LUSTMORD & VARIOUS ARTISTS

The Others (LUSTMORD deconstructed)

Format: 3 x LP Year: 2022

€52.00

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LUTZ SCHRIDDE

Format: 6 x CD-BOX Year: 2023

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

€38.50

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MCFALL, CHRISTOPHER & ASHER

An amber hollowed Night

Format: mCD-R Year: 2010

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

€5.00

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MEGAPTERA

Staring back at you

Format: CD Year: 2006

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

€8.00

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MENCHE, DANIEL

Scattered Remains:Early Remixes

Format: do-CD Year: 2005

Zusammenstellung von frühen & raren Material, meist von nicht mehr erhältlichen Compilations, alles von 1994-1999. Der oft noch eher „noisige“, rauhe, mit mehr konkretem Touch arbeitende MENCHE.... Nice priced, alles re-mastered! “Keeping track of the musical output of Daniel Menche has never been easy. Besides his numerous albums and singles, released by an eclectic range of labels, he has contributed countless tracks to compilations, many of which reached only the smallest of audiences. Scattered Remains tracks his progress from 1995 through 1999, collecting the best of these pieces, now fully remastered, onto two full-length CDs. With the passing of time it has become nearly impossible to find many the original releases these tracks came on, making this rarities collection a must have for long-time fans and new converts alike. Besides the material culled from CD compilations, three tracks previously only available on vinyl appear in digital form for the first time ever. The list of labels involved reads like a who’s who of cutting edge music in the 90s: Banned Productions, Ash International, 23five, Noise Museum, Self Abuse, Isomorphic, KAON, Shirocoal, Suterfuge, G.M.B.H. and of course, Soleilmoon. Best of all, it’s a great value: Two CDs for the price of one. What’s not to love?” [press release]

€13.00

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MENCHE, DANIEL / WILLIAM FOWLER COLLINS

Raised Coils of the Giant Serpent of Eternity / I Heard only the Eternal Storm

Format: LP Year: 2014

" “I traversed the worlds, I ascended into the suns, and soared with the Milky Ways through the wastes of heaven; but there is no God. I descended to the last reaches of the shadows of Being, and I looked into the chasm and cried: ‘Father, where art thou?’ But I heard only the eternal storm ruled by none, and the shimmering rainbow of essence stood without sun to create it, trickling above the abyss.” So declares Christ in the opening section of Jean Paul’s 1796 text “Speech of the Dead Christ”. The text served as inspiration for the music presented on this split album by Daniel Menche and William Fowler Collins, and in the instance of the above quote, also functions as an apt description for it - immense, harrowing, and numinous. Like the procession of images conjured in Jean Paul’s twisting passages, the sounds made by Collins and Menche unfurl in a trail of drifting shadow punctuated by convulsive spasms of light. Opening the album with a harmonious set of gently spiraling tones, Daniel Menche’s piece “Raised Coils of the Giant Serpent of Eternity” offers only this brief moment of serenity before a headlong dive into a cacophonous abyss of darker dimensions. Suspended in pools of liquid bass, layers of molten brass hover, dissolve and reappear. Pitches rise and fall, intersecting for brief periods of melodic convergence before crumbling again into heaving slabs of rumbling dissonance. Closing out the piece a low and solemn tone emerges from the roar of Menche’s spectral orchestra, seeming less like resolve, than the final flickering breath of a dying star. Conversely, William Fowler Collins’ offering on the second side remains in a state of subdued tension for much of its duration. Primarily constructed around the emanations of decayed strings, these glimmering filaments seem in perpetual retreat from comfortable stasis or momentous upheaval. Swaying over a backdrop of inky black, disharmonious clusters gradually pile one over the other, pulling apart and recombining, eventually forming a jagged and unsettling crest. From here bilious clouds of humming static overtake the disintegrating strings, appearing long enough to set the stage for the conclusion of the narrative. Much like the opening Menche’s piece on the reverse side, Collins’ gently cascading sheaves of brushed guitar that close out the album serve as a small enclave of comfort in the otherwise lightless caverns through which he and Menche have driven the listener." [label info] sigerecords.blogspot.de

€21.50

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MENCHE, DANIEL & MAMIFFER

Crater

Format: CD Year: 2015

"There are profound forces that enmesh the minds, bodies, and souls of these venerable artists. Mamiffer unfurls darkened hymns and sprawled abstractions authored by Faith Coloccia in partnership with Aaron Turner. Daniel Menche stands as a stalwart noise technician of many years, with his blood and sweat permeating all of his adrenaline fueled recordings and performances. Collectively, they design sound to slip between the formally defined practices of metal, noise, song, and drone, offering a phenomenological essentialism that amplifies and exaggerates the earthly ele- ments of water, moss, soil, and fire. This can be a sonic transubstantiation of field recordings and in situ object documents from Coloccia and Turner’s home on Vashon Island, Washington; and this can be the aestheticized forms of mythic poetry cast through austere melodies for guitar, piano, electronics, and plainsong chant. The communal production took four years to develop with a few performances that spilled forth. Menche, for one, abhors the notion of collaboration, preferring to qualify this as a documentation of their friendship. “’Collaboration” sounds so... business like or formal or something of a technical term. We’re just friends making acoustic sounds together and recording nature with our hikes together. Then we eat pizza and laugh.” This relational intimacy and interpersonal development brings an understanding of each other’s strengths, and from that understanding, the conviction to extract out the very best that each has to offer. From Menche’s perspective, Coloccia projects a nearly religious capacity for harmony and melody; Turner has grace and fury in his DNA; And Menche quips about his own work: "I’m a chainsaw artist making those touristy statues of grizzly bears but instead of wood I’m using sound.” Ellipses of guitars and piano sparsely populate this album. Upon appearance, these forms are progressively dissolved into a dislocation of machined noise and wintry drone, abraded with the tactility of stone and iron. It can become difficult to determine where the province of negation ends (e.g. emptying the musical structure as a simulacrum of the sublime) and that of accretion begins (e.g. layer upon layer of noise, pressure, and volume to feed a collapse). In this liminal iceblink, the work of Mamiffer and Menche is resoundingly heroic, tragic, haunted, cold, and beautiful. To Menche, though, “this is a very humble recording. When we’re old and grey and come across this in a old dusty box, we’ll have a warm smile. Maybe we’ll play it on our death bed?!?!" [label info] sige.bigcartel.com "Daniel Menche, Faith Coloccia, and Aaron Turner have been close friends for quite a long time now, with this album emerging as the first fruits from their communed relationship. And as collaborative projects go, Crater is a superb document showcasing how each of these equally talented folks in disparate facets of the dark arts (noise for Menche, hallowed / haunted plainsong for Coloccia, and heroic riffage from Turner) can work so effortlessly and gracefully. Glacial harmonic drones expand from field recordings, church organs, abraded stone & steel, and guitars only to be disrupted by heavily hammered piano melodies that in turn are gristlized by the collective noise strategies, machines, and snowstorms. Alternately, meditative and explosive, imposing and rapturous. Brilliant through and through." [Aquarius Records]

€16.00

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MICROMELANCOLIE & STROM NOIR

49°05'19,3

Format: CD Year: 2016

"The album of the enigmatic title "49°05'19,3"N22°34'04,0'E" is the result of the collaboration between two artists signed to Zoharum: Emil Mat'ko aka Strom Noir from Slovakia and Robert Skrzyński aka Micromelancolié from Poland. Both have two albums and participated in several compilations released on our label on their account. Their collaborative album is a piece of work suspended between two stylistics penetrated within their own solo projects, and at the same time it is perfectly complementary. On one side we have the guitar/electronic passages so characteristic of Strom Noir, and on the other the sonic structures prepared from defects and scraps that has been explored for several years by Micromelancolié. Two untitled compositions float slowly and are contemplation of places a bit distant to urban civilization. "49°05'19,3"N22°34'04,0'E " is a sound postcard from the mysterious place hidden in the title. Where is it? The answer is in the music itself, and in the coordinates composing the title of this collaborative album." [label info] www.zoharum.com

€12.00

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MIEVILLE, EMMANUEL

Ethers

Format: CD Year: 2015

Slowly but o-so-surely, Emmanuel Mieville is building an impressive body of work, where each new album seems to make the previous one pale in comparison. And the music press would be wise to catch on to him. The man is discreet and unassertive, so is his music, but he – like it – cannot be dismissed as just another proponent of the field recording. For Mieville, music is some of the most spellbinding art for the ear out there in the aether. "Ethers" is Mieville's second album for Baskaru, and though the previous one certainly stands the test of time, this new opus pushes the bar higher, much higher. In the composer's own words, "Ethers is an attempt to give an earthy quality, a dense texture to drone music, to lower it from the 'skies'." Mieville first trained as a sound engineer, and then studied musique concrète at GRM. He grew up listening to creative radio programs and embraced field recording as a form of art. His latest works fully realized a synthesis of all these elements: the attentive ear to one's surroundings, the abstract approach to sound, the sense of drama that makes a field recording composition take life. Mieville has worked with Buto dancers, video artists, and like-minded musicians like Eric Cordier, Guido Huebner, and Benjamin Thigpen. After appearances on compilations albums, he released two CDs in Malaysia (on Herbal Records and XingWu), followed by his Western full-length debut "Four Wanderings in Tropical Lands" on Baskaru in 2011. Since then he released two thematic albums: "Buddha – Anima – Asia" (Obs*, 2012) on Buddhism, and "Concret-Sens" (Crónica, 2014), a homage to early musique concrète. www.baskaru.com "The last time I heard something from Emmanuel Mieville was in Vital Weekly 803, and that was his previous album for Baskaru. Mieville, a trained composer from GRM uses a lot of field recordings in his music, which he treats into music. I am not sure how Mieville works in creating his music, but it could very well be that he has many treatments of the same sound source and which are later stuck together and crafted into a piece of music, with all the subtle changes possible, which Mieville can choose from when doing this. I might very well be entirely wrong of course. His music can be compared to that of Whetham (or vice versa, but that's not the order I am hearing these releases): quite closed off blocks of sound, but somehow the work of Mieville sounds more coherent than Whetham on his new release. It also seems to be less closed off, with a bit more air in between the various treatments that he uses in his music. Whetham's music seems hermetically closed. There is fine vibrancy in the pieces by Mieville, shifting back and forth, ignoring strict classical rules of composition. Excellent release." [FdW/Vital Weekly]

€12.00

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MIGONE, CHRISTOF

Sound Voice Perform

Format: Book & CD Year: 2005

“With contributions by Brandon LaBelle, Martin Spinelli, and Allen S. Weiss. "Sound Voice Perform” documents the performance, sound, and video works of the Canadian artist. Working since the mid-80s, Migone weaves together a multitude of media, from radio to telephones to digital objects, to form a stunning and highly dynamic practice. Combining an acute sonic sensibility with performative usages of the body, video, and the voice, his work engages corporeal presence with a subtle invasion, unsettling speech and gesture through investigative and theoretical poetics. Including documentation of works and a full length CD of audio works compiled from over the last 15 years including previously unreleased material. With essays by Allen S. Weiss and Brandon LaBelle, an interview with the artist by Martin Spinelli, "Christof Migone — Sound Voice Perform" is the first monograph on this unique artist.“ [Errant Bodies/Ground Fault]

€17.00

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MOHAMMAD (MMMD)

Pèkisyon Funebri

Format: 3 x 10inch BOX Year: 2016

"Leaving behind their folk based trilogy, Mohammad return to their own original material. Heavy and concentrated, majestic and dark, ethereal and subtle, Pèkisyon Funebri marks a new era in Mohammad's existence, unfolding earthly murmurs and ghostly chants over their distinctive seismic diapasons. An exhilarating procession through highly charged sonic plateaus, from the burning core to the silent skies." [label info] www.antifrost.gr "The PAN label's premier purveyors of “chamber doom” return with a new cycle for longtime alibis, Antifrost, following their acclaimed folk trilogy of LPs between 2014-15, and the still-resonating tones of Som Sakrifis (2013) for PAN. If you’ve encountered any of the aforementioned, you will have a very good idea of what to hope for in the 3-part Pèkisyon Funebri; namely a majestic sense of struggle against the flattening feeling of despair and fatigue that haunts our times. This is music which appears to carry the weight of the world on its shoulders whilst wielding a cello and bow in its heavy limbs, dredging the psyche for signs of life which are found and coaxed from their holes to emerge as churning low-end gestures who reinforce their dual resonant frequencies in slow, wide vortices aimed at centring and quaking your thorax. Subterranean in their prostration but sidereal in hope against the frustrations that we can only imagine must be felt in Greece right now, Pèkisyon Funebri is a masterful reminder that even at the lowest ebbs there is solace and resilience to be found if one remains faithful to the search. Huge recommendation." [Boomkat] "Is “all-encompassing” a cop-out term? Greek trio MMMD, a.k.a. Mohammad, have been eating us alive since 2013’s Som Sakrifis, and as someone following underground music back then, reading various interpretations of its sonic power was enthralling because its uncompromising, sensory-depraving tones assured that our reflections came out of our own visceral reactions rather than out of our interactions with any sort of external text. Our own Birkut began his immersive review of Som Sakrifis with an image of being alone on an island off of Cambodia with nothing but a winking, far-off light for assurance. Som Sakrifis in this allegory was both enveloping darkness and faint, hopeful light. What, then, is Pèkisyon Funebri? And what kind of status quo does its long-form drones conjure? What kind of hope, if any, does it offer a listener? MMMD’s music has always reminded me of Howard Shore’s scores for The Lord of the Rings films, and as such, my listening has always been guided by that association. For me, Som Sakrifis was heroic music, war music, music by which pastoral hobbits fought against evil wizards and abominable orcs and glowing eyeballs, when outcomes of such battles meant everything to every thing, big or small, dwarf or elf, human or tree. Its overwhelming oppressiveness brought me into a breaking world, vied over by many, but plagued by absolutes. With Pèkisyon Funebri, MMMD has signified a formic return after a brief cartographical break from its regularly scheduled programming. It’s a quiet return at first, as opener “Az álmok itt érnek véget (rész 1)” culls an open landscape, a place where blood has been shed by neighbors who have found themselves equal under a force more terrible than God. “Qoxra” follows, a tremor-inducing dirge for everything that has been lost since “Liberig Min.” What follows is as nerve-wracking as it is steadying, and while my complete ignorance of Greek language obscures my semiotic reading of Pèkisyon Funebri as a multi-movement piece, my feeling is that its slow, plodding drones are of great human import somehow. Unlike its stylistic predecessor, Pèkisyon Funebri is broken down into many long form movements. There are hiccups here, moments of letting up that are later infiltrated by solid, unyielding sound. “Sorsa” is punctuated by muted pulses, for instance, offering real moments of reprieve from this conjured world’s constant gravity while amplifying more sinuous, time-defying stretches of obligatory crying out like on “Malproksime” and closer “Erdia Da.” Whereas Som Sakrifis felt like that riddle about what has four legs by morning, two by afternoon, and three by evening, Pèkisyon Funebri asks “What’s in my pockets?” Its massiveness, sustained by a bold confidence in potentially liberating non sequiturs, signals a subtle change in trajectory toward a shadowy asymptote; this may not be MMMD’s magnum opus, but its power is great and its cohesion as a work is palpable. And like Som Sakrifis, its reach is absolute. Uniquely, its staying power suggests that MMMD’s reach can transcend time, bridging a Middle Earth and a dying one. A function of drone as a form is that it grabs and sustains our attention in its steadfastness. It slows us down. It directs our attention. It soundtracks our movements, placing new and unusual stresses on our actions in time. As an electroacoustic genre, its affectiveness relies on subjectivity, while its deliberateness is a sign that begs some kind of reflection. Is Pèkisyon Funebri all-encompassing then? I’m not sure. Its reaches in reality are relatively short as its audience is limited by dedication and access, but its potential, I think, is a unifying one, even if it unifies primarily by pressing down on everything equally. Much like Barry Lyndon’s Epilogue, Pèkisyon Funebri reminds us of our fundamental equality amidst violent inequity: “It was in the reign of George III that the aforesaid personages lived and quarrelled. Good or bad, handsome or ugly, rich or poor. They are all equal now.” So what do we do from here while we are alive? Well, as TMTer Mukqs once said, “Just sit and listen.” 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. If even for a moment, let it make you feel something so that you have proof of your own dignity when forces of evil threaten it. Let it play. And let it outlive its own dark cloud." [Jackson Scott, Tinymixtapes]

€58.00

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MOLJEBKA PVLSE

Borrowed Scenery: Appearance

Format: maxi-CD Year: 2021

During the pandemic, many of the restrictions introduced, in particular, on movement, artists, like most of us, made their journeys mainly in their own rooms or made pilgrimages deep into each other. Mathias from MOLJEBKA PVLSE at that time uses his own studio as a vehicle he traverses through virtual field recordings, composing his own abstract environments and discovering distant lands. The map of these borrowed places is written in 3 long compositions, complementing each other like the topography of neighboring places or overlapping grids showing different properties occurring at the same latitude. It is possible to read them separately, just as it is possible to listen to only one of the three compositions and it gives some idea, allowing you to capture a selected fragment, this listening to the whole gives a deeper insight. The material from the session was divided according to a similar pattern and properly divided into two complementary releases: the album "Borrowed Scenery", which will be released next spring on vinyl, and CDEP "Borrowed Scenery: Appearance", introducing the atmosphere of the longplay, respectively. The CD containing over twenty minutes of composition folded in a 6-inch gatefold with two postcards attached is the next installment of a series of short musical forms, initiated in our catalog by the publication of the material "Klechdy" by Rigor Mortiss. CD EP folded in 6" gatefold sleeve + 2 postcards limited to 200 copies https://zoharum.bandcamp.com/album/borrowed-scenery-appearance

€12.00

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MONTEIRO, ALFREDO COSTA

Transient Spaces as Impermanent Lines

Format: CD Year: 2024

Transient spaces as impermanent lines was composed as a sonic drift with no other purpose than a mindful wander. This lack of direction, expressed through a hypothetical narrative, shapes an itinerary through different sound atmospheres carried by the materiality of sound and thus creating variable emotional states close to disorientation; exactly as in a psychogeographical drift, which implies a certain renunciation of what to expect, depending on each space where this underlying narrative evolves. It is a piece for found sounds, inspired by the found footage technique in experimental cinema, where images, often from anonymous sources are shown as if they were edited in a narrative by those who literally found them. Like a soundtrack for a non-existent movie, it could be compared to a piece of cinéma pour l'oreille (cinema for the ear), literally applying the French expression donner à voir (something like "allow to see"), but with sound as its means. All the sounds were compiled during the first three months of the process; the source of most of these sounds has been intentionally forgotten in order to empty them both of their psychological and contextual content. Composed, assembled and mastered by Alfredo Costa Monteiro at Mont Efímer between september 2022 and june 2023. Photos by Alfredo Costa Monteiro Sleeve by Rutger Zuydervelt • Glass-mastered CD • Mini-LP sleeve • Printed outer and inner sleeves with matt finish • Designed by Rutger Zuydervelt • Sealed https://sublimeretreat.bandcamp.com/album/transient-spaces-as-impermanent-lines

€13.00

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MONTESSUIS, JOACHIM

Chapel Perilous

Format: LP Year: 2012

"After a prolific 2011 with a handful of splendid releases on CD, DVD and cassette + collaborations with the likes of Charlemagne Palestine, Julien Ottavi and The Master Musicians of Joujouka, “Chapel Perilous” marks the debut vinyl release and first proper solo album by the Paris based audio/visual artist and curator of the exquisite Erratum label. 23 tracks, totalling approx. 35 minutes, compiled from recordings made in the course of the past eight years, de- and recomposed for this album in early 2012. Drawing on his voice as the main tool, Montessuis delivers a frantic opus of cut-up noise poetry, making “Chapel Perilous” le chef d’œuvre of his extending body of work." [label info] www.fragmentfactory.com

€17.50

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MONTGOMERY, GEN KEN

Birds + Machines

NNHMN returns to Zoharum with "Deception Island" a compilation CD of tracks taken from vinyl EP-s titled Deception Island Part 1 and 2 respectively, released by Spanish Oráculo Records. As expected, the duo of Lee and Michal Laudarg deliver hell of a ride. Dark Wave, Synth Pop, EBM, New Romantic, Dark Disco - you name it. Spirit of '80s nostalgia is strong in this music. It's hard to listen to this without nodding your head or moving your hands and feet. Deception Island is very propulsive. From the first synths of "In Darkness" to the last beats of "Nachtgang" NNHMN keeps you enslaved on the dancefloor. The track order has been slightly rearranged so the compilation has a more album feel and makes you find yourself listening to it for the third time in a row moving and watching the stars. You just don't want it to stop. Restless dance of the night endless. CD edition of 300 copies comes in "silk" digipack. https://zoharum.bandcamp.com/album/deception-island-full-length-album "The Berliner based Polish duo of NNHMN last year released two EPs entitled “Deception Island 1” and “Deception Island 2” on Oráculo Records. Zoharum this year released both EPs together as an album featuring the ten original songs. Content: NNHMN is a band I personally consider as one of the greatest revelations from the past few years; Minimal-Electro-Wave music, which is clearly reminding me of the sterile- and cold atmospheres of the 80s. The whispering and totally emotionless way of singing of Lee creates an icy, sensual touch while Michal’s sound production creates a kind of dark-cellar dancefloor sensation. + + + : If there’s one band that awakens my curiosity on each new work it for sure is NNHMN (Non Human). They aren’t setting the world alight, but creates a fascinating vintage exposure with a true Minimalistic approach. The typical melodic strings, dry snares and icy sequences are reminding me of the 80s. I think it’s a real good thing both EP’s have been assembled as a full length album and there are some brilliant songs on it like “Deception Island”, “Education Lost”, “In Darkness”, “Nachtgang” and “Robot Woman”. – – – : This album is a kind of compilation so if you already know both “Deception Island”-EPs you’ll be not surprised. Conclusion: I remain totally addicted to the impressive Minimalism of this Berlin based duo; this is how Electro-underground music has to sound!" [Side-Line]

€12.00

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NON TOXIQUE LOST (NTL)

OGRE-SSE

Oestergaards makes music with a shimmer of mystery darker than Dragon Gate’s history. A dystopian world of sound with essences of Hälsinglands rural society and the desire to get away from the traditional trodden musical paths. Some hear references with dark ambient guru Lustmords early works, others see references to the film world, but it is clear that Oestergaards feel at home in the dark sound chamber.Oestergaards (born 1977) based in Älvkarleby with a background as festival organizer in Hälsingland and the front figure in traditional Americana band breaks his story and focuses on the compilation of electronic music. The debut album “Roots” is released on Gävle-based Lamour. Photos by Marias of Sweden Mastered by Joakim Westlund Cassette edition of 60 www.lamour.se/2018/03/08/oestergaards-rotterna/

€7.00

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ONRUST

Tagore | Luthuli

Ortmann and Vida have not shared a piece of vinyl since the first Nihilist release (Pound of Flesh). Now 16 years later the two are presenting new electronic compositions using a variety of analog synthesizers. Vida has played in several projects over the years including; Town & Country, Joan of Arc, Pillow, Birdshow. https://nihilistrecordings.bandcamp.com/album/andy-ortmann-ben-vida-non-musical-electronic-music-nihil-72 Synthesizer [EMU Modular System, Arp 2600, EML Modular System, Korg MS-20, Roland SH-5, Multivox MXD-5, Univox Reverb] – Andy Ortmann (tracks: A1.1 to A1.5) Synthesizer [Modular Synthesizer], Computer – Ben Vida (tracks: B1, B2)

€20.00

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OSSASERPIA

Mvsic for Solve et Coagvla

Format: CD & book Year: 2006

"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

€26.00

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OTZEPENEVSHIYE (Оцепеневшие)

Razryv Svyazi (Disconnection)

Format: do-CD Year: 2017

"At last! The first major solo release from Otzepenevshiye in 11 years of the band's existence! The project was shaped in 2006 by Evgeniy Voronovskiy (Cisfinitum), Dmitriy Zubov (Hypnoz, Zuboff Sex Shop) and Ivan Napreenko (Sal Solaris, Θ16), but after some time transformed into a duo of Ivan and Arnold_pR (Reutoff, Myrrman). Otzepenevshiye have recorded many compositions published on compilations on various occasions by such labels as Heliophagia, Ewers Tonkunst, Old Europa Cafe, etc. The only full-length album "For a Knife" was created in collaboration with the band Vir' (2013, Zhelezobeton Distribution Division): zhbd.bandcamp.com/album/for-a-knife And only now many scattered pieces, like cold drops of condensate, have accomplished their cycle and gathered in two dazzingly freezing snowflakes. Powerful and catchy guitar riffs, relentlessly sharp industrial rhythmics, minimalistic pads and authentic field recordings – these are the lattice points of the sound of Otzepenevshiye. The need to use understandable terms makes us turn to such tags as industrial doom metal, drone-doom or doomgaze, but anyway we can't avoid the word "doom" here. Yes, this music has darkness inside, there's suffering, there's a feel of real experience, but also a clear conscious gaze towards the other side of the rubicon. Otzepenevshiye know how to get to the very depths and see the blackness that contains the infinite cosmic absolute. Apart from solo recordings, the second disc features tracks created in collaboration with Circle Of Unexisted and Vir' and remakes of compositions by Banda Chetyryokh and Thergothon. The material of this album was released in small cassette editions by NEN Records, including several bonus tracks. The track-list of this double-CD edition was specially adjusted by the musicians for the sake of maximum immersion." https://zhelezobeton.bandcamp.com/album/--2

€15.00

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OUSTAD, KRISTOFFER

Filth Haven

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PUNCTUAL TRIO

Grammar

The compilation “Ghost From A Machine’ has been initially issued by the record label Vinyl-On-Demand. It contains alternative versions of the pieces, which were created while early albums of Rapoon, mainly "Raising Earthly Spirits", "Fallen Gods", "Vernal Crossing", "Easterly 6 Or 7", were in the making. All those pieces were put together by Robin Storey and Frank Mayer and created an entirely new album, released on 3 vinyl records. For 10 years since the premiere, that release has become a rare collector’s item and surely a delight for a refined collector. The new edition, prepared together by the author and Zoharum Records, is visually and sonically referring to the first issue, creating a sort of a replica, available for the first time on 3CDs. Issued as an 8panel digipak the volume is limited to only 500 copies. https://zoharum.bandcamp.com/album/ghosts-from-a-machine

€20.00

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RATS WITH WINGS

Aide-Memoire

"Aria Rostami and Daniel Blomquist's debut album "Wandering Eye" was recorded over the span of a year and a half. "Dome A" and "Dome B" were recorded inside of a planetarium dome to no audience and it was the second time Rostami and Blomquist played together. "Ridge A" is the latest song recorded and it was performed live in Blomquist's basement. These live tracks use source material ranging from samples from the internet, to live field recordings, to synthesizers. "Dome C" and "Dome F" were compiled by sending material back and forth over and over again and then rearranged into coherent songs. These studio recordings mostly consist of processed piano originally recorded by Rostami. "Ridge B" originated as a cover of the Persian pop song "Do Panjereh" by Googoosh that Rostami had created but was manipulated and distorted in the process of sending the material back and forth. The song titles come from a paper published by Saunders et al. titled "Where is the best site on Earth?" which highlights the best places to observe space from the Antarctic Plateau. Antarctica is the coldest, driest and calmest place on earth. The astronomical sights there yield images of the heavens that are sharper and have more clarity than any other sight on earth. It is a gateway to observe other worlds. Aria Rostami and Daniel Blomquist are from San Francisco, CA. Rostami and Blomquist's work occurs at two stages, the gathering/preparation of source material and the live performance. Primarily, Rostami and Blomquist's source material focuses on, digital information and the exchange of that information, repetition and decay, and non-involvement or surrendering aspects of creative control. Some of the piano recordings were created by answering a simple questionnaire Rostami made that uses letters, colors, numbers, major verse minor, and picking between flat, natural and sharp to create a framework for a composition. After the framework is created, Rostami creates a song on the piano, records and sends it to Blomquist who in turn manipulates it. In some cases, Rostami recorded the material using the audio recording option for the app Viber. Rostami used Viber to communicate with a friend who was visiting Iran. Since he had asked her to fill out the survey through the app, he also recorded the material through the low quality recording interface. Sometimes this material is thrown back and forth and sometimes it's processed only once or barely touched. The recording is then turned into a loop and recorded to tape. This system was developed to surrender control and allow the origin of the composition to come from somewhere else much like field recordings or sampling does (two other ways Rostami and Blomquist gather source material.).Time, entropy, and decay are central factors in Rostami and Blomquist's work. For live performances Blomquist works with samples gathered and manipulated digitally and then dubbed to analog tape, reconstituting the quality and predictability of the digital source material. By using loops, Blomquist can take a short audio clip and concentrate on processing it live and allow for improvised changes to that recording over long periods of time. Rostami adds in an extra layer of drones, fuzz, melodic ambience and crescendos with his synthesizer. Their compositions explore dynamic relations between digital and analog sound creating quiet transitions and soaring peaks." https://glacialmovements.bandcamp.com/album/wandering-eye

€15.00

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RRILL BELL

Ballad of the External Life

Format: LP Year: 2021

"Ballad of the External Life", Rrill Bell's debut LP for Elevator Bath, takes its inspiration from the Hugo von Hofmannsthal poem of the same title (“Ballade des äußeren Lebens” in the original German), and features hybrid treatments of tuned percussion source material, swarm-like passages of next-level (cassette) tape manipulation, immersive micro-sound environments, delicate drone, embedded field recordings (ad-hoc dictaphone installations captured in various outdoor settings) and stolen moments from family events both heavy and casual. Born and raised in the US-American Rust Belt, and a resident of Germany for over two decades after an extended interim period of youthful wanderlust, the composer explains: "'Ballade des äußeren Lebens' was the first poem I managed to read in German in my early years here. I translated it roughly into English when I was first learning German. That last line, 'like heavy honey from the hollow comb' ('wie schwerer Honig aus den hohlen Waben') has haunted me for over twenty years. Just one of those things that hits you in the gut. Life, love, multiplicity of meaning from emptiness. 'Makeup on empty space', as Anne Waldman so aptly put it. I guess I was always waiting for the right moment to build a record around it, waiting for the music to mature in order to do it justice. I tried to capture the themes, imagery and movement of the poem in an open way. I don’t know what Hugo would say! He was really young when he wrote it and I connected with it at about the same age." The hours of obsessive experimentation with raw sound that Rrill Bell has dubbed to countless compact cassette tapes over the course of nearly two decades serve as the underlying otherworld behind the contingent worldly manifestations of his performances, installations, and recorded artifacts. On stage, his freeform, improvised sets combine chance practices and new skillz in a deep, essentially duo-like dialogue with the tightly-wound material as continually re-examined from different angles. Using a custom-made kit composed of cast-off relics of the Tape Age (foremost among them his trusty modified Fostex analogue multi-tracker) and surrounded by piles of said cassettes, he assembles complex abstract emotive tone poems on the fly, one re-contextualised fragment at a time, drawing from the formative inspirations of radical scratch culture, Cagean thought, Ornette's harmolodics, musique concrete, and various other strains of free music practice. Over the past decade, his work has also expanded to include various hybrid approaches to location recording, augmented reality, composition, and audio narrative. The material heard on "Ballad of the External Life" has frequently undergone many multiple stages of increasing abstraction during the composition process. For instance, a fragmentary passage may consist in part of a field recording that became the object of home dubbing experimentation, a recording of which was then used in an ad hoc installation in nature along with other materials, the results of which were then dubbed onto tape again and taken up in the exigency of the moment on stage as material to be further abstracted or re-examined through tape "scratching" and manipulation, before finally being incorporated as one element in a complex audio assemblage. Rrill Bell likens this approach to a composting process, or a tilling and re-tilling, a continuous re-embedding of times and spaces within other times and spaces, until the combined layers form a sort of existential chorus, a vivid sound morphology of living memory. It is also worth noting that the music of Rrill Bell often exhibits a preoccupation with melodic lines and novel techniques for generating them that is fairly uncommon in free improvised electronic music today. Rrill Bell's work has previously been released by the Gertrude Tapes, Weird Forest, and Denovali labels, among others. Clear vinyl LP with gorgeous, full-color, matte-finish jackets and poly-lined inner sleeves. Mastered for vinyl by James Plotkin. https://rrill-bell.bandcamp.com/album/ballad-of-the-external-life

€20.00

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RUCHALSKI, EDWARD

Refined localities part one

Format: mCD-R Year: 2004

Format: CD Year: 2021

Hailing from the Los Angeles underground of the 1980s, Savage Republic forged an astonishing reputation for themselves as art-punk and industrial pioneers with their legendary performances. Their brand of ritualistically tribal exhibitions blurred the boundaries of Post-Punk and Industrial music. Their music incorporates minimialist bass rumbles, exotic and/or militaristic drumming, Arabic melodies, alternate tunings, primal chants and even a bit of surf guitar. Savage Republic released four full length albums in the 1980s, plus several live records and compilation tracks. 1989 everything went quiet as the republic scattered to pursue other interests and their labels and distributors folded. After reuniting in 2002 for a brief U.S. tour supporting the boxed-set reissue of their five studio albums by Mobilization Records, several of the members began sharing ideas for new songs, reviving the band officially in 2005. In 2006/2007 Savage Republic added drum professor Alan Waddington (the Unforgiven) to the line-up and released "1938" on Neurot Recordings, the band's first studio recording in 18 years. The limited edition "Siam" EP was also released on Neurot Recordings featuring alternate mixes of some of the "1938" material. With their first full-length album in seven years, Savage Republic return with some of their best work yet! Self-recorded in a secret cavernous location, their mix of tribal textures, political anthems and Morricone-esque surf instrumentals once again transport the listener to faraway lands at turns both sinister and beautiful. One of many highlights of "Meteora" is the pandemic inspired piece "Unprecedented"written by Wire's Graham Lewis that is sure to become a staple in their set list. This longest-lasting lineup of Thom Fuhrmann, Ethan Port, Alan Waddington and Kerry Dowling have infused all the power of their legendary live performances into a cinematic sonic dreamscape. "Very few artists can stand as being actually unique. Artists who make sound that fills the holes in your soul that nothing else touch. Savage Republic is one these very few. As a founding member of Neurosis I can say that we are very aware and vigilant of all things that happen around us. There is no tolerance for disruption in our ritual. For the last 13 years we have played one band and one band only for our preshow music, Savage Republic is the soundtrack that sets the tone for whats to come and what existed before." - Scott Kelly / Neurosis https://savagerepublic.bandcamp.com/album/meteora

€14.00

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SAVAGE REPUBLIC

Tragic Figures (40th Anniversary Edition)

Format: do-LP Year: 2022

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]

€55.50

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SAVAGE REPUBLIC

Tragic Figures (40th Anniversary Edition)

Format: do-CD Year: 2022

Format: do-10inch & CD Year: 2013

"with the conclusion of other remaining projects and collaborations, there’s no focus other than dirk serries’ ongoing exploration of minimalism. four years in the making and undoubtly fuelled by his 2009 debut and previous mainstays vidnaObmana and fear falls burning, this second microphonics studio album is a heartbreaking symphony of echoing themes, wailing overtones and beautiful desolation. microphonics xxi-xxv, subtitled ‘mounting among the waves, there’s a light in vein. the burden of hope across thousands of rivers’ does hint towards an emotional statement, one that boldly goes beyond what previously achieved. microphonics xxi-xxv will be out on march 16, as a limited edition double 10inch in a numbered gatefold sleeve (150 copies on white vinyl, 300 copies on black vinyl), complete with a cd copy of the album, and a cd in a deluxe mini album gatefold sleeve." [label info] www.tonefloat.com "At the end of 2008 microphonics I - V saw the daylight. Time has come for Dirk Serries to play music under his own name and say good-bye to his alter-egos vidnaObmana and Fear Falls Burning. The design of that album was minimalist in structure. Quiet guitar patterns built up and flowed away and a calm, meditative ambient atmosphere with adventurous harmony was created. Five live albums and a 10 " were released at Tonefloat. Meanwhile appeared the last album of Fear Falls Burning, what can be called a stunning album, which led to an acoustic aftershock of an era ended. For more than four years later arrived the second studio album by the musical project microphonics, microphonics XXI - XXV with the subtitles Mounting among the waves, There's a light in vein, The burden of hope and Across thousands of rivers, which are the titles of the four tracks on the album. Elements of Fear Falls Burning, vidnaObmana and of course microphonics can be found in the compositions. The sound of the guitar is dirtier, unpolished, seeking feedback and underneath the many layers of repeating sounds in which Serries is a master. The discrepancy between the heavy bass lines, distorted guitars, layered chords and delicate strumming seek each other, collide and blend together. Cheerfulness is hard to find in this album. It is true quest in which somewhere hope flickers. In this way the album ends with open chords and a rolling drone. The album is a pleasant surprise twist in the microphonics project, in which the ambient atmosphere reigned supreme. The double 10?is coming out with a book of city photography of Martina Verhoeven, the partner Dirk Serries. She plays bass in 3 Seconds or Air (a side project of Dirk Serries) and is responsible for the cover photography of Serries. The photography of the book, I haven?t view it yet, but given the pictures I've seen her before, it will be aesthetically pleasing and appropriate to the album. Often there is a desolate atmosphere in carefully composed black and white photos. Tonefloat knows to release another wonderful compilation of image and sound, which is a delight for the eyes and ears."(JKH/Vital Weekly]

€27.50

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SEVERIN BESTOMBES (VOM HORSE GORE CLUB)

Auszug & Abgesang

Format: LP Year: 2006

„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

€20.00

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SHARON'S LAST PARTY

Blue light and blue eyes

Format: 7 Year: 2003

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]

€3.00

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SIGHTINGS

Terribly Well

Format: LP Year: 2013

"The noise rock parade that defies definition, set out on a mission of pure volume worship that is the post-decade pilgrimage of NY-based Sightings. After eight instinctive albums, the Sightings guys show no mercy with endless annihilation of their newest material on Terribly Well. All parts destruction measured against their abrasive songwriting. Jagged, collapsing rhythm based mayhem, guitars that can be mistaken for a freight train being ripped for scrap metal, only to be held together with panic stricken bass patterns that keep their voice from the edge of insanity. An accessible album for the unacceptable; their finest record to date. Each song saws through the humanity, taking no hostages with this hectic industrial rock masterpiece. Edition of 500." [label info] www.daisrecords.com

€20.00

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SIL MUIR (ANDREA MARUTTI / ANDREA FERRARIS)

same

Format: CD Year: 2009

"Diophantine Discs is pleased to announce the release of a new CD... Sil Muir - Sil Muir. Italy's Sil Muir presents to us here their first full-length work. It is a beautiful, yet melancholy, hour-long recording carrying us along that sleepless journey from dusk 'til dawn. Powerful and gentle drones shudder and shimmer through these four dense and amazing tracks. Sil Muir is the collaboration between Andrea Marutti (Amon, Never Known, Afe Records) and Andrea "Ics" Ferraris (Ur, Airchamber3, Ulna). Their only previous appearances are a lengthy compilation track on Transf.Order and a collaboration with Horchata on taâlem. Housed in a custom printed color wallet. Edition of 500 copies." [label info] http://discs.diophantine.net "A mighty fine disc of dark drones, ambient and a totally isolated feel." [FdW / Vital Weekly]

€12.00

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SILENCE & STRENGTH

Das Haus zur letzten Latern. A Tribute to Gustav Meyrink

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]

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SOUND_00 + LEFTERNA

Elementals: Collabs 2

Format: CD Year: 2017

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

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SPARHAWK, ALAN

Solo Guitar

Format: CD Year: 2006

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

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SPHERICAL DISRUPTED

25 (Past)

Format: do-CD Year: 2021

Back in 1995, the first Spherical Disrupted tape release "Zerschellt, zersplittert" was published. 25 years later it is the best occasion to celebrate this long time span and that will happen with the new release "25" involving a lot of invited guests. The initial box release was sold pretty fast. The included CDs are now available separately. The double CD "25 (Past)" with new versions, compilation appearances and remixes for other projects (Bloody Dead And Sexy, Experimentum Crucis, Yipotash, The Trial, KiEw, Mimetic Dancing, The_Empath, Xabec, Mandelbrot, Still Patient?) from those 25 years. Most of these tracks are available on CD for the first time or are either unpublished or long out of stock. (auphcd035.2) https://audiophob.bandcamp.com/album/25-past

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SPK (S.P.K.)

Despair (digitally extracted)

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]

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SUNKEN

Eye Electric Organ, Brain Electric Nerve

Format: CD Year: 2008

"eep in the swirling depths of the ocean a terrible yet wondrous beast stirs slow but sure amidst great forests of sea algae. Taking on the form of a pair of conjoined drown-ed sailors it sets forth upon the currents determined to loose its apocalyptic vision upon the earth via droning sea shanty and great humming hymn. Sunken is the duo of sunken sailors Stefan Neville (Pumice) and Antony Milton (Nether Dawn/A.M etc). Using a range of organs, sonar gear, live tapeloops, vocals and an unhealthy amount of submarine reverb they create a glorious droning pop noise. 'Eye Electric Organ, Brain Electric Nerve' follows on from their acclaimed self titled debut (also on PseudoArcana) and various compilation appearances. You can read reviews and hear a sample from the album." [label / website info] www.pseudoarcana.com

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SUNN O)))

Sunn O))) [Oxblood Vinyl]

Format: do-LP Year: 2026

For nearly 30 years, SUNN O))) – Stephen O’Malley and Greg Anderson – have pushed the boundaries of heavy music, straddling the worlds of the avant-garde and rock to forge a style instantly recognisable as their own. Now, SUNN O))) return with their first album of new material since 2019’s acclaimed Pyroclasts. Their tenth album – their debut for new label Sub Pop – demonstrates the duo’s mastery of time and space, light and dark, and their willingness to evolve their unmistakable sound into bold new forms. The eponymously titled SUNN O))) was tracked at Bear Creek Studios, Woodinville, Washington with Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair). This location would prove crucial to the recording process. “The vast tracking room had big windows looking out on trees,” says O’Malley. “We could go hiking and be out in the woods, spend time outdoors. That became a big part of it.” “It was very inviting and very comfortable there,” adds Anderson. “There was no stress, no worry about the timeline or anything like that. We just let ourselves go, and let the music come out.” SUNN O))) have long welcomed collaborators into their self-contained world, including such esteemed fellow travellers as Hungarian vocal explorer Attila Csihar, Icelandic composer Hildur Guðnadóttir, Seattle-based multi-instrumentalist Steve Moore, Texan polymath Mark Deutrom, Silkworm co-founder Tim Midyett and legendary singer-songwriter Scott Walker. For the new album, however, O’Malley and Anderson explore the still-fertile, primal territory of the duo format. “On this album for the first time all of the instrumentation was performed by Greg and I,” says O’Malley. “All of the records have our leadership and direction, of course, but this time around, it was almost like this crucible of ideas that was really at the core of what we’ve been doing.” Recording exclusively as a duo should not be interpreted as SUNN O))) limiting or restricting themselves. To the contrary, it has opened up new possibilities for their music. “What’s been happening with our performances over the last couple years with the two of us and no other collaborators or players has been really fresh and exciting,” says Anderson. “There’s been a lot of development. A lot of that was unexpected. And a lot of things that happened in the studio were really exciting and different from what we had been playing live, as well.” The six compositions on SUNN O))) are expansive and panoramic yet finely detailed, reflecting the arboreal setting in which they were recorded. Opener “XXANN” enters with howling feedback before crunching into what might at first seem familiar territory – until one registers the sound of water trickling beneath. “Mindrolling” likewise incorporates field recordings, as does “Glory Black”, which in addition introduces piano, by turns sonorous and delicate, into the mix, lending the already formidable piece a hushed, solemn feel. The Newcastle-forged originators of black metal get a shout out in the title of “Does Anyone Hear Like Venom?” which seems to position Cronos, Mantas and Abaddon as deep listeners, attuned to their Tyneside surroundings in much the same way as SUNN O))) are to the forest enfolding Bear Creek Studios. Throughout the album, the interplay between O’Malley and Anderson attains fresh heights of telepathic intensity as they shape a music that itself breathes the bracing, earthy air of the Pacific Northwest. “It’s always developing,” says Anderson. “That’s a constant, and that’s what sustains my interest and passion. There’s a movement that’s happening, whether it’s forward, backwards, to the side, whatever. That’s what makes playing in this group, at least for me, different and unique and special.” In October 2025 SUNN O))) released the first fruit of a new deal with celebrated US label Sub Pop in the form of a maxi 12” featuring “Eternity’s Pillars”, “Raise The Chalice” and “Reverential” – three monumental tracks from the same sessions that produced the new album. The alliance with Sub Pop makes perfect sense, as Anderson explains. “We decided that we should approach Sub Pop, after I’d had some great conversations with Jonathan Poneman,” he says. “So I called him up and before I could get the words out of my mouth, he said, ‘We’d love to do it. Tell me what you guys need.’ He was really excited and supportive.” SUNN O))) are no strangers to striking cover art – as illustrated by their collaborations with Joanne Ratcliffe for Black One, Richard Serra for Monoliths & Dimensions, Angela LaFont Bolliger for Kannon and Samantha Keely Smith for Life Metal and Pyroclasts. For SUNN O))) they have been granted permission by the estate of the late American artist Mark Rothko to reproduce two of his paintings on the album’s sleeve. “Over a few years, I developed a correspondence with Christopher Rothko via the Rothko Foundation’s Henry Mandell,” explains O’Malley. “It’s such an honour to be in the proximity of art on that scale, which has moved me personally so much for decades. Standing in front of a Rothko painting you can experience landscapes, worlds and environments subjectively in the abstraction.” Liner notes for the album are provided by award-winning British writer Robert Macfarlane, famed for his works concerning landscape and the multifaceted relationship between humanity and nature. Macfarlane negotiates the peaks and valleys of the SUNN O))) sound in a poetic, philosophical manner that will be familiar to readers of Mountains Of The Mind: A History Of A Fascination (2003), The Wild Places (2007), Underland: A Deep Time Journey (2019) or Is A River Alive? (2025). “I’ve been very interested in Robert’s writing for a long time,” says O’Malley. “He was very up for engaging with this project. And what he ended up turning in was mind-blowing. It’s part of the creative process, framing our music in a certain way, visually and with language, before presenting it to the world.” SUNN O))) also worked with French artist Elodie Lesourd, whose illustration work is featured on the inner LP sleeves and accompanying album merch. All of which adds up to a fully immersive experience, uniting sound, word and visual into something that is undeniably, completely SUNN O))). Joseph Stannard, January 2026 https://www.subpop.com/artists/sunn_o Seit fast 30 Jahren erweitern SUNN O))) - Stephen O'Malley und Greg Anderson - die Grenzen der Heavy-Musik und verbinden die Welten der Avantgarde und des Rock, um einen Stil zu schaffen, der sofort als ihr eigener erkennbar ist. Jetzt melden sich SUNN O))) mit ihrem ersten Album mit neuem Material seit dem gefeierten Pyroclasts aus dem Jahr 2019 zurück. Ihr zehntes Album - ihr Debüt bei Sub Pop - zeigt, wie gut das Duo mit Zeit und Raum, Licht und Dunkelheit umgehen kann und dass sie bereit sind, ihren unverwechselbaren Sound zu neuen, mutigen Formen weiterzuentwickeln. Das gleichnamige Album ,SUNN O)))" wurde in den Bear Creek Studios in Woodinville, Washington, mit Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair) aufgenommen. Dieser Ort erwies sich als entscheidend für den Aufnahmeprozess. ,Der riesige Aufnahmeraum hatte große Fenster mit Blick auf Bäume", sagt O'Malley. ,Wir konnten wandern gehen und draußen im Wald sein, Zeit im Freien verbringen. Das war ein wichtiger Teil davon." SUNN O))) haben schon lange Mitwirkende in ihre eigenständige Welt aufgenommen: In früheren Werken waren Attila Csihar (Mayhem), die Komponistin Hildur Gudnadóttir, der Multi-Instrumentalist Steve Moore, der Universalgelehrte Mark Deutrom, Tim Midyett von Silkworm und der legendäre Singer-Songwriter Scott Walker zu hören. Auf diesem Album haben O'Malley und Anderson jedoch neue Möglichkeiten im ursprünglichen Format des Duos entdeckt und alle Instrumente selbst gespielt. ,Was in den letzten Jahren mit unseren Auftritten zu zweit und ohne weitere Mitwirkende passiert ist, war wirklich neu und aufregend", sagt Anderson. Die Kompositionen auf SUNN O))) sind weitläufig und panoramisch, aber dennoch detailreich und spiegeln die baumreiche Umgebung wider, in der sie aufgenommen wurden. Inmitten von heulendem Feedback und eisigem Knirschen findet man überraschend zarte Momente: eine Feldaufnahme von plätscherndem Wasser im Hintergrund, Klavierzwischenspiele, die eine gedämpfte, feierliche Stimmung erzeugen. Dabei erreicht das Duo neue Höhen telepathischer Intensität, während es Musik formt, die die belebende, erdige Luft des pazifischen Nordwestens atmet. Visuell wird das Album von zwei Gemälden des verstorbenen amerikanischen Künstlers Mark Rothko eingerahmt. Die Liner Notes stammen vom preisgekrönten britischen Schriftsteller Robert Macfarlane, der für seine Werke über Landschaft und die Beziehung zwischen Mensch und Natur bekannt ist. Durch die Arbeit der Band, Macfarlane und Rothko verbinden sich Klang, Wort und Bild zu einem umfassenden Erlebnis, das unbestreitbar ganz und gar SUNN O))) ist.

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SUNN O)))

Sunn O)))

Format: CD Year: 2026

Seit fast 30 Jahren erweitern SUNN O))) - Stephen O'Malley und Greg Anderson - die Grenzen der Heavy-Musik und verbinden die Welten der Avantgarde und des Rock, um einen Stil zu schaffen, der sofort als ihr eigener erkennbar ist. Jetzt melden sich SUNN O))) mit ihrem ersten Album mit neuem Material seit dem gefeierten Pyroclasts aus dem Jahr 2019 zurück. Ihr zehntes Album - ihr Debüt bei Sub Pop - zeigt, wie gut das Duo mit Zeit und Raum, Licht und Dunkelheit umgehen kann und dass sie bereit sind, ihren unverwechselbaren Sound zu neuen, mutigen Formen weiterzuentwickeln. Das gleichnamige Album ,SUNN O)))" wurde in den Bear Creek Studios in Woodinville, Washington, mit Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair) aufgenommen. Dieser Ort erwies sich als entscheidend für den Aufnahmeprozess. ,Der riesige Aufnahmeraum hatte große Fenster mit Blick auf Bäume", sagt O'Malley. ,Wir konnten wandern gehen und draußen im Wald sein, Zeit im Freien verbringen. Das war ein wichtiger Teil davon." SUNN O))) haben schon lange Mitwirkende in ihre eigenständige Welt aufgenommen: In früheren Werken waren Attila Csihar (Mayhem), die Komponistin Hildur Gudnadóttir, der Multi-Instrumentalist Steve Moore, der Universalgelehrte Mark Deutrom, Tim Midyett von Silkworm und der legendäre Singer-Songwriter Scott Walker zu hören. Auf diesem Album haben O'Malley und Anderson jedoch neue Möglichkeiten im ursprünglichen Format des Duos entdeckt und alle Instrumente selbst gespielt. ,Was in den letzten Jahren mit unseren Auftritten zu zweit und ohne weitere Mitwirkende passiert ist, war wirklich neu und aufregend", sagt Anderson. Die Kompositionen auf SUNN O))) sind weitläufig und panoramisch, aber dennoch detailreich und spiegeln die baumreiche Umgebung wider, in der sie aufgenommen wurden. Inmitten von heulendem Feedback und eisigem Knirschen findet man überraschend zarte Momente: eine Feldaufnahme von plätscherndem Wasser im Hintergrund, Klavierzwischenspiele, die eine gedämpfte, feierliche Stimmung erzeugen. Dabei erreicht das Duo neue Höhen telepathischer Intensität, während es Musik formt, die die belebende, erdige Luft des pazifischen Nordwestens atmet. Visuell wird das Album von zwei Gemälden des verstorbenen amerikanischen Künstlers Mark Rothko eingerahmt. Die Liner Notes stammen vom preisgekrönten britischen Schriftsteller Robert Macfarlane, der für seine Werke über Landschaft und die Beziehung zwischen Mensch und Natur bekannt ist. Durch die Arbeit der Band, Macfarlane und Rothko verbinden sich Klang, Wort und Bild zu einem umfassenden Erlebnis, das unbestreitbar ganz und gar SUNN O))) ist. For nearly 30 years, SUNN O))) – Stephen O’Malley and Greg Anderson – have pushed the boundaries of heavy music, straddling the worlds of the avant-garde and rock to forge a style instantly recognisable as their own. Now, SUNN O))) return with their first album of new material since 2019’s acclaimed Pyroclasts. Their tenth album – their debut for new label Sub Pop – demonstrates the duo’s mastery of time and space, light and dark, and their willingness to evolve their unmistakable sound into bold new forms. The eponymously titled SUNN O))) was tracked at Bear Creek Studios, Woodinville, Washington with Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair). This location would prove crucial to the recording process. “The vast tracking room had big windows looking out on trees,” says O’Malley. “We could go hiking and be out in the woods, spend time outdoors. That became a big part of it.” “It was very inviting and very comfortable there,” adds Anderson. “There was no stress, no worry about the timeline or anything like that. We just let ourselves go, and let the music come out.” SUNN O))) have long welcomed collaborators into their self-contained world, including such esteemed fellow travellers as Hungarian vocal explorer Attila Csihar, Icelandic composer Hildur Guðnadóttir, Seattle-based multi-instrumentalist Steve Moore, Texan polymath Mark Deutrom, Silkworm co-founder Tim Midyett and legendary singer-songwriter Scott Walker. For the new album, however, O’Malley and Anderson explore the still-fertile, primal territory of the duo format. “On this album for the first time all of the instrumentation was performed by Greg and I,” says O’Malley. “All of the records have our leadership and direction, of course, but this time around, it was almost like this crucible of ideas that was really at the core of what we’ve been doing.” Recording exclusively as a duo should not be interpreted as SUNN O))) limiting or restricting themselves. To the contrary, it has opened up new possibilities for their music. “What’s been happening with our performances over the last couple years with the two of us and no other collaborators or players has been really fresh and exciting,” says Anderson. “There’s been a lot of development. A lot of that was unexpected. And a lot of things that happened in the studio were really exciting and different from what we had been playing live, as well.” The six compositions on SUNN O))) are expansive and panoramic yet finely detailed, reflecting the arboreal setting in which they were recorded. Opener “XXANN” enters with howling feedback before crunching into what might at first seem familiar territory – until one registers the sound of water trickling beneath. “Mindrolling” likewise incorporates field recordings, as does “Glory Black”, which in addition introduces piano, by turns sonorous and delicate, into the mix, lending the already formidable piece a hushed, solemn feel. The Newcastle-forged originators of black metal get a shout out in the title of “Does Anyone Hear Like Venom?” which seems to position Cronos, Mantas and Abaddon as deep listeners, attuned to their Tyneside surroundings in much the same way as SUNN O))) are to the forest enfolding Bear Creek Studios. Throughout the album, the interplay between O’Malley and Anderson attains fresh heights of telepathic intensity as they shape a music that itself breathes the bracing, earthy air of the Pacific Northwest. “It’s always developing,” says Anderson. “That’s a constant, and that’s what sustains my interest and passion. There’s a movement that’s happening, whether it’s forward, backwards, to the side, whatever. That’s what makes playing in this group, at least for me, different and unique and special.” In October 2025 SUNN O))) released the first fruit of a new deal with celebrated US label Sub Pop in the form of a maxi 12” featuring “Eternity’s Pillars”, “Raise The Chalice” and “Reverential” – three monumental tracks from the same sessions that produced the new album. The alliance with Sub Pop makes perfect sense, as Anderson explains. “We decided that we should approach Sub Pop, after I’d had some great conversations with Jonathan Poneman,” he says. “So I called him up and before I could get the words out of my mouth, he said, ‘We’d love to do it. Tell me what you guys need.’ He was really excited and supportive.” SUNN O))) are no strangers to striking cover art – as illustrated by their collaborations with Joanne Ratcliffe for Black One, Richard Serra for Monoliths & Dimensions, Angela LaFont Bolliger for Kannon and Samantha Keely Smith for Life Metal and Pyroclasts. For SUNN O))) they have been granted permission by the estate of the late American artist Mark Rothko to reproduce two of his paintings on the album’s sleeve. “Over a few years, I developed a correspondence with Christopher Rothko via the Rothko Foundation’s Henry Mandell,” explains O’Malley. “It’s such an honour to be in the proximity of art on that scale, which has moved me personally so much for decades. Standing in front of a Rothko painting you can experience landscapes, worlds and environments subjectively in the abstraction.” Liner notes for the album are provided by award-winning British writer Robert Macfarlane, famed for his works concerning landscape and the multifaceted relationship between humanity and nature. Macfarlane negotiates the peaks and valleys of the SUNN O))) sound in a poetic, philosophical manner that will be familiar to readers of Mountains Of The Mind: A History Of A Fascination (2003), The Wild Places (2007), Underland: A Deep Time Journey (2019) or Is A River Alive? (2025). “I’ve been very interested in Robert’s writing for a long time,” says O’Malley. “He was very up for engaging with this project. And what he ended up turning in was mind-blowing. It’s part of the creative process, framing our music in a certain way, visually and with language, before presenting it to the world.” SUNN O))) also worked with French artist Elodie Lesourd, whose illustration work is featured on the inner LP sleeves and accompanying album merch. All of which adds up to a fully immersive experience, uniting sound, word and visual into something that is undeniably, completely SUNN O))). Joseph Stannard, January 2026 https://www.subpop.com/artists/sunn_o

€15.00

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SUNN O))) & ULVER

Terrestrials

Format: CD Year: 2014

"Oslo, Norway, August 10th, 2008. Following their 200th gig, playing before 2000 people at the Oya festival, SUNN O))) teamed up with Norwegian legends ULVER at their Oslo studio, Crystal Canyon. They recorded three "live in improvisation" pieces, starting that evening and ending at dawn, as Northern sunlight seeped in through the windows. 'We were sitting in the console room, early in the morning, listening to the takes. Someone said, ah, sunrise over Crystal Canyon,' as if the night had been a dark one. We all laughed and Greg proposed it as a title. In that setting it sounded perfect. The boys had mentioned wanting the music to orient towards the light, like some lost pilgrim stretching before the sun. We kept that mental picture for the processing.' - Kristoffer Rygg That take became the album's opening piece, "Let there be light," which builds up from silence and darkness and proceeds - ceremoniously, coruscating - O'Malley and O'Sullivan creating the backdrop for Rygg's Basso Profondo chants. The music unfolds over eight minutes before reaching a crescendo of bass and brass, introducing both Anderson and ULVER as we know them. The Sunn has risen. "Western horn" accelerates on a single and austere note of sustained bass and low end, evolving gradually into a haunted soundscape. Crying violins, clusters of Fender Rhodes, guitar pickups, and metal plate drones are gradually layered beneath Anderson's augmented bass feedback. "Eternal return" introduces Rygg singing a lyric evoking ancient Greece, Egypt and the Biblical lands. The song is palindromic, echoing the lyric, beginning and ending with the same bass line and musical pattern, though the guitars are ultimately reversed as the song implodes upon itself. "Terrestrials" is three movements which are fluid like the flow of magma beneath the Earth's crust, sonically uninhibited, unpredictably cosmic, haunting and stirring yet simultaneously ceremonious and beautiful." [label info] www.southernlord.com "Naheliegendes wird vermieden, statt dessen eine zähfließende Düsternis mit fast fragiler Aura: das Sunn o))) & Ulver Kollaborationsalbum “Terrestrials” schickt die Hörer (nicht nur) mit dem Opener “Let There Be Light” und seinen verlangsamten Mariachi-Trompeten fast ein bisschen in die Irre, lässt dieselben zumindest lange im Unklaren, welche Richtung das Stück wirklich einschlagen will… Als “ewiges” Intro hinter verwaschenen Staubwolken der Wüste? Ein Akustik-Drone? Erst das letzte Viertel, wenn “Let There Be Light” schon fast zu ersterben scheint, bringt die Auflösung: wenn sich typisch Sunn o))) artige Harmoniebögen zu manifestieren beginnen und die weiterhin präsenten Bläser mit einem deutlichen Maß an Schwerkraft versehen. Das dann folgende, düstere (und düsterere) “Western Horn”, im Kern eine windende Schichtung von sich reibenden, spröden Gitarren, dabei nach außen so etwas wie die musikalische Umsetzung eines langsam aufkommenden (oder abflauenden) Sandsturms, versenkt die Hörer nach “Let There Be Light” wie unvermittelt in eine ebenso unwirkliche wie unwirtliche, auch ohne ebensolche Soundästhetik zerrende, schwarze Welt. Die, ganz nebenbei, ein weiteres Mal beweist, dass “Heavy” eben auch ganz anders gehen kann.Und dann die größte Überraschung: “Eternal Return”, in den allerersten Tönen noch wie eine direkte Fortsetzung von “Western Horn” klingend, durch die hier stärkere Präsenz eines E-Pianos und ganz besonders die Art der Harmonien aber letztlich in eine ganz andere Richtung weisend: wie eine Art geisterhafter Widerhall, eine eigene Interpretation der Stimmung von oder eben gleich eine Kollaboration mit Bohren & Der Club Of Gore… zumindest rund 6 Minuten lang, bevor das Stück einen völligen Twist macht, Gesang über tragenden Synthstreichern, als Break. Und zurück fällt in die Düsternis des Beginns. In der musikalischen Schattierung so vielfältig wie “Monoliths And Dimensions”, möglicherweise. Und eine Elegie in schwarzer Akustik, sicherlich. Insgesamt betrachtet." [N, Blackmag]

€13.00

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SUPERSILENT

8

Format: CD Year: 2007

"Inzwischen sind wir bei Supersilent 8 (RCD 2067), Dazwischen liegt ein beständig sich verändernder Klangfluss von harschem Free Noise (1-3) über Electrojazz (4) zu ambienten Soundscapes (5 & 6). 8 entstand, wie schon die Rune-Grammofon-Klassiker 1-3, Luggumt oder Raus Aus Stavanger, im Athletic-Sound-Studio in Halden. Alles ist improvisiert, aus 5 Stunden wurden 66 Minuten ausgewählt und von 1 bis 8 durchnummeriert, es gibt keine Overdubs. Abstraktion, oder nennen wir es besser Absolutheit, und Kollektivität sind Trumpf. Als Klangquellen dienen Audio Virus & Gitarre, Keyboards & Synthesizers, Drums, Trumpet, Voice & Electronics. Neologismen wie FutuRhythMachine (K. Eshun) oder SonicFriction (T. Berne) sind notwendig, um der Nowness von Supersilents Trips halbwegs gerecht zu werden. Mit Supersilent unterwegs sein, heißt Niemandsland durchstreifen. Das Neuland hat gemeinsame musikalische Grenzen allenfalls mit Ektroland und Neuseeland. Fremdartig monotone, oder krumme Sun-Ra-Takte (8.3!), raues, rockfernes Gitarrengedröhn, Gebrabbel und Singsang, als ob der Geist von Leif Elggren unter einem Bett hervor kröche (8.5). Der Hall einer Possible-Worlds- Trompete von weit draußen, der Hauch einer ‚Flöte‘, immer wieder ‚psychedelische‘ und ‚spaceige‘ Raumzeitverformungen durch Keyboards und Electronics. 8 ist wie eine Prellung, die schillernd aufblüht, gleichzeitig zeitlupig und gerafft auf eine Stunde, vielleicht weil der Bluterguss einen ganzen Raumquadranten verfärbt. Manchmal bleibt nur ein Zwitschern und aleatorisches Zucken wie von einschlagendem Sternenstaub, dazu Kopfstimmengesang (8.6). Plötzlich ein Freerock-Blitzgewitter, ein donnerndes, schneidendes Inferno (8.7)! Mit einem finalen Gerumpel. Als Epilog dann wieder Getröpfel. Und enigmatische Spaceharmonik. Die pure Alienpoesie." [Bad Alchemy] "Helge Sten, Ståle Storløkken, Arve Henriksen and Jarle Vespestad celebrate 10 years as a groundbreaking quartet with their first studio album in almost 5 years. Their music lives in a no-man's-land between the genres, somewhere between rock, electronica, jazz and modern composition. Yes, we say composition because when listening it´s not far fetched to think it could have been, although everything here is improvised, as it has always been with Supersilent. With ”8” they have yet again re-invented themselves, exploring more abstract and mysterious pathways and ending up even further away from traditional categories. The album is produced by Deathprod and mastered by US mastering guru Bob Katz." [press release] ".... Another excellent, original Supersilent effort, with the use/abuse of vocals opening up some new dimensions to their sound. Parts of Supersilent 8 give us the idea we're listening to some sort of really strange field recording, the documentation of the fracturing of an iceberg, the swarmings of bugs, or the language of birds or bats, when in fact this is a very human-activated, machine- mediated, far-from-natural audio document. Of course at other times on this album that fact is quite evident! Indeed, Supersilent 8 also is the closest these "death-jazzers" have come to making rock album, especially when the super distorted, hazy murk of psychedelic howling almost garage-rock-improv pummel of track 7 is taken into account." [Aquarius Records] www.runegrammofon.com

€15.50

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SVARTE GREINER

Penpals forever (and ever)

Format: CD Year: 2010

"The first side (first two tracks) were originally issued on the Penpals Forever cassette on Digitalis in 2008, limited to 180 copies. Both tracks have been completely remastered. The remaining pieces are all new and exclusive to this release. Svarte Greiner is the nom de plume of Deaf Center's Erik K. Skodvin. Hailing from Norway, his solo efforts are always stripped bare, white-knuckle sojourns through dark, haunted ambient sonic corridors. Penpals Forever (And Ever) is the imaginary tale of a long dead Baroque painter and his telekinetic correspondence with a flightless bird. It feels archaic; experimental death marches circa 1622. Like Guercino's Et in Arcadia ego, once the end is realized, there's nowhere left to go. It's beyond our experience and sometimes you never recover from the shock. Despite its rather cheery title, Penpals Forever (And Ever) is another step toward the abyss. Musically sparse, Svarte Greiner finds new channels connecting desolate landscapes through ethereal nightmares. It is music best served cold. Chattering, looping guitar lines that feel like muscle being separated from bone slowly build into aching piles of aural dissonance. It's painful to a point. Recorded voices speak a language you can't understand underneath ominous, echoing single notes. Distant metal fragments scrape the dirt from detuned strings while a nefarious feathered minstrel bows dying instruments in the background. No hope left, death is just around the corner. As it ever was, Svarte Greiner is again weaving something deliciously sinister. This is music that is uncomfortably bare. Within its blood-stained confines, there is nowhere to hide. Skodvin's tangled, gnarled tale goes back and forth into infinity until it becomes clear that the flightless bird in question lives inside your skull. Drowning slowly into one's own twisted mind, Penpals is the soundtrack of loss; the procession of fears gradually becoming so overbearing that you can't escape your own demons." [label info] www.digitalisindustries.com

€15.00

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SVASTI-AYANAM

Sanklesa

Format: CD Year: 2007

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

€13.00

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SWIEZYNSKI, MATTHEW

The one who modifies Time and Light

Format: CD Year: 2018

CD with handmade packaging in an edition of 200. Sleeves feature a black monochrome craquelure abstraction, a number of these are available in a box with specially made art-work and a bonus CDr (edition of 11). First in a series focusing on sound and music in cinema, dwelling on field recordings, follies and harmony initially used to augment picture, now isolated and modified as a lover's response to the experience of film. The recordings are highly memory-annihilated edits of a mediation on the work of Satyajit Ray's Apu trilogy, created initially for Patrick Mcginley's Framework Radio. A further reworking of this music began in the logic editing system, where a slow-duplication was instituted in order to create a more stereo-rich listening experience. Soon discovered was a plethora of glitching errors. These glitching dreams were then augmented and purified in the tradition of John Cage. In addition to these "chance procedures", a touch of immobility, abstractions and layerings was added underneath to release the music further from its maker. After all this nonsense, the mix was found to be a pleasantly disorienting experience. This work is dedicated to my love Chi and our puppy Leviathan. Leviathan gave me these words of inspiration which one can find in Paradise Lost Massacré : "Infinite Vale. Through the vast and scornful deep, tossing fiery waves of dire hope, what sea-beast Leviathan that piloted the ocean storm, and burned lakes contrary to his own dark designs, he doth obscure mercy and continues on his dusky air. Praise Leviathan: the one who modifies Time and Light to drive us hence." credits released April 23, 2018 Artwork and design by Mount Analogue Sleeve image by M. Świeżyński Mastering by Stephan Mathieu https://ingentingkollektiva.bandcamp.com/album/the-one-who-modifies-time-and-light

€13.00

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SYBARITE

Dolourous Echo

Format: 7inch Year: 2005

Dass BRAINWASHED auch immer ein Faible für gut gemachte Popmusik hatten, beweist diese Single von SYBARITE mit zwei warmen, weich melancholischen, harmonisch-fliessenden aber interessant gestalteten Elektro-Pop / IDM - Stücken.... “Two instrumental songs from Brooklyn-based multi-instrumentalist Xian Hawkins. As Sybarite, he's released full-length albums on labels like Temporary Residence and 4AD and has had a number of singles and compilation tracks from labels all over the world. He is currently working on his second full-length album for 4AD. It's upbeat, amazingly well crafted and never wears out its welcome. www.brainwashed.com/sybarite blue vinyl !” [press release]

€6.00

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SYLVESTER ANFANG

II

Format: CD Year: 2009

"Verdammte Hippies! "Sylvester Anfang II" ist der authentischste, von Drogen zerfressendste, prallste, von gotteslästerlichem Hedonismus durchzogene Ausflug in die Zeit von Analogus Rex, den ich jemals gehört habe. Die Flamen spielen einen verqualmten Hippie-Jam, der sich gewaschen hat, oder eben nicht. Voller okkulter Mystik, ohne Plan, ohne Ziel. Krautrockjamsessions auf Acid während einem satanischen Ritus im Haus von Charles Manson. Gitarrengewaber, hypnotische Percussion, wummernder Bass, orientalische Harmonien, obskure Teufelsgesänge, altmodische Synthesizer, ein heißes Covergirl. Und der verrückte, dreckige Gesang von Clay Ruby alias BURIAL HEX im Hintergrund ist beim Zweiteiler "The Devil Always Shits in the Same Graves" sogar richtig furchteinflößend. Irgendwie sind SYLVESTER ANFANG geil, irgendwie nicht nachvollziehbar. Ich glaube, im LSD-Rausch ist dies die ultimative Musik, herrlich unterproduziert, ohne Songs im eigentlichen Sinne, von ein paar Wahnsinnigen, die trashige Horrorfilme ein wenig zu ernst nehmen. Diese Verbindung von POPOL VUH und AMON DUUL ist allerdings ziemlich mutig, das Ganze auf eine Länge von fast siebzig Minuten auszudehnen, geradezu wahnwitzig. Vor allem laut aufgedreht und bei vollem Bewusstsein entfaltet "Sylvester Anfang II" ungeahnte Faszination, hauptsächlich bei Althippies und Typen, die letztes Wochenende auf einer harten Pilzmischung hängen geblieben sind." [Vampster] "All things must evolve, and given time even the unicellular organisms dwelling in ocean's deepest fathoms may shift form and take to the skies. In celebration of the mysteries of evolution, Aurora Borealis proudly presents SYLVESTER ANFANG II. In the time since the release of Kosmies Slachtafval, Silvester Anfang have grown into SYLVESTER ANFANG II, a more psychedelic beast, a more tangible creature in some ways, but one that defies and confounds standard classification. Taking their cue from Krautrock communes of yore, the Flemish troubadours have expanded both ranks and minds and now present this giant new opus for general consumption. With cultish numbers swollen with new blood in the guise of Stef Anus (Kiss the Anus of a Black Cat), Father Sloow (Sloow Tapes pontiff), Bram (Ignatz) and Clay Ruby (Davenport, Burial Hex ), the sound is much fuller and more reminiscent of Krautish dope jams then ever before. Ruby's vocal additions create a whole new universe for the band, rather like if Dr. John had been born in a plague pit in Flanders, and the resulting tracks "The Devil Always Shits in the Same Graves" parts 1 & 2 are masterful examples of Flemish voodoo boogie. The new material is more hypnotic than before, and the band are sure to add new members to their fan cult as they slink across Europe like a fog in the coming months. Sure to upset parents and upstanding citizens with their occult themes and liberal Europeanstyle artwork, SYLVESTER ANFANG II reach new levels of consciousness with their mantras of goat worship and the orthodoxy of denial that states "Only analogue is real". Dust off your robes, sharpen the sacrificial blade, order in some Trappist beers... Tune in, turn on, evolve." [label info] www.aurora-b.com

€13.00

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SYNAPSIS

Materia

Format: CD Year: 2010

Zoharum opens new serie IYHHH-CDs in limited edition 444 pieces. The main idea of this serie is to show interesting, remarkable music projects, which usually have their debut by this release.But we also wish to remind You about rare, unavailable materials of these projects, which have been existed on the music scene from longer time and their side-projects etc. We can say that the main purpose is to protect this wonderful, original music from the oblivion, but also to recall and refresh it to new audience and collectors.. Albums signed as IYHHH are released on CDs, packed in uncoventional ecopack in format similar to occasional card with added post card. Each part of the serie will be the same design but different cover and catalogue number. "Second part of serie IYHHH. Zoharum presents new project of Dawid Chrapla (Nojens / Antibiotix) and Andrzej Turziak (:Wulgata: , Multipoint Injector). The album shows compilation of various styles: industrial, dark ambient and noise Limited edition to 444 pcs" [label info] www.zoharum.com

€12.00

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SZCZEPANIK, NICHOLAS

The Chiasmus

Format: CD Year: 2009

"Nicholas' debut CD is much more than an impeccably constructed piece of abstract drone music: The Chiasmus undulates between waves of quiet melancholy and overwhelming beauty, with small slices of pointillistic noise. an album where the emotional response is always the central focus rather then pure aesthetic concerns, the nuances of The Chiasmus are only revealed upon multiple listens; by then, the listener is completely tuned into the world it presents. packaged in a jewel with a 16 pages booklet of art by Avery McArthy." [label info] "... We mostly know him as the owner of Sentient Recognition Archive label, who produce some professionally packed CDRs of the moody, textured drone music around. I think this is the first time I hear his music. Its hardly a surprise that he creates such music himself. Drone music with a big D. Szczepanik seems to be drawing inspiration from all over the place. Through calm and atmospheres, he isn't too shy about breaking away from that and offer a louder end of his excursions. Things buzz and drone and sometimes bite your ear. Think a louder Organum meeting the softest Machinefabriek. The softer moments are the best, I think, but the louder bits (a minority here) provide a great counter point. Maybe a bit long, but very nice." [FdW / Vital Weekly] "A split release between bad ass French microlabel Basses Frequencies, and Szczepanik's own Sentient Recognition Archive label, The Chiasmus is Szczepanik's latest collection of dronology, and the first proper cd we've had (quite possible his first proper cd release entirely). We've long been fans, being the dronelords and ladies we are around these parts, and past Szczepanik joints have demonstrated a mastery of the drone, creating surprisingly lush and lustrous expanses of low end minimalism. On The Chiasmus, Szczepanik continues to move ever deeper, ever darker, five long tracks, each a different variation of drone, drifting from minimal black shift, to near Pop Ambient bliss. Record opener is cavernous, epic, Teutonic and slow shifting, peppered at the beginning with bits of glitch and hiss, the song soon settles into an uneasy sprawl, ominous and dangerously grim, but still somehow warm and expansive and enveloping. The second track shifts gears completely, unfurling a gauzy bit of chordal shimmer, all warm and sun dappled and delicate and gauzy, gentle tranquil melodies played out over minutes instead of seconds, a little Eno for sure, as the song drifts and flutters and hovers dreamily in midair. The final three tracks hover somewhere in between, deep moaning post industrial whirs laid over dense metallic buzz, the two layers slowly seeping into one another like some blackened sonic spill, deep bell like tones ring out, their tones frozen in time and stretched out into softly undulating sheets of sound, slightly reflective and iridescent and kaleidoscopic, glimmering and glistening underneath some alien black sun, and finally, a loooooooong stretch of grinding muted buzz, spreading out in slow motion, it's black shimmer infused with streaks of melody, as if some strange black seas was slowly growing warmer and coming to life before our ears. Fantastic, gorgeous stuff. Essential listening for the drone obsessed..." [Aquarius Records review] www.bassesfrequences.org

€12.00

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SZYMCZUK, MACIEK

Clouds

Format: CD Year: 2013

"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

€12.00

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TAINNOS

Kierto

"Vinyl reissue of this great tribute to the poetry of Rimbaud and Verlaine made by our favorite French sorcerer, who exceptionally abandones his typical imaginary language to reinterpret six small poems in his own way, jumping from one musical genre to the other and happily letting them crunch together in a childish, enthusiastic play. Recorded in Paris in his flatelier around the same time he recorded the wonderful Hystérie Off Music and previously available in an almost unnoticed mini CD edition published by the French label Jardin au Fou, it's now available in a remastered vinyl version - with an excellent 45 rpm cut made by SST in Frankfurt. Pressing info: 350 copies on black."

€16.50

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TAZARTES, GHEDALIA

Diasporas

The music released as Amulet (or The Amulet Edition) is Peter "Sleazy" Christopherson's semi-secret testament. Originally available in exceedingly limited quantities at live shows and via direct mail-order in 2008 as a hand-assembled 4 miniCDR set housed in a circular Thai Amulet case and never properly distributed, the material finally receives the wider re-release on vinyl and CD it so richly deserves. Only the second and sadly already the final release in his post-Coil solo guise as The Threshold Houseboys Choir "Amulet" sees Christopherson in a more playful mood than ever, don't be fooled by reviews calling this suite of songs "incomplete" or "working stage", these are rough little diamonds, often imbued with a bittersweet melancholy joy, unsurprisingly reminiscent of some of the final Coil offerings, but additionally steeped in exotica, inspired by his new East Asian home and the ghostly voices of his digitally generated choir ("a vocalist that wouldn't crash", as he would say). At times these tracks sound like a warmer, less analytically complex counterpart to the work he created simultaneously with CoH's Ivan Pavlov in the celebrated Soisong project. Bonus tracks feature rare earlier THBC compilation tracks and a few previously unreleased exclusive sketches. Let's be perfectly clear though, "Amulet" is not some half-finished cutting-room floor left-overs, it's a genuine but very little heard fully fledged album released by Christopherson with some of the tracks performed live on his last ever tour, the unforgettable intimate Evenings with Uncle Sleaz. The Infinite Fog edition, presented as a 3LP in a triple heavy Gatefold sleeve and a 2CD Digipak, both including a poster of Peter Christopherson in his infamous Cruella Deville coat has been respectfully and expertly remastered by grammy-nominated Jessica Thompson. Artwork by Oleg Galay overseen and with additional guidance from "our man in Thailand" Peter Jenx. https://infinitefog.bandcamp.com/album/amulet

€65.00

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THE THRESHOLD HOUSEBOYS CHOIR

Amulet

Format: do-CD Year: 2024

€28.00

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THE THRESHOLD HOUSEBOYS CHOIR

Format: 3 x CD BOX Year: 2022

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

€26.00

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THISQUIETARMY + YELLOW6

Death

Format: LP Year: 2010

" “DEATH” presents a lonely journey of great intensity across the desert, facing inner and external elements, fatally leading to an escape for salvation. The journey is split into three tracks: “Sand” discovers the tough, arid and suffocating desert, as attractive as it is frightening, it surrounds you completely without compromise and there is no turning back. “Furnace” describes the beginning of the blistering heat and the dusty pilgrimage; the rocky landscape is mirrored by a great loneliness in which is revealed our inner demons, ready to engage a battle without mercy against your own soul. “Salt” depicts the comatose state of being at the tail end of the journey, disoriented and dehydrated, lost within psychedelic hallucinations, physically fighting death with little of what is left of your mind. Mastered by Fear Falls Burning. 180g vinyl with free download coupon (no CD, unfortunately) 80 black / 320 gold." [label info] www.bassesfrequences.org

€14.00

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THU20

Live in Groningen

Format: CD Year: 2000

rare live-recording of the almost legendary dutch group consisting of JOS SMOLDERS, PETER DUIMELINKS and ROEL MEELKOP; rec. 21. Augustus 2000; last copies, lim. 400, special cover with strange folding "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]

€10.00

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THUJA

same

Format: LP Year: 2008

"A brand new vinyl only full length from aQ beloved ambient improvised free rock explorers Thuja. The core group is all present, Loren Chasse, Glenn Donaldson, Steven R. Smith and Rob Reger, joined for these sessions by Thuja satellite members: Greg Bianchini, Keith Evans, Bryan DeRoo and former aQ mailorder mistress Christine Boepple. Collected from various live performances, these tracks find Thuja setting up in various venues around the Bay Area, and transforming each location, at least briefly, into a forest glade, or a darkened wood, or a fog shrouded seashore, using traditional instruments as well as sticks and stones and other found objects to conjure up ghostlike soundscapes , each track, every performance, a slow burning sprawl of humid and humming minimalism. Almost the entirety of the A side is taken up by an epic stretch of alchemical minimalism, a muted series of washed out melodies, of gentle scrapes and distant shimmers, various notes and chords expressed in long streaks, the guitar lines unfurling lazily, the band eventually coalesce into a glistening high end crescendo, suddenly reminding us of Sunroof! with their upper register ur-drone skree, but here that skree is more muted and muddied, a mournful keening, before the band elves back into a more minimal moonlit crawl. Disembodied slowed down riffs are draped over whispered whirs, while the band lurk in the shadows, letting tiny bits of light spill out, creating barely there sonic patterns, and dusty dreamlike song skeletons. The B side is even more understated, each track a brief soundscape, exploring dark dusty corners, shuffling through a blanket of dead leaves, the band barely there at all. Almost like they set up their instruments and just stood there, letting the wind and the wildlife create the sounds. When the music does materialize, and take more solid form, the guitars weave themselves into delicate little tangles, drifting over deep resonant swells, all around sounds betray the environment, but become inexorable parts of the organic sound being created, snippets of conversation, voices, footsteps, alongside subtle bits of percussive thump, warbly distant melodies, a deep dark ambience, a gorgeously subtle sound that manages to be quietly propulsive even as it seems to hover motionless. LIMITED TO 500 COPIES!!" [Aquarius Records review] label-website: www.importantrecords.com

€15.50

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TIBETAN RED / THE OVAL LANGUAGE / DAS SYNTHETISCHE MISCHGEWEBE

The Breath of the Hydra

"il comunismo doveva morire is Torturing Nurse's first Mind Flare Media release. Absolutely devastating, this album is one single track running almost an hour and fourteen minutes long. The band suddenly breaks in from nowhere and immediately begins an assault on your ears, suddenly switching and transitioning to a variety of different power electronics landscapes. The artwork sums it up well, a symbolic representation of a dead politicial system. The back features similar art taken from famous propaganda and manipulated, ending with more political imagery inside and a CD that rests upon a pile of skulls. Without a doubt the harshest thing these guys have ever done. This stuff is powerful and not for the faint of hearing." [label info] www.mindflaremedia.com "Why noise from Japan was spectacularly good was that noise as miss-appropriation of western music in post war Japan was where miss-appropriation of the west was paramount, removal of tradition in favor of day glo Elvis's Whiskey made from genuine Scottish grapes and school girls in tartan mini skirts." . discuss.. Or why miss-appropriation has now firmly shifted to China might be the explanation of the ability of Torturing Nurse to take over the incoherence of noise from the great masters of Japan, and that in there inconsequential screaming, noise and feedback is what they do so well, whether from design, pastiche or naivety, it doesn't matter, all is symptoms without any traces, illness without disease, psychoanalysis of sanity, this is a culture which was never part of the monotheistic religions. Judaistic calling which engendered the enlightenment and guilt, Freudian Oedipus or Marxist theory ,T.N. is a superficial image, a simulacra of the west without foundation or introversion, it has nothing to attack or demolish, so is pointless, nothing to solve or cure, the name itself silly lacking any psychosis of western introversion, those bare chested lot who miss mommy, no this is noise as noise for noise from noise and nothing else besides, and 74 minutes which is never enough. All those blokes in Texas half drunk on Budweiser with their effects pedals, guitars and toys should take a listen and weep, no not weep, too much weeping already, maybe then get washed have a shave and get a job at HMV in the local mall, or else take up the dizi, sheng, paigu, paixiao, guan, erhu, zhonghu, dahu, banhu, jinghu, gaohu, gehu, yehu, cizhonghu, diyingehu, leiqin, guqin, sanxian, yangqin, guzheng, ruan, konghou, liuqin, pipa, zhu?????" [jliat/Vital Weekly]

€13.00

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TOY BIZARRE

kdi dctb 039

Format: mCD Year: 2007

"Der Code kdi dctb ist bei Cédric Peyronnets Fieldrecordings so obligatorisch wie in gewissen Parallelwelten das BWV oder dergl. ‚kdi dctb 039‘ speziell ist der Mittelteil einer Trilogie, die mit ’kdi dctb 151’ auf dem Split mit Dale Lloyd auf Bremsstrahlung in San Diego begann. Dass Peyronnet auf puren Naturklang (keine Synthesizer, Sampler etc.) pocht, wurde schon als bewusste Abkehr aufgefasst von der erzfranzösischen Pariser Musique- Concrète-Schule. Aber die Lauschangriffe auf die akustische Umwelt, hier nur deklariert mit ‚made in various places from 1994 to 2007‘, sind nicht weniger "typisch französisch". Oben propellert ein Flieger, unten knistern Laub und Ästchen, dazwischen ein Hüsteln, Klackern und Knurschen, ein Zwitschern, Bitzeln und Zirpen, wie ein Glas prall gefüllt mit ‚Wald & Wiese‘. Duchamp hat 1919 in einer Apothekenambulle ‚Pariser Luft‘ als Readymade-Gastgeschenk mit in die USA genommen. Peyronnet könnte entsprechend 20 Minuten ‚Heimatklang‘ verschenken, so komprimiert, dass er explosiv verpufft, dass es wie ein Percussionorchester aufrauscht und dann minutenlang nachbebt, als synästhetisches Konzentrat von ‚Natur‘, über die hinweg erneut Flugzeuge ihre Bahn ziehen" [Bad Alchemy] "kdi dctb 039 is a part of a trilogy made up of 'kdi dctb 151' (See bremsstrahlung recordings), 'kdi dctb 039' & 'kdi dctb 180' (TBR). Another piece about childhood memories composed only with field recordings made in various places visited from 1994 to 2007 : acoustic spaces, sound objects, sound auscultations, bits of soundscapes... Microphone and recorder as the primary tools. It's sometimes good to make a pause, seat and take a look at the past - then, some sound fragments may appear... our sound memory. toy.bizarre (Cédric Peyronnet / ingeos) - sometimes qualified as "rural headphone electro(acoustro)nic music" - works on field recordings, phonography, soundscapes, sound art, since 1985. He has released more than 40 works on CDs, tapes, videos, compilations...Contact : http://www.ingeos.org" [label info] "Throughout the '90s, Cedric Peyronnet would boldy announce that none of his Toy Bizarre recordings were made with synthesizers or samplers, instead with field recordings and collage techniques as his twin media. It has been speculated that this notion comes from a punk attitude against France's institutional avant-garde which evolved out of the work of Pierre Schaefer and Pierre Henri; but at the same time, Peyronnet's recordings focus on the specificity of sound locations, and the technology of samplers and synthesizers didn't have the ability to reflect the unpredictability that Peyronnet witnessed in environmental sound. While Peyronnet doesn't mentioned his aversion to technology on this 3" from Ferns, he's retained the same adventurous sensibility for dynamic edits coupled with nocturnal, slippery ambience. From the jump-start opening of crackling twigs and grasses with an airplane's Doppler-effected engine roaring in the distance, Peyronnet's 20 minute composition dissolves into elegantly fluid timbres weaving out of tactile sounds from sand, grit, gravel, and other bits of detritus. Once all of the sounds have all settled into a drift of stasis, a quick jump to another set of textures and abrasions begins with a corresponding set of sympathetic drones. Fans of Loren Chasse's field recording work, Tarab, and Steve Roden should all take note of this exceptional release." [Aquarius Records]

€6.50

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TRAMA AFONA

Trama afonA

Format: CD Year: 2010

"Trama afonA is the sound/visual project by Lorenzo Scacchia (Roma, 1977), a vain attempt to tramaphonise (convey) what he sees in the dark and hears into silence… Apart from a few self-productions, this album constitutes the first official release, gathering tracks composed between 2005 and 2008 (presented in reverse chronological order). Tracks 1, 3 were inspired by a wonderful creature. Tracks 2, 5, 6, 7, 8, 9, 10, 12 were composed as soundtrack for various solo photo/graphic exhibitions by Trama afonA. Track 4 drew inspiration from a story by H. P. Lovecraft. Track 11 was composed for an Italian compilation. Tracks 13, 14 were the soundtrack for the former Trama afonA’s website. Trama afonA is gathering suggestions from the contemporary quotidian theatre and at the same time from the past, namely the 19th and early 20th centuries. Paying particular attention to the individual and specific human stories, rather than to History… Focusing on what happens behind the scenes, aside, beneath. Subjects and dynamics less showy, blurred, but not consequently less interesting or worth caring. Opening doors and drawers using the sole curiosity as tool, walking backwards the traces of memory, wandering amid shades and details given by mystery, decadence, abandon, romanticism… Carefully delving into psychological dynamics. Openly denouncing the social plagues, but often humbly providing just visual and sound suggestions. A brief semantic note about Trama afonA: the Italian noun trama has 3 significations, corresponding to the English plot (as a story line as well as a conspiracy) and weft (of a woven material); the adjective afona means aphonic." [label info] www.greytone.eu

€13.00

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TREPANERINGSRITUALEN

Format: LP Year: 2013

"Under The Snow is a project by Stefano Gentile (guitar, objects, field-recordings) and Gianluca Favaron (microphones, field-recordings, processing). Stefano Gentile is well known for his work as owner of the Silentes and Amplexus labels; he is part of Maribor (along with Maurizio Bianchi, Nimh, Andrea Marutti and Gianluca Favaron) and in the past he has collaborated with Aube and Amir Baghiri. Beyond releasing under his own name, Gianluca Favaron 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. Released after a series of works for Silentes and U-Cover, "The Background Noise" is a single-sided 12" record, built starting from acoustic guitar sounds that develop on a background of statics and digital scoriae, where the cold and aseptic electronic frequencies melt with the plucked strings, resonating in a dramatic request for help or, maybe, in the warning of an imminent danger. A welcome release in the fast-growing discography of Under The Snow, that will appeal to fans of other Italian musicians like, among the others, Gianluca Becuzzi, Fabio Orsi, Enrico Coniglio, Stefano Pilia and Giuseppe Ielasi (who took care of the mastering). "The Background Noise" is released in a limited edition of 86 copies; an additional edition of 13 copies is also available, it includes a 30x30cm reproduction of the cover picture printed on high quality professional photo-paper. Due to the restricted amount of available copies you'd better not think twice about it!" [label info] http://13.silentes.it "As Under The Snow Favaron works with Stefano Gentile, who plays acoustic guitar and treated guitar picks, and Favaron is responsible for 'programming, electronics and signal processing'. They have released a bunch of CDs (see Vital Weekly 771, 786 and 826) of their improvised playing, in which the laptop picks up the guitar sound and treats that on the spot. Following a start in which the laptop seemed to prevail, the later releases had a more fine tuned balance of straight guitar sounds and laptop processing. This one sided LP has a twenty minute piece which continues the chosen road of the previous releases and shows us more crackles, static hiss and bangs on the guitar. Maybe a bit more chaotic than before, I thought, bringing out the element of improvisation more than on the previous releases. At the same time there is also a bit more drone like sounds, closing off the LP, and taking away some of the emptiness previously found in their music. I think it's great to see them slowly develop and become more and more like an improvised working unit. The combination of live laptop processing a live guitar is perhaps not something that hasn't been done before, as noted before, but again here, this seems to work rather well." [FdW/Vital Weekly]

€16.00

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Triadic Memories

Format: CD-R Year: 2006

"Ur were born in early 2005 as a collaboration between Federico Esposito and Mauro Sciaccaluga, both active in the italian hardcore circuit. They were later joined by Andrea Ferraris, past and present member of Burning Defeat, Permanent Scar, Onefineday, Deep End and One By One. Ur made their live debut at the Afe-Party in November 2005, and since then their live-sets have become more and more frequent. Recently they also opened for Eugene Chadbourne and Wolf Eyes during their italian tours. Their music is mostly based on free improvisation and its sonorities can't easily be described without referring to the seminal work of the well-known and wildest Industrialists of the late '70s / early '80s. "Triadic Memories" is their first "official" disc and comes after the self-released "Baptism & Birthday". There is a strong dramatic feeling in their powerful sound, where everything seems to reproduce a sort of wedding between the modernity of the media and the primordial instincts of the performers. "Movement #1" is taken straight from "Baptism & Birthday", and is usually played as the opening number of their live-sets. The track begins with an high-pitched theremin sound laid on a bed of reverbered and tortured bass guitar. More percussions and distortions appear along with a looping voice as the music turns into industrial madness. "Movement #2" is a more laid down piece of music built on a continuous drone enriched with scraped metals / objects and a female voice building tension over tension. Surprisingly enough, an accordion enters the mix accompanied by more looped voices and fades out as the track ends with cymbals hits. An early version of "Movement #3" already appeared as an untitled contribution to "Breaking Down the Barriers 1995-2005, Ten Years of Afe", an on-line compilation issued by Afe in late 2005 to celebrate its tenth birthday. With this final track we return to the industrial atmospheres of "Movement #1": feedback and bass distortions overwhelm a glockenspiel as an hooter alarm becomes more disquieting loop after loop. All sort of uncomfortable noises are used, and "Movement #3" ends with the lonely sound of a breathing voice. Far away from Power Electronics and Harsh Noise, "Triadic Memories" is more a sort of psychedelic and liberatory journey reminding the best old-school Industrial music experiments." [label info]

€6.00

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UW HYPOTHEEKADVIES

Nature of Nurture

"Aatma is the re-imagining of my recent journey into Mumbai through sound, place, and moment with a Nagra SD recorder. The work was composed immediately upon my return while these things were, in a very real sense, still resonating in my mind. Part 1 is the arrival. Echoes of the shanka can be heard from a distant past across the Arabian Sea, as waves wash debris ashore and push you deep into the tumult of the city. Here you may experience the current of life and ride old trains into spectral shadows of obscure & eccentric Bollywood and devotional vinyl records from a local music boutique. Part 2 is a precarious walk across the narrow causeway leading to Haji Ali Dargah, a 600-year-old mosque only accessible at low tide. It is difficult to reach the mosque without being taken aback by the disparate forms of life unfolding on the way in, both in the sky and on foot as can be heard here. Part 3, the final section, is a departure from the hustle of the city altogether. This section delves into the droning, colorful, and percussive instruments with their richly complex and evolving timbres. It culminates in a return to daily shanty life on the beach accompanied by transistor radios blasting modern bollywood music. 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. I hope you find this journey as inspiring as it was for me." [Mike Vernusky] Music and field recordings by Mike Vernusky Mastering and additional tempura by Cory Allen Design by Noopur Choksi Photography by James David Smith Kind logistical support by Bhanuj Kappal, Damian O'Riain & Jay Kumar Singh. Special thanks to Manuella Blackburn and illapfest UK. Bollywood vinyl courtesy of Pilak Bhatt of MusicCircle. https://fernsrecordings.bandcamp.com/album/aatma

€18.00

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VESTIGIAL

Translucent Communion

Format: CD Year: 2025

"Vestigial Announces Long-Awaited CD Reissue of Cult Dark Ambient Debut "Translucent Communion". An Ominous Classic from the Depths of Italy’s Underground Returns. Italy’s shadowy sound architect Vestigial, the artistic alias of Peppe Ferrillo, announces the long-awaited CD reissue of his 2008 dark ambient debut, "Translucent Communion". A cult favorite in Italy’s experimental music scene and long out of print, this reissue brings back the bleak meditations and apocalyptic soundscapes that first established Ferrillo as a visionary voice in ambient music. Translucent Communion carved its place in the genre with an approach that was subtle, textural, and deeply atmospheric. Unlike many of its peers, Vestigial’s debut refrained from relying on standard droning techniques or gothic theatrics. Instead, the album evoked vast, desolate landscapes, tectonic movements, boiling magma, and icy voids with restrained precision and haunting elegance. Critics praised the album’s minimalist ethos and meditative power. Now, nearly two decades later, Translucent Communion returns to physical form, presented in a new CD edition with Ferrillo’s own updated design work, bleak, elegant, and deeply interconnected with the sonic content, reinforcing his identity not only as a musician but as a complete aesthetic auteur. With a growing international appreciation for dark ambient and minimalist electronic music, this reissue offers both longtime fans and new listeners a chance to revisit (or discover) a defining work in Vestigial’s haunting catalogue, a debut that whispered of extinction, cosmic indifference, and what lingers in the silence beyond civilization. CD edition of 200 copies in 6 panel Digisleeve. 6 Tracks. Running Time 47:20 EAN: 3770033798362" https://cycliclaw.bandcamp.com/album/translucent-communion "Having developed a strong cult following with their limited CD-R, a split LP, and compilation works, Vestigial (Italy) come forth with their debut CD poised to establish themselves among the dark ambient elite. The Translucent Communion - a reflection of the hollow and imaginary archetype of our civilization, a blackened view on the humanity falling into a perfect nothingness of technocratic illusions, a refined and well designed disharmony for our next generation. 6 tracks that arise from the shadows, then spread and sweep across a barren, wind swept landscape, creating a sound so thick and texturally deep it swallows the earth like a venomous fog. Comparisons to Raison D'Etre, Lustmord and Bad Sector are reference points, but only hint at the massive potential of Vestigial. Presented in a lavishly designed 6-panel, partially varnished digipak." [original label info Cold Meat Industry]

€14.00

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VIBRACATHEDRAL ORCHESTRA

The queen of guess

Format: CD Year: 2003

“While certainly VCO's most upbeat and percussive music, the nine tracks on this immense, visceral slab of rackety action run through a wide range of styles. "Ramshackle Sunrise" has a gamelan-like, five-note melody overlaid with a hovering drone. "The Silent Socket" rocks with "Sister Ray"-style guitar careening along side actual drums. The two 20-minute epics that bookend the record are a study in contrasts: "Your Head Shone Like A Stone" has a heavy, excited buzz, while the closing "Goodnight Stars Goodnight Air" is a gentler acoustic epilogue, gliding into the rosy future.” [press release]

€14.00

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VIBRACATHEDRAL ORCHESTRA

Tuning to the Rooster

Format: CD Year: 2005

Die Meister des instrumentellen impro-psych-drones mit neuem Material, dass zum ersten Mal durch ein 24-Spur Mischpult gewandert sein soll (und nicht wie sonst aus simplen 2-Spur Aufnahmen besteht). Nicht nur alte Acid Heads wie JULIAN COPE halten diese in quasi-rituellen Gruppen-Performances entstandende Musik für zeitgemässes Schamanentum, mit der bewussteinsverändernde Exkursionen möglich werden.....hier trifft die Kraft des Ur-Klangs, des Ur-Drones auf archaisch-menschliche Ekstasewünsche, und das macht das VIBRA-ORCHESTRA so besonders.... "This is music as a shamanic aid, made as much for the players themselves as for the listeners. But as I'm writing from the listening perspective, I have to inform y'all that this is music to get you there. Every track sounds as though it has always just 'been there,' it's just you ain't quite tuned into its peculiar frequency until now. The 12-and-a-half minute 'Wearing Clothes of Ash' is like a piano-led 'Paradieswarts Duul-period drone-a-thon with John Cale and Terry Riley guesting on viola and keys. Following this, the sublime 'Baptism Bar Blues' is proof positive that they can rock the riot house with pure adrenaline rush when the decision is made. Indeed, this track is magnificent and should be available to the masses free or in pill form." [Julian Cope] “Vibracathedral Orchestra are one of those rare groups with a completely singular sound and a seemingly endless reserve of psych rock free drone inspiration with which to explore it. For us, they are one of the only bands who we could literally listen to forever, an everlasting endless jam, unfurling over the course of the next 50 years, each riff unfolding every month or so, each drum hit an entire day, melodies stretching for weeks and weeks. Our eyes close and we drift off to the next world while the music plays on... That's exactly how it feels listening to Tuning To The Rooster. The songs are long, and they do feel gloriously and deliriously long, but they're never quite long enough. Not for us anyway. VCO have been masters of the drone, of the slowly shifting soundscape since their inception, but much like Skullflower discovering their inner Hawkwind on recent records, VCO seem to also have rediscovered the RIFF this time around. The opening track is like an Allman Brothers track gone totally apeshit. Or maybe Skullflower jamming with the Outlaws. Or something! There's a jangly sort of Southern rock riff, over chaotic propulsive drumming, a serious jam for sure, but the whole thing is wrapped in a thick cloak of droning shimmering distorted guitar noise, a continual psychedelic freakout SO continual that it becomes a static psych rock drone, with the original riff eventually repeating mantra like until it meshes with the background drone and it all becomes a brain melting divine psychedelic jam of the highest order. Woah, everyone who freaked out over Skullflower's Exquisite Fucking Boredom needs to check this out! The second track is back to that classic VCO sound we can never get enough of. A primal primitive space jam, all drones and rumbles and whirs and shimmers, a glorious pagan ritual that makes us want to lay naked in the middle of the forest and sink into the wet leaves as our eyes sparkle with reflections of shooting stars. Drifting and dreaming... The last two tracks again focus on the riff, hypnotic and repetitive, like Steve Reich composing for Hawkwind. A glorious minimal psychedelic jam, wreathed in a haze of swirling feedback and wild melodies, minor key pianos, and all manner of swoosh and swoop. So utterly and fantastically divine!“ [Aquarius]

€15.00

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VIDNA OBMANA

The Trilogy

Format: 3 x CD Year: 2018

Dirk Serries, known for his Zoharum collaboration with Celer entitled 'Background Curtain', was operating for many years as Vidna Obmana. The first recordings under this moniker appeared in the mid-1980s. Initially in his work he penetrated very rough industrial sounds, but at the beginning of the following decade he turned to ambient music with subtle ethnic undertones. His first albums, where he successfully explored this style and which also brought him wider notoriety, were 'Passage in Beauty' (1991), 'Shadowing in Sorrow' (1992) and 'Ending Mirage' (1993), composing a trilogy in both sonic and visual sense. A few years later, they were reissued in one package by the American label Relic. This year marks the 25th anniversary of the release of the last album from these three. This is a good opportunity to bring the entire trilogy to light again, as it is considered one of Dirk Serries' outstanding achievements as Vidna Obmana. On top of that, all three albums, both in the form of a triple compilation and as single discs, have long been unavailable and reach quite high prices on auction sites. The discs received a new graphic design, their sound was also remastered by the artist himself. We can enjoy over three hours of these classic ambient sounds again. The triple album is released in an 8-panel digipak and it is strictly limited to 400 pieces. The cover is designed by Maciej Mehring based on the photographs by Martina Verhoeven. Dirk Serries himself is responsible for the mastering. The whole production process was overseen by Michał Porwet. The trilogy will be also available as a limited wooden box with an expanded content. zoharum.bandcamp.com/album/the-trilogy

€20.00

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VIDNA OBMANA

Twilight of Perception Redux: Volume One 1990 - 1998

Format: 3 x CD Year: 2024

After quite a numerous series of reissues of classic albums, it's time for another real treat for fans of the VIDNA OBMANA. The compilation "Twilight Of Perception Redux Volume One 1990-1998" opens a collection of rare recordings, often unreleased before or scattered on various types of samplers, small formats, which are practically impossible to obtain today. Now these tracks have been collected in one place, rearranged, remastered and provided with a proper commentary by Dirk Serries. This collection, planned for at least four parts of three-disc compilations, is both a reliable compendium and a supplement to VIDNA OBMANA extensive discography. This edition released in an eight-panel digipack with graphics designed using a photos by Martina Verhoeven. All tracks recorded and mixed between 1990 and 1995 at the Serenity Studio, Belgium. All tracks composed, arranged & played by Vidna Obmana. Vidna Obmana: Atmospheres, various fujara's, overtone flutes and percussion, dreampipe, recycling & abstract mutations, voices. Remastered for this edition by Dirk Serries, May 2024. All tracks previously unreleased, except : 1.3 – previously released on Arcana Cœlestia (Nexus One • An International Musical Explorer) (1993, Multimood Records) 1.5 – previously released on ‘Soundscape Gallery – Series One” (1997, Lektronic Soundscapes) 1.6 - previously released on ‘Fairy Tales & Myths” (1990, 3Rio Art Tapes) 1.8 - previously released on ‘From Across This Gray Land, no 3” (1992, Projekt Records) 2.1 - previously released on ‘Twilight Of Perception” (1996, Projekt Records) 2.2 - previously released on ‘Sequences No. 14” (1996, F.A.M.E) this is the original unedited version. 2.3 - previously released on ‘Objekt 5” (1992, Ladd-Frith) 2.5 - previously released on ‘Of Sound Mind” (1993, Godsend Magazine) 2.6 - previously released on ‘The Throne Of Drones” (1995, Asphodel/Sombient) 2.7 - 2.1 - previously released on ‘Twilight Of Perception” (1996, Projekt Records) 2.8 - previously released on ‘Swarm Of Drones” (1995, Asphodel/Sombient) 2.9 - previously released on ‘Michael Halcyon Presents Oscillations (The First Transmission From Halcyon Recordings)” (1998, Halcyon Recordings) 3.2 - previously released on ‘The Art Of Marginal Talent” (1997, Marginal Talent) 3.3 - previously released on ‘The Ambient Expanse” (1998, Mirage Records) this is the original version. 3.4 - previously released on ‘The Other World)” (1998, Hypnos) 3.6 - previously released on ‘Ambient Nation Volume Two” (1995, Art For Ears) https://zoharum.bandcamp.com/album/twilight-of-perception-redux-volume-one-1990-1998

€21.50

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VIOSAC (VIOLENCE AND THE SACRED)

Dawning Luminosity

Format: CD Year: 2010

"53 minutes of peaceful, channeled, ambient drone. Layers of analogue processing culminating in Frippertronics.." [label info] www.viosac.net "Back in Vital Weekly 656 we were re-introduced to Violence And The Sacred performing as Viosac, the new name of what was once known as just Violence And The Sacred. Still I have no idea why they hold on to the addition 'Performing As Viosac', and not just simply return to the old name. 'Rusty Pile' wasn't a convincing come-back album I thought. Perhaps a bit too much of an unedited jam-session. The CD after that 'You Are PLanning To Enjoy The Apocalypse' wasn't received here. The new work 'Dawing Luminosity' is however a great work. Viosac move into a more ambient territory here, which not necessarily adds much to the world of ambient and drones, but the quality is great. Its one piece in three parts and I'm told its all analogue synthesizers and analogue processing. Very slow moves around here, this an almost perfect piece of surround sound, ambient in the very most true sense of the word. An excellent disc of some heavenly music. As said, it doesn't add much, if anything at all, to what we already know about this kind of music, but its very rare that it unfolds into such a beauty." [FdW / Vital Weekly]

€13.00

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VON HAUSSWOLFF, C.M. (CARL MICHAEL)

Perhaps I Arrive - music for Atatürk Airport, Istanbul

Format: do-CD Year: 2008

"This double disc set includes some of the most unusual sounds you will have heard from Carl Michael von Hausswolff. The story goes like this. Von Hausswolff was chosen by the 1997 Istanbul Biennal to create a sound installation for Atatürk Airport. His classic sound combining low frequency rumblings, very monotonous oscillations and hissy non-narrative sequences was deemed too confusing for the commutors. It was feared, von Hausswolff’s sound installation might be mistaken for an alarm and would be capable of causing serious panic at the airport. Hence the original soundtrack for “Perhaps I Arrive” was neglected. This music can now be heard for the first time on disc 1. Carl Michael von Hausswolff’s response to the artistic restrictions was to produce the four tracks you hear on the second disc. These only make use of the very basic pre-set industry sounds included in the Yamaha QY22 and show a new side to the von Hausswolff sound. Very simple, post-nuclear lounge music. These four tracks you guessed it! ¬were happily used in the context of the Biennal exhibition. Art is a three-letter word (William S Burroughs)" [label info] "Nothing is for a musician more annoying than a response like: whatever you are doing, it sounds like a test tone, alarm signal, hiss or worse: I think your equipment is broken. So when Carl Micheal von Hauswolff was asked by the Istanbul Biennale to make a site specific work at their airport, he was probably very annoyed when they turned down his piece of low rumbling, because it could have caused alarm. So instead he created something else, on a Yamaha QY22, using preset sounds only - probably to annoy the organizers. Now both versions are released as part of this double CD - the rejected piece on one CD, and the accepted on the other. The rejected piece is indeed a piece of low rumbling, a bit of hiss sounds (long waves picked up from the ether I think) which may not have worked at the airport - depends of course on how things are presented - but for home listening I must say this is quite nice. Perfect Hauswolff styled hiss music. And what a difference indeed with the accepted version. Four pieces there of lounge like music, but with a more forceful rhythm underneath, so it wouldn't entirely work in lounge bar. But you can imagine people at an airport, hastily walking along Hauswolff march like beats and bittersweet keyboards with a vague trace of arab-like sounds. This is a side that we haven't heard from him before, and it's not something he should do a lot (or in fact never did again, as far as I can recall), but it's surely a curious album. " [FdW / Vital Weekly] www.aufabwegen.com

€18.00

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VOX POPULI!

Sucre De Pasteque

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

€39.50

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WINER, LESLIE & VON HAUSSWOLFF, C.M

1

Format: LP Year: 2015

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

€26.00

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WIRE, THE

issue # 292 (June 2008)

Format: mag Year: 2008

"On the cover: Evangelista (Since covering Willie Nelson's 'Red Headed Stranger,' Carla Bozulich has been shunting alt country deeper into hardcore improv territory with her new group). Features: Machinefabriek (Rutger Zuydervelt tells Chris Sharp why 3" CD-Rs are the perfect medium for his electronic streams of consciousness); Dylan van der Schyff (Vancouver's busiest drummer talks about his work with John Butcher, pianist Peggy Lee and more); Cross Platform: Anat Ben-David (Chicks On Speed's Israeli recruit interrogates pop and politics in her performance art piece, Popaganda); Invisible Jukebox: The RZA; Yoshi Wada (Inspired by La Monte Young and Pandit Pran Nath, the Japanese Fluxus artist explores the 'sympathetic resonances' of his homemade bagpipes and horns); People Like Us (Adopting the motto 'all things avant retard,' Vicki Bennett creates witty audio cut-ups and collages that slyly subvert heavily mediated images of Britain); Nihilist Spasm Band (The likes of Joe McPhee, Voice Crack and Jojo Hiroshige have all made the pilgrimage to London, Ontario to attend the Canadian noise veterans' No Music nights)." [Verlagsinfo] www.thewire.co.uk

€8.75

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XENAKIS, IANNIS

Hibiki Hana-Ma / Mycenae Alpha / Polytope de Cluny

Format: LP Year: 2022

"Hibiki Hana-Ma" was created in 1969 for the Steel Pavilion of the Japan Iron and Steel Federation at the Expo 1970 in Osaka as musical part of a multimedia show. Even though the work does not bear the designation in its title, it can be already regarded as a Polytope: it was created for a specific architectural location, lasers and mirrors have been installed: a light choreography by the Japanese artist Keiji Usami accompanied the spectacle. This concept of synchronized laser and light choreographies -- now directed by Xenakis himself -- can soon be found in Polytope de Cluny 1972 and 1978 again in the Diatope (La Légende d'Eer). But Hibiki Hana-Ma is also a hermaphrodite in another sense: on the Japanese record release from 1970 Seiji Ozawa is credited as conductor of the Japan Philharmonic Symphony Orchestra and Kinshi Tsuruta as Biwa-soloist (a traditional Japanese string instrument). By listening one quickly realizes that the music is not orchestral or Biwa music, but only uses electronically processed recordings as source material for an electroacoustic music. Xenakis's first explicit Polytope (Polytope de Montreal 1967) was originally conceived for four orchestras, and then transferred to tape for practical and financial reasons. The first concept of a Polytope was an installation with live-orchestra-music -- as the tape version is a recording without further electroacoustic treatment, it is not included in this release. Like Hibiki Hana-Ma, Mycenae Alpha is also a special case but for another reason: it was composed for his last Polytope (Polytope de Mycènes 1978) and consists exclusively of synthetic sounds, realized with his graphic system UPIC. The result is rough and sober and marks the beginning of his last electroacoustic compositions, shifting back to purely electronic music. With Hibiki Hana-Ma and Mycenae Alpha, the first side of the record vividly demonstrates the vast musical range of the Polytopes, from recorded orchestral sounds to purely electronic parts. The synthesis of the most diverse musical materials had taken place in between, especially in compositions like Persepolis (1972) and the joyful-noisy Polytope de Cluny (1972) that is presented here on Side B. Polytope de Cluny was performed several times a day for six months in Paris and was a real multimedia event: the audience could relax on pillows on the floor of an old Roman bath in the middle of Paris and listen to Xenakis's architecture of sound and light. https://karlrecords.bandcamp.com/album/hibiki-hana-ma-mycenae-alpha-polytope-de-cluny

€20.00

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XQM / EMERGE / LDX#40

Session #43, recomposed

Format: CD Year: 2019

original field-recordings and sounds by xqm reworked and recomposed by EMERGE and LDX#40 xqm - Session #43 | 2018-07-05 | Track #02 Recorded during 43rd session 05th.July 2018 at WWII shelter Koblenz-Neuendorf/Germany Manuel Schaub: Sequencer & FX Matthias Weigand: Analog Synth & FX, Recording & Mastering xqm-beats.bandcamp.com EMERGE - trover composed in the region of Kutná Hora final editing and mastering in Berlin in August 2018 emerge.wordpress.com LDX#40 - Pangea Mix Assembled in Frankfurt/Main in December 2018 kunstscheisse.net/ldx40 vimeo.com/ldx40 xqm artist-edition available here: ecocentricrecords.bandcamp.com/album/session-43-recomposed credits released November 8, 2019 VITAL WEEKLY There is a slightly confusing cover here, which tells us that the music recorded by xqm is the source material for the other two, but the booklet may seem to indicate that the order of the CD is Emerge/xqm/LDX#40, whereas it is xqm/Emerge/LDX#40. The previous time I heard music by xqm I found it rather noisy and left it to Jliat to devote a review to (Vital Weekly 1187). For no reason I expected this to be along similar lines, but here the duo went out with the sequencer, analogue synthesizer and effects to produce a twenty-one minute piece of drone music, with a fine dark undercurrent and some heavily produced white noise/hiss-like sound that over the course of the piece becomes a very fine dark ambient beast. Emerge then applies his 'usual' cut-ups techniques to it, by alienating the sound and using a collage-like approach. It means that there are all the colours of ambient industrial sound pass by, and they either have a full stop or a gradual, chameleon changeover. LDX#40, of whom I may not hear a lot before, prefer to stay in one dark ambient field with a slightly more distorted drone, without it all turning to true noise fest. There is some excellent buried tension in this piece that has some fine suspense; like a good horror movie. Even though the presentation is a bit weird, this is a very fine three-way compilation. (FdW) https://immerge.bandcamp.com/album/session-43-recomposed

€12.00

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YEN POX

Deliver

Sold out

Format: 7inch Year: 1995

this newcomer sets your mind in fire with the most alien and deepest possible spacey landscape - not from this world "LIMITED+NUMBERED FIRST EDITION OF 250 COPIES. RED VINYL, HANDMADE SILK-SCREENED COVERS THIS DUO FROM THE U.S. MAY BE KNOWN ONLY TO VERY FEW LISTENERS OF EXTREME MUSIC SO FAR. YEN POX ONLY RELEASED ONE FULL-LENGTH-TAPE IN 1994, WHICH WAS SO AWE INSPIRING THAT DRONE RECORDS DECIDED TO RELEASE A FIRST 7" AS SOON AS POSSIBLE. IN THE MEANTIME, YEN POX ALSO APPEARED ON THE OUTSTANDING CD-COMPILATION "INVISIBLE DOMAINS" (MALIGNANT RECORDS) - THE SAME LABEL THAT HAS JUST RELEASED THEIR DEBUT-CD. THE YEN POX SOUND CAN BEST BE DESCRIBED AS DEEPLY DRONING POLY-DIMENSIONAL SOUNDSCAPES, RATHER DREAMSCAPES, THAT TRANSPORT THE LISTENER THROUGH ALIEN, DARK AN SURREAL ATMOSPHERES, COMBINED WITH A KIND OF STRANGE ENERGY THAT DOESN'T LET YOU STAND STILL. THE TWO TRACKS ON THIS E.P.,'DELIVER' and 'REMOVE' SHOW YEN POX WORKING IN THE MOST DARK, GLOWING AMBIENT MOOD POSSIBLE. THIS IS STIRRING FOOD FOR YOUR BURNING SOUL! "LET ATMOSPHERE SPEAK THROUGH THESE UNIQUE POLY-DIMENSIONAL SOUND-WAVES" DRONE RECORDS DR-15/ DECEMBER 1995

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YEN POX

Between the Horizon and the Abyss

Format: CD Year: 2015

"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]

€13.00

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Z'EV / FRANCISCO LOPEZ

Buzzin' fly / Dormant spores

Format: CD Year: 2006

Zwei lange Stücke auf dieser beeindruckenden CD, die auf gemeinsam erstellten Klangquellen beruht. Das 32 minütige "buzzin fly" von Z'EV ist ein atemberaubendes Dronescape voller aufblitzender und schneidender Sounds, bei LOPEZ wird daraus eine 40minütige Versenkungsübung, wenn mächtige Eisberg-Drones auftauchen und wieder verschwinden gerinnt die Zeit, hier tun sich furiose Welten auf ..... genius stuff !!!! "A sensational collaborative album between Z’EV, one of the forefathers of industrial music, and renowned Spanish artist Francisco Lopez, known for his releases performances and installations worldwide. Z’EV’s ‘buzzin’ fly (in loving memory of Tim Buckley)’ is a full spectrum 32 minute piece full of dynamic shifts, sonic worlds and can be described as oceanic in feel. Lopez’s ‘dormant spores’ takes 40 minutes to run it’s course, and is perhaps a more meditative piece than Z’EV’s, but no less challenging. Lopez skilfully crafts minimalist hypnotics that can be as destructive to delicate eardrums as they are captivating. Both works complement each other and form a powerful album that Lapilli and Black Rose Recordings are happy to release." [label info] "...Lopez more than Z'EV, but both are avid collectors of sound material from the world that surrounds us. Lopez is the man with the microphone, while Z'EV does that too, but he also is on the look out for material to play his percussive music on. Throughout Z'EV's career percussion music has played an important role, but the studio has had a likewise big role in his work. Using the studio (no doubt a harddisc these days) to its extreme, using as many tracks as possible to make subtle shifts and changing patterns throughout the piece. Perhaps the opposite of how Francisco Lopez: using sometimes just one or two sound sources and exploring them through radical equalization. Before he did this using a very low audible range for his music, but lately he has shifted towards audible material, but in cut-up/collage way. Here it is no different. The sound sources of both are presented in a strong collage form, in which loud/soft material, sometimes with smaller blocks of silence in between them. A very intense piece of music. In the five pieces by Z'EV things stay throughout on a more equal level, in which sounds seem to shift and phase along side each other. The whole thing, rather one piece in five blocks than five separate pieces makes a highly psychedelic pattern of sounds moving in and out of phase. Two sides of the coin called field recordings and both sides, even when so different, are equally great. Powerful, intense and illusionary. Great stuff." [Fdw / Vital Weekly] "Sadly, this is music that some would describe as “ambient”, simply because that seems to be the going term for music that doesn’t have drums or traditional style guitars. The problem with that definition is that it is considered synonymous with “nothing really happens” and there is a world of chthonic wonder to be found in the depths of the sounds herein. It’s virtually impossible that any fan of experimental or concrete music will not have happened upon the works of either Z’ev or Lopez in their travels. Each is prolific, respected and established within the community. The album is a split, rather than a collaboration (hence the divided title) with the first half, comprised of five shorter linked tracks, belongs to Z’ev, the second, a long single piece, to Lopez. The two halves are a nice match, with the almost blissful organic drift of the former leading nicely into the intense rise and fall of the latter. This release is all about the texture and progression of sound, so if you are looking for something that truly is ambient- something inoffensive that meekly fades to the background- you might want to look elsewhere. If you’d prefer to throw on headphones for something that will reveal itself more with each subsequent listen, you could do a lot worse." [KM, Adverse Effects]

€13.00

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ZANANA

Holding Patterns

Format: CD Year: 2005

Äusserst sphärische Kompositionen mit Trombone und Gesang (und andere gesampelte Geräuschen), von diesem « electro-acoustic chamber music duo » von Kristin Norderval und Monique Buzzarte; beschwört eine kaum fassbare, intensiv hypnotisch-surrealistische Atmosphäre herauf..... auf dem PAULINE OLIVEROS-Label. „Zanana (za-NAH-nah) is an electro-acoustic chamber music duo featuring Kristin Norderval, (voice) and Monique Buzzarté (trombone) collaboratively composing and performing improvised music blending acoustic sounds, electronics and live processing. Zanana's inception dates from an all-night peace vigil concert in the fall of 2002 when Kristin invited Monique and poet Barbara Barg to join her for an evening of improvised music and spoken word. Since then Monique and Kristin have continued developing repertoire as a live processing duo, recording and performing in venues ranging from concert halls to clubs to abandoned buildings. Zanana uses improvisation as the foundation of their compositional process. While some works are free improvisations, some are structured improvisations and some are composed works with aleatoric elements, all are rooted in the expansive practices of Deep Listening. Zanana takes its name from a variant spelling of "zenana," the portion of a house in southwestern Asian countries exclusively dedicated to women. Holding Patterns is a compilation of live recordings selected from Zanana's first season of performances. Gasholder Duet is an improvised duo of unprocessed acoustic sounds recorded live inside the historic Gasholder Building in Troy, NY. Doorjam and Ghost Dog combine live processing of both the voice and trombone sampled in real-time with prerecorded soundfiles of ambient recordings made at the Gasholder Building and prerecorded and electronically processed voice soundfiles. Flags, Title X, and What a Pretty Dog were recorded live in concert in New York City. Poet Barbara Barg provides the text for Flags and joins the duo on spoken word on What a Pretty Dog in honor of Monique's dog Suki, who was accustomed to hearing this phrase regularly from strangers throughout her life.” [label description]

€14.00

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ZENIAL

Connection Reset by Peer

Format: CD Year: 2012

"It's Zenial's first album in 6 years, and it shows his creativity in the context of live activity. It does not mean that 'Connection Reset by Peer' is a live album as such. Yes, the source material for the record was recorded live during sonic experiments and creating sound installations over the past few years. The album is not a compilation though-it's a well-weighed entity, thematically and sonically coherent. 'Connection Reset by Peer' is a result of interferences of environment sounds based to a large extent on electricity, radio feedback, electromagnetic field sounds emitted by current generators and elements of the so-called field recordings." [label info] www.zoharum.com "After six years Zenial, also known as Lukasz Szakankiewicz, returns with a release. Apparently he was occupied with playing live music in between, bringing him all of the world, even into Peru, Ecuador, Luxembourg and Kazakhstan. The four pieces on this new CD deal with works that were recorded over the past few years, live in concert or from sound installations. Zenial uses environmental sounds, but mainly those which deal with electricity, radio feedback and electromagnetic fields. Music which is entirely different than the one produced by Inner Vision Laboratory. Music that owes equal portions to musique concrete, noise and microsound, not necessarily in that order. This is where I think noise is interesting. Things buzz, crackle, hiss and form long wave sine tones, radio interceptions, stuck together in an interesting collage of sound. It reminds me of the work of Francisco Meirino with some minor differences. Zenial is through a bit louder on an overall level and is therefora little less dynamic. Also more than Meirino does, Zenial works with computer treatments and not straight with the sound material itself. Quite a loud release but one that works pretty well. For the strict lovers of noise probably too intelligent and perhaps that's why I quite enjoy it. The most curious thing is probably the inclusion of a remix by Michel Banabila, from The Netherlands. Best known for his (fourth) world music, but here he proofs he knows his way around with more abstract material, although far away, an ethnic influence can be heard. Maybe working on a new career as a remixer? It fits well here." [FdW/Vital Weekly]

€12.00

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ZENIAL

Foil Punk

Format: CD Year: 2025

https://zoharum.bandcamp.com/album/foil-punk The new album by Łukasz Szałankiewicz aka ZENIAL contains a total of eight tracks, ranging from broadly understood experimental electronics, which is the result of his experience gained in numerous musical projects. You can hear here echoes of previous achievements under ZENIAL, but with the influence of music previously known from, among others, Angst’78, NOR_POL or Aabzu. The subsequent issues close with a clasp outlined by the topic, which is also a tribute to cyberpunk culture, with all its character, philosophy and formula, often drawing a dystopian, slightly post-apocalyptic vision of the future, but also engaging in a discourse on issues related to conspiracy theories arising from in a wide stream, as a reflection of the fears that consume communities in the face of the unknown. The musician does not provide answers, but invites us to a discussion about AI and the dangers lurking in the near future, in which scenarios caused by fears and ignorance are to be realized, while presenting the point of view of a person who is more aware of the futuristic model in which humans are only the mode of the great dehumanized wave of the universe. The material was recorded at the French institute Center National De Création Musicale in Reims. Music by: Łukasz Szałankiewicz Mastering by: Rafał Sądej Front cover by: Łukasz Pazera "In a world brimming with uncertainty and quickening paranoia, Lukasz Szalankiewicz - known to the realms of experimental electronic enthusiasts as Zenial - has unveiled a dystopian soundtrack for our times, one that smacks of cyberpunk echoes, metallic ghosts, and the palpable tension of a future where humanity grapples with its own obsolescence. "Foil Punk" is an album forged in the unsettling hum of machines, where each track feels like a sonic fragment from a fractured, possibly doomed, future. Recorded at the prestigious Centre National De Création Musicale in Reims, and heavily influenced by cyberpunk aesthetics and conspiracy theories, "Foil Punk" invites listeners to engage in an uneasy discourse about artificial intelligence, human fear, and the inexorable march of technological dehumanization. The album is an experience where fear is not merely a backdrop - it is the architect, the engine, and the very air we breathe. From the very first track, "Katedra 2.11" a rapid-fire flurry of glitchy, otherworldly pulses, Zenial doesn't hold back, pulling the listener into a world that is both harsh and hypnotically alluring. There's an overwhelming sense of urgency, as though the machinery of the universe is accelerating past our comprehension, leaving us in a state of perpetual catch-up. The track lasts just over four minutes, but it feels like a condensed eternity - sound unfurling like an unraveling narrative of our technological plight. "I'm Yours" follows, with its ethereal, almost romantic quality. A deceptive track, it might first sound like a reprieve from the chaos, but in typical Zenial fashion, it quickly becomes disorienting. The melody collapses into a stuttered rhythm, like a heart skipping beats, a metaphor for a world where control is a façade. Track 3, "Access granted" feels like an invitation - and a warning. Its cold, mechanical voice proclaims permission granted, but the warm rush of relief that accompanies the words soon morphs into something unsettling. The tone suggests that in the near future, our access to everything we desire will come with a price. And who is in charge of granting it? This question lingers, even after the track ends. And then comes "Deckard" - a sprawling 13-minute epic that calls to mind the towering, sterile landscapes of Ridley Scott's "Blade Runner". The track is built on low, rumbling bass and erratic, fractured rhythms that stretch across the entire piece, as though the machinery of this dystopia is malfunctioning, pushing through systems that were never meant to interact. Zenial’s knack for weaving tension from silence and noise is unmatched here, as the soundscape builds relentlessly, like a machine on the brink of overload. When you reach "Leon Kowalski, serial number N6MAC41717", the longest track of the album, you're deep in the belly of the beast. This 14-minute piece feels like an odyssey, a journey through the decaying underbelly of a world run by algorithms, surveillance, and a profound sense of human alienation. The name itself - a nod to "Blade Runner" - suggests that this track is more than just a sonic exploration; it's a tribute to the forgotten souls in a post-human landscape. Zenial’s use of sound here is almost cruel, pushing the listener into an emotional corner where the lines between synthetic and organic are no longer distinct. "Upgrade" follows with its eerily smooth synths and sharp percussion, a soundtrack to an ascension that feels as much like a surrender as it does a technological upgrade. The track flows into "Bialy Szum" - White Noise - which lingers in the air like an afterthought, like the hum of a world that's too saturated with information to ever pause for breath. The rhythm is sparse, minimalistic, as if representing the stillness before a storm of bytes and signals. Finally, "Event Horizon" closes the album with a slow, creeping dread. The title alone brings to mind the edge of a black hole - the point of no return - and as the track moves through low, vibrating drones and distant metallic rumbles, it’s impossible not to feel a sense of inevitable collapse, as though there’s no way out. Time stretches and warps, much like the concept it’s named after. Here, Zenial pulls no punches, leaving you in a state of suspended finality. What strikes you as you journey through "Foil Punk" is Zenial’s skillful weaving of sounds that both engage and alienate. He draws from his deep well of experience, particularly from projects like Angst'78, NOR_POL, and Aabzu, but here, he steps into new territory - where cold, analytical sound meets a very human, very emotional landscape of fear, anxiety, and the unknown. As much as this album is a tribute to the culture and philosophy of cyberpunk, it is also an invitation to discuss the ways in which humanity is at the mercy of the technologies we’ve birthed. But Zenial, like the best experimental musicians, provides no clear answers. Instead, he invites you into the conversation, asking you to reflect on the dangers that lurk just beneath the surface of our ever-connected world. In a world increasingly defined by machine learning and artificial intelligence, "Foil Punk" is a prophetic soundtrack for the not-so-distant future, where humanity may find itself as mere passengers on a ship piloted by algorithms. What happens when we lose control? What happens when we can no longer distinguish between human and machine? These are the questions "Foil Punk" dares us to consider, all while delivering a listening experience that is as mesmerizing as it is unnerving. It's a dark, compelling, and, at times, absurd journey - a punk manifesto for a new era, where foil hats and neon-lit streets are as real as the machines that will one day rule them." [CHAIN D.L.K., Vito Camarretta]

€13.00

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ZYLO, ARVO

UPHEAVAL

Format: CD-R Year: 2019

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]

€9.00

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Artist	Album	Format	Description	Year	Price (incl. 19% VAT)
3/4HADBEENELIMINATED	Speak to me	LP	the trio of STEFANO PILIA, CLAUDIO ROCCHETTI and VALERIO TRICOLI is back with their 6th full length release - a dense amalgam of all kinds of improvised, concrete and electronic sounds gathered through the years, re-constructed by VALERIO TRICOLI, more dynamic phases interchange with sombre instrumentals..."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... "	2016	€17.50
AGUILAR, LUIS DAVID	Ayahuasca: Musica Para Cine de Luis David Aguilar 1978-1983	LP	"Ayahuasca: Music for Film, by Luis David Aguilar (1978-1983)" compiles works by Luis David Aguilar, one of the most prolific composers of film scores in Peru. It shows the great versatility and avant-garde style that has distinguished his work." - music for three films, blending orchestral composition with electronics and native instruments into an interesting form, for example for "El Viento del Ayahuasca" (1983).. - lim. ed. 300 copies, on the profilic BUH Records from Peru	2022	€25.00
ALIO DIE	Sit Tibi Terra Levis / Introspective	CD	back in stock this re-issue of earliest ALIO DIE material from the tapes with same name (HSL000 & HSL001, from 1990 & 1991), plus cassette only compilation track from "Ars Obscura" MC, later released as first HSL CD - silver-black art digipack, lim. 333 copies "…Beautiful ambient sounds and textures which provide a thought provoking atmosphere." [ND magazine]	2009	€15.00
AMENRA / CAVE IN / MARISSA NADLER	Songs of Townes van Zandt Vol. III	LP	a deeply emotional compilation with cover versions of TOWNES VAN ZANDT songs, the dark / desparate US American folk singer... each artist has 3 tracks, the "atmospheric sludge metal" band from Belgium AMENRA shows their most melancholic and sensitive side... limited colour vinyl ed.	2022	€25.00
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	The Three Worlds - Forget Heaven	CD	second part of a trilogy collecting rare cassette-only material from 1997-2013 (plus unreleased tracks), summarising this under the existentialist worldview of the Theravada Buddhism of the 14th century, containing the three levels of existence of all beings; "Forget Heaven" presents very raw and bleak noise ambient tracks, most coming from the MC with same name (1997), plus rare compilation and other materal from about the same period that forms an authentic picture.. lim. 300	2017	€12.50
	The Three Worlds - Vanity of Allegory	CD	third and closing part of the trilogy collecting rare cassette-only material from 1997-2013 (plus unreleased tracks), summarising this under the existentialist worldview of the Theravada Buddhism of the 14th century, containing the three levels of existence of all beings: "Vanity of Allegory" presents a mixture of newer unreleased material (some from the 'Death Over China' sessions) and older tracks from long deleted compilations; 9 tracks, lim. 300	2017	€12.50
ARNALDS, OLAFUR	Eulogy for Evolution	CD	debut album of this Icelandig "symphonic / orchestral / chamber music ambience" composer; "For fans of Sigur Rós, Max Richter or Jóhann Jóhannsson"; CD comes with free download voucher for an Erased Tapes compilation album	2007	€15.50
ATRAX MORGUE & CONTAGIOUS ORGASM	Forced Entry / N.C.W	CD	originally released as a tape in 1996 on SSSM (the Japanese label of HIROSHI HASHIMOTO aka C.O.), this re-edition comes with two long bonus tracks of both artists from the "Rift Laboratory" cassette compilation (1994), (the A.M. track is entitled "Miss Rosie's Favourite Penis Torture" - [sic]), which you can find anywhere else.. lim. 400 copies	2017	€13.00
AUTOPSIA	Colonia	CD	a compilation of long deleted tracks 1991-1999 by the martial & neo-classic industrial project from former Yugoslavia with always interesting philosophic concepts behind; special offer now! "Colonia is a project that implements death as its theme in order to represent the epoch: the colonial age"	2002	€8.00
AX	Metal Forest	CD	compilation with collected material culled from long out print releases (1995-1997) by this project of ANTHONY DI FRANCO (RAMLEH, ex SKULLFLOWER, JFK, etc..); crunching post industrial soundscapes, overdriven guitar psych & doom noise drones, strange effectpedal sounds, powerful & focused,,, here everything is handplayed & analogue...	2012	€12.00
BAKER, AIDAN	Triptychs: Variations on a Melody	CD	new album influenced by ERIK SATIE'S 'furniture music' concept, using simple melodic lines as basis which are repeated and slowly develope & enlarged, performed by various invited artists such as PETER BRODERICK, JULIA KENT, LEAH BUCKAREFF (NADJA), AKI YAKAMOTO (VAMPILLIA) and others..	2014	€15.00
BARBIERI, CATERINA	Fantas Variations	do-LP	remix compilation with excellent / surprising material (all tracks are reworks of the original composition "Fantas" by C. BARBIERI from the album 'Ecstatic Computation' [EMEGO 259] ), focused on many tracks on one instrument : EVELYN SAYLOR (female choir with STINE JANVNI), KALI MALONE (two organs), WALTER ZANETTI (E Guitar), KARA-LIS COVERDALE, CARLO MARIA, BASECK, BENDIK GISKE, BASECK. and BARBIERI remixes her own material, too...	2021	€25.50
BARRETT, NATASHA	Toxic Colour	CD	5 track compilation based on field recordings made with use of 3D ambisconic microphones..	2025	€17.50
BASINSKI, WILLIAM	September 23rd (Arcadia Archive Series]	LP	unreleased piece from 1982, based on slow piano tunes he recorded already in the 70's.. - lim. ed. dark blue vinyl - "..it bears all the key trademarks of Basinski’s musical concepts. Tape manipulation in various shapes and forms, constant repetition of phrases with intricate, minute, changes, with one constant – the deception of simplicity which is much more complex than piling up of notes upon notes.. " [Echoes and Dust]	2024	€34.00
BIANCHI, MAURIZIO & RYAN MARTIN	As strong as Death is	do-LP	this remarkable collaboration by M.B. with RYAN MARTIN (co-founder of DAIS Rec.) is inspired by the biblical "Song of Solomon" (Chapter 8, Verse 6), a collection of poetic lovesongs; the four long tracks are based on strings, prepared electronics and tapes and sound like smooth, rusty noise, as coming from a 1000 years old past... "an ambient religious compilation to understand the desire to be ONE"; mixed and edited by HOOR-PAAR-KRAAT; lim. 400 in black vinyl - LAST COPY	2016	€22.50
BISCLAVERET & FEINE TRINKERS BEI PINKELS DAHEIM	Both Sides of the Looking Glass	7inch	intense dark ambient & post industrial from Poland & Germany on this spilt 7", comes in luxurious gatefold design, numb./lim. 200	2012	€8.50
BRUME	Erzatz # 0 / Tout	do-CD	re-release of rare TOUT CD-R (1998), plus rare compilation-material on ERZATZ # 0 (recorded 1994-1995) ! lim./numb. 212 in real art design !!	2006	€16.00
	Stable	CD	4th part of the Brume-anthology which comes in a special cover-design, all lim. to 375 numbered copies! Re-edition of MC from 1995 (Bandaged Hand Produce) plus one rare compilation track	2008	€13.00
	Lost in Karrack	CD	8th part of the Brume-anthology which comes in a special cover-design, all lim. to 375 numbered copies! This one is a compilation of rare tracks, which mainly appeared on numerous tape compilations, e.g. on SPH, TRANSFIXIONAL, ORGANIC TAPES, etc..	2008	€13.00
	Early Tracks	CD	9th part of the Brume-anthology which comes in a special cover-design, all lim. to 375 numbered copies! This one is a compilation of very early recordings made 1981-1986, 19 tracks in total !	2008	€13.00
BURROUGHS, WILLIAM S.	Nothing Here Now but the Recordings	LP	re-issue of this now almost historical LP from 1981 - the last release on Industrial Records (IR0016), coordinated and produced by GENESIS P-ORRIDGE and PETER CHRISTOPHERSON who put together this compilation of incredible spoken word cut up experiments and field recordings, in fact the first widely available release with BURROUGHS recordings; back in print, re-mastered audio + re-stored artwork, Clear vinyl ed. lim. 750 copies (black vinyl available too)	2023	€25.00
	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
	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
COIL	Moon's Milk (in four phases) (lim. clear vinyl)	3 x LP BOX	"First compiled as a double CD in 2002, Moon's Milk (in Four Phases) is a suite of four EPs that Coil released seasonally via their in-house Eskaton imprint across 1998." - lim. CLEAR vinyl luxus ed, 1200 copies	2024	€65.00
	Moon's Milk (in four phases)	3 x LP BOX	First compiled as a double CD in 2002, Moon's Milk (in Four Phases) is a suite of four EPs that Coil released seasonally via their in-house Eskaton imprint across 1998... Arranged sequentially in tribute to the equinoxes and solstices, - Performer : Drew McDowall, Jhon Balance, Peter Christopherson, William Breeze; luxus black vinyl box edition	2024	€62.00
	Moon's Milk (in four phases)	do-CD	First compiled as a double CD in 2002, Moon's Milk (in Four Phases) is a suite of four EPs that Coil released seasonally via their in-house Eskaton imprint across 1998... Arranged sequentially in tribute to the equinoxes and solstices - Performer : Drew McDowall, Jhon Balance, Peter Christopherson, William Breeze; CD version, incl. all material from the bonus CDR, jewel-case ed w. slipcase	2024	€23.00
	Astral Disaster (Prescription Versions)	3 x LP	the "holy grail" for COIL fans and collectors was released in 1999 in a tiny subscription edition of 99 copies, two more LPs feat. early and alternative mixes and instrumentals appeared later on the same label => this compilation collects all the material from the 3 LPs, plus new artwork from STEVE STAPLETON, a poster, all re-mastered! BLACK vinyl edition in deluxe triple gatefold cover	2025	€54.00
CONTAGIOUS ORGASM	Corporal	CD	first time listing in our mailorder! => a collection of early material from rare, much sought-after SSSM tape compilations (1989-1992) by the unique, idiosyncratic Japanese crossover-project.. - *Compiling early SSSM label compilation tape tracks from 80´s and early 90´s on one disc ! Logical addition to previous 3 C.O. titles under Industrial Recollections." - 7 tracks, 59 minutes, jewel-case edition	2010	€13.00
CONTRASTATE	Recorded Evidence II	CD	a collection of rare material and unreleased tracks, ranging from 1993 to 2019, contains early 7"es (for example the phantastic title piece from the DR-05 "English Embers"), a TROUM and RLW remix, rare compilation material, etc.. "a dark ambient realm of spoken and sung soliloquies, driven machinery, evolving drones and electronic minimalism to create juxtaposing imagery and dreamlike landscapes." - comes with digipak + 4 page booklet	2020	€13.00
CORRAL SHUT / RESIDUAL / TYHJÄ PÄÄ / HAUDAT	same	CD	"Magnetic Tape Lullaby": four projects from the new wave of Finnish (harsh) noise artists on one CD, on the amazing label SATATUHATTA, known as a platform for non-standard, more handmade and object-based compositions, or unusual noise sounds.. - On top of everything, on this split they've found a common thread to make this release feel like a proper album, a rarely achieved feat with splits or compilations..	2023	€12.50
CRETA	Creta	LP	a new ambient/experimental trio from Italy around MASSIMO PUPILLO (ZU), creating somehow improvised spheric dense drones and slow electronic pulses with acoustic guitar melodies...."As Creta, they create outlandish sonic pieces that blend sci-fi ambient atmospheres with dark bass pulses and bucolic-Mediterranean string instruments -- a unique and yet coherent mix of elements that adds consequently to the oeuvres of the three artists." 180 gr. vinyl, insert, download code	2018	€18.00
CURRENT 93	Horsey	do-CD	re-issue of 1997 compilation album feat. S. STAPLETON and many others, a cover of COMUS "Diana", a rare 7" track, etc.. - now with a full bonus CD of unreleased tracks, different versions, and live material (differs from the vinyl re-issue)	2020	€22.50
DEAD CAN DANCE	Wake	do-CD	the definite compilation of the "best" DCD pieces since their very beginnnig, 26 tracks, 24 page booklet with lyrics, essay, interview... incl. one rare demo version of "Frontier"	2003	€13.00
DEAF MACHINE	Found Noises	CD	compiled material 1992-1995 of this swedish project by one of the founding members of MEGAPTERA, includes one previously unreleased track	2008	€13.00
DENIER DU CULTE	Messe Around	do-CD	great collection / compilation with rare material by this pretty unique French "Avantgarde / Industrial rock" band from the 80's feat. LT. CARAMEL, ALAIN BASSO and SYLVIE LOQUET (anyone remembers the awesome LA SONORITE JAUNE?), with extreme vocals, bass, violin, percussion, drums, electronics, think of a more noisy and desperate DDAA, LA STPO, or early ETANT DONNES, all very raw and low-fi; lim. 300 with DIY full colour booklet, in metal box	2015	€15.00
DESACCORD MAJEUR	Les Primordiaux Crepusculaires	do-CD	a collection of "Homework" online compilations contributions, the fine series of TAALEM from France (see taalem.bandcamp.com), together with other older / rare tracks (11 in total), it's a great example of D.M.'s slow ethno-electronica, filled with synths - sequencersounds - shortwave snippets - philosophic quotes- female whispers - exotic instruments, all perfectly out balanced.. - lim. 250 copies, 4 page booklet, cardboard gatefold	2024	€16.00
DESIDERII MARGINIS	Thaw	CD	collection of tracks (1997-2012) from compilations plus 3 tracks from the rare split CD with MOAN and ARTEFACTUM (2004) - showing impressively the development of this Swedish project known for ultra melancholic & cinematic dark ambient, surely one of the best projects within this genre; lim. 1000	2014	€13.00
DIMUZIO, THOMAS	Slew	CD	compilation-tracks 1990-2004: "Zusammenstellung mit rarem Compilation-Material 1990-2004 vom genialen Noise-Alchemisten! Dunkle, komplexe Soundscapes voller Mikrodetails, halluzinogene Klangbearbeitungen die nur noch Skelette vom Ursprungsound übrig lassen.... ein Genuss !" - back in stock !! - "Slew blurs the bounds of electro-acoustic, digital musique concrete, drone, noise, dark ambient and industrial."	2004	€13.00
	Slew Tew	Cd-R	rare release, US-import, almost impossible to find in EU! => a collector of compilation tracks from the Drone / Sample / Buchla master	2020	€15.00
DMT	Ultimatum	CD	compilation and rare tape material by a 'legendary figure' of the Russian industrial scene: DMITRY TOLMATSKIY aka DMT (who also worked as journalist and died in 2009), compiled material from 1998-2008 feat. ALEXEI BORISOV (live recordings), symphonic & dark rhythmic / martial / technoid stuff in the vein of REUTOFF, DEUTSCH NEPAL, rhythmic COIL, etc... 16 tracks mastered by KSHATRIY, 77+ min.	2015	€12.00
DUNCAN, JOHN / M. LE DONNE-BHENNET // TOM MARIONI	Auftauchen	LP	lim./numb. 99 copies / super rare material from 1978-1983 that appeared on tape compilations ! / contains JOHN DUNCANs "Mayday" // rare item on the dutch collector's label !!	2005	€39.00
EAVIL	Les Fleurs du Mal	CD-R	EaVil was a queer synthpop duo with experimental roots (from the Chicago area it seems), operating solely with analogue equipment first: this is a compilation of material (17 tracks) recorded 2006-2008, containing cover versions of NICO, SIOUXSIE, VANITY and PRINCE... prof. printed cover & duplicated CDR	2018	€8.00
EKIN FIL	Being near	LP	female shoegazing post rock ambience and low-fi dream-folk from Turkey (= EKIN ÜZELTÜZENCI from Istanbul who is also known as member of PROUDPILOT and BIBLO) that has been compared to GROUPER or LOVESLIESCRUSHING... "her spectral dream-pop deconstructions hold a thousand-yard stare of an unconsolable melancholy"; lim. 400 copies	2016	€20.00
	Inflame OST	MC	first ever film soundtrack for Istanbul's hazy ambience producer EKIN FIL, made for a 'psychological thriller' by ÖZGÜN ÖZCELIK; quite different from her previous releases... "Ekin uses a palette of synths, electronics and drum machines to convey a tense and claustrophobic sound, where severed voices float thru minor key melodies and slow, epileptic hallucinations, sometimes prodded with skeletal electro rhythms, at other left to linger uncomfortably in crepuscular mid-air with curt resolutions." [boomkat]	2017	€10.00
ELLICIST	Point Defects	LP	recommended debut album by this German-Greek duo with immersive experimental electronica, to discover! "...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." - " It’s a dreamlike world, slightly discombobulated, but reflective of fleeting out jazz and post-electro-pop." [Tonehsift]	2019	€18.00
ELPH VS. COIL	Born Again Pagans (30th Anniversary extended edition)	do-CD	new anthology re-edition which collects all of the ElpH material which didn't appear on their later "Worship the Glitch" album, namely the pHILM #1 10", a host of very rare compilation tracks as well as a number of at the time unreleased pieces in the same vein...(incl. the RASTER NOTON 20' to 2000 series mCD); re-mastered + comes with mini poster replica	2025	€26.00
	Born Again Pagans (30th Anniversary extended edition)	3 x LP	new anthology re-edition which collects all of the ElpH material which didn't appear on their later "Worship the Glitch" album, namely the pHILM #1 10", a host of very rare compilation tracks as well as a number of at the time unreleased pieces in the same vein...(incl. the RASTER NOTON 20' to 2000 series mCD); re-mastered, comes in a deluxe hardcover triple-gatefold with poster, BLACK vinyl edition	2025	€59.50
EMPUSAE	Mortusae III	CD	a compilation with the material from three (partly deleted) releases 2017-2023 - "‘Mortusae III’ has thrilled me. It can be read in multiple layers... It is a mature and consistent release, without weak spots and with an unobvious beauty and depth that is worth exploring. Bravo!" [Reflections of Darkness]	2023	€13.00
EX.ORDER	The Place of Dead Roads	CD	named after a novel of WILLIAM S. BURROUGHS, this is a collection of rare and unreleased tracks from 1999-2010 (mainly from deleted compilations), showing EX.ORDER's capability to create powerful dystopian apocalyptic industrial that never looses the tension or collapses into pure noise... pulsing analogue synths, whirring sounds, eerie noises, distorted speeches and quotes: excellent material by the "Alter Ego" of INADE	2017	€13.00
EYELESS IN GAZA	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
	Skeletal Framework (The Cherry Red Recordings 1981-1986)	5 x CD BOX	this collects the complete early EIG recordings for Cherry Red, compiled and curated by MARTIN BATES and PETE BECKER, with their new sleeve and "song-by-song" notes, sorted stylistically / thematically per disc: "Rock and Rhythmic", "Pop Tunes Etc,.", "Approximate Ballads..", "Atmos-Songs", and "Experiments and Improv", each reflecting one of their many sides.. 102 tracks, clamshell box	2022	€49.50
FEAR DROP	No. 10	mag & CD	inkl. compilation CD with exclusive material from NEX, SCANNER, THOMAS KOENER, SZKIEVE, CDATAKILL, CONTAGIOUS ORGASM, JOE COLLEY, ALAIN BASSO, 2TOKIISLANDS, VEN VOISEY, M² , ROGER ROTOR	2003	€9.00
	No. 15: SAIWALA - enquete sur l'esthetique musicale du vent	mag & CD	great issue (60 pages) with long essay "La belle ambiante" about romantic metaphors of drone, nature & wind music; incl. compilation CD with PREVIOUSLY UNRELEASED tracks by T. KÖNER, C. PEYRONNET / TOY BIZARRE, T. FURUDATE, MICHAEL NORTHAM (with "Suhina" 10" bonus-track), BJ NILSEN, CHRIS WATSON, THE [LAW-RAH]-COLLECTIVE, JANA WINDEREN, BLACK TO COMM, FRANCISCO LOPEZ, etc.. absolutely must have, highly recommended!!! French language- BACK IN STOCK !	2010	€12.00
	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
FELIX KUBIN & ENSEMBLE INTEGRALES	Echohaus	do-LP	highly experimental collaboration by FELIX KUBIN (ex KLANGKRIEG) with ENSEMBLE INTEGRALES, a contemporary music chamber group, who work together based on a special recording technique (the musicians played simultaneously under headphones in separate rooms) .. the result is 15 pieces of really daring & unusual miniatures; "a fine piece of work where dissonance and discordance, horripilation and disconcerted listening teeter into sometimes quavering moments of reflexive beauty" [Freq.org]	2010	€18.50
GENOCIDE ORGAN	Civilization	do-CD BOX	re-issue of the sought after second GO "Save our Slaves" album (1991) plus a rare live performance (Mannheim Dec. 1990) and diverse compilation tracks and the Klan Kountry 7" (1998) - this limited CD version comes as luxus slipcase (linen-paper, foilblocked & debossed) with ext. 24 page booklet; "Save Our Slaves stands out as the landmark release that definitively executed each hallmark element of sound, visuals and thematic content with flawless accuracy.." [Spektrum Mag]	2017	€28.00
GERSTEIN	Kiawaltz	CD	a compilation of early / rare material by this interesting Italian artist who was active in the cassette-scene since 1984, merging melancholic synth ballads and experimental noise, dramatic / romantic / minimal "songs" with a very experimental and electronic edge, he had cassettes out on BROKEN FLAG, MISTY CIRCLES, MINUS HABENS or OBUH Records... very worth to re-discover! lim. 250 copies	2018	€13.00
GIARDINI DI MIRO	Good Luck	CD	the most "catchy" and focused album by the Italian post-/ shoegaze-rockers so far; heavenly harmonies, lovely guitar spheres, male & female vocals... first full new album after 5 years, feat. guest musician STEFANO PILIA, and others.... for any SLOWDIVE fan out there a must !	2012	€16.00
H.Ö.H.	same	CD	re-press of the first self-titled CD compilation, collected from various tapes 2014-2015, a noise sound that goes beyond the usual expectations: * H.Ö.H. material could be lumped somewhere near very earliest CONSUMER ELECTRONICS or radio noise recordings of JOHN DUNCAN, but with further handmade primitivism and utmost broken and unprocessed radio-signals. * - CD jewel-case edition + 8 page booklet with artworks, + one unreleased piece	2024	€13.00
HAARE	Destroy Fascism, Love Forever	6 x CD BOX	"Meditation music for insane minds"" - massive boxset with rare material from the last 20 years (culled from deleted tape and CD-R releases, compilations, + unreleased archive stuff) by the versatile Finnish "psychedelic / harsh / drone / industrial noise" project: "from lo-fi harsh noise beginnings via death industrial, primitive horror ambient, organic drones and occult metal junk rituals HAARE have built their own style of psychedelic noise." - comes in rigid cardboard box with 12 page booklet	2019	€48.00
HIS MAJESTY THE BABY	Hope for Madness	CD-R	Itallian project of F. PALADINO & L. FERRARI) with a strong "late 60's experimental psychedelia" relation, after appearing on the SYD BARRETT tribute compilation from Gonzo Records they release their first album with 14 tracks, feat. many guest musicians / singers like: EDWARD KA-SPEL, IN GOWAN RING, MARTYN BATES, etc. - 14 tracks that appear like a dadaistic carnival of weirdness and beauty, a hallucinogenic journey... - lim. 200 in 21 x 21 cm full colour folder with inlay	2022	€15.00
INADE	Audio Mythology One	CD	collection of rare & unreleased material from the archives (2002-2011), all unpublished so far & or now hard to find on deleted compilations; 8 tracks	2012	€13.00
	Audio Mythology Two	CD	collection of rare & unreleased material from the archives (2005-2013) PART 2: material from unreleased sessions, rare compilations and new studio versions of live backing tracks; 8 tracks / 50+ min. of excellent mythic dark space ambient, the forgotten voice of ancient myths and gods..	2014	€13.00
KA-SPEL, EDWARD (LEGENDARY PINK DOTS)	The Textures of Illumina	do-CD	a compilation with the material from the 10" with same name, rare compilation tracks and two versions of "Atomic Roses '95", as well as a bonus disc with previously unreleased experiments and re-workings of old songs, recorded throughout 2001	2002	€18.00
KAFFEE UND KUCHEN	Sahnestücke	CD	KAFFEE UND KUCHEN is a Polish electro noise performance project, on this CD you can find some live extracts from different German cities, but also many remixes from the likes of THOROFON, GEHIRN.IMPLOSION, EMERGE, PHILIPP MÜNCH (SYNAPSCAPE), HYPNOSKULL, KILLER (the EA80 singer sings "Bitte mit Sahne"!), CARSTEN VOLLMER (great remix!), and underground poets like LÜTFIYE GÜZEL... a very versatile compilation, the right thing for you Sunday afternoon tea time.. DVD 6 panel digipak, 21 tracks 68+ min.	2019	€12.00
KAPOTTE MUZIEK	Musik ohne Ende	CD	a trip back into the early analogue years of noisy tape-experiments, incredible spiraling sounds of tape loops... this ia a re-issue of an old PRION Tapes release from 1988, exploring the possibilities of two reel to reel tape machines combined, "recorded with sound sources mentioned in the titles; metal, feedback, paper and surfaces, and resonances"... the CD has 3 bonus tracks from rare compilations, not on the original cassette	2022	€12.00
KÖNER, THOMAS	Nuuk	CD	re-issue of the phantastic "subliminal / glacial ambience" classic that was first released on the "Driftworks" 4 CD compilation in 1997 (recorded already 1995) - "Subdued and minimal at first glance, this album is brimming with low-end frequences, shadowy resonances and boreal ambience, but at the same time, constant fluctuation and vulnerability of sonic events, makes it very organic, human and almost comforting..."	2021	€15.00
KREMIETZ, VIZ MICHAEL	AMBIENT KOAN (feat. LIMPE FUCHS, TROUM, JOCHEN IRMLER / FAUST)	CD	great compilation of solo- and collaboration tracks by the ALLGÄU based composer and ZEN / Shakuhachi teacher, i.e.: a flute version of the COIL song "Fire of the Mind" played at the Abbey of Aleister Crowley, in Sicily; a piece performed in the burial chamber of the Great Pyramid of Cheops, and collab tracks with LIMPE FUCHS, J. IRMLER (FAUST), and TROUM; accomponied by a beautiful full colour 20 p. booklet; => evocative experimental drone and improv music for meditation & ritual !!	2025	€13.00
KRYPTOGEN RUNDFUNK	Elusive Trajectories 2003-2006	CD	massive compilation of material recorded 2003-2006 (15 tracks, 76+ min.!) by the post industrial project from St. Petersburg, this has a strong 'cold minimal industrial' and clinical pulsing character... "Sharp injections of digital glitches are polished by dense electronic drone and radio noises, raw sound of Soviet analogue synths per vades the space with low-frequency vibrations, drum machines rumble in a slow industrial dance..." - not to be missed for explorers of the Russian underground! lim. 300	2019	€13.00
LEGENDARY PINK DOTS (LPD)	Traumstadt 2	do-CD	the legendary "Traumstadt 2" collection of compilation tracks (1984-1988), originally released as a cassette-only on Mirrordot in 1988, sees another re-issue, fully re-mastered and for the first time on fabric pressed CDs!	2024	€20.00
LINEKRAFT	Delusional Disorder	CD - metal box	last copies of this collection of 2013-2014 material (6 tracks, 2 have been released on compilations), by the Japanese project known for using metal junk sounds = hypnotic warzone industrial noise ! - the CD comes in a metal case with sticked infos, numbered ed. 200 copies	2015	€15.00
LUNDVALL, TOR	There must be Someone	5 x CD BOX	limited boxset that compiles two early out of print albums (incl. the rare debut "Passing Through Alone" (1997) and 3 vinyl albums, along with several bonus tracks; comes with 20 page booklet - " "Spanning 33 years, the collection showcases the subtle but striking evolution of Lundvall's sound, from brisk autumnal synth-pop to desolate dark place devotionals to fragile winter moon meditations and beyond." - each CD with own sleeve	2023	€32.50
M.BRYO + D.M.T.	Things I was due to forget (1979-2005)	do-LP	collection of material from this legendary figure (= MARK BURGHGRAEVE) from the minimal electronic / synthwave / industrial scene in Belgium, original founding member of the THE KLINIK... - "Things I was due to forget" is a compilation of songs that appeared on K7 and vinyls or came from M.BRYO's personal archives of unreleased tapes, all remastered by the artist especially for the release." - luxurious lim. gatefold cover edition, different vinyl colours (black, white), please ask	2019	€25.00
MACHINEFABRIEK	Dubbeltjes	CD	compilation of rare works from mostly deleted releases (11 tracks recorded 2008-2013), showing the wide range of MACHINEFABRIEKS musical territory, often focusing on specific sounds or certain instruments, more like studies for exploring acoustic objects...a very nice collection and good starting point to explore MACHINEFABRIEKs sound dimension. lim. 300	2014	€12.00
	Assemblage (Gathered Eccentrics 2010-2016)	CD	the second collection of rare tracks from compilations, collaborations and other unreleased material on Zoharum, after "Dubbeltjes" from 2014 => 15 tracks that also serve as a perfect introduction into the subtle micro-worlds of this dutch project; lim. 300	2017	€12.00
MAEROR TRI	Hypnobasia	CD	first ever CD re-issue of this early cassette from 1992, showing their more ritualistic & noisier side... now with three additional bonus tracks from rare compilations, + re-mastered by LUKASZ MIERNIK, lim. 350 copies	2016	€12.50
	Ultimate Time	CD	first ever CD re-issue of this rare cassette from 1994, containing recordings for compilations that were never published; some material is deeply otherworldly droning, some rather harsh; feat. one bonus track "Explosions of Silence" that was not on the original; lim. 350 copies, all material re-mastered and CD with new design	2018	€13.00
MECANO	Waving Goodbye	CD	our favourite one and only dutch "intellectual Punk" or Post Punk band who (after their great time in the 80's) continued since 2005 with a more "Pop / Rock / Chanson" approach, still being inimitable: this rare Brazilian compilation was pressed + sold for their LAST EVER concert in Brazil late 2023 and contains classics from the past, partly in new versions, as well as newer material, plus one track that was only available as a download so far; lim. 200	2023	€16.00
MINAMATA	Niigata 2002	CD	re-issue of the third MC from 1986 (Les Nouvelles Propagandes) of this legendary French Industrial group, incl. rare compilation track and one long previously unpublished track; metal percussion, analog synth noise, distorted electronic sounds & vocals, like a raw mixture of archaic NEUBAUTEN and GENOCIDE ORGAN !!	2007	€13.00
MOLJEBKA PVLSE	With the Passing of Time	do-CD	the yearly "Homework" online compilation of TAALEM became an institution for online-listeners (always released at the end of the year), collecting new material by all artists that have ever appeared on the label, for a voluntary donation price! - This epic double CD collection holds material from 2016-2024 ( 9 tracks) and comprises everything adorable M.P. got known for, hypnotic, rich, dense multi-layers of breezy, pulsing, bubbling drones and "fields"... lim. 250 copies, 4 page booklet	2025	€16.00
MONTGOMERY, GEN KEN	Postcards 1981-1986	do-LP	compilation of old cassette-only & live material by one of the heroes & truly experimental working sound-artists of the 80s/90s tape scene, who once had the legendary GENERATOR record shop & gallery in New York City; lim. 500 gatefold-cover	2012	€27.50
MOULDYCLIFF / POTTER / MOULDYCLIFF [MPM]	Canopies + Cathedrals	CD	after the great "Orbits" (2022) the third album of this trio (COLIN POTTER + 2 x MOULDYCLIFF), who find engaging metaphors (="treetop roofs") for their six electronic, melancholic drone-chorals, enriched with field recordings from such phenomena... - * A TARKOVSKY-esque transcendence of spirit and nature, time imprinted on an intertwining of sap and stone, branch and pillar, column, and trunk.* - lim. ecopack ed.	2025	€13.00
MUSLIMGAUZE	Jackal The Invizible	do-LP	this compilation of already released tracks was submitted by BRYN JONES on DAT more than 20 years ago, many of them are now hard to find...- "The new juxtapositions can be quite striking; shifting suddenly from the harshly distorted blurts of "Resume and Shaduf Fatah Guerrilla 1999" to the cooly nocturnal atmosphere of "Abu Nidal 1987" and then to the dubby bass pulses and rattling hand percussion of "Hand of Fatima 1999" is an experience unlike much else in Jones' oeuvre," - lim. 700 copies	2021	€29.50
	Khan Younis	pic-LP	stunning collection of rare compilation material 1989-1996 (from Direction Music, Extreme, Gonzo Circus, etc.) - this is the lim. picture disc with die-cut cover, amazingly designed! Lim. 500 - "Unique tribal dub-trance music influenced by arabic culture with a touch of post-industrial.... Hypnotic rhythms mixed with with eastern vibes."	2022	€29.50
	Al-Zulfiquar Shaheed	do-LP	one of the MG classics from the mid 90's period, newly re-issued after the version of Essence Music.."Four intoxicating suites showcasing Bryn Jones' ability to create lengthy, slow burning and detailed compositions soaked with trance inducing percussive impetus and beautiful-never again to be reproduced- middle eastern atmospheres.." - heavy gatefold cover with UV-spot print + one bonus tracks from the "Ophir" compilation (Desaccord Majeur label, 1994) - black vinyl	2025	€34.00
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	€60.00
	VIVA NEGATIVA Vol. 2	4 LP - Box	Full-Colour box w. 4 LPs containing TNB remix-material from C. RENOU, MNORTHAM, AUBE, RLW, VIOLENT ONSEN GEISHA, AMK, DAMION ROMERO, DAS SYNTHETISCHE MISCHGEWEBE, SPIRACLE, MERZBOW, WOLF EYES, INCAPACITANS,JIM O'ROURKE, DAVE PHILIPPS, BROKEN PENIS ORCHESTRA, LASSE MARHAUG, G. TONIUTTI, etc.etc. second part of this monstrous compilation project !! lim. 500 - only 250 for free distribution - LAST COPY	2006	€60.00
NEW RISEN THRONE	New Risen Throne	4 x CD set	a complete collection of all rare early CDR albums & bonus material from this Italian "classic" dark ambient project, that has often been compared with RAISON D'ETRE or LUSTMORD: 'Prophet' CDR (2002), 'Flowing Ashes' CDR (2003), 'Along endless Paths of Emptiness' CDR (2004) and many more rare compilations tracks or material from split releases... lim. 400 copies, 4-disc digibook	2016	€45.00
NON TOXIQUE LOST (NTL)	Terre et Argent	LP	"Wer Keinen Schmerz Mehr Spürt" - a stunning compilation of this German industrial group with a sharp political and punky edge, the first band of ACHIM WOLLSCHEID, true 80's handmade experimental stuff with german vocals and lots of (trans)-aggression.... - the re-issue of an old cassette, 2nd ed. blue-red silkscreen covers, special offer now !!	2005	€8.00
PARLANE, ROSY	Array	LP	New Zealands ROSY PARLANE is known for some great albums on TOUCH and SIGMA Editions in the 2000s - this compilation collects 7 rare compilation tracks rec. 2006-2022 and show the beauty of elegant, layered drones and slowly shifting audio "monuments"...	2025	€26.50
PLOOG, JÜRGEN	Tapes von Unterwegs 1971-1976	LP	tape recordings made on flights by "Germanys last Beatnik-Poet" (who worked as pilot during that time and was strongly influenced by W.S. BURROUGHS and BRION GYSINs cut-up technique in his writings), now mounted together to a surrealistic collage by ROBERT SCHALINSKI (COLUMN ONE), merging PLOOGs spoken text with field recordings from various places around the world, the completely shift of meanings leads to a different perception of reality...	2015	€18.00
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
RAISON D'ETRE	Within the Depths of Silence and Phormations (Redux Version)	do-CD	re-mastered re-issue of deleted album from 1995 (CMI.38), now with a full disc of bonus material with tracks taken from rare MC & CD compilations 1994-1997	2013	€17.00
RAPOON	Seeds in the Tide Vol. 2	do-CD	collection of the rare & beautiful Vol.2 - tracks taken from compilations, small or limited formats & live materials: CD 1: 2000-2003, CD 2: Live at Klanggalerie in Vienna May 2000 (released as lim. MC before); nice double digipack	2013	€16.00
	Seeds in the Tide Vol. 3	do-CD	collection of the rare & beautiful Vol.3 - tracks taken from compilations, small or limited formats & live materials: CD 1: 2003-2004, with the tracks from the ultra rare "Monomyth" CD-R, CD 2: Live at Rhiz in Vienna October 2004 (unreleased so far); nice digipack, lim. 500	2014	€16.00
	Seeds in the Tide Vol. 4	do-CD	collection of the rare & beautiful Vol.4 - tracks taken from compilations, small or limited formats & live materials: CD 1: 2003-2004, with the tracks from the ultra rare "Monomyth" CD-R, CD 2: Live at Rhiz in Vienna October 2004 (unreleased so far); nice digipack, lim. 500	2015	€16.00
	Seeds in the Tide Vol. 5	do-CD	collection of the rare & beautiful Vol.5 - tracks taken from compilations, small or limited formats, remixes, rare bonus tracks or live material: 17 tracks from the period 2008-2011, incl. collabs with CISFINITUM, VAZHES and MARK SPYBEY, a remix for J. ROEDELIUS, etc. etc. - nice double digipack, lim. 500	2017	€16.00
	Seeds in the Tide Vol. 6	do-CD	collection of rare material Vol.6, covering the period 2013 to 2016 => tracks taken from compilations, small or limited formats, remixes, rare bonus tracks or live material: the biggest part here comes from the great "Moon and Cups" 7inch series (four EPs released 2013-2016 and belong to the best newer RAPOON material we know!); the second CD holds a live recording made at "Gorlice Ambient Festival" in 2013; 15 pieces in total, lim. 500, double digipak	2021	€17.00
RAVENSTINE, ALLEN	Waiting for the Bomb	CD	ALLEN RAVENSTINE played with CHRIS CUTLER in PERE UBU and became an airline pilot afterwards - his second solo album for ReR is a playful ride into the reals of experimental "progressive" pop (mostly based on modular synths) with plenty of crazed out arrangements and ideas...	2018	€13.00
REYNOLS	Minecxio Greatest No Hits	LP	a compilation through their career celebrating the 30th anniversary => REYNOLS have established their own unique sound also due to the fact that their drummer + singer MIIGUEL TOMASIN has down syndrome and breaks many existing musical "rules".. (the way of singing, inventing new words, etc..).. - "his name appears mentioned in diverse books of neuroscience and neurodiversity" - comes with fold out insert, on the Spanish BEAT Generation label	2023	€26.00
RLW	Herzblutanteil	CD	back in stock this collector's item with VERY special packaging, released by Russian's legedary WAYSTYX label... it's more a remix + multiple recycling compilation of a basic IHR KINDERLEIN KOMMET (German traditional folk song from 1794), performed by RLW's little daughter Sonja); feat. 9 tracks from BRUME, A. COURTIS (REYNOLS), HOWARD STELZER, and more, it all still sounds incredible,a timeless and absurd journey; lim. 432 copies in die-cut sleeve with 11 small inserts	2010	€15.00
RODEN, STEVE / IN BE TWEEN NOISE	Every Color Moving (1988-2003)	6 x CD BOX	phantastic collection of unreleased and rare works from ultra small editions or compilations by the versatile sound (and visual!) artist from Los Angeles, covering his first 15 years of activities with IN BE TWEEN NOISE and solo; 7 hours of material, comes with 32p. booklet with essays and extended track notes	2016	€39.00
S.Q.E. (SMOOTH QUALITY EXCREMENT)	My name is William Wayne	CD-R	SMOOTH QUALITY EXCREMENT for these recordings were: URE THRALL, PAUL LOCASTA, THE FRUITLESS HAND (the project is now continued as S.Q.E. by The Fruitless Hand alone.... compiled & mastered by URE THRALL 2006	2006	€10.00
SAL SOLARIS	Die Scherben 2004-2010	CD	collection of rare compilation tracks and unrelased material by this Russian post industrial duo from Moscow / Moscow-area, really bleak & opressive stuff somewhere between power electronics and dark ambient..	2013	€12.00
SCORN / SEEFEEL / TIMOTHY LEARY / YANOMAMI	Ancient Lights and the black Core	LP	vinyl re-issue of the ground-breaking compilation from 1995, linking the post-industrial tribal electronica beats and drones with ritual chants of the famous Amazonian tribe (Yanomami), and words of the "neuropolitics" pope TIMOTHY LEARY (with DJ CHEB I SABBAH)=> everything seemed possible, the unification of post modern culture with ancient knowledge and rites.. inc. inlay with an essay by British music ethnologist DAVID TOOP, comes on clear/black marbled vinyl	2017	€15.00
SHEFFIELD, COLIN ANDREW / JAMES ECK RIPPIE	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
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
SRVTR I INTERNAL FUSION I DARDIS I A.MAIAH	Thing	CD-R	fourth volumne in the new THING compilation series by the always active label from Augsburg, Germany: three of the four acts are newcomers to us, coming from Northern Ireland, Spain and France; this comp. is more rhythm , drone and loop based and features different approaches, INTERNAL FUSION excite again with great new material.. lim. 100 factory pressed CDR, absolutely to discover again!	2022	€8.00
STROM.EC	Electric Current	LP	compilation of rare & unreleased material by the Finnish industrial and power electronics duo, taken mainly from long deleted CDRs, showing how dark & noisy pulsative they were... lim. 250 copies, definitely last ones in stock	2018	€18.50
TAPHEPHOBIA	House of Memories	do-CD	re-issue of the long unavailable first album from the excellent Norwegian spheric guitar drone project (originally released 2007), now with a full bonus CD of selected / rare / deleted compilation tracks ; lim. 300, double digipak, new design	2017	€16.00
TESTCARD	#23: TRANSZENDENZ - Ausweg, Fluchtweg, Holzweg?	BOOK	Hochinteressante Ausgabe gerade für Sphären- & Otherworld- suchende Drone/Experimental/Ambient Industrial-Hörer => Artikel über 'Dronemusic und spätmoderne Zeiterfahrung', 'Vom Pilzkult zur Popkultur', 'Der Geist der Utopie' (Pop=Immanenz+Transzendenz), 'LSD,Musik,Transzendenz', 'Leben in einer Nicht-Zeit', 'Black Metal Theory', 'Die Transzendenz des neuen Atheismus', MOONDOG, SUN RA, 'Die große Transzendenz-Diskografie', etc. etc. Tonträger, Bücher-Reviews, 336 Seiten! TIP !!	2013	€15.00
THIS IMMORTAL COIL	The World ended a long Time ago	do-LP	the second part of COIL interpretations, 13 years after the beautiful "Dark Age of Love" (praised by PETER CHRISTOPHERSON at that time) = 10 pieces with a focus on the dark & melancholic side ("Dark River", "Cold Cell", etc.), created by a total of 19 gifted musicians which forms this virtual "ensemble", such as CHRISTINE OTT, MATT ELLIOT, MASSIMO PUPILLO, KRISTOFFER RYGG, STAN WESTERHUS, AIDAN BAKER, etc.. / vinyl version w. gatefold cover	2022	€26.00
THU20	Vroeg Werk	do-CD	great collection of mainly early material by this dutch group (with core members JAC VAN BUSSEL, PETER DUIMELINKS, ROEL MEELKOP & JOS SMOLDERS ), full of loops & noises that crackle & wheeze....quite rough & improvised & very 'industrial' at times... somewhere between P16.D4 and DAS SYNTHETISCHE MISCHGEWEBE maybe... studio & live material, unreleased or taken from rare compilations.. lim. 500 and highly recommended !	2012	€16.50
TIETCHENS, ASMUS	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
TREPANERINGSRITUALEN	The Totality Of Death (A)	CD	The Totality of Death compiles 20 songs from past limited-edition releases, digital compilations, and the most obscure recesses of the T × R × P archive. The material — reworked and remastered in 2024 e.v. — is presented on two separate compact discs. This — the Alpha edition — is transmitted by ᚦᛟᚦ ᚷᛁ. - this is NOT a re-issue of the Malignant + Silken Tofu CDs from 2013, but contains material released 2013-2020	2024	€15.00
	The Totality Of Death (Omega)	CD	The Totality of Death compiles 20 songs from past limited-edition releases, digital compilations, and the most obscure recesses of the T × R × P archive. The material — reworked and remastered in 2024 e.v. — is presented on two separate compact discs. This — the Omega edition — is transmitted by ᚾᛟᚺ ⩝⚭⩝ᛁ. This is NOT a re-issue of the CDs from Malignant / Silken Tofu, but contains material from 2014-2020	2024	€15.00
TROUM	Symballein	CD	a collection of rare & early tracks 1997-1999 from Troums very archaic & droney sounding begin. 6 pieces from long deleted compilations. Nice textured cardboard-cover. 1000 copies pressed.	2007	€10.00
	Syzygie	CD	a collection of nine rare tracks from lost & deleted compilations, recorded 1999-2002, the follower to 'Symballein' (2010) => "unbearably beautiful drones, multi-layered transcendental noise, and highly atmospheric dream-muzak"; stunning cover-artwork by ABBY HELASDOTTIR (GYDJA), re-mastering by MARTIN BOWES (ATTRITION); edition of 1000 copies	2013	€13.00
	DA-PU-RI-TO-JO (The Singles 2004-2016)	CD	re-issue of the BLACK MARA - box from 2017 - a compilation of TROUMs 7" vinyl releases (+ one digital only EP) through the years 2004 - 2016, all re-mastered and with stunning new artwork (6 panel digipak)... "12 dreamscapes that range from soothing, etheral and meditative through emotional and mysterious to dark, industrialesque and nightmarish."	2021	€13.00
URUK	The Great Central Sun	CD	the project of THIGHPAULSANDRA and MASSIMO PUPILLO (ZU, etc.), with fourth album already, sublime wind section drones and micro elastic electronics, wide and secretful cosmic ambience.. - two long tracks with enigmatic names, suggesting an introspective or even mystical sound experience, where the listener seems to be called upon to explore hidden or mysterious aspects of himself and the universe - 6 panel card sleeve	2023	€13.00
V.A. (VARIOUS ARTISTS)	The Undertow: Undercurrents of Australian Experimental Music	CD-R	Australian-only compilation with LAWRENCE ENGLISH (exclusive track, before he became famous!), THEMBI SODDELL (known later for Room40 albums), BOKOR, DIASPORA, UNDECISIVE GOD, ISOMER, etc... - on Australians legendary / long running experimental label SHAME FILE	2004	€8.00
	GESPENSTERLAND	LP	the first proper compilation dedicated to the new German phenomenon of romantic and poetic electronica / synth folk with an experimental edge ("Unheimlich Electronics") and German vocals, centered around projects like BRANNTEN SCHNÜRE, KIRSCHSTEIN and BALDRUIN (see "Drone-Mind" LP) - "Operating in the margins and intersections of folklore, experimental electronics, dreams and nightmares, the 'Gespensterland' LP archives and compiles their magic works for the very first time" - 15 tracks	2023	€25.00
VIDNA OBMANA	Twilight Of Perception Redux Volume Two 1995-2002'	3 x CD	second installment of collected rarities and compilation material, this time from the period between 1995 to 2002 - 16 tracks incl. 3 unreleased pieces and material from the rare 7" on Klanggalerie, lim. 300, thick 8 panel digipack (looks like a book almost); this also shows nicely the evolution of the legendary ambient project into more "world / ethno" realms..	2025	€21.50
VOICE OF EYE	Anthology One: 1989-91	do-LP	compilation of remastered material from the first three VOICE OF EYE cassettes "ISOLATION" (1989), "VOICE OF EYE" (1991), and "RESONANT FIELDS / HOT GYPSY FINK HELL" (1991), feat. URE THRALL and others => a very raw + dark ecstatic form of improvised drone- & trance ambience, incredible stuff! - lim. 600 gatefold-cover edition with various photos + certificate; BACK IN STOCK last copies !!	2010	€28.00
	Anthology 2 (1992-1996)	do-CD	rare & unreleased tracks from the U.S. dark ethno/drone cult-project, all re-mastered by VOICE OF EYE themselves; you can find here: the famous "Sprocket" 7" for Drone Records (1994), the lost mCD for ND that was never released (1995), rare compilation tracks (some of them came never out), plus a complete, fantastic rehearsal for a live show (1996) and an extract from Tryst 8 (split MC with BIG CITY ORCHESTRA, 1995); comes in a nice 6-panel digipack & full colour artwork by Bonnie McNairn.	2011	€10.00
VON EULER-DONNERSPERG, DITTERICH	Weisheit aus des Kindes Mund tut uns stets die Wahrheit kund	LP	five new pieces out of DITTERICH's sophisticated cosmos - "also a tribute to von Euler-Donnersperg’s children, their voices and spoken word hocus-pocus conjuring clairvoyant visions amongst soaring metallic sheen and spectralist digital debris. Cybernetic ooze spilling into servers and causing subdued bleep signals and static.." - 2nd ed. of 200 copies, comes with numbered children postcard	2021	€20.00
WATERMANN, JOHN	1935-2002	CD	anthology of compilation tracks, special cover design	2008	€13.00
WIRTSCHAFTSWUNDER, THE	Preziosen & Profanes (Singles & Raritäten 1980-1981)	LP	earliest material from this truly avantgardish and unique NDW band: "Allein" 7" (1980), "Television & Kommissar" 7" (1980), the super rare "Ich steh auf Hagen" flexi 7", plus compilation contributions from that time... .- comes with printed inner sleeve	2021	€25.00
X-MAL DEUTSCHLAND	Early Singles	LP	earliest material by the German all female post-punk phenomenon: "Schwarze Welt" 7" (1981), "Succubus" 12" (1982), and two rare compilation tracks, everything recorded 1981 + 1982 in Hamburg (+ one live recording Copenhagen); CD version (15,-) on request !	2024	€25.00
YASNAIA	Oniro	do-CD	the only full length album of the female HYBRYDS part, originally released in 1996 (on World Serpent), now re-issued with a full bonus disc feat. rare tracks from singles and compilations plus a recording from a live performance in Munich (August 1997): - "Dark rites and ethereal psychedelia. A sexual energy channeled in rhythm driven magical tribalism..." - lim. 500, 6 panel digipak	2021	€17.00
Z'EV [ZEV]	Headphone Musics 1 to 6	CD	source material taken from the collection of cassette tapes Z'EV has piled in over 30 years since the late 60's, self recorded material or tapes from others through mail and voyages => six pieces of processed obscurities, í.e. a live recordings made on a sound poem festival,	2004	€14.00
ZOS KIA	23	3 x LP	collection of 23 tracks (over 2 hours) from the two vinyl releases (1984/1985), compilation / live material plus rare and unreleased stuff (for example: like "SLEAZY SAID") from JOHN GOSLINGs archive, some tracks feat. JOHN BALANCE and PETER CHRISTOPHERSON, other guests were STEFAN JAWORCYZN (early SKULLFLOWER) or FRITZ CATLIN (23 SKIDOO); these are the complete recordings of this early British Industrial project, strongly connected to the very early COIL; vinyl version triple gatefold 450 copies	2018	€46.00
ZOVIET FRANCE	Collusion (WHITE vinyl)	do-LP	"Collusion" was a compilation of rare compilation-tracks (for Touch, Bad Alchemy, Barooni or the legendary La Legende de Voix), released so far only on CD (Grey Area/Mute, 1992); for this re-issue all tracks have been re-mastered for vinyl, comes on WHITE vinyl, lim. 300 stand alone copies	2020	€34.00
	Chasse 3	16 x LP BOX	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), plus a full unrelased album \"A Long Walk\" and rare compilation material, extended versions + bonus tracks; comes with T-shirt & superb 24 p. 12\" x 12\" art booklet, plus numbered certificate and a small bag with mysterious minerals, in a white printed wooden box, lim. 500 copies	2022	€315.00
	A Third Collusion	do-LP	"On The Edge Of A Grain Of Sand" - the third collection of rare & deleted ZF material, recorded mainly for compilations, this time covering a period from 1996 to 2016 (11 pieces); the album is also part of the "Chasse 3" box, this is the 'stand-alone' version and comes on WHITE vinyl	2022	€32.50
	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
ZU	Goodnight, Civilization	12inch	three furious tracks by the Italian jazzcore band with MASSIMO PUPILLO (drums, sax, bass), here with shouter BARNEY GREENAWAY from NAPALM DEATH on one track! - last copies in stock	2014	€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
2KILOS & MORE	Kurz vor5	CD	2kilos & More is a french electronica duo from Paris created in 2003 and consisting of Séverine Krouch und Hugues Villette (Von Magnet). Before finding their way to audiophob, they released one 3" CD and two albums on different labels as well as a lot of other contributions to compilations and movie soundtracks. The new album "Kurz vor5" is once again produced by Norscq (The Grief, Atlas Project, Von Magnet, dDamage, Colder, remixer for Meat Beat Manifesto, Depeche Mode etc.) in his Parisian studio. The duo has invited Phil Von (Von Magnet) and Black Sifichi (a great spoken-words artist from New York who worked with Black Dog, Burnt Friedman, Simon Fisher Turner, Rodolphe Burger, High Tones etc.), two important voices from the independent French scene, to feature three new vocal compositions. Using samples and digital sounds, the duo composes by improvising on long evolving sound waves. They shape every song like a journey through sonic universe, playing with tension and surges punctuated by instrumental interventions (guitars for Séverine or drums for Hugues), often reminding us of the cinematographic world of David Lynch or Steven Soderbergh (Solaris). (auphcd018) 2kilosandmore.bandcamp.com/album/kurz-vor5-album-2012	2012	€7.00
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
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
ADLER, GUNTER	Douches Dames	mCD-R	"Jürgen Hall? Bei so einem musikalischen Namen hätte man sich doch nicht so nibelungendeutsch umtaufen müssen. Der mit dem Grönland Orchester (mit G. Reznicek) und Augsburger Tafelkonfekt (mit S. Reier) und Soloreleases auf Staubgold und Mik unter seinem Nom de plume bekannt gewordene Aachener, der nach seinem Studium in Hamburg hängen geblieben ist, steuert zur 1000füssler-Reihe drei überdurchschnittlich attraktive Tracks bei. Das 13-min. Titelstück entstand für eine Installation im Brüsseler Bains::Connective, das in den Räumlichkeiten eines einstigen Jugendstil-Damenbads untergebracht ist. Das hat Adler offenbar zu entsprechend spritzigen Sounds und zu Unterwasserklang angeregt, durchsetzt mit knackend rumorendem Klingklang, zunehmendem Stimmengewirr und Plantschgeräuschen und einer ganz feinen harmonischen Zierlinie, zu der punktuell heptatonische Skalen getupft werden. Das kurze ‚Scheppertones‘ danach meint eigentlich einen Tauchgang auf der Shepard-Tonleiter, jenem scheinbar unendlich absinkenden Glissando aus Sinuswellenfrequenzen, das auch schon Komponisten wie Tenney oder Risset reizte und das Adler mit furzelndem Geprassel durchsetzt. ‚Mousse-Touch‘ schließlich lautmalt einen nuanciert bebenden Fond, mal flirrend aufgehellt, mal wummernd abgesenkt und von Pfeiftönen durchschwirrt aus Zeiten, als Weltraumfahrer noch Nick oder Laika hießen." [Bad Alchemy] "Douches Dames was part of an ancient indoor swimming pool in Forest/Brussels. Today this elegant Art Nouveau building hosts the eclectic art laboratory Bains::Connective. The music, originally intended as a sound installation, is an amalgam made of field recordings from inside the building, antique heptatonic scales and synthetically produced sounds spread out painstakingly in the first movement, infinitely transposed downwards in the second (Shepard Tones) and finally hidden inside a shady atmosphere in the third, where another stimulating motif is aperiodically interrupted by sudden violent curves. In addition Gunter Adler has compiled a jumbled array of electroacoustic samples forming a zigzagged rather than streamlined path through his archives. During the roaring times, after the melting of the polar caps had begun, visual artist Isabelle Rouquette showed works on this theme from a diversity of sources and engraved them into the trapezoidal patterned floor of the pool. On the day of the opening the interior was illuminated by flowing zebra skin light projections while the music was presented in a sort of live performance, a soundtrack accompanied by a sweeping improvisation on a synthesizer and twiddling with delay effects. It has an opulent and festive character and is at home in both ancient and modern contexts. Douches Dames 12‘55 Scheppertones 3‘31 Mousse-Touch 5‘00 About the Artist: Born and raised in Aachen, Germany. At the age of 17 he starts experimentating with synthetically produced sounds (Commodore 64, all data lost). Moves to Hamburg, Germany in order to study physics, philosophy, music theory. From 1992 to 96 works under the nome de plume ANUBIS (see Stora Compilation from 1993). Works out his first sound installations and in 1998 co-founds the GROENLAND ORCHESTER with G.Reznicek. Invents his alter ego GUNTER ADLER and releases his solo debut on Staubgold. Additionally works on animation film and film scores. Toured continuosly with Groenland Orchester and Gunter Adler and teams up in the duo-improv group AUGSBURGER TAFELCONFECT with Sebastian Reier since 2002. The same year he releases a split album with Klangkrieg, again on Staubgold. Following up to this his next record Minutemusic is released by the polish Mik.Musik label [run by Wojt3k from RetroSexGalaxy] in 2003. Since October 2003 he is running a net label for exquisite electronic music plakatif.net. www.gunter-adler.de " [label info] "After reading the press text that comes with this release, I must admit I still have not much idea what it is about. It was originally intended for a sound installation and uses field recordings from ancient indoor swimming pool in Brussels. The text also mentions something about the opening, a live performance and a soundtrack, but Gunter Adler lost me there. Adler is perhaps best known as a member of Groenland Orchester (together with G. Reznicek), and later with Augsburger Tafelconfect and solo as Adler (which is not his real name). The three pieces on this release are made of highly processed field recordings, of which we no longer recognize the origins. Gliding tones, sine wave like, objects that fall to the ground and sound effects working overtime. This is quite a nice, sweet, short and highly enjoyable release, for those who love their microsound to be much more free and not tied to the strict conventions of that scene. Nice indeed." [FdW / Vital Weekly] www.1000fussler.com	2008	€6.00
AEOGA	Temple Treye	CD	"We are pleased to confirm that Aeoga, a duo formed back in 2004, is active again. Temple Treye is a work that was recorded and presented live already in 2006, but because of various reasons remained hibernating in the group’s personal archives for eight years. Due to the recent awakening, it was essential to gather the past and free these six telemorphic sonic formations; the crescent pillars had to be ignited. Temple Treye will be released through our Sublunar series, concentrating on presenting the new releases from the artists of the Helixes collective. Temple Treye is an ascetic yet vigorous continuation to the groups past discography. An outlandish touch ignites the earth-bound stellar components into bi-directional currents. Abstract electro-acoustic currents, coarse drone ambience and meditative rhythms guide onward on the pathway eating itself. Telemorphic-statues are burning, spectral-horizons collapsing into sub-atomic states which linger omnipresent among the threads of blooming semblances. Prism-like petals wither into immaterial gorges of power. Guardian's tonguing stare churning the revealing paralogies. Trance feasting the entrance. This is archaic dronumental Temple Music in its purest form. Total time: 43:41. The regular edition of 444 copies is housed inside a hand finished cardboard covers including an eight panel booklet." [label info] www.auralhypnox.com	2014	€13.00
AETHENOR	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
AKATOMBO	Sometime, never	CD	Following on from his critically acclaimed False Positives and Editions Mego collaborations with E.G. Lewis of Wire / Dome, ex-pat Scotsman and long-time resident of Hiroshima Paul Thomsen Kirk delivers his fourth album—ten tracks full of atmospheric, powerful, beat-driven, electronic-based compositions. From the persuasively percussive-led to dark ambient soundscapes to sleazy, wide-screen, full-on, bass-bin rumblings, Sometime, Never has it all… just because. “[A] meld of post-punk toxic ambient angst (à la Throbbing Gristle and Cabaret Voltaire) with contemporary rhythmic models…. Akatombo is big on alienation and … generally conveys a feeling of being close-up to events and places while at the same time feeling disconnected and uncomprehending of them…. [A] brilliantly compelling, adrenalin-soaked antidote to the tranquil hedonism into which electronica has been too apt to lapse in recent years.” —David Stubbs, Resident Advisor “[Paul Kirk’s] beatscapes hearken back to the industrial pioneers of the mid-’80s, but his sound is decidedly contemporary, a mix of drums, bass, bleached tones and samples that veer from dub to club…. The best tracks display more than mood; they reverberate with sass.” —Richard Allen, A Closer Listen “A killer collection of programmed beats, layered samples, dark atmospheres, thick guitars, and droney-ambience, sounding at times like Muslimgauze, or like a more chill Necro Deathmort, or one of those bands who might have shared a compilation with Techno Animal or Sidewinder back in the day. The vibe is definitely on the isolationist tip, murky and claustrophobic, the beats are crunchy and caustic, more often lurching and lumbering than skittering or shuffling, and those beats are set amidst thick swells of grim sinister ambience, and blackened late-night atmospheres….. A sort of dubbed out downtempo dance music that’s not so much for dancing, but lurking, hanging out in the shadows, in empty clubs in empty cities, everything crumbling and decayed, a seriously dystopic soundtrack for some wasted scorched earth future.” —Aquarius	2015	€13.00
AKERLUND, LARS & ZBIGNIEW KARKOWSKI	Aware Not Aware/Radio Enemy	LP	"This split LP is one of several collaborative projects between Zbigniew Karkowski and Lars Åkerlund, which took place during the years 2012–2013. The collaboration between Karkowski and Åkerlund goes back to the 1980s, with projects like P.I.T.T. and the Dreamers and Onge-4-X. They continued during the 90s with an opera setting of Dostoyevsky’s The Idiot and a trio with Dror Feiler, among other things. Collaborations during recent years include the CD Horology, which Karkowski and Åkerlund made together with Jean-Louis Huhta. The three of them also made a couple of live performances during 2012 and 2013 in the re-unioned 80s group Mental Hackers. It was after their acclaimed concert with Mental Hackers at Fylkingen in May 2012 that the idea of this LP was born, whereafter Karkowski and Åkerlund each began working on one piece for it. The record proved to become Karkowski’s last one – at least the last that he, himself, took part in the planning of. Zbigniew Karkowski died on December 12th 2013, after having been diagnosed with cancer only two months earlier." [label info] www.fylkingen.se "The other new release by Fylkingen Records is a split record by Zbigniew Karkowski and Lars Akerlund, who started working together in the 1980s, with projects like P.I.T.T. And The Dreamers and Onge-4-x, then in the 90s on an opera project around The Idiot (that's the Dostoyevsky play, not the Iggy album) and with Jean-Louis Huhta as Mental Hackers, in 2012 and 2013. As you know Karkowski died in 2013, two months after he was diagnosed with cancer. The last work he was working on was this split LP with Lars Akerlund. Karkowski's piece is called 'Radio Enemy' and is a noisy beast, and that's probably no surprise. It's not, however, one of those over the top Merzbowian blasts of noise, but it opens up with a voice fed through an amount of distortion, but it has still a commanding, strong presence. It then moves to a repeating, high-pitched sound to which a slowed down voice is added. Listening to this right after the 'Text Sound' compilation, it makes perfect sense; Karkowski is here updating the notion of voice/text within the realm of some highly powerful music. Even if noise can be a bit much for you, I recommend this piece for you. This is the variation of noise that is loud but not for the sake of loudness. Akerlund on the other side has no text, or at least nothing that we can see as such, and starts out with noise that would suit Karkowski pretty well, but his piece 'Aware Not Aware' moves over a much more dynamic range. The noise is powerful and short and through the twenty-three minutes of this piece Akerlund moves from the very quiet to the reasonable loudness. His build up is slow, minimal and yet dramatic. It is hard to say if these tools are all analogue and modular or much more part of the world of software. Somehow I think the latter. His piece is quite intense; blocks of heavily treated sounds and it works really well as a piece of modern musique concrete." [FdW/Vital Weekly]	2016	€16.00
ALDEA, ERIC	Saturno o Cipolla	CD	Erinnert sich noch jemand an die hervorragende französische “Rock”-Band (Rock im Geiste von THIS HEAT wohlgemerkt) namens BÄSTARD? Dies ist das äußerst empfehlenswerte erste Solo-Album des ehemaligen BÄSTARD-Mitglieds ERIC ALDEA, der sich hier in drone-ambiente Gefilde begibt und ein meisterliche Atmosphären & Sounds erzeugt, betörende Drones mit orientalen Blasinstrumenten, Resonanz-Loop-Schichten verschmelzen mit field recordings, glitchig-fremdartige Frequenzfelder tauchen auf, getaucht in warme Klangfarben ... bester deep Ambient & atmospheric Electronic! BIOSPHERE meets ZOVIET FRANCE meets GLITCH.? “Eric Aldéa was a member of Lyons based post rockers Bästard, whose collaborators included Chicago luminaries Bundy Brown and Casey Rice, and was previously in industrial hardcore merchants Deity Guns. His first solo record betrays few of those influences though; compiled from various pieces written for dance company La Baraka, Saturno o Cipolla ? delivers a warm, organic take on experimental ambient electronics. Aldéas approach is informed more by the lo-fi layering of industrial types like Zoviet France or the tapeloop outings of Fripp & Eno than by the cut 'n paste glitchscapes beloved by the average bald bloke with a Powerbook, though we do get a bit of digital snap crackle n blip on a couple of pieces. Elsewhere Aldéa delicately weaves together shortwave transmissions, field recordings and acoustic instrumentation with rarely heard skill. While countless TV advertised ambient compilations may promise to, er, take the listener on a journey, Aldéas gradual unfolding of his pieces seems to do just that. The thirteen minutes of "02" are especially seductive; opening with a chatter of shortwave crackles and bleeps, an opressive string figure repeats itself to be swept away by a held, suspended chord flecked with bowed double bass harmonics and gurgling synthetics. A phone goes off somewhere; footsteps are briefly heard. A gentle synth loop fires up eventually to be overrun by glassy digital tones and telex bleeps which swarm and multiply before abruptly fading. Here Aldéa's manipulation of acoustic space recalls David Toop and Max Eastleys classic Buried Dreams, though is less likely to give you nightmares. Less successfully, "03" and "04" stray into more conventional electronica territory, with looped sinewave drones, clicks and metallic synthbursts piling up and receding in typical minimal art techno fashion. The closing trio of pieces save the day though; revolving around mournful, muted strings, alternately decorated with bubbling analogue synth, dolorous cello and distant xylophone figures, they evoke a calm tinted with a vague sense of unease, like seeing a single black cloud in a summer sky.Immersive, often beautiful and with a slightly ungraspable quality that makes you want to stick it on again as soon as its finished, Saturno o Cipolla ? may well turn out to be one of the records of the year...” [Peter Mash, BBC website]	2001	€13.00
ALUK TODOLO	Archives Vol. 1	LP	"Archives vol.1 is a collection of unreleased / rare material documenting the first decade of the band's existence : raw, unpolished rehearsal captures, bizarre recording experiments, early or alternate versions of existing pieces, these 8 tracks, selected from the band's private tapes, are compiled in an unchronological order, forming a whole and unveiling new apects of Aluk Todolo's musical quest." www.templeoftorturous.com "Laut ihrer Bandcamp-Seite residieren Aluk Todolo derzeit in Paris. Neben der vorliegenden Archiv-Zusammenstellung vom März 2017 haben sie zwischen 2006 und 2016 neun Alben veröffentlicht, darunter auch ein Konzertalbum. Die finsteren und geheimnisvollen Stimmungen der instrumentalen Stücke und das Artwork der Alben führen dazu, dass man als um die stilistische Einordnung stets bemühter Review-Schreiber die Musik von Aluk Todolo als durch die okkulte Gedankenwelt des Black Metal beeinflussten Krautrock auslegen möchte. Als ein Hinweis in diese Richtung kann auch das „Occult Rock“ genanntes Werk aus dem Jahre 2012 dienen. Dieser Eindruck wird durch „Archives Vol.1“ eindrucksvoll bestätigt. Das Album enthält bisher unveröffentlichtes Material aus den letzten 10 Jahren der Bandgeschichte. Darunter finden sich unbearbeitete Fragmente aus den Bandproben, „seltsame Aufnahme-Experimente“ (so der Infozettel) sowie frühe, oder alternative Versionen der bereits veröffentlichten Stücke. Anlässlich der aktuellen Veröffentlichung von „Archives Vol.1“ habe ich mir tatsächlich fast alles von Aluk Todolo auf Bandcamp angehört, weil ich die Band zunehmend interessant fand. Je älter die Aufnahmen, umso finsterer, experimenteller und Black Metal-artiger werden die Jams des französischen Trios. Die treibenden Rhythmen und der repetitiv-energetische Charakter von „IV XII MMX“ ziehen den offenen Hörer in seinen Bann. Das kurze „XXVI IX MMX“ klingt für mich nach gezielt übersteuert-noisigem, apokalyptischem Jam. Rau und rotzig geht es im Jam „XVIII I MMVI“ zu. Eine scheinbar ungewohnt gestimmte akustische Gitarre sowie schwer definierbare Klänge (irgendwo zwischen Synthesizer und Dudelsack angesiedelt) bestimmen „XV V MMVIII“, das als Soundtrack zu einem bizarren Ritual dienen könnte. Mit „XXVII XI MMIV“ nähert man sich unvermittelt der atmosphärischen Dark Ambient-Musik. Die Bezeichnung „Dark Space Jam“ kommt mir bei „XVII I MMVI“ in den Sinn. Das Avantgardistische an „X IX MMVIII“ gleicht mit den Industrial-Noise-Klängen fast schon einem Besuch in einer Stahlfabrik. Okkulter Krautrock mit einer Prise Black Metal und Elektronik? Was auch immer Aluk Todolo da spielen, für mich klingt es interessant. Wer ungewöhnliche und experimentelle Musik mag, der sollte sich mal mit „Archives Vol.1“ beschäftigen." [Siggy Zielinski /Babyblaue Seiten) www.babyblaue-seiten.de/album_16370.html	2017	€22.50
ALVA NOTO	Xerrox Vol. 5	do-LP	NOTON is pleased to announce the release of Xerrox Vol. 5, the final installment of Alva Noto’s Xerrox series. For anyone who has been following the series since its inception in 2007, the concept of Xerrox no longer requires introduction. Originally, it aimed to create copies of images—both visual and acoustic—that are more memorable than the originals. The exploration of the relationship between the original and the copy, along with the invention of the copier, not only inspired the series name but also informed its underlying concept. In 2024, this series comes to an end, marking the culmination of a journey that began with the first recording in 2005/2006. Over nearly two decades, the five albums in this series have accompanied the artist’s evolving perspective and conceptual approach. Initially characterized by rawness and a conceptual focus on seeking resolution in white noise, the later works engage with themes of dissolution while shifting their emphasis toward acoustic particles. The copying process is now less visible through software manipulation; rather, it unfolds as the artist describes melodic and acoustic images that are then manipulated, copied, and transformed into new patterns during composition. Nicolai describes this evolution as a journey encompassing buildup, exploration, and resolution, drawing parallels to the Odyssey and the stories of Jules Verne, particularly those featuring Captain Nemo. The conclusion of this album holds a sense of finality for the artist. “I aimed to create a whole cycle of tracks that frame both the beginning and the end,” Nicolai explains. “The motif of the journey continues, but this time, the story reaches a dissolution through a conceptual object that embarks on its own journey into infinity. The word “dissolution” (“Auflösung” in German) is a wonderful concept. On one hand, you can solve a riddle, on the other hand, a pill can completely dissolve in water. Here, I am deliberately describing the process of dissolution.” In crafting Volume 5, Nicolai has evolved his compositional process, eschewing samples in favor of original melodies. “This album probably took the longest to complete,” he reveals. “I first created melodic sketches, which became the foundation for the pieces. These recordings are created entirely from scratch. Based on these sketches, I constructed the process of copying, manipulating, and reshaping.” Drawing from his recent experiences working with film and larger ensembles, Nicolai’s approach to composition reflects a growing influence of classical instrumentation. “This experience of working with acoustic classical instruments has flowed into the compositional process for Xerrox Vol. 5. Certain instruments are designed with potential orchestral translation in mind.” The sonic atmosphere of Xerrox Vol. 5 is one of profound dissolution. “I wasn’t initially interested in strong, emotional melodic aspects,” Nicolai shares, “but I realized that the fragment plays a central role.” This shift leads to an emotionally charged experience, imbued with melancholy and the bittersweet essence of farewell. The passing of Ryuichi Sakamoto, an admirer of the series, has further deepened the album’s emotional resonance. “Xerrox Vol. 5 has a lot to do with farewell,” the artist explains. “Not only the farewell to the series itself, which I’ve nurtured for almost two decades, but also there have been many farewells to people who were close to me. I believe these people are recognizable in the music. It’s a very emotional, personal album.” Listeners can expect a visual dimension to the music, though Nicolai intentionally leaves this open to interpretation. “I prefer to allow the music to evoke personal experiences and images rather than dictate a specific narrative,” he states. The result is a layered listening experience that invites tenderness and introspection. Xerrox Vol. 5 will be released as a limited edition vinyl, digitally, and on CD by NOTON on November 29, 2024. Album art designed by Carsten Nicolai & Nibo. Mastering by Bo at Calyx. noton.info/product/n-062/	2024	€30.00
ANEMONE TUBE	:existence	CD	" A U F A B W E G E N RELEASE INFO cd-audio releaae date: 25.05.2001 artist: ANEMONE TUBE title: :EXISTENCE: order no.: aatp09 time: 50:12 min jewel case / 500 handnumbered copies / fold out colour insert :existence: as a great mix between rumbling noise and floating ambience. four hasrh tracks and three more dense and collage like works make this a varied and thrilling listen! tracklisting: Flesh & Bombs (10:13) Secondary Master (4:43) Choke Down (5:41) Existence (11:10) Red Waves (5:56) Continuity (4:08) The Encounter III (8:19) Anemone Tube was founded in Summer of 1996 by Stefan Hanser who felt the urge to express deeper personal feelings and dreams. The audioworks from Anemone Tube vary a lot along with the different means Stefan Hanser uses as sound source and for manipulation and could easiest be described as industrial-, ambient- and noisescapes of organic and synthetic sounds. The use of constantly shifting and altering sounds and moods is possibly one of the most intruiging things about the audio creations of Anemone Tube with the purpose of trying to put the listener into a delirious mental state, to irritate, torment and caress him no matter if in a positive or negative way: to cause emotional reaction! Over the years plenty of releases, several participations on compilations, split and collaborational releases on tape, vinyl, cd and video have been realised by different labels worldwide such as Transfixional Entertainment/Ravensburg, AufAbwegen/Köln, Solipsism/USA, Loud!/Italy, Napalmed/Czech, Inner Space Records/USA and many more. www.transformed.de/anemone.html" [original press release by AUF ABWEGEN] "German ambient-industrial project Anemone Tube was formed in 1996, and has explored a variety of heavy noisescapes and rhythmic blocks of sound; the Tube's modus operandi has always seemed to focus on putting the listener into a state of delirium caused by constantly shifting sounds and tones sourced from assorted organic and synthetic sounds, and this approach has resulted in a stylistically diverse body of work over the years. On the debut full length Existence, a nearly hour-long disc released in a hand-numbered limited edition of 500 copies, Anemone Tube is at it's heaviest, constructing seven bulky tracks that move from gorgeous ambient dronescapes to crushing, loop-heavy walls of distortion and menacing melodic tracers undulating over grinding rhythmic throb, sort of like what I'd expect a collaboration between Wolf Eyes and Maurizio Bianchi to sound like, although you can also draw lines to Throbbing Gristle, SPK, and violent early UK power electronics when tracks like 'Choke Down' and 'The Encounter III" get into full swing and start obliterating speakers with ferocious torrents of factory distortion. I really dig the way that Existence manages to balance the haunting, atmospheric drones and buried deconstructed rhythms with the louder, brutal passages of rumbling machine filth, making this much easier to digest than many of Anemone Tube's peers. Packaged in an elegant jewel case with a large 10-panel booklet glowing in fiery, fractaled reds and oranges, imprinted with mysterious pictograms." [Crucial Blast]	2001	€12.50
ANTONY & THE JOHNSONS	The Crying Light	CD	Drei Platten die wir auch mit Drone anbieten wurden vom PITCHFORK Magazin (zur Zeit wohl DIE Referenz im Alternativ-Bereich) zu den "besten Platten des Jahres 2009" erkoren: SUNN O)))s "Monoliths & Dimensions", JIM O'ROURKE - "The Visitor", und "The Crying Light". Zurecht, denn dies ist das Meisterstück des aussergewöhnlichen Sängers mit der fragilen Stimme und den herzzereissenden Arrangements! "Mit seinem dritten Album "The Crying Light" setzt der Songschreiber, dessen empathisch emotionaler Kopfgesang kein Geschlecht kennt, aber dafür die Tiefe menschlicher Gefühle, einen intimeren Fokus. Im Interview mit der britischen Musikzeitschrift "Wire" spricht Antony von einem "inneren Garten", dessen Mauern er nun überwinden möchte, weil es dahinter ja noch viel mehr zu entdecken gibt - "the landscape beyond my inner landscape". Es ist eine Meditation über das Paradies, das für Antony viel mit der Entfaltung der Natur und ihrem Formenreichtum zu tun hat. 30 Songs hat er in den letzten sieben Jahren für das enorm geschlossen wirkende "The Crying Light" geschrieben - und schließlich trotzdem nur zehn davon verwendet. Ein Prozess der Verfeinerung. Auch bei den Arrangements wurde alles Überflüssige gestrichen. "Dust And Water" klingt deshalb so pur wie schwebender Morgennebel, und hinter dem gesamten Album steht offensichtlich mehr eine suchende Zen-Haltung als ein exaltiertes Pop-Ego. "Her Eyes Are Underneath The Ground", der erste Song des Albums, weckt Erinnerungen an Schubert und das deutsche Kunstlied. Da ist vor allem Antonys Stimme, dazu ein sacht ertastetes Klavier und eine Ahnung von Violinen und Cello im Hintergrund. Erst ganz zum Schluss drängen sich harsche Bässe in den Vordergrund, wie Gewitterwolken an einem heiteren Nachmittag. "Epilepsy Is Dancing" tänzelt hoffnungsvoll und verspielt "One Dove" schält sich ganz langsam aus dem Nichts, wie viele Stücke hier. Später setzten Dissonanzen ein, mehr und mehr Instrumente tauchen auf und verschwinden wieder, bis nur noch seltsame Tierstimmen zu hören sind. "Kiss My Name" schwelgt dagegen in einem orchestralen Klang- und Melodie-Reichtum, der fast schon an Freund Rufus erinnert. Der Höhepunkt, "Another World", ist ein hellhäutiger Blues und ein banges Abschiedslied auf die Welt: "I need another place, will there be peace? I need another world, this one is nearly gone." Es folgt eine Liste der Dinge, die der Sänger in einer anderen Welt vermissen würde: die Bäume, das Meer, den Schnee, die Bienen und überhaupt alles, was wächst - "I'm gonna miss you all". "Aeon" mit seiner rauen Gitarre ist dagegen fast schon ein Rocksong, aber eben nur fast. Zu "The Crying Light" kann man nicht tanzen, und das Album gehört auch nicht zu den Platten, die einem mit packenden Refrains durchs eigene Leben helfen. Die Schönheit dieses bisher reifsten Antony & The Johnsons-Werks liegt darin, dass es nach der Seele sucht, wo andere nur in den Spiegel blicken. Ein Meisterwerk, eine andere Welt und ein Refugium für alle, die es zu schätzen wissen." [Jürgen Ziemer, Rolling Stone] "Zeitlos und doch aktuell: das lang ersehnte dritte Album. "The Crying Light" heißt das lang ersehnte dritte Album von Antony and The Johnsons. Auf "The Crying Light" legt Antony seinen Fokus auf ein neues Thema und gibt uns einen Einblick in seine Beziehung zur Umwelt. Der Album-Opener "Her Eyes Are Underneath The Ground" ist ein liebevolles Zwiegespräch mit Mutter Natur und Ausdruck des Wunsches, dass sie am Ende über ihre Zerstörung siegen wird - "no one can stop you now!" Darauf folgen der schwindelerregende Walzer "Epilepsy Is Dancing" und das herzzerreißende "One Dove", dessen detailreiche Instrumentierung Antonys Stimme - bildlich gesprochen - regelrecht umarmt. Mit "The Crying Light" ist Antony and The Johnsons ein zeitloses Meisterwerk gelungen, das uns die folgenschweren Entwicklungen in der Welt und unsere Rolle darin ins Bewusstsein ruft. Es kann zum Sinnbild dieser turbulenten Zeit werden; eine Momentaufnahme und ein Anstoß für uns alle, Courage zu besitzen und uns sowohl in unserem persönlichen Kosmos als auch in der Welt als Ganzes rücksichtsvoller zu bewegen." [Indigo] "ANTONY & THE JOHNSONS' breakthrough second album "I Am a Bird Now" won the UK's prestigious Mercury Prize in 2005. The success that followed introduced many to a pioneering soul singer unafraid to explore themes that traversed darkness and light, life and death, male and female. Antony's inimitable voice sparked the interest of artists ranging from Bjork to Hercules and Love Affair, resulting in a series of critically acclaimed collaborations. "The Crying Light" is the highly anticipated full-length follow-up to "I Am a Bird Now". Here, Antony shifts the thematic focus and explores his relationship with the natural world. The intimacy of the Johnsons' sound is enveloped by avant-classical composer Nico Muhly's symphonic arrangements. The record's centerpiece, "Another World" traces the singer's dispair in the face of a vanishing landscape. Antony and the Johnsons' music bridges the gap between avant-classical music and the blues, and the band's sold out performances have resulted in standing ovations from Carnegie Hall to the Apollo. "The Crying Light" is a soul-stirring new work with its daring compositions and captivating vocal performances. Antony and the Johnsons have created a subtle and timely work that brings a magical and yet changing world to the forefront of our consciousness." [press release]	2009	€16.00
APOPTOSE	Schattenmädchen	CD	https://apoptose-official.bandcamp.com/album/schattenm-dchen "Schattenmädchen (English:"shadow girl") has always been around, waiting patiently for seven years to step out of the shadows and reveal its face. Apoptose's third album explores dystopian locations: the undergrounds of Japanese megacities, the depths of worldwide data highways, the nightmares of little children. The seven tracks express images of a desolate and dying world, far removed from the solitude of the beloved Northern woods. A world lacking daylight and oxygen. A bleak vision of reality. Over the years, several of these tracks made their way to compilation CDs all over the globe. There they laid dormant to be reunited some day to form this album. In autumn 2006, Apoptose joined forces with Japanese cyberpunk author Kenji Siratori to complete the cycle. On this album, Apoptose works for the first time with spoken word lyrics. Featured languages are Japanese, English, and German. The tracks previously on compilations have been polished/remixed/rerecorded and renamed especially for the unique listening experience of Schattenmädchen. The CD is housed in an embossed 6-panel cardboard cover with an additional booklet. 7 tracks, 62 min." "Einige Jahre sind vergangen, seit Apoptose mit der ambitionierten Ritualmusik-CD "Blutopfer" einen ebenso komplexen wie sperrigen Kommentar zum Osterfest in Calanda veröffentlichten. Die Erwartungen waren über lange Zeit gespannt, und tatsächlich vermag auch "Schattenmädchen" wieder zu überraschen. Zunächst einmal hat man es hier nicht mit einem durchkonzipierten Album zu tun, auch wenn das technosophiosche Artwork von Kenji Siratori dies vermuten lässt. Klanglich kehrt man teilweise zur ersten CD "Nordland" zurück: satte Drones, fast sinfonische Melodiefragmente, dunkel pulsierende Drums, lange verhallende Klänge. "Schattenmädchen" ist tatsächlich die Zusammenstellung der vereinzelten Compilationtracks der letzten Jahre und wird von Tesco im liebevollen debossed Cover, teilweise glanzbeschichtet, präsentiert. Track 1 "Asche" bereitet einen Beitrag zu der Heilpflanzen-Compilation "Infernal Proteus" (2002) wieder auf ("Eichensiechtum") und überzeugt mit geheimnisvollen Stimmfetzen und unheimlichem Glockenspiel. "Violet Silence" (2007) zeigt sich inspiriert von der Cyberspace-Literatur von Siratori und untermalt einen englisch gesprochenen Text über Leben in Simulationswelten. Rhythmen und Melodien fallen hier leichter und chilliger aus. Gelegentlich erinnert das an die Soundtracks von John Carpenter, was an der konsequenten Verwendung von Keyboards liegt. Man ahnt, dass das titelgebende Schattenmädchen etwas mit dem Nachwuchs des Musikers zu tun haben könnte, und tatsächlich erklingt auf Track 3 Amélie/Apoptose mit einem geflüsterten deutschen Text, der wie ein Intro zu Siratoris markanten japanischen Vocals funktioniert. Hier dominieren technoide und kalte Klänge. Wie bei den vorangehenden Stücken fällt auch die ausgedehnte Länge der Stücke auf, was eine Miniaturdranmaturgie innerhalb der Strukturen ermöglicht. "Ba-137m" setzt den genannten Weg fort und mündet erstmals in Industrialnoise-Schleifen, die sich über eine trancige Melodie legen. Das Sample der Zeitansage ("Null") wird auch später noch auftauchen. Im Booklet findet sich ein poetisches Krankentagebuch, das die Textgrundlage von "Karla" (Track 5) bildet, wobei hier die Stimmen jedoch massiv verfremdet werden. Eigenartig und deprimierend, zugleich aber auch eines der schwächeren Stücke auf dieser CD. "2wei Sonne" knüpft thematisch deutlich an die früheren esoterischen Motive an und stammt von der "Solaris Collaboration" (2000). Sinfonische Strings erheben sich hier in kosmische Höhen: eine fasziniernde Miniatur, die in sägenden Power-Electronics-Wällen endet. "Null" war bereits ein Höhepunkt der hauseigenen :Ikonen:-Compilation "...in the Crystal Cage" (2004), und macht sich auch hier sehr gut, wobei der Mix leicht verändert erscheint. Hier taucht auch das Zeitanasage-Sample wieder auf. Mit fast majestätischen Harmonien wird diese Zusamemnstellung beschlossen. Wer Apoptose bereits für einen eigenen, durchaus erlebnisreichen Zugang zum Ambientgenre schätzte, wird an dieser Zusammenstellung ohnehin seine Freude haben. Mit einem homogenen Konzeptalbum hat man es leider nicht zu tun, doch die hohe Qualität der einzelnen Beiträge und die sorgsame Covergestaltung garantieren einen sicheren Tip!" [Ikonen]	2007	€8.50
ARASTOO & AEMAE	Ostrakon	LP	"Two side-long ice sculptures built on piano and processing, the piano coming strictly from Arastoo Darakhshan, while both add their effects but Brandon Nickell as Aemae delivers digital doctoring as his primary outlet. The title track is a wonderful splintering of sound, with glacier cracking in on the stark black and white keys. Aemae’s timing with noisier nuance is excellent on this, and he has at least one treatment like a frozen train going off the tracks! Here the sum decimates the parts, Arastoo’s delicate hesitance almost dances around a ghost of Clara Rockmore. A very open piece with rays of mourning and crystal shards of electronics, it captures that ever-important balance of order and chaos. If the first piece is Nickell plating Darakhshan, then perhaps the second is a reverse, with a layer of Aemae cast out and the piano imposed on top? Just a guess, maybe I’m too concerned without tallying yin and yang. The first piece really is a stunner with a fascinating name that wiki shows as the derivation for ostracism. Yeah, this is outsider music but I suspect readily acceptable to many ears, of course we too at KFJC have been happily exiled beneath main street for decades of decadence. Limited release on Nickell’s own label." [Thurston Hunger / KFJC] "A long in the works collaboration from two aQ favorites, Aemae and Arastoo. We've listed both Aemae releases, but Arastoo has been a bit more elusive, with tons of super limited vinyl and cd-r releases, of which we've only ever managed to review 3. Well, the two have come together, to produce this, the first in a new salvo of Bay Area sound art from Aemae, aka Brandon Nickell's Isounderscore label. And a pretty fantastic start. Arastoo plays the piano, and then the two shape and mold the piano into two side long pieces, both quite impressive. The A side is mostly straight piano all the way through, some gorgeous fluid playing, some stunning arrangements, but the two subtly shape and twist throughout, adding mysterious little music box flourishes, sudden squalls of super high end skree, but those moments are actually quite controlled, the sounds sculpted onto dog whistle melodies, and haunting upper register textures. The subtle production tweaks really only augment, creating complimentary sounds, or add bits of ambience, allowing the piano to drift and sway and unfurl its melody, seemingly oblivious to what's going on around it. The B side however, finds the sound of the piano obliterated, transformed completely into long shimmering streaks of layered metallic reverberation, a bit industrial sounding, layers of constantly shifting whir and rumble and hiss and roar, like a choppy sonic sea, building to a buzzing crescendo before settling back down into a tranquil sea of black ambience, as the piano returns, unfurling gentle, yet ominous minor key melodies, all very creepy and cinematic, but also quite lovely. LIMITED TO 320 COPIES. Super striking silkscreened covers, with original artwork by Arastoo." [Aquarius Records] www.isounderscore.com	2008	€14.50
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
ARCHITEUTHIS DUX	Submergence	CD-R	Architeuthis Dux is a noise unit from Austin, TX, perhaps best known for their heavily engaging, blistering harsh noise performances. Active since 2012, the duo of Kenny Brieger and Tony Duran have created an impressive oeuvre of mostly limited CDR editions, some in quantities as low as 15 copies. Through over a dozen releases, there have, on many occasions, been moments of what one can only call "blissed out abrasions"; Traversing territory that comes off with an almost kraut-rock oriented synth meltdown glaze, topped off with lo-fi metallic clang, skrieking industrial grit, and just generally bleak and tortured, surgical steel atmospheres. NO PART OF IT proposed to hone in on these reflective moments, and compiled a morass of penetrating, expertly organized cacophony that serves to stand apart, or give way to, the rest of Architeuthis Dux's more aggressive power electronics and heavy electronic work. The result is just under an hour of crisp sampling, damaged percussion, and simultaneously subdued, yet clearly pissed off pedal action that could stand up to SPK's early live sets, or Nurse With Wound's darkest moments. https://nopartofit.bandcamp.com/album/submergence	2016	€8.00
ARTIFICIAL MEMORY TRACE / GERALD FIEBIG / EMERGE / PBK	Fiction Circuit	LP	Artificial Memory Trace aka Slavek Kwi and PBK aka Phillip B. Klingler have been pillars of the global DIY experimental music culture for decades. Both of them have released work on attenuation circuit before. Here, they team up with label owner EMERGE aka Sascha Stadlmeier and his colleague Gerald Fiebig. Each one of the four artists contributes one track of about 10 minutes to the album. But while the four-way split LP is a common format in the global sound culture scene, “fiction circuit” is more than just a compilation. All of the artists on this album share a love of creating electroacoustic music from field recordings or found sounds. Therefore, label manager Stadlmeier invited Artificial Memory Trace (AMT) and PBK to supply source sounds from their archives. These were then used as the basis for the compositions. Leaving the source material identifiable was not the task – it was to be used as raw material to be sculpted, very much in the spirit of acousmatic musique concrète. On the AMT side, we find the tracks by PBK and Gerald Fiebig. They both used AMT's source material to create their tracks. PBK delivers a dense, rather rhythmic track with a decidedly “industrial” feel. Fiebig's track, on the contrary, uses the front cover artwork – a digital collage by EMERGE of visual works by Kwi and Klingler, with other works by them reproduced on the lavishly printed LP insert – as a graphic score for realising a rather harmonic ambient piece. On the PBK side, Artificial Memory Trace and EMERGE “play” the source sounds supplied by PBK. The piece by Artificial Memory Trace qualifies as exuberant rhythm noise, while EMERGE goes all the way into rather meditative laminar lower-case drone minimalism. Therefore, regardless of which side of the record one plays first (“AMT” and “PBK” are engraved on the vinyl itself to guide the listener), one will experience, thoroughout the whole album, a change between very different sonic textures and temperaments that showcase the wide range of expressive possibilities of electroacoustic music. This is not the product of good luck, but of planned collective composition: AMT and PBK, as the “guests” on the label, were invited to create whatever they liked without any formal restrictions. As it turned out, both of their works were rather intense and direct in character. Therefore, EMERGE and Fiebig both made an effort to complement each side with a more subdued, quiet piece. File under: Electroacoustic music, musique concrète https://emerge.bandcamp.com/album/fiction-circuit	2019	€18.00
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, GPark 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 zovietfrance 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
BAKER, AIDAN	Origins & Evolutions. A Composition for multiple Guitars	CD	"Aidan Baker returns to INSTALL with a appropriate follow up to his 2009 record 'Dry'. For this one Aidan has brought some friends along to create an immersive composition for multiple guitars recorded by guitarists from all over the world and assembled by Aidan himself. 'Origin One (Drone)' starts the record with a layered, dense drone that sets the frame work for the record. Further on the composition descends quickly into the obtuse with 'Evolution One (Percussive)' and 'Evolution Two (Chime Drone)'. The record is brought full circle by the ending piece 'Origin Two (Melody)'. Limited to 300 replicated CDs in full color 4 panel eco-wallet. With Guitarists: Jon Attwood, Aidan Baker, Mick Barr, Bryan W. Bray, David Daniell, Jonathan Demers, Richard Graham, N, JF Sebastian, David Tagg, Velladon Vampillia, Slash Vampillia, Matej Volgar, Brian Wenckebach, Nigel Wright." [label info] www.installsound.net	2012	€13.00
	Pithovirii	CD	"Glacial Movements is proud to present the soundscapes of Canadian artist Aidan Baker. His first appearance was with the song "Beneath the Ice" on "Cryosphere", the first and only compilation of the entire catalogue. Then in 2013, with "Aneira" (Welsh for 'snow') composed exclusively for GM, through the use of the 12-string acoustic guitar. Pithovirii is his new concept album, which was in part inspired by Vladimir Sorokin's novel Ice Trilogy which in turn led to reading about the Tunguska meteor which fell in Siberia in the early 20th century which in turn lead to reading about 15000 year old viruses found in glacier ice. Using electric guitar and effect pedals, Aidan attempted to musically convey the idea of glacial density and stasis within which lurk potentially malevolent microbiome. Aidan Baker is a classically-trained multi-instrumentalist using the electric guitar as his primary instrument. Using prepared and alternate methods of playing the guitar, along with various electronic effects, Baker creates music which generally falls within the ambient/experimental genre but draws on influences from rock, electronic, classical, and jazz. A highly prolific artist, Baker has released numerous recorded works, both solo and with various group projects, on such independent labels as Gizeh Records, Important Records, Alien8 Recordings, and his own imprint, Broken Spine. Baker is also the author of several books of poetry. A regular live performer, Baker has toured extensively around the world, including appearances at such international festivals as Supersonic, SXSW, Incubate, Unsound, and Roadburn, among others. Originally from Toronto, Canada, Baker currently resides in Berlin, Germany." All songs by Aidan Baker (electric guitar & bass), recorded in Berlin, July 2022. www.aidanbaker.org Artwork by Lia Bosch www.liabosch.com Sleeve by Rutger Zuydervelt Glacial Movements Records March 2024 glacialmovements.com glacialmovements.bandcamp.com	2024	€16.00
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
BASS COMMUNION	The Itself of Itself	CD	https://basscommunion.bandcamp.com/album/the-itself-of-itself Steven Wilson is no stranger to composing music that appears to counter everything else before it in his catalogue. Bass Communion, his long running solo electronic project, is no exception to this perverse streak that apparently likes to turn all expectations upside down. The Itself of Itself, Bass Communion’s first album for 12 years, skillfully pays testament to this. Long established as a purveyor of mostly atmospheric or ambient textures, the seven cuts that represent The Itself of Itself take detours from this approach in order draw as much from musique concrete, noise music, abstract electronics and uneasy listening. Whilst still rippled with the same shades of light and dark that can be found throughout all of Bass Communion’s work, The Itself of Itself reveals a fascination with analogue sounds and, more importantly perhaps, ‘unwanted’ analogue artefacts like tape hiss, wow and flutter, static noise, and sonic break-up, taking the music into a space at once different yet familiar. ‘Apparition 3’ presents a stark nod to Wilson's established command of shifting textures steeped in penumbral gauze, while ‘Bruise’ is akin to a space probe adrift and headed towards a white dwarf as all communication is reduced to a disturbing and indecipherable crackle. Between the other five cuts we witness fragmented, garbled and buried voices, vast vacillating banks of grainy hum, what sounds like the dying gasps of an oboe, spooky swirls from an indiscernible source, swathes of tape hiss, moody drones, and spiralling slivers of noise. Meanwhile on the title track, a mellotron flute rusts and collapses in on itself in a way that renders it the very antithesis of the one deployed on ‘Strawberry Fields Forever’. Everything adds up to a dynamic listening experience where unease, dread and comparatively claustrophobic torrents of sound make (un)natural bedfellows to moments of enchantment and serenity. Above all, The Itself of Itself sees Steven Wilson cutting his teeth on an album that’s at once cinematic and moody whilst proving him to be a master in electronic music craftsmanship. It’s an album that might surprise some of those who have thus far been paying attention to his work as Bass Communion, but setting out to please everyone was never part of his raison ‘etre. 'The Itself of Itself' catches Bass Communion spreading its weatherbeaten wings to embrace new strategies and a strong desire to journey elsewhere. Arriving in a wonderful Carl Glover designed cover also comprising a 24pp. booklet of his photographs and an obi strip, The Itself of Itself arrives in late May 2024 on Lumberton Trading Company as a CD pressed in an initial run of 1000 copies. NOTE: An exclusive new Bass Communion track also appears on the When Worlds Collide 2LP compilation also due in May and available to pre-order in the shop (see link below). Other artists on this limited edition 2LP include Alternative TV, Final, Sion Orgon, Edward Ka-Spel, Splintered, Kleistwahr, Ashtray Navigations and more. THE ITSELF OF ITSELF TRACKLIST 1. Unperson 10:34 2. Apparition 3 6:04 3. Bruise 13:19 4. Blackmail 7:24 5. The Itself of Itself 10:24 6. Study for Tape Hiss and Other Audio Artefacts 11.58 7. Apparition 5 02:46 "...This new album has some interesting changes. On one hand, there are sounds of vinyl and tape hiss, heavily processed yet to be recognised as such, and there is the addition of real instruments, such as a mellotron (well, maybe not 'real', but a distinctly different kind of instrument than you'll find on your usual dark ambient record. Also, there are some shimmering chords played on a keyboard (in 'Apparition 3', for instance), crippled voices in the very creepy title track, along with more mellotron (I think). Using tape hiss in 'Tape Hiss Study' is quite a daring and risky movement. One could all too easily think, 'tape hiss, that we've heard enough of by now', but Bass Communion gives it an elegant twirl and creates an excellent collage, using various stages of the process. Throughout these seven pieces, there is quite a bit of variation so that there is no repeating of stale ideas of worn-out dark ambient. In 'Blackmail', Wilson ventures out to noise music and is more Merzbow (around 1990) than anything you would label as ambient music. Quite the accomplishment!" [FdW / Vital Weekly} https://basscommunion.bandcamp.com/album/the-itself-of-itself	2024	€17.50
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
BATES, MARTYN	Unsung	CD	"Unsung – the new solo album by Martyn Bates (voice/guitar) completed September 2012 and produced by Alan Trench & Martyn Bates. Released on November 13th. 'With Unsung Martyn Bates takes on the more traditional role as a singer-songwriter, armed solely with his guitar for accompaniment, save for the occasional sparse colouring. At this time — when this particular role has been explored and done to death & beyond by long lines of both old and young musicians — one would think that there possibly could not be much to add (not that singer-songwriters generally are out on a mission to add something to the format). But as we know from the past history of Martyn Bates and Eyeless In Gaza, they do invent, they do new things, they sound fresh over and over again. So this is exciting, indeed! From initial listenings to the album, one happily fails to find anything reminiscent of the new breed of singer-songwriters that tend to sound so same-ish, even when they try to sound “alternative”, “sensuous” and “independent” suggesting the listener would be convinced that it (albeit artificially) “sounds so right”. Here, in contrast, you find someone who plays and sings as if no one has ever done any singing accompanied only by his own guitar playing before. The lyrics are thoughtful, the music is lush and different, the voice is superb and the music is respectful of the intelligence of the listener. Still the music is certainly not dull or gloomy, but spirited and infectious. I think you will agree.– Jerry Nilson" [label info] www.eyelessingaza.com/asr.html "These acoustic guitar based songs largely came from sessions relating to the Twelve Thousand Days project in which Martyn Bates collaborated with Alan Trench of Orchis in the 2000’s. Though it’s also produced by Trench , Unsung has a very different feel, and it finds Bates at his most concentrated and immediate. Bates is essentially a singer songwriter but his work in Eyeless in Gaza and other collaborations reveal he’s also adept at improvisation and manipulation of sonics. Here the latter is limited to some ambient drift and phantasmal backing vocals, which sound particularly strange on ‘’And This The Day’’. But essentially Unsung relies just on his voice and acoustic guitar, which is beautifully recorded with a big , full sound. At times his expansive picking recalls Bert Jansch or Roy Harper. As a singer-songwriter Bates has a wide stylistic lexicon, ranging from soft susurrations to notes that feel wrenched out from somewhere deep. On ‘Muted Music’, he evokes the heightened poignancy of its inevitable transience. One of the album’s loveliest melodies, ‘Caustic’ is, however, a bleak look at how memories of events can differ between two people, with the song’s narrator the one left with nothing of comfort to recall. His love of traditional music was first overtly stated on the Murder Ballads series he made with Mick Harris in the 1990’s, and the influence of Martin Carthy suggests itself here. But his own work is more in tune with the unfettered feelings that run through folk song. On Unsung, he seals his engagement with tradition on ‘’Love Came To My Door’’, an a cappella tale shaped as a disquieting visitation rather than a cause for celebration." [Mike Barnes, THE WIRE]	2012	€13.00
BAUMANN, FRANZISKA	Eternal Ice melts	CD	Faszinierendes Gletscher-Dröhnen & erhabene Voice-Poetry von FRANZISKA BAUMANN, dazu 5 Remixe ihres Stückes von MICK HARRIS, SEETYCA (soon on Drone Rec!), SUBMERGED.... "...Highly recommended compilation to anyone interested in contemporary electronics from subtle field recordings to expressive breakbeat-science." [NMP / Vital Weekly] "In the fall of 2003 Franziska Baumann performed at the Matrix Festival of contemporary music, in Leipzig, Germany. Her manipulated recordings of melting glacier ice wowed the audience, but just as memorable were the 125 copies of a remix CD distributed at the event. Noted artists Lull, Seetyca and Clemmens Presser were drafted to compose pieces based on her works. For Mick Harris (Lull) fans, finding a copy of this CD has been their holy grail. On October 16 Soleilmoon puts an end to their frustration, and does it in typical over-the-top Soleilmoon fashion, with a hand numbered limited edition presented in a silkscreened vellum slip cover. Fortunately, the quantity is more reasonable this time: 500 copies will be made. And finally, just for this new edition, Kurt Gluck (Submerged) has contributed a heart pounding new drum’n’bass track. Lull is the name of the dark ambient side project of Mick Harris, former drummer for Napalm Death and current leader of challenging industrial music band Scorn. German artist Seetyca is a prolific artist who records his bleak, isolationist soundscapes music for many labels, including darkwinter.com. Clemens Presser, another German artist, has contributed to several compilations and is now working on his first solo album. Kurt Gluck runs the Ohm Resistance label and is a famous drum’n’bass DJ. He has collaborated with Bill Laswell and John Zorn, and regularly moves back and forth between the dance and experimental music scenes. Franziska Baumann is fascinated by the glacier as a listening space. She has been examining the forms of sound in and upon the glacier, inspired by the enormous tide of ice and its multilayered temporal and spatial dimensions, and she sets her own voice in a dialogue with its icy spaces Using stereo, zoom and contact microphones, Franziska Baumann senses the aliveness and dynamics of ice and the poetry of the sounds that live in glacial crevasses and grottos. The sounds of the glacier (creaks, drips, rumbles, shuffles etc.) were recorded at different times on and within. Her voice touches the icy crevasse walls in their various states, from karstic to icy smoothness. Warmth and cold produce different sound pictures. In collaboration with glaciologists from the Federal Institute of Technology (ETH) and the Swiss Computing Center in Zurich, she has transformed seismographic recordings of glacial movements into sound paintings. A portrait of this work was broadcasted on Swiss television in December 2001." [press release]	2006	€13.50
BECUZZI, GIANLUCA	Trax to Trax	do-CD	"Here comes Gianluca Becuzzi’s fourth release on Silentes. This electronic / electro-acoustic composer and sound-artist boast an enviable curriculum: active since the first half of the ‘80s as founder of the historic Darkwave / Industrial project Limbo, since 1999 his artistic production is characterized by a strong experimental imprint and by a clear tendency toward abstract aesthetic forms and micro/macro noises/sounds. Among his recent artistic production - in addition to what he has published under his own name - we should at least mention his projects Kinetix, Noise Trade Company and Grey History, and his many collaborations in duo with Fabio Orsi. "Trax To Trax" is a double CD that collects tracks recorded between 2006 and 2011, most of them have already appeared on compilations or on limited edition CD-Rs. Among the musicians who have collaborated on some of these tracks, we’d like to mention Simon Balestrazzi (T.A.C.), Nigel Ayers (Nocturnal Emissions), Fabio Orsi and Pietro Riparbelli/K11. Surrounded by dark presences we enter this listening experience enjoying Gothic scenarios covered with electronics and noise, pressing and suggestively evocative, in a relentless series of images and sensations, in the emotional crescendo of a close confrontation with our inner world." [label info] www.silentes.net	2012	€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
BEGG, MICHAEL	Vanitas	CD	VANITAS is another semi-conscious descent into the liminal territories between contemporary composition and electronic erosion. I am still consumed by landscape, by memory, by that sense of longing. And I still cannot stop staring at the moon. For this release, I played many more acoustic instruments than is usual for me. Piano, guitars and bass mostly – but also a series of virtual instruments that I built for the recording; sampled wood burning stove, tuned martini glasses, e-bow autoharp, stolen French music box, loose piano string droner, and a blow torch treatment of glass sheets. I also took my first leap into sonification resulting in the opening track; Invocation, in which I programmed NASA information about a particular lunar eclipse early in the 16th century, which I mapped onto a series of 6 solfeggio frequencies. I don’t necessarily subscribe to the mystical qualities accorded to these frequencies – but there is something undeniably affecting about them. The track clears the deck s very effectively for the remainder of the recording, I think. Hopefully these exploratory excursions don’t detract too much from what should be an immersive listening experience. VANITAS will be available from May 6th on the usual digital download and streaming sites. But there is also a very limited CD run comprising 150 copies. As with previous releases, this comes in a hi-gloss, Japanese Artboard digipak. It also features a Deryk Thomas painting on the back cover which may surprise you! ~ How I wrote up Vanitas at the end of the last session. Midnight. Orchestras are tuning up in the verges of the hollow ways. I have built my own instruments from wood, antique metals and computers. I read a book about the harmonic consonance between planets – but the planets are all out of kilter. I see through holes in the past that manifest as chasms in the sky. I am so sad. I am so angry. This is my only voice. These are my only tools. I sit still. Very still. I jump in time, but I always land in the night. The beautiful night. God, I cannot tell you how much I miss the night. Yes, i meditate. It seems very obvious to me that these pieces come from that space, that place – but it doesn’t warrant any closer examination than that. Just, please, allow the seconds to decouple themselves from the minutes. Watch the hours drift up to that hole in the night sky. This recording is a monument to a certain kind of laudable failure. It is what happens when someone with no gift for programming writes scripts in Python and Max in order to consume data and make the moon and the tide sing. It’s what happens when someone with cheap tools and the ghost of a sound to realise gets out of his studio and into the workshop to make doomed instruments from all the junk in the village. It’s what happens when a man with no formal musical education takes it upon himself to score and orchestrate an ensemble. It’s where ‘I can’t do this’ meets ‘I must do this’. This is not creating something of worth from silence, this is more like recovering something once lost from the midst of a solid block of shapeless sound. The work is done. The coding is spaghetti. The instruments are broken; warped and ragged. Still, the moon sings in my ear. The machines in the studio haven’t been updated in over three hours so are obsolete. Yet Clea’s cello, formed in the year of Mozart’s birth, spins a silver thread in space and time. And so, another midnight. Wife and children sleeping. Another illustrated ruin in my hands. And under what skies? Out into the night. Close the coop, and put away the hens water. Look up. There is one word you need to find. And if you whisper the right word, it will carry beyond the dimmest star. Now, back to bed, little pilgrim." https://omnempathy.bandcamp.com/album/vanitas	2019	€13.00
	Witness: Ambient Chamber Works 2020-2024	CD	New Music Scotland Award winning composer and sound artist Michael Begg announces the release of ‘WITNESS. Ambient Chamber Works 2020-24’, a collection that brings together five years of work exploring sound, science, and the environment. This compilation includes highlights from Begg’s collaborations with scientists, experiments with environmental data, and residencies with the European Marine Board, Friends of the Scott Polar Research Institute and the Ocean ARTic Partnership. The album features selections from the WITNESS series, released as waypoints during the COVID lockdown, as well as pieces from ‘Light Water is Black Water,’ ‘Sounding The Ice Factory,’ and the forthcoming ‘Out of Whose Womb Comes the Ice’. In this five year long development of Begg’s signature ‘data composition’ process we encounter earth monitoring satellites, earthquakes, ionospheric lightning strikes, the clean night air of lockdown, receding Arctic ice, mutated migrations and currents, collapsing glaciers, the cycles of deep time and the collapse of predictable weather cycles. We find a new music that speaks to our growing solastalgia that is true to science and faithful to a convulsing world. WITNESS includes collaborations with Clodagh Simonds (Fovea Hex), Ben Ponton (zoviet*france), and the Black Glass Ensemble. The collection features live recordings and alternative mixes, and the first preview of new work arising from Begg’s two month residency in Antarctica as the Friends of the Scott Polar Research Institute’s first musician in residence. credits released May 19, 2025 Michael Begg Black Glass Ensemble Clodagh Simonds Ben Ponton Clea Friend Aisling o'Dea Julia Lungu	2025	€15.00
BEHRENS, MARC	Selected minimalist concerns	CD-R	“a collection of tracks from 1990 and 1995, all unreleased (except "Intermatter" which was previously included on the Ash International compilation "A Fault in the Nothing"). numbered edition of 150 copies in circular sleeve. absurd #17”	2002	€10.00
BERIDZE, NATALIE	Of Which One Knows	LP	Of Which One Knows is a collection of works by Natalie Beridze that sit outside the easy categorization of "album". They are of course, an album, but they are more than that, in that they represent a kind of multiplicity in sound, an accumulation of experience, of emotion, of life, transposed into sound. It is only together that the stories that sit between them might start to be assembled. Spanning a decade and a half, these works chart a trajectory of investigation and curiosity that charts the very edges of Beridze's intensely personal compositions. From Natalie Beridze: "Of Which One Knows, was written and produced between 2007-2021. Such unreleased material is a quintessential backdrop to an artist's processes, as it has obviously never landed in any full bodies of work. It does however gain humble significance, which feels approachable, which is about absence and hence always fresh, drifting somewhere between remembrance and obliviousness. I see sound in smells, maps and mischievously put random words in poems, as they provoke pivotal subconscious algorithms in me. These tracks are the portrayal of those feelings. Anterior memories; Layer upon layer; Petrichor -- a smell of first rain; In spring; Jupiter Florida; I'm in beauty Kentucky; In paradise Miami; I'm in cut off Louisiana; In why Arizona; Sea of moisture moon; I am the memory of. Every blissful moment of the divine process of music-making, that goes back to a sacred process of a child at play -- a burning response to the intensity of the neigh to invisible blueness of half-formed ice. The span of time for this music reminds me of my dad's studio. Infinite thick wooden drawers that crackle clack, bounce clatter, peal, rattle the same way as before. There is no decay crumbling, perishing or rot in the objects inside. Clippers, liner pens, tracing paper, cutters for grown-ups, unused razors and their tiny spare blade packs, tapes, compasses, leather and metal roll meters, are all intact. Random snapshots, outdated student ids and driving licenses in leather sliders, letters, postmarks, piled up separately in intense small section drawers. All's in perfect order. All intact. Layouts, house models with tiny tables and chairs and swimming pools with people inside, others by the fireplace, some holding cocktails, others reading books- are very dusty, smelling of glue and cardboard, all intact. Some stacked one on top of another, others unfinished on the modelling table under the stained swinging arm desk lamp." https://natalieberidzetba.bandcamp.com/album/of-which-one-knows	2022	€25.00
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
BIANCHI, MAURIZIO (M.B.)	Persecutionem	LP	"Persecutionem" heisst "Verfolgung" und wie viele von MBs Veröffentlichungen ist dieses Album religiös inspiriert. Die sechs Stücke wirken fast wie eine logische Fortsetzung (auf einem anderen klanglichen Level) dessen, was vor 30 Jahren begann - recht rauher, irgendwie mysteriöser & hypnotischer Drone-Noise, mit Zeitlupen-Vibrato-Effekten, die seltsame Obertöne "nach oben" sprudeln lassen... Sechs Stücke, in einer nummerierten Auflage von nur 303 Stück ! "'I've taken inspiration for this medicative work from the sordid persecution of the early Christians, but in other ways we receive objectivistic persecution every day from this standardized system, from our wretched condition and from the modern persecutors which are hidden behind their threatening countenances. The appropriate soundtrack of such perturbed sufferings is this justifiable work, 'persecutionem', in which the semblances of our gaolers are inherents on these obstructed sounds, and the hopeful liberation of our existences are culminating on the eschatologic modulations. The deliberate epilogue is contained in the derogatory elevation of our reinstated spirituality for a repulsive capital sentence in order to transform the alienated persecutor into an inalienable victim of persecution.' Maurizio Bianchi - February 2009" [label info] http://rotorelief.com	2009	€20.00
BIOTA / MNEMONISTS	Musique Actuelle 1990	CD	Altes Material einer der unserer Ansicht nach besten und spannendsten Experimental & Geräuschmusik-Acts aller Zeiten ! Stets wurde live mit einem Riesenarsenal an Leuten & Instrumenten improvisiert, um das ganze dann später studiotechnisch auf unnachahmliche Weise zu verfremden... Hier sind 4 bisher unveröffentlichte Stücke, die für ein Festival 1990 eingespielt wurden. Unnachahmlich fremdartig harmonisch, bizarr und doch von einer eigenartigen Schönheit sind ihre Stücke....ebenso die im Booklet abgedruckten psychedelisch-amorphen Bilder.. "Biota was founded in 1979 in Fort Collins, Colorado, as the Mnemonist Orchestra. Over the years, the Mnemonist Orchestra developed into Biota (the musical contingent) and Mnemonists (the visual contingent). Both Biota and Mnemonists work as one on productions of musical and visual components. The group has released nine LPs, one EP, and four CDs in addition to several cassettes and compilation ventures, on both their own Dys label and Recommended Records UK. Heard on this CD is the first adaption of their studio-based recording techniques since 1981, as presented at Montreal Musiques Actuelles - New Music America 1990. For their live performance they composed a set of material specifically for the concert and virtually relocated their studio to the stage to properly recreate it. Nine musicians playing only acoustic instruments (aside from electric guitar) were heard natural and unamplified from the stage while extensive electronic processing, heard through the speakers, rendered radical tonal, timbral and temporal modification creating an incredibly unique and strange sound world. For the first release of this music, Biota have combined the best recordings from both the rehearsals and the concert itself. Added to this, the two-dimensional graphic work that Mnemonists have become so renowned for was transformed into stunning video projections - beautiful examples of which are now included in the full color booklet accompanying this CD." [label press release] “ With the emerge of home computers and the easyness of using them for music production it is hard to imagine that there was a point when the studio was a seperate instrument, a place where you could shape your music and expand beyond the limitations of any instrument or sound. Now it seems so common and you can do it at home. Biota is a group that has been around for at least twenty years as part of the Mnemonists (who were a music group too, but now only concern with visuals) and on the small output (at least when seen from a larger time frame), Biota uses the studio as their instrument. Their members play guitar, saxophone, piano, clarinet, accordion but also crumhorn, curtal, rackett and shawm but it's when it all comes together in the studio where the real work is done. Needless to say it's a band that hardly performs live. But Anomalous unearthed this recording from 1990 when Biota (along with Mnemonists for the visual side) where invited to Canada to bring the sound live in a specially commissioned work in four movements. The CD is made out of the live performance and the run through prior to the concert. Biota doesn't use any such thing as samples, tapes, synths etc and upon hearing this hearing this recording, that is hard to believe - but I believe it's true. Especially in the lenghty opening and closing piece, things sound distinctely electronic with highly processed instruments. In the second and third piece, Biota plays much more free improvised music, quite chaotic but a slight touch of folk music in the second piece. The entire concert is a fascinating thing with many surprises all over the place and an excellent display of their unique working methods. And what struck me most: for a band that hardly plays live it's a great concert! A much underrated band, sadly." [FdW / Vital Weekly]	2004	€15.00
BJERGA / IVERSEN	(Go with the Flow) like a Twig on the Shoulders on a mighty stream	CD	* BJERGA / IVERSEN - (Go with the Flow) like a Twig on the Shoulders of a mighty Stream CD (TIBProd 100, 2008) € 12.00 Zusammenstellung von 12 Stücken von dem norwegischen drone/noise/impro-Duo, die in den letzten Jahren mit ZIG CDR releases präsent waren. Ihre Drones sind nicht edel, harmonisch, oder grossartig strukturiert, sondern low-fi, dreckig, feedbackend, obertönend, als Klangquellen kommen allerlei Instrumente, Objekte und Effektpedals zum Einsatz... das erinnert an ähnliche Sachen von MY CAT IS AN ALIEN oder BIRCHVILLE CAT MOTEL... als komprimierte Compilation ein kurzweiliger Überblick im Booklet ausführliche liner notes von Tobias Fischer (Tokafi). ".... A fine introduction into four years of hyper activity from two minds from the Nor-scene. Lots of guitars, lo-fi electronics, mild distortion, waving minimalism and lengthy drones, this is what their world is made off. Their selection is very fine, I'm pretty sure I would have picked similar pieces from their catalogue - the more quite lengthy drone pieces of buzzing electronics and fine guitars. I can imagine you can't collect all fifty previous releases, but if you need one, then why not this one?" [FdW / Vital Weekly] www.tibprod.com	2008	€12.00
BLACK TO COMM	Oocyte Oil & Stolen Androgens	LP	"The music of Black To Comm is as powerfully intoxicating as it is subtly unnerving. The solo project of shapeshifting German producer and sound artist Marc Richter, his mastery of sonic manipulation is matched only by his astounding clarity of vision. Oocyte Oil and Stolen Androgens applies Richter's wild imagination to an exploration of the human voice, standing as some of his most immediate and affecting music to date. Each of his phantasmagoric works is meticulously constructed from an omnivorous array of smudged samples and other sonic detritus, painstakingly collected by Richter from across the history of recorded music or his immediate environment and altered into beguiling new shapes. Sound sources seem tantalizingly familiar and yet often just out of reach, flickering at the edges of the subconscious. Oocyte Oil & Stolen Androgens compiles new evolutions of pieces written for site-specific installations alongside original works. Taken as a suite, it offers a transfixing survey of the full sonic potential of the voice while honing in on its emotional and human qualities. Remarkably, considering their origin as art installations, the five tracks compiled on Oocyte Oil & Stolen Androgens stand as some of Richter's most concise and immediate work. In reimagining the pieces for release, Ritcher explains that he "wanted to break away from the notion that pieces for art have to be atonal, or abstract, or difficult". It stands as a testament to the evocative power of his work that even removed from their original context, Richter's synaesthetic compositions alone give a vivid sense of three-dimensional space and narrative. Like psychoactive chemicals blossoming in the stomach, pieces burst and bloom from the recordings into physical space, grounded in the familiar but drifting through alternate realities and higher states of consciousness. In resampling and re-working his own material, Richter actively embraces the inherently liminal and temporal nature of music, each piece existing in a state of constant flux that shifts and bends to suit the myriad contexts in which it is experienced." https://blacktocomm.bandcamp.com/album/oocyte-oil-stolen-androgens	2020	€26.00
BLOCK, OLIVIA & KYLE BRUCKMANN	Teem	CD	"Olivia Block: field recordings, piano, reed organ, editing and mixing. Kyle Bruckmann: oboe, English Horn, suona, accordion, field recordings, editing and mixing. Bruckmann and Block's creative relationship dates back to the recording of Block's 1999 release Pure Gaze, shortly after both artists entered into Chicago's vibrant experimental music community. Their decision to create a collaborative duo ensued, but remained in the realm of good intentions until shortly before Bruckmann's relocation to the San Francisco Bay Area. They then began playfully stockpiling sounds from a myriad of sources, collecting field material, and recording duo improvisations in various spaces using hallway intercom systems and unorthodox microphone placements, among other processes and techniques. This initial activity was followed by five years of collaborative editing, processing and mixing, resulting in the emergent expanse that is Teem." [label info] "From Chicago, both of them: Olivia Block (field recordings, piano, reed organ, editing & mixing) and Kyle Bruckmann (oboe, English horn, suona, accordion, field recordings, editing & mixing) - the meeting of a serious composer (Block) and an improviser (Bruckmann being part of EGK, among other things). Its a combination that works well. Both ends are covered well. We hear Bruckmann's wind instruments playing strange figures, while along we have the more rigid organization of Block's field recordings and organ parts, as well as the rumble and tumble of acoustic objects. They bump and collide into eachother, attract eachother, and then move away from eachother. Four parts were recorded over a period of five years, from nervous hectic of part three to the quiet, introspective fourth part. Demanding music here, which requires your full attention. This is not music which allows you to go and do other things, but in these thirty seven something minutes you need to stay with it, and focus. Its only then when it unfolds its beauty. After that you may tired, but perhaps also, like me, utterly pleased. An excellent collaboration." [FdW / Vital Weekly]	2010	€12.00
BLOOD RHYTHMS	Heuristics	CD-R	"One day it dawned on me that tons of material over the last 15 years had sort of grown an organic cohesiveness to it that is suitable to be looked at together, both backward and forward. In 2004, I had a dream about a child going through what could be said of a certain toad; that if you put a toad in a pot of water and slowly boil it, this toad would adapt and survive. If you put a toad in an already boiling pot of water, it would die immediately. In my dream, I saw a child suddenly being immersed in a similar fluid, causing him to grow up immediately. When he did grow up so abruptly, the result was a person with writing all over his body and black tar coming out of his mouth. Like the Empress in the tarot, this child lept forward from virginity to creativity. I made this photo shoot happen with my friend and photographer, Iris B., and I never knew what I was going to do with it. At one point, I thought it would be an exhibition of photography. Eventually, though, it dawned on me to de-saturate and sort of purify the images and use it to frame this material. This material, ranging from 2000-2015, represents a lot of things I sort of hoped would be on 7 inches or prestigious compilations, or they were criminally under-released, perhaps prematurely. For instance, I went to a piano class at a local community college to learn just one song; "Viper's Drag" by Fats Waller. My final exam was to be able to get through the first page of written music, and I did it, like a gallivanting jalopy and a horse-drawn carriage of maddening, youthful frustration. My version, "Maggot's Drag (Notte Del Casu Marzu)" tells a short horror story of killer flying maggots. It was meant for a "monster music" compilation I was curating, that was more or less sabotaged by a cover artist whom I paid in advance, who didn't deliver for over two years. I got my money back after a fair amount of doin', but the steam I did not. Also in the picture, is the audio for a performance I did with Right-Eye Rita on 06/06/2006, at a party I curated with Betty DeVoe. It was a ritual performance called "The Stifling Air", supposedly based on some works by Jacques De Molay, Grandmaster of the Knights Templar in the 13th Century. It included a custom made coffin and a nude model, and a king. I always felt it needed to reside somewhere, but only now did it make sense to put it somewhere. I could have produced the piece yesterday. Some of my early performances exhibited a variant amount of sound structures, with me screaming the words "Remove All Doubt" over it until I felt like my vocal chords were bleeding. Featured here is one such piece, some of my more musical work. There is also a track, "Mention This", featuring the vocals of Atalee Judy, a woman who was a kind and passionate supporter and friend early on. She'd given me a cassette of a'capella recordings, and I was inspired for weeks to create music to them. In this case, prior to knowing anything really about experimental music, I made music that is still bizarre, even to me now. Screeching synth-cellos and heavily effected broken glass, sampler percussion, among many other things, provided a back-drop for Judy's incredible voice. I once played this track to a man who did sound engineering for radio plays, and he said I'd achieved sounds and dynamic stereo ranges that he wouldn't understand how to do. Maybe he was just being nice. Another track features Nikola Vasilic, where he and I did another piece for a Halloween compilation, with piano, organ, and lots of samples from horror movies. Yet another track was made by me with harmonica, bass guitar, sampler, vocals, and masochistic microphone abuse. I could go on and on. There is a story to every piece, and it is a diverse listen for sure. It is 60 minutes in duration, and I humbly suggest you give it a try. SHRINK WRAPPED IN A JEWEL CASE, HIGH QUALITY INSERTS. https://nopartofit.bandcamp.com	2016	€10.00
BOB DOWNES OPEN MUSIC	It's a Mystery	CD	"Bob Downes was a name you’d see everywhere in the late ‘60s/early ‘70s – always up to his neck in something interesting and experimental. Last year I tracked down a composition of his for Alphorns for the Probes series (it will be in No.22) and a few months later he sent me an unreleased recording of his 1970 Dream Journey, a great dance composition that speaks volumes about the general musical climate of the time (it’s for 3 percussionists, two flautists, saxophone, trumpet and bass). I asked if there were more and we soon shuffled this compilation together, which covers a lot of ground: from solo to 65-piece wind band, recording experiments to library music and the years 1970 to 2004. And, of course, Alphorns. Several tracks feature the legendary John Stevens, classical percussionist Derek Hogg and bassist Daryl Runswick. It’s constantly engaging, inventive and a pleasure to listen to; and it’s also a fascinating window onto a (sadly) vanished aesthetic."	2017	€13.00
BODIN, LARS-GUNNAR / BENGT EMIL JOHNSON	Semikolon	LP	"LP, 500 numbered, 4 page insert. Originally created as a 6 part radio series in 1965, and released in 1966 by Sveriges Radio. This is the first LP recording by either of these composers. Recorded at EMS (Elektron Musik Studion), the newly established studio facility at Swedish Radio. This pioneering work did not easily fit in any category that existed at the time. Inspired by the work of Öyvind Fahlström (who was a pioneer of concrete poetry along with the Lettrists and Futurists), a few young Swedish artists began exploring new text based experiments. The only other artist releasing records of similar soundworks at this early time in Sweden was ke Hodell who had released two 7' singles. These Swedish sound poets differ in style from their other European counterparts mainly due to their easy access to the high quality facilities available at EMS, with its own in house engineers and sophisticated studio equipment. Given the close relationship at that time between EMS and the national Swedish radio station, their works often have a strong narrative (radio art) quality. Semikolon is one such work, but it also uses found sounds, musique concrète and electronics to create a collage, the likes of which had not been heard before. By 1967, Bodin and Johnson had together finally agreed upon a term for this particular style of sound poetry; text-sound composition. This term was then taken up by other Swedish artists working in the same field including Hodell and Sten Hanson, and soon became internationally recognised. The following year Bodin and Johnson in association with Fylkingen inaugurated the first annual festival of text-sound composition. This international festival, and the commissions it gave rise to, became a major part of the work at Fylkingen and EMS. The festival ran for 10 years. 7 LPs from the early years were released by Sveriges Radio and more recently Fylkingen have compiled the series as a 5CD set. Naturally, both artists were included in the festivals, but they also created a large body of work which appeared on many of the essential anthologies of European sound poetry at the time, including the OU Revue and Klankteksten (released by the Stedelijk Museum in 1970 to accompany their exhibition of concrete poetry), as well as other international compilations. Both artists have also worked in the area of pure electro-acoustic composition, and these works are also mostly available on compilations. This record though, is a collaboration rather than a compilation and retains a timeless contemporary feel that is shared with other radio art projects like the Hörspiel Heute series released by Luchterhand in the 70s. This new vinyl edition of the original LP adds an extra 7 minute composition by Bodin, also taken from the original Semikolon radio series." [label info]	2013	€18.00
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
BOHREN & DER CLUB OF GORE	Patchouli Blue	CD	Nach ihrem letzten Studioalbum "Piano Nights", mittlerweile schon über fünf Jahren alt, veröffentlichen Bohren & Der Club Of Gore am 10.01.2020 ihr neues Album "Patchouli Blue" auf [PIAS] Recordings Germany. 1988 in Mülheim a.d. Ruhr gegründet, und seit 2016 - nach dem Ausstieg von Schlagzeuger Thorsten Benning - auf eine Trio-Besetzung optimiert, haben Bohren & Der Club Of Gore mittlerweile 7 Studioalben, 1 Compilation und eine 1 EP veröffentlicht. Dazu zahlreiche Konzerte auf der ganzen Welt gespielt und sich mit präziser Entschleunigung, kombiniert mit minimalen Lumeneinheiten, eine große und treue Fangemeinde erspielt. Dabei blieben sie ihrem Sound stets treu. Mit Bass, Saxophon, Piano, Fender Rhodes, Vibrafon und Besenschlagzeug als Basis erschaffen sie seit 20 Jahren ein einzigartiges Werk - immer instrumental, immer langsam, immer ereignisarm. Gesang gibt es nicht. Nun also "Patchouli Blue". Instrumental, langsam, ereignisarm. Gemischt wurde das Album wieder von Andi Reisner. [label info] "The fog is turning to rain as I push through the doors into the old Club of Gore. The place has been closed up for a few years but nothing much has changed, it’s still comfortably frayed around the edges. Organ drone swells up from the background, cuts out. They kept the worn fittings and the gloom, smells like death rock. After a couple of minutes the saxophone sighs softly, like a friendly hand on your shoulder. Patchouli Blue just fell into my lap, new information at short notice. The hardcore had the jump on me all along. By the time this review makes it out they’ll be soaked in it, hip to details I haven’t had time for yet. Bohren & der Club of Gore play a superbly unhurried type of slow core doom jazz. The sort of stuff to make long shot film noir images spool across the mind’s eye and your internal monologue turn all hard-boiled detective without warning. New faces at their notional dive bar turn on their heel pretty sharp or settle right on in because it feels like home. Companionship in solitude, nobody pulling on yer sleeve and making noisy chit chat, it’s all existential brooding on life’s mystery in here. If you’re coming to it cold then what Patchouli Blue most sounds like is Angelo Badalamenti’s dark jazz mood music for Twin Peaks. Only slowed down and left to wander the woods. It’s what’s playing on the jukebox in Audrey Horne’s coma." [Echoes & Dust]	2020	€16.50
BOMIS PRENDIN / MAMA BAER	Die Zöglinge der Dalaia Lama	LP	"Now here is one of those names which I remember seeing in the past, and even have a couple of pieces on that Bain Total compilation LP (from 1980), but honestly don't remember, nor having heard any of their other work. I do remember they released two flexi discs, which I thought was cool. I am quite surprised to see they are still around and apparently they never stopped. This seventh installment of split LPs by Mama Baer and Kommissar Hjuler has five pieces by them, from 1994 to 2005. Bomis Prendin sound very much like boys who never grew up. If you are old enough to remember the late 70s/early 80s were a fertile ground for experimenting with sound, usually from a rock context. Armed with guitars, bass, drums, keyboards but also toys and loose circuits they create what was then called 'no wave', and after thirty years Bomis Prendin still manages to create the same kind of music, like they never learned a bit on their guitar, or notions about melody, rhythm, timbre. A very free sound - the real anybody can do this. I have no idea if these tracks are very representative of the old sound, but somehow I think they do. In their most recent piece they sound suddenly strangely coherent - hammering away in free rock mode. I was playing some old Metabolist record the other day, and this came close to that. Excellent (re-)discovery. On the other side we have Mama Baer, solo this time. Her work, either solo or Der Kommissar, always leaves me puzzling, to say the least. They seem to be operating very much on the outside of the musical spectrum, with what seems at times therapeutic music. Here however there is one piece that covers the entire side of the record of tape (reel-to-reel) manipulations which sound like an older Nurse With Wound record of manipulated voice (pitched up high) and a woman moaning, far away percussion and microphone abuse. Excellent piece all around. Very thoughtful, so these people aren't that crazy I thought." [FdW/Vital Weekly] www.psych-kg.de	2011	€20.00
BORISOV, ALEXEI	A Polished Surface of a Table	CD	Eine der experimentelleren neuen Veröffentlichungen auf dem Moskauer Label von A. ARTEMIEV kommt von ALEXEI BORISOW. Zu hören gibt es von ihm sehr komplexe Collagen und unendlich scheinende Überlagerungen aus „everyday sounds“ und atonal-dronigen elektronischen Klängen, Geräuschkaskaden, mutiert-technoides und vieles mehr.... “ A full-length album by Alexei Borisov is a nice thing to hear, if you need a redefinition of the experimental music. Alexei is certainly one of the Russian artists that's gaining a bigger worldwide recognition lately, he played live at this year's Club Transmediale in Berlin few weeks ago. Before this album and besides the tracks from various compilations (released by N&B Research Digest), I've heard Alexei's live album Before The Evroremont released by N&B Research Digest / Avanto Festival, and I liked it. I wonder what it means when a track by Alexei Borisov is titled Blue Vinyl? Does it mean he took a blue vinyl and conducted a musical massacre on it? Could be. Alexei likes to use voices in his post-electronic, post-techno, post-experimental, post-post music, one of the best post-musics I've heard. This is done truly amazing in the sixth track Dew, a complete musical slaughter, 4 minutes of the most amusing (and most gentle) sound-killing I've heard recently as a counter-point of the first 15 seconds at the beginning of the track with the appealing vocal of Angela Manukjan. Kill sound before sound kills you? Kid606, take notes. The techno moment is in Zaraza (Volume I), a track that could have been done maybe by Motor, and noone else. Could be because of the national connection. The softly distorted beats make me want to hear Volume II, if there is. The voices are sometimes used to create only noises with them, like in My Voices. Alexei Borisov's music is maybe not the kind of music you'll listen all day every day, but it's sure great to know it exists out there, somewhere, in the outer limit. Great work! Address: http://www.electroshock.ru [BR, Vital Weekly]	2004	€12.00
BRADLEY, JULIAN	Miss Modern Venus	CD-R	Rare Zusammenstellung von live-Aufnahmen des VIBRACATHEDRAL ORCHESTRA-Mannes. Stränger, ächzender, an jeder Ecke dronender low-fi noise... “ Seems an appropriate start to the UK leg of the Apoplexy journey to issue a disc by Leeds own Mr Bradley, known to many as one of the fab Vibracathedral Orchestra. Julian presents us with a selection of live recordings from a visit to Belgium last year and boy do they hit the spot. Murky loops and growling substrata is the order of the day here and in the family spirit of this small industry JB is joined by Laurent Cartuyvels on bass... Laurent runs the Veglia label and has just released a swell Julian Bradley compilation cd which I urge you to check out along with this wee gem. ” [label description]	2003	€8.00
BRAINVILLE 3	Trial by Headline	CD	"Three old hands out of Soft Machine, Gong and Henry Cow stretch already flexible musical material into one shape after another, then tie it in knots and generally have a fun with it. High quality recordings combined with seat-of-the-pants playing keep the tension high, underpinning a richly labile music, full of shape and colour that is constantly in motion. Compiled from recent concert recordings in Berlin, London and Tel Aviv, this clutch of extended songs should be to the taste of anyone familiar with the protagonists - or who longs to hear a little more straightforward instrumental playing in place of computers, heavy processing and sanitised post production. Brainville offers you tightrope walking, imagination, fast thinking, and a seasoned musicality: a social music, played by old friends, that blithely goes its own way." [label info] www.rermegacorp.com	2008	€14.00
BRAND, STEVE	Looking into the other	CD-R	STEVE BRAND (also known before as AUGUR) mixes electronics, field recordings and sounds from "real" instruments for a very mellow deep ambient journey, similar to ALIO DIE or ROBERT RICH... but he also has parts of very "pure" concrete sounds, that are more challenging... Great full-colour artwork / cover, showing nature, symbols, stones. "Steve Brand has been creating sound art and visual art since the mid-80's. From 1995 to 2003 he was active as Augur, creating obscure and organic music which was released on many labels worldwide, including The Foundry, Manifold, Alluvial, Self-Abuse and others. During the years he had the chance to collaborate with artists such as Jeph Jerman (Hands To, Animist Orchestra), Rick Kitch (I Am Umbrella, Lucky Cricket), PBK, James P. Keeler (Wilt), Brooke Oates (Birds of Tin), etc. His atmospheres, alarmingly austere, with varying shades of gray, are drenched in allusion and a heightened sense of cinematic noir for the listener. According to his own words, "emotional aspects of a recording always come first". Consisting of six long tracks, "Looking Into the Other" takes up where "Awakensong" (...released on Afe in April 2006...) left off, expanding the exploration of twilight worlds. The album utilizes bells, synthesizers, voice, various flutes, medicine drums, cymbals, fiddle, rattles, prayer bowls, etc. "Looking Into the Other" begins with the ritual horns introduction of "The Flower of Life", a piece full of pathos which is subsequently filled with morbid sythesizers lines and insects sounds provided by Johnathan Benham. "Where Two Rivers Meet" starts as a percussive number and then proceeds with keyboards and flute intertwining each other before percussions re-emerge towards the end of the track. Clocking at more than thirteen minutes, "Djehuti, the Architect" is one of the longest and most complex tracks on the album. Its structure keeps on changing as different percussions, cymbal, voices and synthesizers flow in and out of the mix. Listening to this track is quite an experience. "Columns of Light" it's a quieter and dreamy piece constructed on floating keyboards sequences and background rattles, bells, chimes and other small objects / hand-held percussions. "Looking Into the Other", the title-track, was already featured on our 10th year celebrative on-line compilation in late 2005, the one on this album is an improved version. With its flutes, voices, phased drones and repetitive drumming, this track has a strong introspective quality. The fourteen minutes long "Wrapped in Leaves" closes the album with a mocking laugh. A shorter version of this track previously appeared on the "Things Asunder" compilation released by The Foundry. Once again, with this work Steve Brand has created an high quality and excellent album of deeply emotional music, and proved himself as one of the most inspired authors in contemporary Ritual Ambient. "I am reaching into the interior realities, the meaning behind the symbols we accept as everyday reality, into the dream of the abundant natural self that knows no boundaries or limitations." [label description] www.aferecords.com	2007	€10.00
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
BROWN, CHRIS	Talking Drum	CD	27 Sound-Snaps von traditioneller Ethno-Musik und field recordings verschiedenster Lände – CUBA, BALI, TÜRKEI, PHILIPPINEN, KANADA, werden hier verbunden mit live-Aufnahmen einer Computernetzwerk–Installation zur Generierung polyrhythmischer Klänge...klingt etwas arg konstruiert, aber das Ergebnis ist sehr vital, ungewöhnlich und vielseitig ... “Binaural motion recordings composed as a dialogue of distances. Live recordings of music for electronic network music ensemble juxtaposed with location recordings of traditional music and environmental soundscapes. Made in Bali, the Philippines, Turkey, Europe, Cuba and America 1991-99. This compilation/composition documents nearly a decade of work that began with the recording of dense sonic environments, both 'natural' and urban. Talking Drum is an interactive installation made with four networked laptop computers programmed to explore cyclical polyrhythms in large acoustic spaces. While the performance of the entire system is synchronized by one computer, each computer station generates independent results using genetic-programming algorithms which are affected by acoustic musicians' performances. Each station in the space “grows” its own rhythmic response to the situation, like similar plants growing differently in adjustment to their locations in an environment. The musicians improvise with the rhythms, interacting with the response of the computers they play next to, and the whole is a quartet of these human-machine duets. This recording compiles moments from these performances, and the recordings that inspired their creation, into one continuous piece. Electronic music is normally thought of as a medium emphasizing unlimited access to timbre - I think this is often over-emphasized, and that, at its best, it changes our experience of space. The traditional African talking drums are played held under the arms so that their laces can be squeezed to change the pitch of the drum-head as rhythms are played. The changing pitches and rhythms imitate patterns of the tonal languages of West Africa, and can be used like musical telephony to communicate over long distances. This recording follows this design, creating conversations between different places, environments, people, rituals, and parties on a global scale. Chris Brown (b. 1953), composer, pianist, and electronic musician, creates music for acoustic instruments with interactive electronics, for computer networks, and for improvising ensembles. Born and raised in Chicago, he moved to California to study electronic music with Gordon Mumma and composition with William Brooks at Univ. of California/Santa Cruz, and with David Rosenboom at Mills College. He was active early in his career as an inventor and builder of electroacoustic instruments; he has also performed widely as an improvisor and pianist with such groups as Room; and the Glenn Spearman Double Trio. In 1986 he co-founded the pioneering computer network music ensemble The Hub. He is also known for his recorded performances of music by Henry Cowell, Luc Ferrari, and John Zorn. He has received commissions from the Berkeley Symphony, the Rova Saxophone Quartet, the Abel-Steinberg-Winant Trio, the Gerbode Foundation, the Phonos Foundation and the Creative Work Fund. His recent music includes the poly-rhythm installation “Talking Drum”, the “Inventions” series for computers and interactive performers, and the radio performance “Transmissions” series, with composer Guillermo Galindo. His 1992 epic electroacoustic work “Lava”, for brass, percussion, and electronics is also available on Tzadik. He teaches Composition and Electronic Music at Mills College in Oakland, where he is Co-Director of the Center for Contemporary Music (CCM)” [press release]	2005	€13.00
BRUME	Les Victimes sont dangereuses	CD	"This is the 6th CD in the 13 CD Brume anthology. C. Renou - all instruments. Compiled, recorded and mixed at Brume Rec. in 1996-97. Ultrasonic mastering by Richard Johnson / Atmoject. Originally produced by Atmoject as a limited edition CD-R in 1998. Digitally remastered at Brume Rec. in winter 2006." [label info] www.waystyx.com	2008	€13.00
	Moll	CD	"This is the 7th CD in the 13 CD Brume anthology. C. Renou - all instruments, tapes, mix, Marie-France - voice. Compiled, recorded and mixed at Brume Rec. in 1999. Originally produced by Prion Tapes as a limited edition CD-R in 1999. Remastered from the DAT-master at Brume Rec. in winter 2006. Dedicated to Philip K. Dick." [label info] www.waystyx.com	2008	€13.00
BU.D.D.A.	Diese Anmut von Trophäen	MC	Bu.d.d.A. (Bund des dritten Auges) was born accidentally – in a dark room in Barcelona. It evolved quietly until Sascha Stadlmeier (EMERGE) and Chris Sigdell (B°TONG) took Bu.d.d.A. on the road and started to take the project seriously. This resulted not only in various EPs, split releases and compilation tracks, but also in a bona fide album which you can hold in your hand and put in your player. What's inside? Mesmerising ambient music! Bu.d.d.A. is Sascha Stadlmeier and Chris Sigdell doing the unexpected... playing real instruments! "Diese Anmut von Trophäen" ("This grace of trophies" in German) features not only trademark Bu.d.d.A. tracks, but also guest appearances by such illustrious figures as Bees from COMMON EIDER KING EIDER, DREKKA and BEBAWINIGI. Think of Earth meets Troum together with Brian Eno on LSD... "Diese Anmut von Trophäen" is released by the joint efforts of Zhelezobeton Distribution Division (Russia) and Attenuation Circuit (Germany). Available on cassette, CD and in digital formats. zhb.radionoise.ru/eng/zhbd-23.html * * * * * * * ZHBD-23 © 2022 Bund des dritten Auges — a sight revered EMERGE: violin, electronics, field recordings, voice B°TONG: electric guitar, bowed guitar, synthesizer, vocals, samples featuring: Bees (Common Eider, King Eider): voice (2) Drekka: piano, rain (3) Bebawinigi: voice (4) written, arranged & produced by Bu.d.d.A. recorded at ac hq & The Loft 2020–2021 mixed by Sascha Stadlmeier & Chris Sigdell final edit & mastering by Chris Sigdell at The Loft logo & design by Chris Sigdell Bu.d.d.A. would like to thank Buddha, Rob Fisk, Michael Anderson, Virginia Quaranta, and Zhelezobeton https://zhbd.bandcamp.com/album/diese-anmut-von-troph-en	2022	€10.00
	Diese Anmut von Trophäen	CD	Bu.d.d.A. (Bund des dritten Auges) was born accidentally – in a dark room in Barcelona. It evolved quietly until Sascha Stadlmeier (EMERGE) and Chris Sigdell (B°TONG) took Bu.d.d.A. on the road and started to take the project seriously. This resulted not only in various EPs, split releases and compilation tracks, but also in a bona fide album which you can hold in your hand and put in your player. What's inside? Mesmerising ambient music! Bu.d.d.A. is Sascha Stadlmeier and Chris Sigdell doing the unexpected... playing real instruments! "Diese Anmut von Trophäen" ("This grace of trophies" in German) features not only trademark Bu.d.d.A. tracks, but also guest appearances by such illustrious figures as Bees from COMMON EIDER KING EIDER, DREKKA and BEBAWINIGI. Think of Earth meets Troum together with Brian Eno on LSD... "Diese Anmut von Trophäen" is released by the joint efforts of Zhelezobeton Distribution Division (Russia) and Attenuation Circuit (Germany). Available on cassette, CD and in digital formats. zhb.radionoise.ru/eng/zhbd-23.html * * * * * * * Дуэт Bu.d.d.A. (Bund des dritten Auges) родился случайно – в тёмной комнате в Барселоне. Его развитие поначалу шло незаметно, а потом Саша Штадльмайер (EMERGE) и Крис Зигделл (B°TONG) решили отнестись к проекту более серьёзно и даже отправились в тур. В результате появились первые записи: несколько миньонов, сплит-релизы и треки на сборниках, а теперь и полноценный альбом, который можно подержать в руках и поставить в проигрыватель. Что мы найдём внутри? Эмбиент, да не простой! В рамках Bu.d.d.A. Штадльмайер и Зигделл творят нечто странное... они играют на нормальных инструментах! На "Diese Anmut von Trophäen" (нем. "Это обаяние трофеев") можно услышать не только традиционные для Bu.d.d.A. треки, но и участие таких интересных фигур, как Bees из COMMON EIDER KING EIDER, DREKKA и BEBAWINIGI. На ум приходит некая условная смесь Earth и Troum вместе с Брайаном Ино под кислотой... "Diese Anmut von Trophäen" выпущен совместными усилиями лейблов Zhelezobeton Distribution Division (Россия) и Attenuation Circuit (Германия). Альбом доступен на кассете, компакт-диске и в цифровых форматах. zhb.radionoise.ru/rus/zhbd-23.html ZHBD-23 © 2022 Bund des dritten Auges — a sight revered EMERGE: violin, electronics, field recordings, voice B°TONG: electric guitar, bowed guitar, synthesizer, vocals, samples featuring: Bees (Common Eider, King Eider): voice (2) Drekka: piano, rain (3) Bebawinigi: voice (4) written, arranged & produced by Bu.d.d.A. recorded at ac hq & The Loft 2020–2021 mixed by Sascha Stadlmeier & Chris Sigdell final edit & mastering by Chris Sigdell at The Loft logo & design by Chris Sigdell Bu.d.d.A. would like to thank Buddha, Rob Fisk, Michael Anderson, Virginia Quaranta, and Zhelezobeton Co-released with attenuation circuit: attenuationcircuit.de \| emerge.bandcamp.com https://zhbd.bandcamp.com/album/diese-anmut-von-troph-en	2022	€13.00
BUMSTEINAS, ARTURAS	Bad Weather Long Play	LP	"Bad Weather" is a performative sound art event of a group of performers engaging with reconstructions of Baroque theater noise machines. The project started in 2017 when Lithuanian artist Arturas Bumšteinas teamed up with theater carpenter Ernestas Volodzka to re-create wind, rain, sea and thunder imitation devices, identical to the ones whose canon settled in European theater in the 17th century. Commissioned and produced by contemporary music theater production house Operomanija, "Bad Weather" events have since been presented in Lithuania and Poland. During each performance, the ensemble plays the machines in keeping with meteorological maps and charts from various centuries that serve as scores. Contemporary artist Ivan Cheng was invited to write and perform a libretto that is integrated into every performance in different ways. In the Baroque era, the noise machines constituted only a small part of the theatrical illusion, lurking behind the scenes, invisible to the audience. Meanwhile in "Bad Weather", they take the spotlight and become generators of conceptual climate. "Bad Weather Long Play" is a collage of sound materials from performances, rehearsals, soundchecks and other occasions related to the project, as documented with various recording devices between 2017 and 2019. The sides of the LP don't function as A and B sides but can be played in any order. The LP is presented in a full-color sleeve with a printed inner sleeve containing photos of the various stages of the project and liner notes by Salomé Voegelin. An included 8-page booklet reproduces Ivan Cheng's libretto. "Produced from a selection of recordings made at rehearsals, workshops and performances with an alternating team of seven performers, Bumšteinas convokes a work that sounds its process on the mobile blueprint of meteorological maps as scores. Creating a mis-en-scène of invisible occurrences that talk with each other in the language of a storm that is brewing, raising and petering out, and that leaves a trace in our ears, an imprint and a movement that might only clear the next day." (from the liner notes by Salomé Voegelin) Arturas Bumšteinas (b. 1982 in Vilnius, Lithuania) is an artist working within the intersections of sound, music and art. His practices include performative sound art, radio art, exhibitions, experimental acoustic and electronic music. He started exploring theater noise machines in 2012 when he was commissioned by Deutschlandradio Kultur to compose "Epiloghi. Six Ways of Saying Zangtumbtumb". https://www.edition-telemark.de/903.02.html	2019	€20.00
	Gamelan Descending a Staircase	CD	The instrumental sound material for Gamelan Descending a Staircase was recorded at the Ethnologisches Museum Dahlem in the summer of 2013, during a research visit there. A large collection of Indonesian Gamelan orchestra instruments was recorded, and later it was composed into a surround-sound composition, premiered in Jauna Muzika festival at the Vilnius Contemporary Art Center, in April 2015. The live version of this piece also involved three improvising trumpetists providing live solo/accompaniment textures for the pre-recorded music. Marcel Duchamp’s 1912 painting Nude Descending the Staircase. No.2 was an inspiration lurking not only behind the title of this composition but also regarding the deconstructed micro-forms and the study of sound structures, progressing as if in slowmotion, and without a clear point of destination… Descending into the unknown territories… The title came in a vision, as a possible sonic event of a instruments of a gamelan orchestra falling down the stairs. A beautiful, unrealistic image. A dream. Sad Young Man on a Train is composed from sounds recorded entirely on one prepared harpsichord. Preparations as wood, glass, stones, metal objects, kitchenware, toys and electric devices such as e-bows and cappucino mixers were used. All these objects were dangerously applied to the strings of harpsichord and the recording attempted not to reveal their presence, only amplifying the sounds of the harpsichord’s strings and body. The whole recording session took place after recording another Bumšteinas’s composition Epiloghi. Six Ways of Saying Zangtumbtumb, which was produced by Deutschland Radio Kultur’s Klangkunst and released by Unsounds label in The Neatherlands in 2014. The composition’s title is borrowed from the 1911-1912 painting of the same name by Marcel Duchamp. The auto-erotic associations provoked by the painting should not be dismissed as an influence for this musical composition. Gamelan Descending a Staircase: Percussion instruments of the traditional Gamelan orchestra performed by Arturas Bumšteinas & Raminta Atnimar. Instruments recorded in 2013 at the archives of the Ethnologisches Museum Dahlem, Berlin. Composition commissioned in 2015 by the Lithuanian Composers’ Union. Mastered by Miguel Carvalhais. Special Thanks to Albrecht Wiedmann, Lars-Christian Koch, Marcus Gammel, Werner Durand. Sad Young Man on a Train: Performed by Arturas Bumšteinas & Neele Hülcker in Studio P4 Nalepastrasse, Berlin, 2013/01. Recording engineer Andreas Stoffels. Harpsichords courtesy of Christine Kessler. Mixed by Arturas Bumšteinas in Turku (Finland), 2015. Mastered by Miguel Carvalhais. Special thanks to Marcus Gammel (Deutschland Radio Kultur). https://cronica.bandcamp.com/album/gamelan-descending-a-staircase	2015	€13.00
BÜTTNER, GREGORY	Every	mCD-R	“ 'every' ist der zweite beitrag von gregory büttner für die 3“cd-serie auf 1000füssler. als ausgangsmaterial wurde ausschließlich menschliche stimme verwendet, allerdings in einzelteile zerlegt und erst im epilog als stimme erkennbar. abstrakter minimalismus zwischen sägender präsens und weit entfernten surren. ‘every‘ is the second contribution of gregory büttner for the 3"-cd-series on 1000füssler. the human voice was exclusivly used as source material, though taken in parts and only in the epilogue recognizable as voice. abstract minimalism between sawing sounds and whirring from far away” [label info]	2006	€6.50
CABARET VOLTAIRE	The Original Sound Of Sheffield '78 / '82. Best Of	CD	"This compilation covers Cabaret Voltaires unquestionably best, most creative and influential period. Capturing the bands finest moments in chronological order starting at "Do The Mussolini (Headkick), through the outstanding classic 'Nag Nag Nag' finishing at 'Loosen The Clamp'. This compilation follows the release of the single 'Nag Nag Nag' on Novamute, which featured brand new mixes by Tiga & Zyntherius, Akufen and Richard H. Kirk himself as well as the original. Ace." [Boomkat]	2013	€10.00
CAMBERWELL NOW	The EP Collection	LP	Camberwell, in South London, pops up infrequently in pop culture. Perhaps you know it from the Camberwell Carrot, the heroically sized joint smoked in cult movie Withnail & I, or perhaps – if you’re attuned to experimental music – you know of Camberwell Now. The group formed from the ashes of This Heat, the art-noise group whose catalog was reissued on Modern Classics Recordings in early 2016. Not so much a supersession as a continuation of that group, Camberwell Now featured This Heat’s vocalist / drummer Charles Hayward, who assembled an unusual line-up comprising Stephen Rickard, a former BBC sound engineer, on field recordings and tape manipulation and Trefor Goronwy on bass, vocals and ukulele. “We had a very specific set of skills,” says Hayward, in new liner notes compiled for this long overdue reissue, “and it wasn’t immediately clear to us how best to bring them together so that we could play live.” Taking inspiration from seafaring and imperialism, and the fact that the music was created within close proximity to the meridian line in Greenwich, the Meridian EP was originally intended to be a project for This Heat. The group’s departing member Charles Bullen plays on the opening track, “Cutty Sark”, named for the famed British clipper ship. The second EP, 1987’s Greenfingers, was their final recorded work and, according to Hayward, “it’s possible to hear the group atomising and preparing to go its separate ways” within its grooves. The only This Heat or Camberwell Now recording not to have been produced at Brixton’s Cold Storage studios, it was recorded as a DIY exercise and – unusually for either of the groups – was not pored over laboriously for a great deal of time. The EP also saw the addition of a new member, Maria Lamburn, primarily on sax, whose “Element Unknown” was inspired by her experiences in the nuclear protest camp at Greenham Common. Comprising tracks that overlapped between This Heat and Camberwell Now, the EPs concerned themselves with information technology, surveillance, propaganda and what Hayward describes as “day-to-day, hand-to-mouth survival” – all pertinent concerns in a fractured Britain under the rule of right-wing ‘Iron Lady’ Margaret Thatcher, and perhaps still as pertinent today in fractured, recession-hit, isolationist Britain. The group dispersed after a final European tour, amicably, quietly, and differently, the latter their MO throughout a unique career. Goronwy, Hayward and Rickard all share their experiences and thoughts on The Camberwell Now in liner notes accompanying this landmark release: young and old, birth and death captured on two sides of vinyl. Note: On download card (and audio samples above), track one includes the songs “Cutty Sark”, “Trade Winds” and “Pearl Divers”. Total running time for track one is 9:34 and each song is distinct, though they are to be experienced as one long-form piece of music. Release Notes Official vinyl re-issue in collaboration with original members 24 bit/96 kHz re-master from original analog tapes Restored art, expanded to a gatefold tip-on jacket Includes download card with two bonus tracks 8 page booklet with track notes by the artists, lyrics and archival photos Auf Camberwell in South London wird sich in der Popkultur immer wieder bezogen. Vielleicht kennt man es von der Camberwell Carrot, dem überdimensionalen Joint, der im Kultfilm „Withnail & I“ geraucht wird, oder von CAMBERWELL NOW. Die Band entstand aus der Asche von THIS HEAT und bildete sich um Sänger und Schlagzeuger Charles Hayward, der den ehemaligen BBC Sound Engineer Stephen Rickard für Field Recording und Bandmanipulationen und Trefor Goronwy an Bass, Vocals und Ukulele akquirierte. „Wir hatten eine sehr spezielle Herangehensweise“, sagt Hayward, „und zu Beginn wussten wir nicht, wie wir unseren Sound live umsetzen sollten.“ Die „Meridian EP“ vereinigte Einflüsse aus der Seefahrt und dem Imperialismus und spielte auf den Fakt an, dass die Musik nahe am Meridian in Greenwich entstanden war. Die zweite EP, „Greenfingers“ von 1987 war ihre allerletzte Aufnahme, auf der man laut Hayward hört, wie die Gruppe „sich langsam zerstreut und getrennte Wege geht“. Auf der EP war erstmals das neue Mitglied Maria Lamburn am Saxophon zu hören, deren „Element Unknown“ von ihren Erfahrungen in einem Protestcamp gegen Atomenergie inspiriert ist. Die EPs vereinen Tracks aus Zeiten von THIS HEAT und CABERWELL NOW und befassen sich mit Informationstechnologie, Überwachung, Propaganda und dem tagtäglichen Überlebenskampf, ernsthafte Sorgen im gespaltenen Großbritannien unter der eisernen Margaret Thatcher und vielleicht heute noch genauso relevant im zerrissenen, rezessionsgeplagten, isolationistischen Großbritannien der Gegenwart.	2016	€28.00
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
CELER & MACHINEFABRIEK	Compendium	CD	"Late in 2011, Celer and Machinefabriek teamed up online and recorded the 7" 'Maastunnel/Mt. Mitake', to coincide with their tour in The Netherlands. They got the hang of it and decided to make it into a trilogy of 7" singles, all self-released in limited editions. Now, Irrational Arts has compiled the six tracks of the 7"s onto a CD‚ titled Compendium (Collected Singles and Remixes), including an additional new track by Celer and Machinefabriek, and remixes by Stephan Mathieu, Sylvain Chauveau and Nicolas Bernier. The artwork of the CD continues the design style of the singles, with collages of old Japanese cards and ephemera." [label info] www.irrational-arts.co.uk	2015	€13.00
CHALK, ANDREW	East of the Sun	CD	"...These recordings originally came out in 1994 as a cassette, released through Ora's in-house label, Ora being an early collective that revolved around Chalk, Colin Potter, and Darren Tate with occasional assistance from Jonathan Coleclough, mnortham, Lol Coxhill, and a handful of like-minded British drone enthusiasts. A few years later, the Italian label Hic Sunt Leones convinced Chalk to reissue the cassette in digital form. That CD version of East Of The Sun compressed the two sides of the cassette into a single 50 minute piece and was flushed out with some complementary dronescaping. Chalk was never happy with the Hic Sunt Leones version; and thus his reissue of the album returns to the original version found on the cassette, now gloriously remastered in its entirety. For those persnickety types, the 17 minutes or so which concluded the Hic Sunt Leones version is not here; but that is a minor loss compared to the pinnacle of drone-based minimalism found here. Sure, Eno's ambient records On Land and Thursday Afternoon were milestones in the realm of ambient music, setting an impressionist context through which any number of the images, thoughts, and ideals could be imagined; but that strategy was perfected by Andrew Chalk on a couple of records. There was his ephemeral album Sumac in collaboration with Jonathan Coleclough, there was the first Mirror album Eye Of The Storm, and there's East Of The Sun. Very dark without becoming unbearably cold, East Of The Sun is a constant bloom of nocturnal frequencies, whose origins may be thoroughly blurred bass guitar or possibly some resonant artifact from Chalk's acoustic work in Organum. Regardless, the resultant drones drift with no beginning and no end, merely rippling, reflecting, and turning upon themselves in a perpetual, very slow motion turbulence. Leaves tumbling in autumnal twilight. Fog spilling over coastal hills. Moonlight tickling the agitated surface of a pond. Any of these organic references for meditation on simplicity to reach the sublime and the profound could easily apply to Chalk's East Of The Sun. Not just recommended, this is required listening." [Aquarius Records]	2014	€17.50
	Ghosts of Nakhodka	LP	"You may be thinking, there was an album by Andrew Chalk with this exact same title. And you would be correct but for one small distinction - the 2009 album was called Ghost Of Nakhodka and this 2015 album is Ghosts Of Nakhodka. Ah, the difference of plurality! The album is pegged as a sister to that 2009 album though Chalk has implemented a different set of tools on this one. Instead of piano and guitar laced with placid droning effects that was found on the singular Ghost album, here he's using a monophonic synthesizer occasionally dappled with field recordings and a few choice effects. It becomes very clear this a Chalk record through the albums' impressionist fragments spilled across 13 tracks, each rich with his languid sense of space and his elegant timing in placing this free-roaming kosmische blorp here and that swollen ambient blur over there. Brian Eno's Discreet Music and Apollo would be the closest references to what Chalk is up to here, though his production methods are qualitatively rough hewn in the synth manifestation of melancholic nostalgia with little of the portent that Eno imbues into his work. The miniatures presented are exquisite jewels coming from a craftsman keen on showcasing his work to a select few and within an deliberately intimate setting. It would seem far out of Chalk's character to broadcast works such as these at the Guggenheim or even the ICA. Instead, a humble English cottage with a sod roof and a console-sized cathode ray television as the only means of transmission. Ah, the wonders of Andrew Chalk never cease." [Aquarius Records] www.farawaypress.info	2015	€19.50
CHASSE, LOREN	Characters at the Water Margin	CD	"These recordings were made at the edge of Washington state’s Olympic Rainforest, where the Hoh River meets the Pacific Ocean. The point of entry to this landscape, named Oil City on the map, is no more than a place where the road widens before coming to an end at a trailhead. Just north of the road, through the trees, and on the homestead of the late Captain Hank who one day disappeared at sea, is the ghost of an oil rig and some comings and goings along a plank road. Early 20th century settlers had been ambitious to start an oil industry here but it never took off. Chalá-at–or Hoh–legend describes a race of upside down people who once lived on this shore and went about their domestic lives rather inefficiently until a transformer-god, K’wati, set them upright. Can it be inferred, then, that the Chalá-at also listened at ground level? Massive cedar, Sitka spruce, and Douglas fir logs pile up here on a dense litter of granitic pebbles and driftwood, all worn smooth by the sea. The surf resonates in countless hollows across this implied architecture. Elevated walkways bridge the sea wrack and lead to secluded rooms with makeshift furniture and fire rings on floors of stone and sand. A dense rainforest rises steeply behind this beach. Human passage between Oil City and the mouth of the river, and at the jut of rock on the way to Jefferson Cove, is strictly regulated by a fearsome tide. The animals of this seashore, though rarely seen, have upon each and every surface left a shadow scattered." [Loren Chasse, January 2014] "Now here's a name I haven't heard in quite a while, Loren Chasse. His last work before this one 'The Footpath' on Naturestrip, which didn't make it to these pages, I think. That was in 2008. What Chasse was up to in the meantime I don't know. Maybe other, non-musical activities required his attention. Here he has a work of nine pieces of sounds he recorded at the 'edge of Washington state's Olympic Rainforest where the Hoh River meets the Pacific Ocean'. This point is called oil City, but the oil industry never took off. I must admit I have no idea what I am hearing here. Yes, there might be the sound of water, maybe birds, but what else? That is hard to say. It sounds like Chasse has been rumbling through the woods, shuffling logs, pushing stones and such like. Likewise I have no idea to what extent there is something done after these sounds are recorded. Is there anything done post-recording? Some kind of sound processing? Digital and/or analogue? Hard to say. Very few moments I thought it was, and then perhaps not at all. Nowhere, never. All of these things I was thinking about while playing this release. Lots of questions, but altogether it make up for some truly fascinating music. It's partly like an audio diary, of someone exploring an area full of lumber, small creeks, birds and searching for a hide out, to spend the night. Setting up camp, listening to wildlife somewhere, nocturnal humming and crafting a boat. I might be all wrong actually. It makes up quite a fascinating release altogether. Quite intense, quite unsettling even, but also quite beautiful. Great stuff." [FdW/Vital Weekly]	2014	€14.00
CHORE IA	Postscriptum	do-CD	https://zoharum.bandcamp.com/album/postscriptum-neogolizmowa It's a new album by Jacek Wanat aka CHORE IA, released in cooperation with Antenna Non Grata. "Postscriptum" brings five long compositions, which are an extension of the style that was outlined on previous publications. It is a resultant of drone, ambient with elements of experimental electronics. The album, although it sounds very fresh, is kept in the spirit of music from Obuh Rec. We are dealing here with compositions with a slightly poetic character, building a contemplative atmosphere, sometimes taking on a slightly somnabulistic, even ethereal form. This edition has been enriched with the second disc "Neogolizmowa", containing material from both cassettes and a few bonuses from the same period. 2CD edition in a 6-panel eco-pack with artwork, based on Jacek Wanat's graphics and paintings. Recorded at Studio Czad Bass, Cello, Voice, Electronics, Other sound objects by Jacek Wanat Cover artworks by Jacek Wanat Design by Maciej Mehring Music & lyrics by Jacek Wanat "Postscriptum" was recorded at home in Konin "Neogolizmowa" was recorded by Sławek Mizerkiewicz in Studio CZAD, Swarzędz, October 19, 1994 (cassette released by OBUH Records in 1995) CD2 contains also 2 additional tracks from 1995 and 3 bonus tracks recorded in the twenties of this century. cooperation coordination :) Marcin Olejniczak "Chore IA is the brainchild of philosopher, bassist and avant garde rock enthusiast, Jacek Wanat. Originally releasing material as far back as 1995, Wanat spent many of the intervening years making music with Radek Dziubek, Tomek Maliński and Waldek Paziewski in the band Blimp before eventually returning to his earlier project in 2018 with the album Schizophrenia. Spread across two CDs the latest Chore IA album, Postscriptum / Neogolizmowa is an unabashed festival of weird ambient electronica. The first disc, Postscriptum, is made up of 5 long pieces of psychedelic ambient drone, whilst the second disc, Neogolizmowa, is made up of previously released material, including tracks from the two cassettes that were released on OBUH records, as well as other material taken from that same period. The opener on disc one is I’m Waiting for Nothing to Happen, an experimental psychedelic experience featuring drones and some spoken words. It’s a great opener and really hammers home the wyrd electronic aspect of the albums sonic core. I Die/ Respirateur is an epic 17-minute drone piece that features a plethora of creaky atmospheric found sounds that give the whole piece an unsettling, creepy vibe. The shorter Revers is at times prettier in feel, however there remains something slightly unsettling about the track that you just can’t pin down. They Say Nothing/ Ils Son Morts follows and takes us further down the wyrd experimental pathway that started with the album opener. Intense, with a sinister vibe, there is a lot more going on here that will keep the listener hooked on future plays as thing start to unravel and you start to pick out the different instrumentation that is going on. The final track on disc one is I’m Raining, it sounds almost like a partner piece to the album opener, bookending what is pretty much an intense musical experience. Disc two features sixteen tracks and sounds quite different to the first. Firmly rooted in rock music, as opposed to electronic drone, this disc is best described as avant-garde rock weirdness, with a little bit of experimentation with drones and electronics. The key is that there is much greater emphasis on traditional rock instruments, drums, guitars, and keyboards as well as a greater emphasis on melody. It does however, make a really interesting accompanying disc as it hints at Wanat’s musical roots prior to releasing Postscriptum. Overall, this is a really nicely presented set of interesting experimental music that spans Jacek wanat’s career, acting something like a compilation highlighting the evolution of his music. Disc One is my favourite, featuring some really strong psychedelic drones, peppered with found sounds and smothered in general weirdness. It’s a far darker affair than disc two, but it has to be said they both complement one another well, despite representing different sides of the same artist. This release from Zoharum also looks fabulous with some rather lovely digipak artwork housing the two CDs. This is a great slab of weird electronic drone that should find favour with fans of creepy atmospheric horror drones as well as fans of avant garde rock." [Musique Machine]	2023	€16.00
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
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
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
COIL	Backwards	CD	"After the ground-breaking release of 1990′s “Love’s Secret Domain” album, Coil were not dormant; the main project was “Backwards”, which was started in 1992, updated considerably between 1993 and 1995, and transferred in 1996 to New Orleans, where it was finished in the magic of the Nothing studios of Trent Reznor (Nine Inch Nails). The album saw the fruition of Jhonn Balance‘s recent vocal coaching, producing haunting, passionate vocals, while reaching new heights. 23 years after its initiation, these tracks have been beautifully preserved by Danny Hyde and are finally available in highest quality audio. Differing substantially from the later, remixed incarnation, “The New Backwards” (2008), “Backwards” contains the original versions of Coil’s much-loved tracks; ‘A Cold Cell’ and ‘Fire Of The Mind’, which have appeared on various compilations over the years, and are now presented as originally intended. This album is the essential bridge between “LSD” and the later “Musik To Play In The Dark” series. It is an essential conduit, to understand the journey that was taken. It was to be released… it should have been released… but because of issues with grey men it wasn’t. It is now, so enjoy. (Danny Hyde). CD in digipak / 2LP in gatefold sleeve." [label info] www.coldspring.co.uk	2015	€14.00
	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	€15.00
	Backwards	do-LP	After the ground-breaking release of 1990's "Love's Secret Domain" album, Coil were not dormant; the main project was "Backwards", which was started in 1992, updated considerably between 1993 and 1995, and transferred in 1996 to New Orleans, where it was finished in the magic of the Nothing studios of Trent Reznor (Nine Inch Nails). The album saw the fruition of Jhonn Balance's recent vocal coaching, producing haunting, passionate vocals, while reaching new heights. 23 years after its initiation, these tracks have been beautifully preserved by Danny Hyde and are finally available in highest quality audio. Differing substantially from the later, remixed incarnation, "The New Backwards" (2008), "Backwards" contains the original versions of Coil's much-loved tracks; 'A Cold Cell' and 'Fire Of The Mind', which have appeared on various compilations over the years, and are now presented as originally intended. This album is the essential bridge between "LSD" and the later "Musick To Play In The Dark" series. It is an essential conduit, to understand the journey that was taken. It was to be released… it should have been released… but because of issues with grey men it wasn't. It is now, so enjoy. (Danny Hyde). BLACK VINYL in a gatefold matt-laminate sleeve with silver hot-foil detail. https://coldspring.bandcamp.com/album/backwards	2026	€36.00
	Backwards (white)	do-LP	After the ground-breaking release of 1990's "Love's Secret Domain" album, Coil were not dormant; the main project was "Backwards", which was started in 1992, updated considerably between 1993 and 1995, and transferred in 1996 to New Orleans, where it was finished in the magic of the Nothing studios of Trent Reznor (Nine Inch Nails). The album saw the fruition of Jhonn Balance's recent vocal coaching, producing haunting, passionate vocals, while reaching new heights. 23 years after its initiation, these tracks have been beautifully preserved by Danny Hyde and are finally available in highest quality audio. Differing substantially from the later, remixed incarnation, "The New Backwards" (2008), "Backwards" contains the original versions of Coil's much-loved tracks; 'A Cold Cell' and 'Fire Of The Mind', which have appeared on various compilations over the years, and are now presented as originally intended. This album is the essential bridge between "LSD" and the later "Musick To Play In The Dark" series. It is an essential conduit, to understand the journey that was taken. It was to be released… it should have been released… but because of issues with grey men it wasn't. It is now, so enjoy. (Danny Hyde). https://coldspring.bandcamp.com/album/backwards https://coldspring.bandcamp.com/album/backwards	2026	€39.00
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
COLUMN ONE	W.Transmission I-V	5 x CD SET	Zoharum is excited to present for the first time on CD "WORLD TRANSMISSION" - a series of rare transmissions, reduced and performed by COLUMN ONE in chronological order to document some of its phases. This work is no recording. It exists as a stepping cone while it's essential creators were at work. W.T. 1 was recorded on August 12th, September 27th and October 5th, 1992 as well as January 23th, 1991 and April 17th, 1993. Previously released in 1992 on cassette tape titled "NEW-RE-GENERATION. The meaning and Function of this series were not clearly defined at the time.Various Unreleased Versions of this First Transmission took shape, all of which followed a diverging emphasis in their conceptional and formal direction. The originally released version, which is not included here, became a marked terminus rather then an origin. This release focused on the roots of COLUMN ONE that lie in a combination of coded key sounds and images. The associated degrees and movements of immersion and subversion into the consciousness that is COLUMN ONE moved, according to this pattern in a clear process. These recordings are basic situations. Like pieces of furniture they take place without variations in a psychic Space - without raising claim of wanting to enter a musical universe. Contact [recorded in 1993] varies the sentence “WHEN WE HEARD THAT NOISE, WE FELL DOWN AND HID OUR FACES.“ of a woman from NEW GUINEA. [1984] is included here as a curious find from childhood and documents first attempts to experiment with tape and sound in 1984. previously unreleased: contact, alloy, propaganda I, TH W AND [1984]. W.T. 2 originally released On A.N. COLUMN release For further information on COLUMN ONE, The Ideals and Products start collecting fish bones & moisten them under a ball of wool with a shampoo bottle or use the water from a leaky plastic bag to tear paper flags. W.T. 3 was an attempt to follow the physical aura of a religious architecture and, by using religious tools from its environment , Determinatesd to document COLUMN ONE spent two days in a church and followed streaming , Repellingly vibrating body of this concentrated space. All instruments were played live in November 12th & 13th and recorded with two microphones, installed at two different places of the church. The Position of these microphones made possible to document not only the overall sound, but also the movements in the room. An accentuation of the space acoustics besides the two micro-phones, which were the source material for this recording, a third microphone was connected to effects and a record player, AMP and Speakers. Through this second "artificial" system, manipulated sounds could be radiated into the room. The key and character of the recording are, however, to be found in the architectural presence of the church itself.. W.T.4 RE-WORKED TRANSMISSION World Transmission - the term for a species of contemporary trans-missions, produced and performed by COLUMN ONE in chronological order to document some of its phases : this work does not attempt to fulfil the form or function of an entire or commercial recording. It exists as a document, as a fragment- a tool for the work of the essential members. W.T.4 is the revised document of a COLUMN ONE event on April 3rd 1998 at Eimer in Berlin. It was the concept of this night to produce vibrations of "Ritual" materials of various origins in a new connection and in a new location. Besides acoustic instruments & sounds from our direct environ, used materials also included recordings of various natives. The Memories of this April 3rd are vague. Vibrations in a vault, in the centre of Berlin. All COLUMN ONE members in white robes... under an Alien-Like God... in catacombs scenery... W.T.5 was recorded the night of August 23rd-24th, 2001 and August 9th, 2010.Continuum is the final chapter in the WORLD TRANSMISSION series. The concept of these five albums, their visual and conceptual direction, was exclusively based on the artificial body that is “COLUMN ONE”. It was the perified root of this body that was buried in a pile of plastic, only to grow wondours blooklooms from time to time . In a time when museums still had doors and wordswere barked into megaphones on the quiet. The showcasehad been open long, the root penetrates other layer of Earth and vestows peace upon collectrors of spores and seeds. Continuum,. Upwards. Across narrow paths and overgrown rocks the calling and creaking loses itself in the treetops. It seems as if one climbs dowb into the coves of forest. The wooden cathedral. Each sound lies naked in the silence of the interior, whle the outside rushes from far above . Protected vt these walls, servants, masters, and rules move avout their empires, sleepwalkinng, floating, Gnawing and devouring, themselves, dragging and circling, tearing and creaking, stomping and buzzing all in one tone. Weighing tons, their craft lies one forest floor, permates and moves it, rises with the fluttering stroke of a wing, and sinks back into the ocean now and then large animals drft through these sacred halls. Kings are they. Lost in reverie they rumble through the trone room. Barley audible, a billion legs tick, like clocks. Crack tiny splinters beneath their feet... https://zoharum.bandcamp.com/album/w-transmission-1-5-set	2022	€50.00
	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
CONCEPCION HUERTA	El Sol de los Muertos	MC	This album, crafted entirely within a subharmonic framework and meticulously processed through tape manipulation, stands as Concepción Huerta’s sharpest work to date—undoubtedly her most abrasive, intense, and exhilarating. Her signature remains intact: a practice deeply rooted in drone, musique concrète, and hauntingly visceral textures—a kind of soundtrack that evokes powerful, image-driven narratives. Conceptually, Huerta’s sonic vision evokes an image of open veins, not human veins, but those of the earth itself, the open veins of Latin America. These nervures are, in truth, rivers of lava; fury transmuted into fire coursing beneath the land until it erupts. The album is, in a way, a reflection on dispossession, resource extraction, and colonization. But beyond being a historical commentary—one that some might relegate to a forgotten past—it is also a reminder of the present, of how these practices persist in contemporary, postmodern guises. It serves as both a tribute to the literary work of Eduardo Galeano, one of the most influential voices of Latin American leftist thought, and a howl from the Lacandon jungle in Mexico, resonating with the Zapatista struggle, the resistance of the Guaraní people in Paraguay and Argentina, and the voices of Indigenous communities across Latin America. In the 16th century, a book titled Visión de los vencidos (The Broken Spears) was published in Mexico, compiling Nahuatl texts that presented the unofficial history, the account of the defeated. Concepción Huerta’s album El Sol de los Muertos (The Sun of the Dead) is not a call to action nor a reactionary manifesto, but an invitation to reflection, a historical reexamination. It urges us not to accept the official narrative at face value and serves as a warning, to remain vigilant and, within our capacities, resist the resurgence of fascism and colonialism in all its modern forms.   Recorded by Concepción Huerta in 2024 between Berlin, The Hague, and Mexico City. Volcano photography by Magaly Ugarte. Mastered by Rafael Anton Irisarri at Black Knoll Studio, New York. The tapes were duplicated in Avranches, France, and the cover was risograph printed in Barcelona by Mateo Barbuzzi aka Club del Prado. Design by Daniel Castrejón in Mexico City. https://concepcionhuerta.bandcamp.com/album/el-sol-de-los-muertos	2025	€13.00
CONCERN	Truth and Distance	CD	Neue Drone-Entdeckung aus den Staaten! Nah-Klänge & Vibrationen diverser Instrumente wie Zither, Klarinette, Horn oder Posaune werden mit Kontaktmikros aufgefangen und in obertönreiche, polyphone und recht rauhe Klangfelder transformiert. Drei Stücke mit sehr lebendigen, erhabenen Drones in verschiedenen Färbugen sorgen hier für sonores Entzücken! Zum entdecken ! "...Essential listening for the drone inclined, and any one into Tim Hecker, Aidan Baker, Fennesz, Belong and the like might just have a new favorite record." [Aquarius Rec] "Also Gordon Ashworth, also known as Concern, is a new name for me, who delivers three pieces on his 'Truth & Distance' release, which are alike Darwinsbitch in the field of drone music. He uses zither, lap harp, mbira, banjo, piano, clarinet, alto horn, trombone, accordion and lots of reverb. His instruments are scanned with vibrating objects in order to create overtones and it makes this almost a modern classical release. Somewhere in between music for an installation and Phill Niblock, I'd say. This is more the territory where things are on endless sustain, but perhaps due to the variety of sources and the relative shortness of the pieces things don't leap into static, but are vibrating, changing throughout its minimalist approach to keep things fascinating. Ashworth has plenty of skills to deliver three fine pieces. Not a second too long, not a minute too short. Very nice work." [FdW / Vital Weekly] "Gordon Ashworth is Concern and this is his manifesto. Truth & Distance is a mini-epic, a minor masterpiece. Within these sonic walls lies a stunning landscape, adrift in golden tones and silver siren songs. Ashworth creates beautiful, shimmering music that defies categorization. It stands on its own, droning away into the furthest reaches of the night. Using only acoustic instrumentation, Ashworth conceives pieces of music in which resonance and timbre mutate and in the air and unfold naturally, organically. Hints of piano glisten like night shadows whispering through the leaves. Strings are bowed and plucked into oblivion. Everything is turned into a pile of reverb. Everyone is a ghost. Concern will shine a light on it all. Truth & Distance indeed. It's all coming up roses this time. Co-released with Iatrogenesis. Packaged in custom-designed silkscreened gatefolds by Seizure Palace." [label info] www.digitalisindustries.com	2009	€10.00
CONTAGIOUS ORGASM	Ripple	CD	The always genre-crossing project from Japan with a great album, dark & experimental, more rhythm based stuff, (but these are stranged out rhythms, not danceable ones!), but the usual "unlistenable" collage / found sounds-tracks are present too, the more the album continues, the weirder it becomes... again quite unique & not classifiable. "packaging: special transparent paper booklet w/ inlays + jewelcase. hiroshi hashimoto started releasing music twenty years ago as contagious orgasm. right from the beginning listeners knew that there was something very unique and special about c.o.'s sound - differing from the typical japanese 'industrial scene'. the initial aural transformation of track and release titles were soon replaced by something quite different. themes became more abstract and surrealistic; influences came from various collaborations and often seriousness was undercut with a wink... as on previous c.o. releases you can hear musical and stylistic sources from many cultural areas; for instance on 'ripple' you can hear indian chants, dub bass, electronic clicks/cuts, gongs, a piano, even straight beats and minimal sequencer grooves. styles range from free form to dance music to idm to noise and to ethnic sources. in hashimoto's works these ingredients cease what they were before - they are now transformed into coherent music (without being a eclectic cliché). an example: often many artists use voice samples in their work, to explain or to engross thoughts. hashimoto's usage of samples take the 'instruments of speech' out of their initial contexts - used in c.o.'s metaverse they entirely lose their initial intent and function. if we go further and think about 'rhythms', 'melodies' and 'textures' instead of 'voices', we might have a key to c.o.'s self conception. this album should be experienced with all senses wide open. enjoy this anniversary and look forward to the next twenty years of a great artist." [label description] "Three years ago I had the great honor of reviewing the first album on Ant-Zen Recordings by legendary Japanese sound artist Contagious Orgasm. Since I had always connected Hiroshi Hashimoto ( a.k.a. Contagious Orgasm) with the Noise scene, thanks to his contribution to various Noise compilations, among others Relapse/Release Entertainment's "Japanese/American Noise Treaty", I was quite surprised to listen his "Dessert Addicts Will Return To This" (Ant-Zen, 2004). This latest album continues the strange landscapes of numerous musical styles. Dealing with everything from drone-based as well as collaged noise, across clicks'n'cuts to almost danceable electro-inspired techno and eerie soundscapes of beautiful ambient, it is an impossible task to finish this album only within a few listens. It is a complex musical voyage, that atmospherically varies from icy minimalism reminiscent of Pan(a)Sonic to militant electro of Kraftwerk until towards the end where the album turns more dreamy and dramatic with a mixture between experimental ambience and gentle acoustic post-rock reminiscent of Tortoise. "Ripple" is a continuation of the style of "Dessert Addicts Will Return To This", and the result is even more intense and clever than the aforementioned. Turn off the light and let yourself fall into the psychedelic tones of Contagious Orgasm. Excellent!" [NM / Vital Weekly] label website: www.ant-zen.com	2007	€14.00
CONURE	49 Minutes (until Release)	CD	https://conure.bandcamp.com/album/49-minutes-until-release "Mark Wilson, a successful DJ in the goth/industrial scene of 1990's era San Francisco, jumped head-first into the experimental music scene along with 3 other individuals and formed the exceptional outfit Imperial Floral Assault Unit. IFAU did a series of releases on the Crunch Pod and Zaftig Research labels before the members split off to work on their own projects. For Mark Wilson, this led to the formation of the 3 piece outfit, 15 Degrees Below all the while he was creating audio with his solo project, Conure. Conure made it's impact with a series of quickly deleted and hard to find releases on Zaftig Research, Crunch Pod and Snip-Snip. Not to mention some compilation appearances on such labels as DTA Records, Cyber-Blast-Records and Doctsect Media. Here, Conure presents some of his most recent and compelling work to date. 49 Minutes (Until Release) is a 49 minute composition in eleven parts and the first professionally produced CD to feature the Conure project. Professional mastering and sound reinforcement from Thomas Garrison of Misanthrope Studios only further emphasizes the sonic intensity and power of 49 Minutes (Until Release). Crunch Pod is working in conjunction with Conure to release this CD in late Spring / early Summer of 2005."	2005	€7.00
CORNFORD, STEPHEN	Domestic Music	MC	A state of enclosure" was recorded May 2020 for AMPLIFY 2020: quarantine. "A finite number of rooms" was recorded June 2020 for the ‘Building A Better Reality’ Black Lives Matter benefit compilation on JMY Music. Both are loosely based pages from ‘A Score for Piano’ written by Sarah Hughes in 2010. "After their departure" consists of a hearth recording made in January 2021 and a cassette recorded years before and found again in March 2021. Thanks to Sarah Hughes, Jon Abbey & Brent Gutziet. https://moremars.bandcamp.com/album/domestic-music-2 "I had a long time to see a new album by Stephen Cornford, the co-founder of Consumer Waste. Stephen is a sound artists from England that in the past he gave us some very interesting sound works and installations, using handmade electronics and reel to reel cassette recorder. His works like Six Tape Machines & Pinched Tapes #1 was for a long time a usual soundtrack of my listening room. On Domestic Music, Stephen Cornford tried for this album a new sound palette, based on home recordings of a prepared piano. The three tracks that can be found here comes mainly from a piano, played unexpectedly, with piano tunes produced mostly from objects that harms the piano strings. In the atmosphere of the album, there is a diffuse sense of isolation. The recordings seem to have been made in an empty room, with enough focus on the action and a ritualistic sense of the piano manipulation, using metallic objects and wooden sticks. The Last song “After their Departure” seems to be a very personal composition, a modern requiem, with piano and fire to be the only materials of the instrumentation." [soundtraag]	2021	€9.00
COSA BRAVA	Z Sides	CD	Cosa Brava is an experimental rock and free improvisation group formed in March 2008 in Oakland, California, by multi-instrumentalist and composer Fred Frith. The band comprises Frith on guitar, Zeena Parkins on keyboards and accordion, Carla Kihlstedt on violin, Matthias Bossi on drums, Shahzad Ismaily on bass and The Norman Conquest on sound manipulation. All About Jazz described their music as somewhere between folk, Celtic, modern chamber, Latin, funk, Eastern, and prog-rock. Cosa Brava recorded their first album, Ragged Atlas in San Francisco in December 2008, which was released in March 2010. John Kelman in a review at All About Jazz said that the album transcends time and genre and is one of 2010's most auspicious debuts. A second album entitled The Letter was released in March 2012. Fred Friths career began as a rock musician with Henry Cow in 1968, but has since diversified into a number of different genres, from avant-garde jazz to contemporary classical music. He has written scores for film and dance, and music for orchestras and string quartets. He became Professor of Composition the Music Department at Mills College in Oakland, California in 1999. The motivation behind the formation of Cosa Brava arose out of Friths nostalgia for rock music. He said, I really miss what you can do with a rock band. I miss developing material through the push and pull of cooperative rehearsals, I miss what happens when you move away from'the parts and start formulating things with a collective ear, I miss the single-minded commitment to a group identity. Z Sides is the groups third album. Cosa Brava may appear from their studio recordings to be all about songs. However, in live performances these songs were constantly interspersed with improvisations of all descriptions. Z Sides, the brainchild of The Norman Conquest, compiles his stunning live mixes of this material into an imaginary stand-alone performance. Bass – Shahzad Ismaily Drums, Voice – Matthias Bossi Effects [Creative Live Sound] – The Norman Conquest Guitar, Bass, Voice, Photography, Edited By – Fred Frith Keyboards, Voice – Zeena Parkins Layout – Lisa Robotka Violin, Voice – Carla Kihlstedt https://klanggalerie.bandcamp.com/album/z-sides	2024	€15.00
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
CROUCH, ROBERT	An Occupied Space	CD-R	"An Occupied Space is the debut full-length release by Los Angeles artist Robert Crouch. Each track takes as its point of departure a field recording of a public place where music is integral to the experience of these social constructs. Throughout the release, music is piped through loudspeakers across public plazas and boulevards, footsteps cross thresholds where reverberating guitars and vocals spill out into city. “I found it necessary to give myself a very strict set of parameters,” Crouch states, “in order to approach the idea of making music in the first place. I suppose it comes from my training as a visual artist.” Furthering this analogy to a visual arts practice, An Occupied Space has perhaps more in common with the photographers from the Düsseldorf School, rather than the history of field recording or ambient music. Much like the photographers Andreas Gursky, Candida Höfer, and Thomas Ruff, and how they wrestle with both the psychology of their subject matter as well as the politics and constraints of their chosen medium, An Occupied Space can be considered to be a collection of landscape studies, with the artist fulfilling the roles of documentarian, composer, and observer simultaneously. Structurally, An Occupied Space operates within overlapping contexts; they exist as documents, as meditations on the psychology of place, and finally as self-reflexive “objects” that address the contingent nature of their own construction. They are as much about music as they are music. “I wanted to employ melody without necessarily being melodic, to explore texture without remaining static, and to respect the integrity of the original recordings while still allowing my hand as artist to remain evident." [label info] www.dragonseyerecordings.com	2011	€10.00
CURRENT 93	The Moons at your Door	CD	"A very spooky album from Current 93, which finds David Tibet working alongside Andrew Liles as his only comrade in arms; this was released in conjunction with a book of the same title of macabre tales that Tibet compiled for Strange Attractor Press. This is not the avant-folk minstrel side of Current 93, but the devilish abstraction of dark, sicktone sound design, overlaid with a deconstructed collage of a gravel throated gentleman (not Tibet) reciting and chanting in monotone various elements from the book. Yes, this does hark back to the Crowleyian incantations from Current 93's Nature Unveiled and the Thomas Ligotti collaborations In A Foreign Land, In A Foreign Town and I Have A Special Plan For This World. These albums continue to appear within Current 93's visionary work, and always act as huge gravity well, grasping from depths of the macabre and the supernatural. Nightmare music, par excellance!" [Aquarius Records] www.davidtibet.com	2016	€17.50
CUSACK, PETER	Favourite Berlin Sounds	CD	" “What is your favourite sound of Berlin, and why?” During 2011/12 many Berliners were asked this seemingly simple question and their responses are as fascinating and varied as the city itself. Almost no one says exactly the same as anyone else, but together they reveal the Berlin of the ear – quite different to that of the eye. A myriad of places and experiences, familiar and obscure, are brought to life in these recordings. From S–Bahn trains at speed to atmospheres inside the city’s unique courtyards, waves slapping in the River Spree to memorial bells, bustling markets and midnight nightingales to football matches heard citywide. These are Berlin’s favourite sounds. The CD was compiled by Peter Cusack with recordings made by himself and Anna Bogner, Elen Flügge, Thomas Koch, Jasmine Guffond, Klaus Hamlescher, Valeria Merlini and Udo Noll. 31 tracks run for 77min. Berlin is noticeably quieter than other European capitals such as London or Paris. Why should this be? Most obviously the traffic seems less dominant. Some roads are very busy, but on smaller streets moving vehicles are surprisingly sparse and at night Berlin can be very quiet indeed. The small number of planes is also a factor. Except in areas under the flight path into Tegel airport the city is relatively free of low flying aircraft. Berlin’s unique Hinterhöfe (inner courtyards) add to this impression. They create spaces of genuine calm, even in the liveliest areas. This quietness allows people-sounds to come to the fore: footsteps, conversation, children playing, outdoor café atmospheres and the buzz of nightlife are ubiquitous. All are mentioned as favourite sounds. So too are natural sounds and those involving the elements. Berlin is a particularly green city with a considerable area of waterways and lakes. Springtime birds – nightingales and the abundant blackbirds - are often mentioned. The Spree is a working river where waves from deep sounding heavy barges, and puttering tourist cruises, slap along the banks. Berlin also gains a special acoustic personality from sounds that are present citywide. The rising and falling tones of accelerating or decelerating S–Bahn trains are unique and everywhere. It is no accident that the S-Bahn system contributes the most nominated of favourite Berlin sounds. Church bells sound simultaneously across the city and are also regularly mentioned. They are synchronised to ring daily at 12noon and 6pm except on Sundays when the timing is more varied. It is almost 25 years since the Berlin wall fell, but sonic remnants from the division still appear amongst Berlin’s favourite sounds. Tram bells and rumble continue to be associated with the east, whereas the shouts and bustle at Turkish markets, are very much of the west. The Favourite Sounds Project explores what people find positive in their city’s soundscape. It started in London in 1998 and has since taken place in Beijing, Prague, Manchester, Birmingham, Chicago, Brussels and Southend on Sea. http://favouritesounds.org/" [label info] www.rermegacorp.com	2013	€14.00
CUTLER, CHRIS	Twice around the Earth. An Experiment in listening	CD	Ein Hör-Experiment vom Recommended Records-Betreiber, diese Produktion fürs ORF Kunstradio (www.kunstradio.at/2003A/cutler). Eine unglaubliche Fülle von field recordings werden quasi als „Reise um die Welt“ verarbeitet: ein Versuch, die Subjektivität und Voreingenommenheit beim Hören zu überwinden... „Out of the Blue Radio ist eine Radiosendung, die in London täglich zwischen 23.30 Uhr und Mitternacht auf Resonance FM (http://www.resonancefm.com), einem unabhängigen Sender für Radiokunst, ausgestrahlt wird. Gestartet wurde das einjährige, budgetlose Projekt im Juli 2002. Meine Idee für diese Sendung war es, den HörerInnen das Ohr einer anderen Person für jeweils eine halbe Stunde zu "leihen"; ein Fenster zu einer anderen Geräuschkulisse zu öffnen - entfernt oder nah -, die nicht ident mit der eigenen akustischen Umgebung ist. Die AutorInnen, die uns ihre Ohren zur Verfügung stellen, gestalten durchgehende, ungeschnittene halbstündige Aufnahmen von einem Ort ihrer Wahl, aufgenommen zwischen 23.30 Uhr und Mitternacht Londoner Ortszeit; d.h. halb vier Uhr nachmittags in Vancouver, 7.30 Uhr morgens in Peking oder 00.30 Uhr in Wien. Sie schicken diese unbearbeiteten Aufnahmen dann nach London, wo sie wie sie sind gesendet werden. Ein wichtiger Aspekt des Projekts ist es, ganze Zeitblöcke in ihrer Entfaltung einzufangen; sie nicht zu verbessern oder umzumodellieren zu versuchen; sie nicht den Vorstellungen eines Produzenten, was gut klingt oder ästhetisch wertvoll ist, anzupassen, sondern einfach nur diese Momente einzufrieren. Ort und Tätigkeit sind gewählt, der Rest sich selbst überlassen. Dies sind allerdings nicht Schnappschüsse aus dem Leben, sondern Hörobjekte: Geräusche, die eingefangen werden und in fremden Kontexten reproduziert werden; Sounds, die gerahmt und objektiviert und unabhängig wiedergegeben werden. Es scheint mir, dass die Beiträge mit ihrer rohen Beschaffenheit, am "Mangel" an Bearbeitung überhaupt nicht leiden - ganz im Gegenteil: sie entwickeln dadurch eine unglaubliche Kraft. Von allen anderen sinnlichen Wahrnehmungen und von ihren lebenden Quellen getrennt, enthüllen sie, was durch die Zwänge des Alltags, durch das wir eilen, unbedacht überhört wird. Geräusche, die instinktiv ignoriert, in Objekten aufgelöst oder absichtlich unterdrückt werden, können durch ihre unmittelbare Irrelevanz und die Gleichgültigkeit von Maschinen, die keine Subjektivität besitzen, zu neuem Leben erwachen. Selbstverständlich "klingen" diese Geräusche, doch das ist nicht deren "Bekenntnis". Sie verlangen nicht, als reiner Sound gehört zu werden. Sie sind, was sie sind: Autos, Hämmer, Atmosphären - zugleich vertraut und rätselhaft. Und - wie Geräusche, die durch ein offenes Fenster dringen - können sie Beachtung finden oder ignoriert werden. Sie können lediglich eine Atmosphäre tönen - oder die Aufmerksamkeit auf sich ziehen und unser ästhetisches, analytisches und sogar narratives Auffassungsvermögen in Gang setzen. Als ich gebeten wurde, diese Kompilation zu machen, wollte ich natürlich die Aspekte des Zufälligen und des Unmittelbaren, die so wichtig für das Projekt sind, bewahren. So, anstatt eine Auswahl der "best of" zu treffen oder besonders "interessante" Sounds herauszusuchen, entschied ich, mich von Geografie und Zeit leiten zu lassen. Ich plante eine akustische Reise zweimal um die Welt, wofür 43 der bislang 230 Aufnahmen verwendet werden. Geografische Angaben bestimmten die Reihenfolge der Stücke; der Zeitfluß welche Abschnitte/Orte innerhalb dieser geographischen Zonen gewählt wurden. D.h. ich nahm die ersten 55 Sekunden von der ersten Aufnahme, dann eine Strecke von ca. 0.55 bis etwa 1.50 Minuten von der nächsten usf. durch die Arbeit hindurch. Ich dies aber nicht so genau und entschied beim Anhören erst, wieviel ich von jedem 55-Sekunden-Abschnitt schlußendlich nahm und wo und wie ich die Übergänge gestalten wollte. Anders als die Überblendungen verweilen die "reisenden" Ohren allerdings immer an einem Ort nach dem anderen. Keine der Sounds wurde bearbeitet oder verändert. Diese freeze-frame Ausgabe von Out of the Blue Radio, die sich eigentlich ähnlich einer Diaschau entwickelt, kann natürlich weder die Ganzheit des Programms noch den kumulativen Effekt, jeden Tag eine andere Welt zu betreten, transportieren; doch ich habe mich an die Priorität des Hörens gehalten, wilde Landschaften zu nehmen, bevor sie gejätet, bepflanzt und verbessert werden. Die täglichen Sendungen, sogar diese Montage, tragen nur leicht die Handschrift von menschlichen Entscheidungen oder Absichten. Der Rest ist, wie er ist. So wie ich das Stück geschnitten habe, passiert alles, was man hört, während John Scott am Londoner Themseufer entlang läuft, in Hörweite des Big Ben. Das Stück geht John Scott los, der seinen Lauf beginnt, holt ihn bei der ersten Umrundung des Globus ein und kehrt wieder zu ihm zurück als er kurz vor Mitternacht seine Aufnahme beendet. Zwischenzeitlich reisen wir mit virtuellen 49.803 Meilen/Stunde (79.500 km/Sek.) in Quantensprüngen von Ort zu Ort.“ [Chris Cutler] “An experiment in listening. These compositions are an offshoot of the daily soundscape programme I ran for Resonance FM radio between July 2001-2002, which consisted of commissioned real-time recordings made all around the world between 23.30 and midnight GMT (the time of the broadcast). This CD begins with material from these broadcasts confecting, as it were, two composites of the Earth and a few of its inhabitants, somewhat analogous to what an impossible satellite ear with pinpoint acuity might hear in transit - plus one ear-cleaning stretch between them, taken from a single hear-point. I have tried to make these pieces both open and to work on parallel levels: not only do they have their own narrative and aesthetic qualities, but I hope they also offer a meditation on listening and not listening, interpretation and structure, chance and microphonics. The list of ears around the world who supplied basic material is too long to print here, but it includes many names familiar from these catalogues, and many from the still young soundscape and phonograpic community. Full details of people and places are given in the booklet, along with artwork and thorough notes. You have to trust me on this, it's a really engaging record. Sometimes unbelieveable. I don't think you'll regret giving it a chance.” [ReR]	2003	€14.00
CZUKAY, HOLGER	Cinema	5 x LP-BOX + DVD + 7inch VINYL-VIDEO	Am 24. März 2018 wäre Holger Czukay 80 Jahre alt geworden. Die Vinylbox »Cinema«, die auf fünf Schallplatten assoziativ Holgers fast 60 Jahre währende musikalische Karriere nachzeichnet, war dementsprechend nicht nur als Retrospektive gedacht, sondern auch als Geburtstagsgeschenk, als Ehrung, als Dankeschön. Am 05. September 2017 jedoch stirbt Holger Czukay in seinem Kino in Weilerswist (Köln), dem alten Innerspace-Studio von Can, das er seit den 1970er-Jahren bewohnt, inmitten seiner Instrumente. Er wird neben seiner nur wenige Wochen zuvor nach langer Krankheit verstorbenen Frau Ursula Schüring (geb. Kloss, aka U-She/Ursa Major) begraben, schräg gegenüber liegt sein Freund und musikalischer Begleiter seit Can-Tagen, Jaki Liebezeit (✝2017). Es finden so gleich mehrere musikalische Urgesteine auf dem Kölner Melaten-Friedhof ihre letzte Ruhestätte, ganz nah beieinander. Ihr Nachlass jedoch hat mit jener Stille des Friedhofs nicht viel zu tun – davon zeugt auch die Retrospektive »Cinema«: Die musikalische Reise beginnt mit der Jazz-Nummer »Konfigurationen«, bisher unveröffentlicht, die der universale Dilettant, wie Holger sich selbst zu bezeichnen pflegte, 1960 mit seinem Jazz-Quintett aufnahm. Es folgen Experimente, musikalische Meditationen, Meilensteine, Stolpersteine, Hits, Raritäten und Ausgegrabenes. Die noch vor Can entstandenen Stücke unter dem Projektnamen Canaxis 5 etwa (mit Rolf Dammers), die 1969 heimlich im Stockhausen-Studio aufgenommen wurden und hier – längst vergriffen – nun ihre Auferstehung feiern, die sich über vier Jahrzehnte streckenden Solo-Arbeiten (wie das zeitlos-tanzbare »Cool In The Pool«), Kollaborationen mit Brian Eno und Cluster, das Projekt Les Vampyrettes (mit Conny Plank) oder Produktionen mit der japanischen Sängerin Phew (mit Plank und Jaki Liebezeit) – und nicht zuletzt die Songs der Jah Wobble-Kollaboration »Full Circle« (ebenfalls mit Liebezeit), die Holger rückblickend zu den Höhepunkten seines kreativen Schaffens zählte. In allen diesen Klängen zeigt sich, wie vielseitig und erfinderisch Holger Czukay als Künstler war – und wie tief seine unkonventionellen Ansätze sich denn unzähligen Zusammenarbeiten einschrieben. Der Titel »Cinema« kommt dabei nicht von ungefähr, Holger hat ihn sich so gewünscht, war seine musikalische Arbeit doch stets mit dem Kino verbunden. Sein Verfahren, aus der Situation der Aufnahme heraus vermeintliche Sound-Unfälle oder heimliche Aufnahmen in seine Stücke zu integrieren, etwa durch die Verwendung von zufällig gefundenen Radiowellen oder unbemerkten Mitschnitten, schuf musikalische Assoziationsketten, die das sprunghaft Visuelle der Post-Moderne zu Klang brachten, wie man es sonst nur aus dem experimentellen Kino kannte. »Movies«, Titel des ersten Solowerks (1979), war dabei eine Konsequenz aus dieser Affinität zur Filmmusik, die schon seit der »Soundtracks«-Compilation (1970) auch die Geschichte von Can begleitete. Über progressive Songs mäandern da die Bassläufe, mal treibend, häufig gemütlich und schunkelnd, darauf drapiert Geräusche, deren Ursprung nicht immer ganz klar ist. Auf der musikalischen Leinwand offenbaren sie das Malerische in Czukays Klangwelten. Und Holger verfolgte diese Leidenschaft konsequent, sein Film »Krieg der Töne« aus dem Jahre 1987, den er vertonte und in dem er gleich auch noch die Hauptrolle übernahm, liegt der Box exklusiv auf DVD bei. Die visuelle Musik Holger Czukays, fußend auf seiner meisterhaften analogen Schnitttechnik, hat ihn nicht nur international zu einer Legende gemacht, sondern auch Einfluss auf große Teile der elaborierteren Musikwelt genommen. Zu seinen Bewunderern gehören internationale Größen wie Sonic Youth, Radiohead und Geoff Barrow. Blurs Damon Albarn hat von Czukay gar die Idee zu seiner virtuellen Band Gorillaz gestiftet bekommen. Der stets zu Scherzen aufgelegte Musiker war eine Leitfigur der kreativen Soundbastler. Mit sicherem Gespür für eingängige Rhythmen und Melodien bewegte er sich, 1938 als Holger Schüring in Danzig geboren, stets jenseits der ausgetretenen Pfade, schuf seine eigene klangliche Signatur, einen oft verschmitzten Holger-Sound, den man in seinen Arbeiten mit den Eurythmics, S.Y.P.H., den Bläck Fööss, The Edge von U2, der Zeltinger Band oder auf Platten mit David Sylvian genauso wiederfindet wie im Katalog seiner Band Can. Auch mit Ursa, die er die letzten Jahre bis zu ihrem Tod pflegte, hat Holger Musik aufgenommen, einige der Stücke finden s »Breath Taking«ich zum ersten Mal überhaupt auf Vinyl veröffentlicht, ebenso wie das Stück, auf dem die rar konservierte Stimme Karlheinz Stockhausens zu hören ist. Die Box lädt dabei auch zu einer musikhistorischen Reise ein, illustriert sie doch anhand von Holgers Lebensweg gleich mehrere musikalische Epochen. Der frühe Jazz der BRD, die Innovation der Krautrock-Ära, das Bad in diversen neuen Wellen, die elektronischen Experimente: Holger war überall dort zuhause, wo etwas passierte. Und er hat Spuren hinterlassen. Zwischen Linernotes, raren Fotografien, einem Zeitstrahl und diskografischen Angaben tauchen im aufwändigen Booklet der Vinylbox immer wieder Statements und Anekdoten von Musizierenden, die ihre Wertschätzung zum Ausdruck bringen oder in Erinnerungen an einen großen Künstler schwelgen. Sie alle sind sich einig: Holger Czukay hat einen festen Platz in der Musikgeschichte. Er wird niemals vergessen werden. Die von Hendrik Otremba kuratierte Holger Czukay Retrospektive »Cinema« erscheint am 23. März 2018 als 5-LP-Box (+ Film »Krieg der Töne« + VinylVideo und umfangreichem Booklet) und als 5-CD-Box bei Grönland Records. https://www.groenland.com/product/holger-czukay-cinema/	2018	€120.00
D.D.A.A. (DEFICIT DES ANNEES ANTERIEURS) // DDAA	Objet: When a Cap is raising	CD	Jean-Luc André, Sylvie Martineau-Fee and Jean-Philippe Fee started DDAA (Deficit Des Annees Anterieures) in 1977. They are pioneers of the French experimental and indie scene, also connected with Industrial 80s music and audiovisual projects. Approaching music in a completely unique way, and brilliantly produced by their own Illusion Production label (with more 40 published items), DDAA was and is undoubtedly one of the most legendary groups of the French underground for the past 30 years. Their early albums are classics - the self-titled debut, Action and Japanese Demonstration or Les Ambulants (re-issued and still available on Klanggalerie) are a must-have for every connoisseur of usual music. They appeared on the compilation album of music by outsider artist Adolf Wölfli alongside Nurse With Wound and Graeme Revell of SPK. The 10" album When A Cap Is Raising came out originally in 1988 on UK label Big Noise in Archgate. For this re-issue, the band has remastered the music and added bonus tracks from the compilation album Objet, and other sources, some previously unavailable. Full tracklist: 1. Chemin De Pierre 2. Little Boy 3. Exploration 4. Kembou 5. Geisha Girl 6. Passage On Nihon Bridge 7. Territoire Interdit 8. Dig It's Dig 9. Pourquoi Un Homme Est-il Un Homme Et Un Chat, Un Chat? 10. La Roue De Bicyclette 11. Mother With A Big Cake 12. Driving My Car With A Cigarette 13. Fonderie Sablage 14. Sonorisation Par Le Sol 15. A Fond Les Manettes 16. Sous Le 5eme Rideau. https://www.klanggalerie.com/gg379	2022	€15.00
DARKRAD	Heart Murmur	CD	Jana Komaritsa presents the new album of her project Darkrad – Heart Murmur, released on German label audiophob. With this album she continues the theme of inner blackness and disturbances of mind, weaving the canvas of ominous world. Heart Murmur is a medical condition, when the sound of blood flowing can be heard in between regular heartbeat cycle. Darkrad creates swishing rumbling sounds of the tortured heart, sounds from the reality not seen, from the world not known, sounds from the dread, both inner and outer. Merging melancholic dark ambient passages, bitter melodies, disturbed vocals and raw noisy sounds, rhythms and basslines, she opens the door to the infinite dark and offers the listener to dive into the world beyond. Pure unrestrained emotion interweaves with once suppressed memories and fears, merging into one flow of hypnotic soundscape. Listen to her grim heart murmur, pulsating and vibrating in between the regular healthy heartbeat, frightful signals sent from the other side, penetrating the normal reality and spreading into our world. The album also includes bonus tracks: compilation contributions and former tape releases, partially in new versions, as well as remixes from Flint Glass and Mortaja. (auphcd026) https://audiophob.bandcamp.com/album/heart-murmur	2018	€13.00
	Little Black World	CD	Darkrad is the musical project of the russian born and USA living artist Jana Komaritsa. The music of Darkrad is a combination of Dark Ambient and Noise, which is accompanied by quiet but threatening whispered vocals. The first album "Abnormal Love" has been released on Cold Meat Industry back in 2012. The follow-up "Little Black World" has been released in 2014 in a very limited tape edition on Jana Komaritsas own Label Mrakmur. As the tape has been sold out very quickly, the desire to re-release the tape for a broader audience arose. Now this wish has been fulfilled in cooperation with the German label audiophob. The CD release includes all tracks from the tape version (mastered by Gwenn Trémorin of Flint Glass), completed by a number of bonus tracks: The name-giving track "Little Black World" is here released for the first time; followed by the tracks from Darkrads second tape "Die In Eclipse" and two tracks from download compilations. The CD concludes with two unreleased remixes, provided by Dirk Geiger and Spherical Disrupted. (auphcd023) https://audiophob.bandcamp.com/album/little-black-world	2015	€13.00
DE WAARD, FRANS	De Nederlandse Cassette Catalogus 1983-1987	BOOK	In late 1983, Frans de Waard published the first edition of De Nederlandse Cassette Catalogus, listing all known, independently released cassettes in The Netherlands up to that point. No images, no descriptions, just a list. In the following years, three more editions were published and then De Waard ceased producing these booklets. This book contains all four catalogues, along with a 100-page selection of 'source material, articles from Vinyl, Muziekkrant Oor, De Nieuwe Koekrand, the complete one-off K7 fanzine, along with letters, flyers and label information. This book includes an English introduction to the background of the various catalogue editions, as well as translations of the instructions on how to consult the catalogues. Otherwise, the rest is in Dutch. The front cover is an homage to The International Discography Of The New Wave by Martha DeFoe and B. George, which was itself the direct inspiration for me to compile the first edition. Design by Alfred Boland image: http://kormplastics.nl/ncc.html	2021	€16.00
	America’s Greatest Noise	BOOK	The next book on Korm Plastics contains no photographs of the artists, no list of released records, no pictures of record sleeves, and no footnotes. It is not a hardcover, not on glossy paper and is not expensive. It’s… ‘America’s Greatest Noise’ tells the story of Ron Lessard, owner of RRRecords, a record store in Lowell, Massachusetts and, from 1986 to 2009, a record label, releasing the albums of Blackhouse, F/i, PGR, the first Merzbow LP outside Japan and many more, regional compilations, three widely acclaimed lock groove records and a series of anti-records, records with no music but a more conceptual and visual edge. RRRecords is also responsible for the RRRecycled Music series, which has over 300 releases on re-purposed cassettes. Ron Lessard played music with his group Due Process and solo as Emil Beaulieau. Up until his retirement from the noise scene in 2006, he played many concerts and released a string of cassettes, LPs, and CDs. During his concerts, Lessard dressed up like a businessman and used a four-armed turntable, dubbed the Minutoli, and his performances were comical. In this book, he tells for the first time his story in music about the highs and lows of running a label and a record store, weird projects, unfinished projects, encounters with other musicians, being on the road, and much more. Also included are two appendices: one with interviews from the past (fanzines and websites) and a chapter from Michael Tau’s ‘Extreme Music’ about the anti-records released by RRRecords. Images used were sourced from flyers, invitations and fanzines. Introduction by Dominick Fernow (Prurient, Hospital Productions) The first 1000 copies come with an anti-flexi, cutting up a conversation about anti-records between Ron Lessard and the author of the book, Frans de Waard. Cut up by Howard Stelzer. You may use this flexi as a bookmark. Paperback book, 144 pages, black and white images. Design by Alfred Boland Ships after July 1st; official release date: July 5th (if you know, you know) Softcover, 17×24 cm, 144 pages https://www.kormplastics.nl/americas-greatest-noise/	2024	€15.00
DE WAARD, FRANS / MARTIJN COMES	Various Weights	CD	"Various Weights is the first time the duo of Frans de Waard and Martijn Comes come together to present work. On this album, their uniques styles are combined, where they work with each others sound materials to create truly unique compositions. Various Weights In sound art, concepts often take precedence over the actual music. Here, there were none. For their first collaboration, Frans de Waard and Martijn Comes decided on a strikingly simple approach: Each artist compiled a pool of sounds for the other to use as a point of departure. Comes worked with various analog synth- and field recordings by de Waard (including, among others, a Korg MS20 and Koma Field FX). The latter was sent a processed stylophone recording, a sample loop as well as recordings of the Web’s first Software-Defined Radio by the University of Twente. The results, now released as Various Weights, are two epic and immersive pieces. On “Boundary of Intersections”, Comes focuses on deep sonorities and harmonics, developing his materials into a mind-expanding drone zone. De Waard’s “There are no two pianos” is more subdued, hovering mysteriously at the cusp of acousmatic research and sonic minimalism. Both pieces share a slightly uneasy, surreal feeling – perfectly captured by Bas Mantel’s artwork, which was a direct response to the sounds contained on the disc. The bonus-CD to this release, limited to 50 copies, contains a full 35-minute performance by both artists at De Ruimte Amsterdam after the project had been completed. Magically, the music appears to be a direct continuation of the album tracks. As such, Various Weights ingeniously juxtaposes live- and studio techniques, solo and duo work, spontaneous improvisation and meticulous composition. That, whether the artists intended it that way or not, probably makes it a concept album after all." Tobias Fischer, March 2020 https://www.movingfurniturerecords.com/frans-de-waard-martijn-comes-various-weights/	2020	€12.00
DEAD CAN DANCE	Dionysus	CD	"This second release from the recently reawakened Dead Can Dance is quite a delightful surprise, radically departing from its uneven predecessor and displaying a striking degree of creative reinvigoration. Rather than another stab at recreating classic DCD fare like Aion, Dionysus is a conceptually rich and structurally inventive plunge deep into the folklore and spirit of Dionysian rituals and festivals. An intriguing concept does not necessarily lead to an intriguing album, of course, but Dionysus finds Dead Can Dance at the peak of their instrumental powers, unfolding as feast of wonderfully vibrant rhythms, esoteric instrumentation, and inspired arrangements. It is quite a remarkable and improbable achievement, as it sounds very little like prime Dead Can Dance, yet absolutely feels like prime Dead Can Dance. If Dionysus had come out in the band’s golden age of the late '80s and early '90s, there would most certainly be a small but devoted contingent of fans that viewed it as dark horse contender for the duo's finest album. If I am being completely honest, I truly did not expect Dead Can Dance to ever record another great album, as the feeling I got from the reunion tour and Anastasis was that Brendan Perry and Lisa Gerrard are now far more like two loosely entwined solo artists who periodically collaborate than they are a united creative force these days. For the most part, Dionysus does little to dispel that sense, but it definitely seems like the duo have found a way to flourish within those conditions. Based on all that I have read about this album, it is quite clear that Perry was the album's driving force and that it was a labor of love birthed from a deep fascination with how pagan/Dionysian beliefs have spread, transformed, lingered, and evolved in the wake of the Roman Empire. Perry was originally drawn to the theme by European spring and harvest festivals, but the reach of the album seamlessly dissolves boundaries in culture, time, and space like only Dead Can Dance can do. For example, Perry's field recordings alone touch upon South America, New Zealand, and Switzerland and his musical inspirations are even more widespread, delving into traditional instrumentation that spans just about the entire globe. While there some wonderfully exotic and otherworldly sounds occasionally appear, such as the eerily flute-like see-sawing tones and jungle-like chirps in the closing "Psychopomp," that unusual instrumentation is less of a focus than it is a set of specialized tools that Perry used to get exactly the feel he wanted. In fact, Dionysus is largely a very percussion-driven affair, an approach that is especially effective on the muscular and propulsively off-kilter opener "Sea Borne," which abstractly evokes Dionysus's mythical arrival from The East. While the album's bookends are both quite strong and easy to identify, the delineation between individual pieces on Dionysus is quite a purposely blurry one, as the album is structured as a two-part oratorio with different movements that tie to different aspects of Dionysian myth and folklore. For example, "Dance of the Bacchantes" is inspired by a rite in which women "abandoned their domestic duties for trance-like processions and dances," while "Liberator of Minds" celebrates hallucinogens and "The Forest" is a "call to abandon worldly and material pursuits and return to a primeval enlightened state of being." Happily, Perry opted to keep the narrative arc an abstract and impressionistic one, so this concept album deftly eludes the perils of dubious lyrical content or exposition. Curiously, it does sound like Perry is singing actual words in some language in the two closing movements, but the language is a fictional one, as Perry wanted to "convey emotion beyond the boundaries of language itself." In lesser hands, such a conceit would likely end in disaster. In this case, however, it not only flows seamlessly but seems like a crucial part of establishing the timeless and ritualistic headspace that the album inhabits. Recognizable words would have killed the spell. The music is not quite as liberated from the constraints of existing culture, however, as Perry is quite fond of Middle Eastern scales and melodies. The overall feeling is not entirely Middle Eastern though, as some medieval-sounding touches certainly bleed in, as do some sounds that seem plucked from real or imaginary tribes hidden deep in the heart of a tropical rainforest. At Dionysus's best, all of those threads combine into something that resembles an alternately raucous, sensuous, and ritualistic village dance that pulses with visceral rhythms, call-and-response chants, and primal eruptions of ululating yelps. Admittedly, tt feels a bit weird to love a Dead Can Dance album in which Lisa Gerrard plays a noticeably reduced role, as she only takes over lead vocals on "The Invocation" (I think). However, her voice continually surfaces throughout the album as an added choral layer or to echo or harmonize with Perry's own vocals. That might not sound like much, yet her essence pervades the proceedings in a deeper way, as Dionysus bears little resemblance to Perry's solo work. This simply is not a vocal-centric album in the traditional Dead Can Dance sense, nor does the mood quite suit Gerrard's hammered dulcimer talents and the duo have the good sense not to awkwardly shoehorn in touches that do not belong. In fact, Perry and Gerrard show an almost supernatural instinct for avoiding false notes or missteps, favorably calling to mind a time in the distant past (The Serpent's Egg) when they seemed like an absolutely infallible force of nature and each new album felt like a communion with something deeper and more meaningful than anything the present era offered. There is not a weak moment to be found here, as my sole caveat is that the album feels all too brief at a mere 35 minutes. None of that time is squandered at all though, so it is hard to grumble: if the perfect arc is just over half an hour, then that is the proper length for the album to be. I had hoped that Perry and Gerrard might have some more classic songs or a return to form lurking in their shared future, but Dionysus has easily transcended those modest expectations by feeling like the beginning of an extremely promising second act to their long and illustrious career. Nostalgia and welcome familiarity are great, but reclaiming relevance and forging into compelling and unique new territory is far better." [Anthony D'Amico]	2018	€16.00
	Dionysus	LP	"This second release from the recently reawakened Dead Can Dance is quite a delightful surprise, radically departing from its uneven predecessor and displaying a striking degree of creative reinvigoration. Rather than another stab at recreating classic DCD fare like Aion, Dionysus is a conceptually rich and structurally inventive plunge deep into the folklore and spirit of Dionysian rituals and festivals. An intriguing concept does not necessarily lead to an intriguing album, of course, but Dionysus finds Dead Can Dance at the peak of their instrumental powers, unfolding as feast of wonderfully vibrant rhythms, esoteric instrumentation, and inspired arrangements. It is quite a remarkable and improbable achievement, as it sounds very little like prime Dead Can Dance, yet absolutely feels like prime Dead Can Dance. If Dionysus had come out in the band’s golden age of the late '80s and early '90s, there would most certainly be a small but devoted contingent of fans that viewed it as dark horse contender for the duo's finest album. If I am being completely honest, I truly did not expect Dead Can Dance to ever record another great album, as the feeling I got from the reunion tour and Anastasis was that Brendan Perry and Lisa Gerrard are now far more like two loosely entwined solo artists who periodically collaborate than they are a united creative force these days. For the most part, Dionysus does little to dispel that sense, but it definitely seems like the duo have found a way to flourish within those conditions. Based on all that I have read about this album, it is quite clear that Perry was the album's driving force and that it was a labor of love birthed from a deep fascination with how pagan/Dionysian beliefs have spread, transformed, lingered, and evolved in the wake of the Roman Empire. Perry was originally drawn to the theme by European spring and harvest festivals, but the reach of the album seamlessly dissolves boundaries in culture, time, and space like only Dead Can Dance can do. For example, Perry's field recordings alone touch upon South America, New Zealand, and Switzerland and his musical inspirations are even more widespread, delving into traditional instrumentation that spans just about the entire globe. While there some wonderfully exotic and otherworldly sounds occasionally appear, such as the eerily flute-like see-sawing tones and jungle-like chirps in the closing "Psychopomp," that unusual instrumentation is less of a focus than it is a set of specialized tools that Perry used to get exactly the feel he wanted. In fact, Dionysus is largely a very percussion-driven affair, an approach that is especially effective on the muscular and propulsively off-kilter opener "Sea Borne," which abstractly evokes Dionysus's mythical arrival from The East. While the album's bookends are both quite strong and easy to identify, the delineation between individual pieces on Dionysus is quite a purposely blurry one, as the album is structured as a two-part oratorio with different movements that tie to different aspects of Dionysian myth and folklore. For example, "Dance of the Bacchantes" is inspired by a rite in which women "abandoned their domestic duties for trance-like processions and dances," while "Liberator of Minds" celebrates hallucinogens and "The Forest" is a "call to abandon worldly and material pursuits and return to a primeval enlightened state of being." Happily, Perry opted to keep the narrative arc an abstract and impressionistic one, so this concept album deftly eludes the perils of dubious lyrical content or exposition. Curiously, it does sound like Perry is singing actual words in some language in the two closing movements, but the language is a fictional one, as Perry wanted to "convey emotion beyond the boundaries of language itself." In lesser hands, such a conceit would likely end in disaster. In this case, however, it not only flows seamlessly but seems like a crucial part of establishing the timeless and ritualistic headspace that the album inhabits. Recognizable words would have killed the spell. The music is not quite as liberated from the constraints of existing culture, however, as Perry is quite fond of Middle Eastern scales and melodies. The overall feeling is not entirely Middle Eastern though, as some medieval-sounding touches certainly bleed in, as do some sounds that seem plucked from real or imaginary tribes hidden deep in the heart of a tropical rainforest. At Dionysus's best, all of those threads combine into something that resembles an alternately raucous, sensuous, and ritualistic village dance that pulses with visceral rhythms, call-and-response chants, and primal eruptions of ululating yelps. Admittedly, tt feels a bit weird to love a Dead Can Dance album in which Lisa Gerrard plays a noticeably reduced role, as she only takes over lead vocals on "The Invocation" (I think). However, her voice continually surfaces throughout the album as an added choral layer or to echo or harmonize with Perry's own vocals. That might not sound like much, yet her essence pervades the proceedings in a deeper way, as Dionysus bears little resemblance to Perry's solo work. This simply is not a vocal-centric album in the traditional Dead Can Dance sense, nor does the mood quite suit Gerrard's hammered dulcimer talents and the duo have the good sense not to awkwardly shoehorn in touches that do not belong. In fact, Perry and Gerrard show an almost supernatural instinct for avoiding false notes or missteps, favorably calling to mind a time in the distant past (The Serpent's Egg) when they seemed like an absolutely infallible force of nature and each new album felt like a communion with something deeper and more meaningful than anything the present era offered. There is not a weak moment to be found here, as my sole caveat is that the album feels all too brief at a mere 35 minutes. None of that time is squandered at all though, so it is hard to grumble: if the perfect arc is just over half an hour, then that is the proper length for the album to be. I had hoped that Perry and Gerrard might have some more classic songs or a return to form lurking in their shared future, but Dionysus has easily transcended those modest expectations by feeling like the beginning of an extremely promising second act to their long and illustrious career. Nostalgia and welcome familiarity are great, but reclaiming relevance and forging into compelling and unique new territory is far better." [Anthony D'Amico]	2018	€28.00
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
DEEP	If you drive a Traktor	CD-R	"With a line-up consisting basically of two bass guitars and effects, Deep have been extending the textural and compositional vocabulary of the rock bass guitar for the past 15 years. In the two instrumental tracks (30 and 15 minutes) of this album, they are at the height of the powers. They manage to combine driving indie-rock flavoured riffs with walls of sound reminiscent of Earth or Sunn O))) to create ambient atmospheres but still retaining a sense of groove. Although Deep sometimes use distorted power chords and bowed drones in some places to pile up static walls of sound, for the most part the album has a definite mid to uptempo groove. However, through quasi-mantric repetition of the chords and layering of the two bass parts, the feel conveyed by the music is not “speed,” but rather a soothing, trance-like quality that is always based on subtle melodic lines indicative of the fact that earlier Deep releases, mainly featured on the band’s own Dhyana Records label, have proven them capable of writing compelling indie rock songs (complete with vocals) in the vein of Dinosaur Jr or Notwist. This album is co-released on Attenuation Circuit and Dhyana Records in tribute to the ground-breaking work of Dhyana Records for the formation of the experimental music network that now supports Attenuation Circuit." [label info] www.wix.com/attenuationcircuit/attenuation-circuit "Another trio of releases on Attenuation Circuit, although the first one is a co-release with Dhyana Records - hence a somewhat different package. Deep is a duo and consists of two bass players, Stefan Vetter and Bernd Spring. No doubt there is a string of sound effects attached to the bass guitars. One long, thirty minute track and one that lasts half of that. Now with a band name such as Deep and with two bass guitars and effects, you could expect that this is all about deep ambient music, but that's not the primary interest of Deep. At times, many of them, Deep is more interested in playing rock like structures, less drums, not as much melody, but also with a certain groove going round. But the length of the pieces adds a long duration to both pieces and one could say that this adds to a more drone like character of the pieces. Think of a more mellow version of Earth and you have Deep. Minimalist avant-rock. Very nice." [FdW/VitalWeekly]	2011	€11.00
DEISON	Any Time Now	CD-R	"Recorded and mixed in the last 3 years “Any Time Now” is the new solo studio work by Deison after several collaborative projects (with Mingle, Maurizio Bianchi, Uggeri, Favaron); the record is focused on small sounds, interferences and long slow-moving drones captured to explore the perception of time. It’s a dirty electronica to suggest a different listening, any time…now! Involved in the noise electronic area since 1991, (he played loops and voice in Meathead during 90's) he approached the world of sounds doing self released cassettes doing his own tape collages with some tape recorders, turntables and objects mainly in the field of noise and power-electronics; he established a small label (Loud!) and began to collaborate with artist like Lasse Marhaug, KK Null, Shee Retina Stimulants, etc... Influenced by the electroacoustic music, ambient minimal electronic as well as a great interest into digital music and sound design then he operated with samplers and field recordings. On Loud! he has released a couple of 7" singles and a record with Thurston Moore (Sonic Youth), plus a lot of compilation appearances . His first cd "Dirty Blind Vortex" has been released by Crionic Mind (usa). New releases show the new sound direction taken by Deison: calm waves of looping deep ambient scapes, penetrated with sample fragments and light additional noise-ambient textures form a silent, minimal frame-set. Experience this new imaginary movie soundtrack. His works have been released on Silentes Records (Italy), Aagoo (U.S.A.) and new collaboration works emerged with Candor Chasma, Sara Galan and Mingle. He also contibutes sounds for his more dark-ambient duo Cinise (with G.Santoro). He works as a dj in a indipendent local radio (Loud! radio show) playing electronic, avantgarde and experimental music and is a co-fouder of Final Muzik label. Sounds recorded,assembled and processed by Deison (2013-2016) Deison: electronics,field recordings,tapes,objects,synths Ennio Mazzon : electronics on "Blissfull Moments" Andrea "Mingle" Gastaldello : piano and synth on "Motionless pt.1 and pt.2" Israel Martinez : field recordings on "Motionless" Mastered by James Plotkin Artwork by Andrea Maioli [Kanaka Project] mfu/c 009 - L!CD09 100 copies // digipack//cd-r//limited edition www.manyfeetunder.eu www.deison.net https://deison.bandcamp.com/album/any-time-now	2016	€10.00
DEISON / MATTEO UGGERI	In the other House	CD-R	"It was not born as a concept album, but as it was slowly becoming like the music inside it the sound work of Cristiano Deison and Matthew Uggeri ended up finding itself, step by step, enclosed between the narrow walls of an exceptional home. Arriving there from different places and positions, and never actually meeting, Friulian and Milan found themselves, perhaps in spite of themselves, together in uncomfortable rooms which were populated by dark invisible presences. It is not the scenario of a horror movie, there is no tradegy or fear, just the knowledge that somewhere else or the escape itself may be less reassuring than one has hoped. Therefore Francesca Mele's photos, both a seal of the work and source of inspiration for the music seem to further cloak the place in t that sense of quiet desperation that daily life often implies." https://matteouggeri.bandcamp.com/album/in-the-other-house Zwei jüngere italienische Soundbastler treffen sich hier. Beide haben schon vielfach ein Händchen für atmosphärische Landschaften bewiesen; DEISON (komplett: CRISTIANO DEISON) unter anderem hier auf NONPOP mit "Quiet Rooms", einem Album über die Stimmung in leeren Hotelzimmern. Auch UGGERI (komplett: MATTEO UGGERI) hat sein sicheres Gespür für beeindruckende Klangwolken schon aufgezeigt, unter anderem in Zusammenarbeiten mit DE FABRIEK oder MAURIZIO BIANCHI. Beiden Künstlern gemein ist die wohltuende Zurückhaltung bei Veröffentlichungen, man hat nie den Eindruck, dass sie den ohnehin übersättigten Markt der entsprechenden Genres fluten würden. Ihr erstes gemeinsames Album erscheint nun auf FINAL MUZIK (in Kooperation mit OLD BICYCLE RECORDS und OAK EDITIONS), wobei sich die Musiker kein einziges Mal persönlich gesehen haben – Arbeiten im digitalen Zeitalter. Der Titel des Albums sowie die Namen der einzelnen Tracks geben natürlich eine ganz klare Idee vor, aber – und dies ist das erste Kompliment für ein gelungenes Album – es geht auch ohne. "Fessure" (01) fühlt sich an wie das Hinabsteigen in eine pilzige, fluoreszierende Höhle. Warme, aber gleichzeitig aufschreckende und unruhige Sounds umwabern den Hörer, es ploppt und droned. Sehr atmosphärisch und, außer zu einer Höhle, auch passend zu der wohl toten Frau auf Vorder- und Rückseite des Covers, die ich eben entdeckt habe – Film noir-Feeling. Ein bassiger und unregelmäßiger Beat kommt langsam dazu, ebenso ein schräger Streicher. Und immer kurz vor einer Melodie nimmt die Komposition die nächste Abzweigung. Das äußerst filmische Ambiente bleibt in "So Detached" (02) bestehen. Türen quietschen, Schritte rascheln – hier wird eine Story erzählt, ein ganzer Storyteppich voll von organischen Klängen ausgerollt. Ich höre aufmerksam und angespannt zu, weil jederzeit etwas passieren könnte. Zunehmend freunde ich mich mit der titelgebenden Idee eines fremden Hauses an, durch das wir als Hörer schleichen. Das "Micro Drama" (03) spielt sich in der Küche ab, melodiös liegen gezupfte Piano-Teilchen auf dem Tisch, ein dickes Brummen und Summen zeugt von Insektenleben, und die Streicher quietschen immer wieder dramatisch. Passend zum Besuch im Bad ("Stasis", 04) plätschert Wasser, die Sounds wechseln in noisiges Quietschen und Rauschen, und insbesondere die Cluster aus Blasinstrumenten beeindrucken mich. Menschen räumen Möbel in "Worried Stagnation" (05), verursachen dabei lange, ewige Drones. Und mein Lieblingssound des gesamten Albums erklingt auf der Treppe und im Keller ("Prelude, Largo", 06) – ein Tuba-ähnliches Brummen, welches die sich abwechselnden Passagen zum einen aus ruhigen Ambientflächen, zum anderen aus mächtigen, majestätischen Drones inklusive Piepen und Klingeln umrahmt, wobei sich alle Ebenen mehr und mehr übereinander schieben. "In The Other House" ist ein wirklich beeindruckender Hörfilm, der mich an andere starke filmische Werke wie zum Beispiel die LAND-Trilogie ("Praha \| Wien \| Budapest", NONPOP-Besprechung) erinnert. Schleichen durch ein fremdes Haus, Erkunden einer dunklen Höhle, Hauptrolle in einem Film noir – das Album ist fast unabhängig vom möglichen Thema eine fesselnde Reise, und zwar von der ersten bis zur letzten Sekunde. Eine der bisher schönsten, weil stimmungsvollsten Basteleien des Jahres. Michael We. für nonpop.de	2015	€10.00
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
DEUTSCH NEPAL	Dystopian Partycollection Vol. 2	CD	"The second Dystopian Partycollection contain a mixture of orfan tracks, exclusive remixes and music that earlier only could be found on vinyl aswell as some intresting collaborations featuring some of the deepest undergrounds finest selection of artists. A big variation of sounds and representing a wide timespan and alien transformations of the music in orbit round the fat planet Baby Doll. The music was recorded 2009 – 2015, 12 tracks in 63 minutes, refined and supported by Trepaneringsritualen, Navicon Torture Technologies and Der Blutharsch and the Infinite Church of the Leading Hand. Observe this is a compilation of music recorded under different conditions on different occations, direction of sound and qualities vary and produce a strongly addictive cocktail of dystopian music from Deutsch Nepal." [label info] "Der erste Teil der vorliegenden „Partycollection“ wurde 2008 unter dem COLD MEAT INDUSTRY-Banner veröffentlicht und berücksichtigte zuvor nur verstreut zu erhaltene Compilation-Beiträge und Vinyl-Tracks aus den Jahren 2001 bis 2005. Dasselbe Konzept liegt nun natürlich auch „Deutsch Nepals Dystopian Partycollection II“ zu Grunde, nur das nunmehr die Jahre ab 2006 an der Reihe sind. Zudem kommen auch Stücke von Nebenprojekten oder Kollaborationen zum Zuge, sodass wir es hier mit einem musikalisch breiteren Ansatz zu tun haben, obwohl das Gesamtbild dann doch recht homogen ausfällt. THOMAS EKELUND a.k.a. TREPANERINGSRITUALEN ist zum Beispiel bei dem Nebenprojekt SWOLLEN vertreten, von dem man gerne mal mehr hören würde, aber auch bei der Neufassung von „We Shall Live Again“ – im Original auch schon mit seinem Beitrag u.a. auf „Amygdala“. Eine Zusammenarbeit mit NAVICON TORTURE TECHNOLOGIES und alternative Versionen basierend auf Material für DER BLUTHARSCH AND THE INFINITE CHURCH OF THE LEADING HAND sind ebenso dabei wie Tracks von JANITOR LBD, die bisher nur als Download veröffentlicht wurden. Dass LINA sein 1999er Album „Erosion“ noch nicht losgelassen hat, konnte man ja bereits an der Neuaufnahme des Titeltracks für das letzte Album „Alcohology“ bemerken. Auch die „Partycollection II“ beginnt mit einem neuaufgenommenen „Erosion“-Track nämlich „How Low…“. Einer der Höhepunkte der Zusammenstellung ist aber sicherlich das folgende „Ich steh‘ im Regen“ – ein ZARAH LEANDER-Cover, das gerne im Live-Programm auftaucht und allein für eine Compilation, die heutzutage oft leicht untergeht, sicherlich zu schade war. Gerade die ersten beiden Stücke weisen aber auch schon auf einen recht ruhigen Grundton hin, der die Zusammenstellung durchzieht. Der Fokus liegt bei den meisten Stücken jedenfalls auf dem Gesang und auf der Zeichnung von melancholischen Atmosphären. Die Hinwendung zu etwas rhythmischerem Material – wie auf dem letzten Album „Alcohology“ zu beobachten – ist bei diesen Tracks jedenfalls nicht zu verzeichnen. Das schmälert natürlich nicht die Qualität, denn die ist tatsächlich recht hoch, was an „In The Other End Of The Bottle“ oder auch dem düsteren Abgesang „Rapist Park Junktion“ von der gleichnamigen Single zusätzlich deutlich wird. Hier wurde kein schwächeres Material abgeladen, das auf einem Album keinen Platz finden könnte. Insofern ist diese Partycollection für DEUTSCH NEPAL-Enthusiasten sicherlich unverzichtbar. Party! Party! Party!" [Tony F. für nonpop.de]	2016	€15.00
	Dystopian Partycollection III	CD	Deutsch Nepal's Dystopian Partycollection III is a compilation of orphan tracks, re-recordings, alternative versions and remixes made by Lina Baby Doll alone or in co-operation with other artists as listed below. Every track was made in different occations in time and space why diverse qualities and sounds are to be expected from the listener. Partners in Crime: Mag-noz Air, Benny Nilson, Alessio Betterelli, Geoffrey Delacroix, Roger Karmanik, Thomas Ekelund. Enjoy the ride! https://deutschnepal.bandcamp.com/album/dystopian-partycollection-iii	2021	€15.00
DEUTSCH NEPAL / MAMA BÄR	Klinik der Reinen Vernunft	LP	Tracklist A1 –Deutsch Nepal Genital Altruism #1 A2 –Deutsch Nepal Genital Altruism #2 A3 –Deutsch Nepal Stalking The Dead Over A 12 Pillar Concrete B –Mama Bär Melancholie LP in the series Fluxus +/- , black vinyl, black labels, 100 numbered copies.	2017	€40.00
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
DIETER MÜH (DIETER MUH)	Feeling a little Horse	CD	"Reissue of a live performance by Dieter Müh, originally released on CDr on the Mouth label in an edition of 15 copies (1998). Performers were Steve Cammack and Dave Uden. New CD limited to 150 copies including 3 additional studio tracks from the same period, taken from 2 CDr compilations on EE Tapes. Packaged in a 7"-sized cover with 4 extra cards." [label info] www.eetapes.be	2017	€13.00
	Mutus Liber	CD	"Initial Dieter Müh recordings from 1993-1994, never before released on CD !! About the reissue of this rare promo tape, here's Steve [Cammack] in his own words: << At the beginning of 1995 we played a gig at the 1 in 12 Club, Bradford with Zoviet*France. It went quite well and folk were asking about releases etc and we had nothing. So Dave [Uden] quickly knocked up a compilation of recordings we made in 1993-1994 at his (various) home(s) in Nottingham. I can't quite remember which tracks were recorded at which location. Because Tim [Bayes] was involved in the 'live set up' he included the extract from the gig at The Narrowboat. Tim is not on any of the studio recordings. Only a handful of people received this give away tape. There is no master as such. You probably have the only copy. Colin Potter approached us at our gig in York in 1995 and offered time at his ICR studio for cheap - if he could 'produce' [which resulted in Black Square, first official Dieter Müh release from 1997]. I think that is why we did not "push" Mutus Liber. >> Join us on this exciting ambient noise trip !! Limited to 200 copies in sealed digipak"	2019	€13.00
	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	Sutro Transmissions	LP	"This is the wizard the land of Oz wished for: boundless, benemalevolent, shrouded in torrents of sound, daring lions to speak and machines to feel. Dimuzio sets your straw brains alight to melt your metal heart while your furry ears crisp and yowl. For the first time, San Francisco legend Thomas Dimuzio presents an all Buchla-synthesizer album. Custom algorithmic crossfades of complex sound synthesis fuel this metabolism of mind and machine. His Buchla 272e module incorporates a polyphonic FM tuner introducing chance-factors snatched from live transmissions, steered via algorithmic mixing through oscillator arrays and envelope generators before spilling into the ears of blood-pumping audiences huddled in the slanting five thousand foot shadow of SF's Sutro Tower. Each track is a site specific improvisation blooming in the dark of underground venues on opposite ends of Haight Street just blocks from where Buchla invented the world's first synthesizer. “Nothing is more beautiful than [Dimuzio's] acoustic heterogeneity, a depth of aural perspective provided by antithetical frequencies, irregular waves and inscrutable halos.” -Massimo Ricci The first thirty pre-orders will include unique and original letterpress art created by Planetary Magnetics Corporation in New Orleans. These one of a kind prints were rendered on a huge letterpress using gorgeous, richly colored and metallic inks on dangerously old blocks arranged sleestak style by master-printer Tyler Harwood. The album cover is a reproduction of a single print from this original series." https://www.resipiscent.com/artist/view/51 "Thomas Dimuzio – justifiably called a “legend” by the label’s introductory summary – belongs nonetheless in the pool of names not immediately springing to mind when it comes to sonic innovation built upon the interpenetration of supposedly unconnected elements. However, his expertise in concocting unorthodox landscapes and spontaneous articulations of otherwise inexpressible insights has been proven time and again. Sutro Transmissions, a gorgeous example of analog synthesizer-based music, represents a quintessential reminder. The apparatus through which Dimuzio emits transcendentally tangible matters is constituted by (drum roll, press release) “a Buchla 272e module [that] incorporates a polyphonic FM tuner introducing chance-factors snatched from live transmissions and steered via algorithmic mixing through oscillator arrays and envelope generators”. For the unacquainted, this might appear as alien language; as soon as they hear the results, all doubts are going to be extirpated. Nothing is more beautiful than absorbing acoustic heterogeneity if the diversification is driven by the vision of an inherent logical structure. Dimuzio has produced two exceptional pieces in that sense. The conglomeration of extreme dynamics and timbral variegation systematically startles the attentive listener, even when the textural totality may suggest a “search for quietness” hypothesis. It is actually by this juxtaposition of contrasts that the necessary energies are released for the attainment of that state. Learning to distinguish and welcome diversity is never a wasted effort, especially when the forced acceptance of what’s unnatural and the effects of cyclical ordinariness become unbearable. By experiencing the depth of aural perspective provided by antithetical frequencies, irregular waves and inscrutable halos you’ll have a clear exemplification of what I’m trying to translate. Replace the nauseating boredom generated by the self-appointed boffin of your choice with the polychromatic fibers of these sounds. Train your perception to rapidly individuate the correct direction rather than ruminating for days on something that will ultimately be revealed as entirely unfounded. Doctor Dimuzio can assist you." [Touching Extremes]	2020	€22.50
DOYLE, ROGER	Babel	5 x CD	"This is a phenomenal listening experience of Wagnerian dimensions from composer Roger Doyle — and, arguably, also one of Wagnerian ambitions. Each of the five discs is separately titled: “Temple Music”; “Chambers & Spirit Levels”; “Delusional Architecture”; “Earth at Full-Moon”; “Leisure Pursuits.” The idea is that each piece in the first three discs is seen as an individual “room” within an overall city (Babel). Some are more explicitly physical spaces (“The Stairwell”; “Mrs Brady’s Room”, “The Dressing Room”) than others. Both discs two and three begin with “Entry Level” tracks, comprising montages of other music from the “house.” The final two discs are supposedly from a (fictitious) radio station of the Tower of Babel, KBBL. The whole concept is amazing. Pieces are interlinked not just via the translocation of snippets, but via imagined stories (an instrumentalist heard in one track might be warming up for his/her solo in another track, for example). The rooms of the tower are individually characterized, along with the invocation of a panoply of imagined spaces: the orientalisms of the initial “Concert Music — Pagoda Charm,” for example. Doyle’s composition is virtuosic; his imagination seems to know no bounds. His technique of voice cut-ups and snippets of sound, which seems to owe a debt to the electronic music of Stockhausen, is perhaps heard in its purest form in “The Room of Rhetoric” from the “Chambers and Spirit Levels” section. At one point it seems to threaten to quote (or even morph into) Gesang der Jünglinge ; the vocal slides (near-groans) of the next track, “Spirit Levels I-IV” seem to link to the sliding God names of another Stockhausen piece, Stimmung . Yet while there are debts here, the “Cantilena” from “Temple Music” reminds us that, while using gestures linked to this composer, Doyle has a voice all of his own. Doyle’s music can be tremendously evocative. The use of solo horn in the nocturnal scene that is “Yummus” from “Temple Music” works extremely well. He can do delicacy, too: the keening phrases of “The Stairwell” from “Chambers & Spirit Levels” are a case in point. But it is the unpredictability of much of what we hear, coupled with the ability to create a whole new individual universe, is what appeals here. Finally, for Babel , the disc entitled, “Delusional Architecture.” The next track, “Dark Scenery Court Games,” seems to hearken back initially to the orientalisms of the opening of “Temple Music” before gaining its own trajectory. Drums seem to introduce a more primal, human element (the overall impression so far is, unsurprisingly, otherworldly); electronic slashings seem to seek to counteract the tendency to bring the music to Earth and its inhabitants. But for sheer zaniness, “Vertical Figures in Stone” takes some beating. Olwen Fouere is wonderful here. The track only lasts five minutes, but seems to encapsulate all that is special about Babel : virtuoso composition, an ear that can imagine entire (and musically consistent) universes; humor; otherworldliness; and a curious depth that seems to imply some sort of extraterrestrial otherness. The humor is carried over into “Beautiful Day” (whatever you imagine this piece as sounding like, I would bet money that you are wrong). The entire edifice ends with a death: “Mr Foley’s Last Moments”, a dark conclusion to a kaleidoscopic listening experience. The final two discs are of the imagined radio station broadcasting from floor 25 of the Tower of Babel. The first is “Earth at Full Moon.” It opens with “The Morning Show” and an announcer giving the weather report (“Always a nice day, here in the Tower”) and moves on to far more human concerns than we have heard so far, all pinned together by Doyle’s brilliance with electronics. Singer Elena Lopez seems to imply that the vocal lines of her song “You must be in” are derived from the music of Puccini. The news report is impeccably humorous (we get traffic and hilarious ads with out-takes, too, plus a rather restrained jingle that informs us that they are broadcasting “in a language of your choice”). World music is up next, with “Surface du Monde,” a collage of musics from around the planet. Some of the music could almost come under the “easy listening” classification. The 16-minute “Trapeze in Full-Moon Nights (four acts from an imaginary circus)” is magnificently evocative. Waltzes appear, distorted in an aural mirror; think of the fairground from the popular TV series Heroes and that should give some idea. It is all great fun. Finally, “Leisure Pursuits,” split into two “shows.” First up is “The Entertainment and Leisure Pursuits Show,” complete with adverts. This is the slow side of radio, with a twist. The implication, from the phone-in on the second show, “The Nightshow” (“We’re going to transfigure the night,” says the announcer), is that the show is piped into everyone’s home whether they want it or not (track 24), and can’t be turned off. The adverts for a sleeping pill (from “Soma Pharmaceuticals”) imply that to be the only escape. Heard on their own, the last two discs might be shrugged off as clever, but so what? Heard in the context of the preceding three discs of Babel , they take on a whole new level of meaning as part of a story, part of an impeccably imagined alternative world experience. Fascinating, and well worth the time required to properly immerse oneself in the weird and wonderful contents of Roger Doyle’s head." [Colin Clarke]	2013	€35.00
	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
DRAKE, BOB	Lawn Ornaments	CD	"After Bob's Drive-In, which, in terms of production was quite restrained and minimal, Ornaments sets off in the opposite direction, piling up great car-crashes of overlapping fragments in a production that makes rococo look like shaker minimalism. Playing only drums, guitars, bass, banjo, fiddle, organ, trumpet and piano Bob herds tamed cataclysms of musical debris into the shapes of coherent - if episodic – songs, en route skipping through half a century of recording history. As to method well, you can’t beat a year of work. The CD comes with a beautifully illustrated booklet that includes all the song texts as well as eighteen commissioned drawings by the meticulous fine-artist Joe Mruk. Extraordinary music, intriguingly wrapped..." [label info] www.rermegacorp.com "By my probably inaccurate count, this is Bob's eight album. Bob plays everything and the sound is purely Bob - is it folkie Americana subversively progressive singer songwriter avant what have you? Yes! It is! As it says below and beautifully sums his sound up, "he just does what he does." This one has a beautiful booklet by noted illustrator Joe Mruk." [Wayside Music] "Bob Drake is an enigma, a revered cult figure with a unique & bizarre approach to music. A musician's musician, he just does what he does. This time it's songs that slide through a thousand momentary flashes of other songs, other productions & other musical genres - ridiculously, outrageously, densely produced."	2014	€13.00
DRUMM, KEVIN	Battering Rams	LP	From the viscerally punishing and nerve wrecking, to the wistfully sublime, Kevin Drumm ‘s work often yield a ferocious intensity through the timbres of minute details. Now, throughout this series of archival works dating from 2000 to 2022, his mastery is once again on full display. On »Battering Rams«, sinister forces interlope with sanguine glimmers of respite and contemplation, while recurring drones ceaselessly crescendo to near paralysing effect, only for the albums final moments to offer a lofty reprise of boundless oscillation, dispelling all the pent up tension into a sanguine state of bliss. Once again underpinning Drums’ genius of turning apparently trivial hums into elongated microtonal worlds that stay etched deeply in your conscious, often long after the works final resonances have already subsided. https://vaagner.bandcamp.com/album/battering-rams Another serene deployment from Chicago great Kevin Drumm, 'Battering Rams' is a dissociated crackle of damaged percussion and errant feedback that stabilizes into the kind of bleakly sensitive atmosphere you'd usually expect to find on the back of a short-run black metal tape. 'Battering Rams' won't surprise any regular listeners but it's another worthy addition to the noise legend's canon, filling out the cloudier end of his sonic spectrum with more spacious industrial abstraction and the kind of pillowy drones we fell in love with the moment we first clapped our ears on 'Imperial Distortion'. The relative openness of 'Fire' wrong-foots us at first, with studio clatter amplified above an amplified whine that sounds like heavy machinery vibrating into obsoletion, but the mood shifts significantly on the brief 'Glory Only Once', heralded by eerie whistles. We're led towards the crushing double blow of 'Dreams Now Major Events' and 'Old Shoes'. The former bends what sounds like synth choirs into bleak drones, slowly but perceptibly shifting the pitch and ramping up the tension, while the latter gives us the sweet release we've been waiting for, coaxing us towards the sublime. Here we're reminded of Drumm's most powerful serene material (think "Imperial Horizon"), lulled into a psychedelic slumber by billowing synths and distant keys. -Boomkat	2023	€22.50
DUNCAN, JOHN	Organic	LP	"The inter-disciplinary maverick John Duncan emerged in 1970s Los Angeles as a confrontational performance artist and, as the decade progressed, aligned himself with the experimental-music collective Los Angeles Free Music Society. His sound art appeared on various self-released cassettes and alongside artists such as Jim Pomeroy and Yoshi Wada on the Los Angeles Institute of Contemporary Art's influential compilation Sound. Duncan's debut album, Organic, released in a tiny edition on the artist's own AQM imprint in 1979 and distributed through LAFMS, collects some of his earliest and most absorbing noise experiments. Recorded live, Organic is composed of two sidelong pieces: "Broken Promise," a patient, murky dirge featuring Duncan on tape and percussion, plus Michael Le Donne-Bhennet on bassoon; and "Gala," a kinetic, durational percussion piece featuring Duncan alone. The meditations on texture and unpredictability, realized with unconventional and found sounds, anticipate his later work with shortwave radio. First-time standalone reissue. Limited edition of 500 numbered copies on clear vinyl."	2018	€25.00
DUPLANT, BRUNO	Nox	CD	The sound piece Nox (in addition to reflecting the traditional nocturnal effluvia specific to the title) is based on the multiple meanings and interpretations that can be made of the incomplete form of the dactylic hexameter and palindrome In girum imus nocte ecce et consumimur igni. This Latin phrase, pictorial and poetic, most often attributed to Virgil, refers to the moths that circle around the candle before burning themselves, and which means: “We go around in circles in the night and we are devoured by fire “. It is also, much closer to us, a French film directed by Guy Debord in 1978. The film (lasting 95 min) describes the consumer society and capitalist alienation, applying to highlight the condition of modern slaves. Today even more this Latin expression takes on a new meaning with the phenomena of ultra-liberalism and major climate crisis. Man, like moths, burns his wings on the fires he himself lit and continues to maintain despite warnings and threats. Are we witnessing the end of the Anthropocene, of the consumer society and capitalist alienation described by Guy Debord? ~ La pièce sonore Nox (outre le fait de refléter les traditionnelles effluves nocturnes propre au titre), repose sur les sens et interprétations multiples que l’on peut faire de la forme incomplète de l’hexamètre dactylique et palindrome In girum imus nocte ecce et consumimur igni . Cette locution latine, imagée et poétique, le plus souvent attribuée à Virgile, fait référence aux papillons de nuit qui tournent autour de la chandelle avant de s’y brûler, et qui signifie : « Nous tournons en rond dans la nuit et nous sommes dévorés par le feu ». C’est aussi, beaucoup plus près de nous, un film français réalisé par Guy Debord en 1978. Le film (d’une durée de 95 min) décrit la société de consommation et d’aliénation capitaliste, s’appliquant à mettre en évidence la condition d’esclaves modernes. Aujourd’hui encore plus cette expression latine prend un sens nouveau avec les phénomènes d’ultra-libéralisme et de crise climatique majeure. L’Homme, tels les papillons de nuit, se brûle les ailes sur les feux qu’il a lui même allumé et qu’il continue a entretenir malgré les avertissements et les menaces. Assistons-nous à la fin de l’anthropocène, de la société de consommation et d’aliénation capitaliste décrite par Guy Debord ? (Bruno Duplant, May 2022) Release Date : June 20, 2022 Duration : 40:00 Format : glass mastered CD/digital Track : nox Regular Edition : 165 hand-numbered copies Packaged in clear vinyl sleeve with folded insert + additional art card on 350gr satin paper. Cover design, card & treatments by Daniel Crokaert Based almost exclusively on photos by Bruno Duplant and some additional textures from Unfathomless' archive "It seems as if no week passes by without a new release by Bruno Duplant, the French composer of whom I never seem to know much about. Releases for Unfathomless deal with field recordings, and this one is no different, except, perhaps, for the fact that many of these field recordings are made in one place. Duplant recorded his material in Waziers, Berlin and London, without being very specific about the exact locations. That too is sometimes different on this label. And lastly, Duplant uses some instruments here. I believe to hear a piano and some instrument played with a bow; that might strings or a cymbal. The title refers to "the multiple meanings and interpretations that can be made of the incomplete form of the dactylic hexameter and palindrome In girum imus nocte ecce et consumimur igni. This Latin phrase, pictorial and poetic, most often attributed to Virgil, refers to the moths that circle around the candle before burning themselves, and which means: “We go around in circles in the night and we are devoured by fire". I am not that smart. More explanations on the Bandcamp page. Maybe the piece is indeed a palindrome. At least when I opened it in an audio editor it gave that impression. As with some of other recent works, Duplant seems to be layering a lot of sounds that may not have many relations with each other and then finds a dialogue among them. By slowly fading up and down particular sounds, he creates a very rich sound world. I am not sure to what extent this is to be understood as random in the John Cage-sense, or if the composer willingly allows sounds to be louder or quieter in the mix. There are some massive, drone-like rocks, very detailled small field recordings, the occasional piano tone, the bow across the cymbal/violin, crackles and it all works very well. 'Nox' lasts exactly forty minutes, but I am sure this could be twice as long and still be interesting. I know this, because I had it on repeat and didn't notice the change over that much and it wasn't until much longer that I realized it started again. The overall tone of the piece is quite moody and atmospheric, but I guess such is the nature of densely layered field recordings. High quality work, as usual." [FdW/Vital Weekly]	2022	€14.00
DUVELLE, CHARLES & HISHAM MAYET	The Photographs of Charles Duvelle - - Disques OCORA And Collection PROPHET	BOOK / 2 x CD	The Photographs of Charles Duvelle Disques OCORA and Collection PROPHET Charles Duvelle and Hisham Mayet Disques Ocora, a French label dedicated to capturing and publishing the sounds of folkloric culture from around the world, is held in the highest possible regard in the realms of professional and amateur ethnomusicology. Instigated in 1958 by Pierre Schaeffer, the founder of musique concrète, Disques Ocora’s sterling reputation is largely built on composer and musicologist Charles Duvelle’s pioneering field recordings, as well as his now-iconic photographs and graphic design. Charles Duvelle’s work is indisputably one of the most important contributions to the human understanding of the rich biodiversity of our planet’s music and language. In 1977, his field recordings from Benin were selected by Carl Sagan for inclusion on the Voyager Golden Records, which were carried into outer space by the Voyager spacecraft to stand as an example of humanity’s highest musical expressions for the universe’s unknown listeners. Sublime Frequencies’ most ambitious project to date, this 296-page fine-art photography book comprises an exhaustive collection of Charles Duvelle’s field photography from 1959 to 1978, demonstrating that this master musicologist had an equally unerring eye for photography. It also contains an exhaustive interview with Charles Duvelle by Hisham Mayet, detailing the history of the label and offering Duvelle’s unique insights into the discipline of field recording. The package includes two full-length CDs of archival recordings (some of which have never been published) selected by Duvelle himself. In a tribute to Disques Ocora’s exquisite design sensibility, the book is printed on 170gsm Lumisilk matte artpaper and bound in grey buckram with gold foil stamping on the cover and spine. The front cover includes a tipped-on glossy photograph by Charles Duvelle. Contents • 188 black & white and 58 color photographs selected by Charles Duvelle and Hisham Mayet from five regions surveyed during his time with Ocora: West Africa, Central Africa, Indian Ocean, Pacific Islands, and SouthEast Asia • Two CDs of music compiled exclusively for this volume by Charles Duvelle with fully annotated track listings and recording details • An interview with Charles Duvelle by Hisham Mayet (French and English facing text) • “Disques Ocora / Charles Duvelle Discography, 1959–1974,” a complete overview illustrated with 94 full-color album thumbnails • “The Prophet Collection, 1999–2004,” a discography of Duvelle’s post-Ocora label, illustrated with 41 full-color album thumbnails • Ocora catalogues, 1964–1973 • A photo index listing the details of each photograph in the book • “Eastern Music in Black Africa,” a 17 page report prepared by Charles Duvelle at the request of UNESCO, February 1970 Produced and edited by Hisham Mayet Limited Edition. 296 page fine art photography book with 2 CDs of exclusive audio complied by Charles Duvelle. https://sublime-frequencies.bandcamp.com/album/the-recordings-of-charles-duvelle-disques-ocora-collection-prophet	2017	€59.00
EARTH	Angels of Darkness, Demons of Light	CD	"Earth recently unveiled a beautiful collection of early recordings ("A Bureaucratic Desire for Extra Capsular Extraction") to which many agree marked the band as pioneers of a new sound that has continued to metamorphose ever since. True that with each brand new studio album, they evolve, and it is this willingness to experiment with different sounds and different musicians that has enabled Earth to remain consistently interesting and undoubtedly always unique. Following the Extra Capsular reissues, Earth's next offering is a brand new studio album, "Angels Of Darkness, Demons of Light 1", a fine testament to the fact that they have come a long way since 1989. Drawing on inspiration from both British Folk-Rock bands the Pentangle and Fairport Convention and the North African Tuareg band Tinariwen, the new material, while still "heavy" is much more fluid and melodically oriented, less dense and more textured and nuanced. It contains greater improvisatory interplay between the musicians. On one hand the new album acknowledges previous recordings, sonically it cultivates the jazz infused Americana presented on The Bees Made Honey In The Lion's Skull and as a further nod to the past, Earth returned to Avast studios to work with producer Stuart Hallerman (Soundgarden, Mudhoney, Built To Spill, and Earth2!) again. On the other hand, there have been some significant changes which have given birth to yet another new sound, the main change being the line up and so joining Dylan and Adrienne on the album is cellist Lori Goldston (Nirvana, David Byrne, Black Cat Orchestra, Laura Veirs) and Karl Blau (K Records, Laura Veirs, Microphones) on electric bass. The touring band will feature Dylan Carlson, Adreinne Davies, Lori Goldston, and Angelina Baldoz on bass. Songs "Father Midnight" and Hell's Winter" definitely retain some of their former glory on the Bees Made Honey... whilst the cello, though subtle at times, adds a more haunting tone to songs "Old Black" and "Descent to the Zenith" which are so powerful that they have the ability to move one to tears. It is the album's closer and title track which is the boldest step in a new direction for Earth, utilizing the complimentary tones of cello, electric bass and Dylan's guitar, leaving the notes to hang contemplatively in the air before Adrienne's drum beats finally emerge. The repetition throughout the song is seemingly simplistic, though as we all know by now, there is absolutely nothing simple about holding a note or beat for as long as Earth do. There are many breaths of fresh air in this new record, many hopeful tones and drones as well as more eerie ones. One thing is for sure, this incarnation of Earth excels all expectations." [label info] www.southernlord.com	2011	€15.00
	Angels Of Darkness, Demons Of Light II	pic-do-LP	"In den selben Sessions in den Avast Studios Seattle, mit Producer Stuart Hallerman (Soundgarden, Mudhoney, Built To Spill und EARTH2) aufgenommen wie das im März 2011 erschienene "AODDOL I" trägt dieses Album die Inspirationen des ersten Teils fort. Wiederum tief inspiriert vom britischen Folk solcher Heroen wie Pentangle und Fairport Convention sowie der Musik der nordafrikanischen Tuareg-Band Tinariwen präsentieren sich EARTH melodischer als je zuvor, ohne dabei an Heavyness einzubüßen. Im Gegensatz zum Vorgänger wagen EARTH hier jedoch den Blick weit über den konstruktivistischen Kontext hinaus und geben Improvisationen Raum wie nie zuvor. Das LineUp besteht abermals neben Adrienne Davies (drums) und Dylan Carlson (Gitarre) aus der Violinistin Lori Goldston (Nirvana, David Byrne, Black Cat Orchestra) und Karl Blau am Bass (K Records, Laura Veirs, Microphones). TRACKLISTING: 01. SIGIL OF BRASS 02. HIS TEETH DID BRIGHTLY SHINE 03. MULTIPLICITY OF DOORS 04. THE CORASCENE DOG 05. THE RAKEHELL" [label info] www.southernlord.com	2012	€30.00
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
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
ECHOES OF YUL	Tether	CD	"Zoharum presents ECHOES OF YUL in their new release entitled 'Tether'. After two longplayers ('Echoes Of Yul' and 'Cold Ground') and a split CD, it's time for the next release, atypical in every respect. It's not a full album in the exact meaning of this word. 'Tether' is an extended play which has a record running time for such a release which clocks at 78 minutes. It's a stylistically varied project which is the result of the collaboration with many artists of different backgrounds. 'Tether' contains 4 new tracks full of slow heavy riffs, sounds from broken synths and ethereal atmospheres plus a number of reinterpretations by Different State, iconAclass (MC Dalek), James Plotkin (OLD, Khanate), Maciek Szymczuk, Stendek, Steve Austin (Today Is The Day). All compiled to sound not like a compilation, but a stand-alone cohesive album with many unexpected twists and turns." [label info] www.zoharum.com	2014	€10.00
ELECTRIC SEWER AGE	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 / DUANE PITRE	Empty Summer Endless / Feel Free Installation	LP	"Split release including a new 20 minute piece from Eleh and the installation version of Duane Pitre's beautiful new composition, Feel Free. Screenprinted jackets. Feel Free is a new composition by Duane Pitre that currently has three possible manifestations: solo performance, group performance, and sound installation. At the core of all of them is the pillar of the work, an open yet orderly system whose intention is to produce potentially infinite variations of self-generating rhythm and melody. This system is created in part by a Max/MSP patch, designed by the composer, which consists of two (unprocessed) sound sources: guitar harmonics and simple-timbre electronic tones (in the solo/group versions, the latter are performed by the composer). Where the solo and group versions find the work following a sequence of movements (each embodying a varying feeling) that consist of different pitches and rules/methods for the group to execute them, the "installation version" (which occupies a side of this record) is void of any performers and is meant to embody a certain stillness. And while the listener may become familiar with what seem to be recurring patterns, no sounds are ever looped, but are rather continually moving forward, yet still remain suspended." [label info] www.importantrecords.com	2012	€19.50
ENTRE VIFS	Vertebres	CD	Compilation of this respected French noise/bruitiste project. Limited edition of 200 hand-numbered copies. CDs in jewel cases and in silver envelopes. European noise industrial at its best! https://thecatcherinnoise.wordpress.com	2015	€13.00
ERIK M (eRikm)	Transfall	CD	"eRikm's Transfall is a document of profound gesture. A collection of works that resolve his recent explorations into music and sound for performance, dance and theatre. For almost two decades, eRikm has been a major force in contemporary musique concréte. He is a compelling improviser and forthright composer whose work taps into the central linage of sound-object oriented composition emanating from France. Developing a highly personal performance and compositional language, eRikm's reputation and position within the emergent generation of concréte composers had led to numerous collaborations with icons such as Luc Ferrari (Room40 issued Les Protorythmiques in 2007). Transfall is an archive of six works linked through new developments in eRikm's compositional philosophies. He notes : 'The time spent on the composition of some of these pieces gave me the possibility to 'break out', that is to get out of my usual processes of 'degeneration/generation' of a body or of a multiplicity of 'pre-existing sound objects'. Thus my gesture shifted, I have looked for and recorded my own sound materials.' When heard collectively, these compositions take on a presence much more than the sum of their parts. They collect unconventional approaches from an artist whose compositional methodologies are already deeply rooted in experimental traditions. The resulting pieces, and the album as a whole, represent one of eRikm's most personal and resolved works to date. A vision of future explorations mounted within a frame of the artists' previous sonic understandings." [label info] www.room40.org "The other new release is 'Transfall' by erikM, of whom I never seem to know if he's a composer or an improviser, or both. No doubt, the latter. The six pieces on his latest CD are not new. They were recorded between 2004 and 2009 and found their way to compilations, dance pieces or commissioned by an ensemble. The latter is the longest and opens the CD, and has erikM playing electronics and CD player and the ensemble playing harp, clarinets, flutes, cello and percussion. This is a piece in the best modern classic tradition, but despite reservations I may have against modern classical music, I think 'Astral' is a great piece. Partly filled with nasty electronic sounds, and partly what seems at times acoustic instruments, reminding me of the best Zeitkratzer pieces. The other five pieces are much shorter and see erikM working with electronics and field recordings. Here we find him as a more traditional composer of musique concrete, in some excellent short, concise pieces with great style. Full of tension, great compositional style and evocative, these are excellent pieces." [FdW/Vital Weekly]	2012	€13.00
ERLANDSSON, MATS	Minnesmärke	LP	Mats Erlandsson makes his debut on the Swiss label Hallow Ground with »Minnesmärke,« at once a nuanced sonic exploration of the industrial and political history of his native Sweden and a deeply personal album. One of the key figures of the Stockholm drone scene, the prolific composer worked with The Kilimanjaro Darkjazz Ensemble’s Hillary Jeffery, violinist and long-time friend Gaianeh Pilossian as well as sound artist and frequent collaborator Yair Elazar Glotman for a two-part composition built around tuned sustained tones performed by electronic and acoustic instruments that were combined with field recordings in order to evoke a psychedelic state of reflection, a dream-like elegy for the acoustic properties of the former iron ore mine Ställbergs Gruva where the music has been conceived and recorded. Following up on releases on labels such as Hallow Ground label mates Kali Malone and Maria W Horn’s XKatedral imprint, »Minnesmärke« is Erlandsson's most accomplished work yet. Originally a commissioned work by the Non Existent Center for a month-long artist residency in Ställbergs Gruva last Summer, »Minnesmärke« conceptually picks up on the socio-political and economic history of the Bergslagen region where the mine is situated. After mining operations had been on-going for decades prior, in the Industrial Age iron became one of the country’s largest exports, making the mining industry an integral part of the country’s progression towards a socialdemocratic welfare state in the years after World War II. With the rise of neoliberalism and the simultaneous erosion of the welfare state however, the mines around the region started closing, which resulted in the surrounding community losing its relative prosperity. Erlandsson’s interest in this story though does not exclusively stem from the historical significance of the mine, that has been re-opened in 2012 as a centre for cultural activities and critical thought. In fact, his grandfather was born and raised in the vicinity of it and thus his life - and, by extension, his grandson’s - was inextricably linked to its fate and the ebbs and flows of the industrial development in the area. It’s no surprise then that the two parts of »Minnesmärke,« which translates to »memorial« or »monument,« is marked by a sense of dislocation and dissociation. »Working in Ställberg was a somewhat surreal experience from the point of view of a musician some one hundred years later,« says the artist. »Being in that environment makes you view time from the side - since the place remains the same it accentuates the deep chasm that separates my perspective from those of my relatives, while at the same time providing a form of intimacy with them.« This naturally shaped the recording process, which saw Erlandsson create an interaction between the acoustic and the electronic, the human and the machinic as well as the natural environment and the technology that has shaped it as much as it has been shaped by it. A combination of synthetic and recorded sound sources was processed by reamping it in various rooms of the vast mining complex. The resulting hybrid field recordings were transferred to tape and have then been treated extensively. An arrangement for Pilossian’s violin, Jeffery’s tuba and trombone playing as well as Glotman’s parts on double bass were recorded separately and similarly manipulated to create an expanded chamber ensemble with a wider range and an ability to transcend the usual temporal bounds of the instruments. The outcome of this intricate working process calls to mind Phill Niblock’s most dense compositions, the iconic yet subtle work of Pauline Oliveros in the field of deep listening or even Jóhann Jóhannsson’s evocative examination of similarly politically charged topics on the »The Miners’ Hymns« OST amongst others. While Erlandsson shows his knack for creating emotive dynamics by bringing the acoustic recordings into a pulsating flow, the manipulated field recordings are used as a counterpoint throughout both parts of the composition, commenting on and fostering the ever-shifting dramaturgy of the record. Most importantly though, the 41 minutes are marked by a continuous tension that almost feels tangible. It’s the looming shadow of history, materialising in the form of a monument, a memorial for the past generations that have etched their hopes and aspirations into the walls of Ställbergs Gruva. Hilary Jeffery - Trombone, Tuba Gaianeh Pilossian - Violin Yair Elazar Glotman - Double Bass Mats Erlandsson - Everything Else Mastering by Andreas Lupo Lubich Artwork by Marijn Degenaar https://hallowground.bandcamp.com/album/mats-erlandsson-minnesm-rke	2020	€21.50
ESPLENDOR GEOMETRICO	40 Anos Nos Iluminan	do-LP	"In four decades, the career of Esplendor Geométric hasn't had interruptions. They haven't stopped composing, releasing albums or playing live (with more intensity since the nineties). In 40 years, E.G. have left a discography of 23 albums, as well as singles, contributions to compilations, and cassettes published in different countries (Spain, Germany, Japan, USA, France...) They have collaborated with other artists like Francisco López (Biomechanica, with Arturo Lanz), Hijokaidan (E.G.Kaidan), Maurizio Bianchi (with Saverio Evangelista)... They have performed in more than 100 shows in Spain, France, Italy, Portugal, Germany, Japan, USA, UK, Russia, Lithuania, Poland, Sweden, Belgium, Switzerland, Holland, Denmark, Chile... and they have a full-length documentary film about them, (Geometría del Esplendor José Ramón da Cruz, 2016), has been filmed and has received various awards. 40 Años Nos Iluminan is not just another EG album, as they have reinvented themselves by taking inspiration from their own long career since 1980. The new tracks included on 40 Años offer better sound and compositions full of details, sometimes subtle, opening a new path of exploration that goes beyond the typical current industrial music, loaded with clichés. Here, E.G. experiment with noise, recorded voices, striking collages, and their trademark hypnotic rhythms of industrial trance. 40 years marks a turning and evolution of E.G., which however still sounds like E.G. 40 Años Nos Iluminan is offered on a double-album package with 16 exclusive new tracks recorded in 2020. Four are versions-reconstructions of old EG tracks by close artists, like Atom TM, Most Significant Beat, Pragma (Clock DVA, TeZ), and Moral Order. Double LP version.includes four-page insert with photos and notes; each copy has been individually customized (album cover sealed and labeled one-by-one); edition of 500 (numbered)." https://esplendorgeometrico.bandcamp.com/album/40-a-os-nos-iluminan-vol-1	2020	€35.00
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	Les Cent Jour Clairs	CD	Das sechste Studioalbum (1984) des französischen Experimental- / Performance-Duos Etant Donnes „Cinq Portes Soudées“ erscheint erstmalig als CD im Digipack-Format und mit Bonustrack auf Klanggalerie. 1980 in Grenoble von den beiden Brüdern Eric und Marc Hurtado ins Leben gerufen, legte das nach einem Werk des französisch-amerikanischen Dadaisten und Surrealisten Marcel Duchamp benannte Experimental- / Performance-Duo, das seitdem mit Genregrößen wie Genesis P-Orridge, Alan Vega, Michael Gira, Mark Cunningham und Lydia Lunch zusammenarbeitete, schon ein Jahr später sein Albumdebüt „L‘Opposition Et Les Cases Conjugues Sont Rconcil“ vor. „Les Cent Jours Claires“, ein zeitlos spannender Mix aus Industrial / Noise, Avantgarde- Klängen und Musique Concrete, war das sechste Album der Band aus dem Jahr 1984, das ursprünglich auf dem französischen Label Bain Total (unter Leitung von Philippe Fichot von Die Form) veröffentlicht wurde. Für diese CD-Erstauflage wurde ein langer Bonustrack hinzugefügt, der nicht auf dem Originalalbum enthalten ist („Music From The Film Des Autres Terres Souples Part 5“). "Over the years I didn’t keep up with the re-issues of the French duo Étant Donnés, the Hurtado brothers. I know there’s a box set on Vinyl On Demand, and ‘Cing Portes Soudees’ was part of that. Initially, this was a double cassette on the Bain Total label, along with ‘Les Cent Jours Clairs’; I’m not sure why it was decided not to do this as a double CD. I remember seeing the original Bain Total cassettes for sale back then, at Staalplaat, for instance. Still, they came with a price beyond my wallet (although I had a few, such as works by Die Form/Fine Automatic and Krylon Hertz). At the time, 1984 or thereabouts, Étant Donnés was also present on a few compilations, and their rapid-fire cut-up work sounded great. It was only much later I realised that before the more musique concrète-styled cut-up, the group sounded quite different. Radical also, but massively different. In these old works, ‘real’ instruments play a significant role. Guitar and bass, but played not always very traditionally, in a no-wave, early post-punk fashion. This is quite interesting as, according to the cover, these recordings are from 1977 and 1978, and in those days, this kind of no-wave playing wasn’t worldwide spread. Along with this, the two brothers also use all sorts of objects as percussion, sometimes leaping off into a wild ramble of drumming. There are also early signs of using tape manipulation, loops and cut-ups, even when not as strong a presence as in the releases of the mid-1980s. As far as I know, these are the earliest (released) recordings by them, and they show an interesting take on their interest in radical music, which, in these early stages, is linked to influences from no wave to tape composition, all recorded very loud and very direct to tape, without overdubs or post-production. The title piece is a two-part work, each about 30 minutes, consisting of individual, shorter bits, which one can call songs. As a bonus, there’s a short extra piece, ‘Music From The Film Des Autres Terres Couples Part 4’, of which the cover has no information but sounds like it was recorded a bit later, with more loops and tape manipulation. It’s a great historical document!" [Vital Weekly]	2025	€15.00
EVANS, GRANT	Brittle	MC	"With a detached curiosity, Grant Evans drops us into his petri dish of mud, bacteria, and fetid slop. At first, we have no roadmap to the drowning noise that slowly trickles down the throat and presses against the ear drums; but Evans is no sadist. Yes, volatile coagulations and conflagrations abound with malaise at the beginning to each of the side-long works to Brittle -- itself a vibrant landmark in the Evans' rhizomatic back catalogue that slips through harsh wall noise, kosmische explorations, dronologist collage, and the like. But upon the discharge of that initial shard of tooth and blood, Evans tempers the atmospheric pressures and illumines a path by which to proceed. Beacons of monochord guitar. Radiant dispersions of glare and trill. Compacted bowed metal resonance. Interstitial ecological sounds from water, bird, and tree. Exhumed cassette minimalism. And a gasping, pulsing, morphing drone that bends around each of these sound objects. Such is the vivid unfurling of Brittle -- a meticulous and wondrous bricolage of the exploded organic. Parallels to be found in Chalk, Organum, Toniutti, and Grzinich. Grant Evans hails from the northeast corner of Georgia, from where he has produced an impressive array of works under various aliases and in collaboration with his wife Rachel. Together they had run the now defunct Hooker Vision imprint, whose curatorial vision was unmatched in their discovery of unknowable projects from the margins of the global cassette underground. Currently, they maintain a smaller cottage industry Adversary, solely dedicated to their own projects." [label info] www.helenscarsdale.com "On this new tape, the prolific Evans draws from the styles he has worked in heavily before: noise, electro-acoustic, and ambient, but Brittle bears the mark of all without sounding like any one in particular. The two lengthy pieces cover a significant amount of sonic territory, and he makes remarkably diverse and complex compositions from a world of unidentifiable sound. The first half of the cassette, "Pills in the Reptile House," opens with Evans employing a loop of rattling sounds almost resembling a microcassette recorder left in a running washing machine. The sound is rhythmic, yet processed to have a hollow, strange quality to it as additional textures and processed noises are worked in. Evans eventually strips the mix back, retaining the scraping but in a more open space, blended with reverberating strings that could be either piano or guitar and shrill, harsher electronics. The composition as a whole has a clear sense of structure and organization to it, even if the sounds Evans utilizes are anything but conventional. Sounds become shimmering, metallic, and a bit dissonant at one point, before the piece overall becomes softer and is largely characterized around gentle electronics. Changes are subtler toward the conclusion, the sense of structure is lessened, and the piece concludes on stuttering, digital-like vibrations. On the other side of the tape, Evans opens "Lineage" with a more familiar bit of overdriven noise crunch. Paired with a passage of metallic banging noises, the sound is not far removed from the likes of classic Macronympha, but the harshness is short lived as he quickly shakes things up to a more spacious sound. Besides dropping the distortion, Grant introduces birdsong recordings and subtle loops of noise. The composition eventually takes on a futuristic, but pleasant quality to the sound, without a lot of change but still complex, tightly woven layers that vary. What initially has a sci-fi, futuristic quality to it eventually is shifted away into the cold, empty expanse of deep space. Brittle’s name is a bit misleading, because I would characterize the sounds Grant Evans generates as being closer to mud and muck as far as tactile metaphors go. It is sticky, gritty, and at times ugly sounding, but that is exactly what makes it compelling. I have no idea how he made these sounds, since almost nothing is identifiable, but I am rather glad that he did." [Creaig Dunton / Brainwashed]	2015	€9.50
EXPO 70 (EXPO SEVENTY)	Frozen Living Elements	CD	"It's been three years since Expo 70 appeared on the ”From Earth to Sirius” compilation and now they are back to Zoharum with a full-length offering. Their latest album is entitled ”Frozen Living Elements” and it features an expanded line-up. Apart from Justin Wright, Expo 70 were Jim Button on drums and Aaron Osborne on bass and additional synthesizers for the sessions and the result can be described as space rock power trio. With three tracks spread over 45 minutes, the trio takes as on a cosmic tour de force. With influences ranging from analogue electronica through guitar drone to noisy psychedelia, Expo 70 manages to travel back in time to the 1970s, yet stay as contemporary as they can without sounding dated or irrelevant. The musicians transport us to their rehearsal room drenched in dry ice where they play their extended acid jams landing somewhere in-between SunnO))), Can and Sperm. The CD is housed in an ecopak sleeve and is strictly limited to 500 copies. The cover was designed by Justin Wright. "Frozen Living Elements" was mastered by Scott Colbrun. The whole production process was overseen by Michał Porwet." [label info] www.zoharum.com	2014	€13.00
EYELESS IN GAZA	Plague of Years : Songs and Instrumentals 1980-2006	CD	'Songs and Instrumentals 1980-2006'. Noch eine EIG-Zusammenstellung, die aber mehr auf die experimentelle Seite zielt, 21 Stücke die die ganze Bandbreite der Band aufzeigen, mit einigen sehr raren Stücken. Special low priced ! "One of the great bands that emerged post punk... They were truly unique.... I still love them..." [Alan Mc Gee / March 2005] "this CD deals with two sides of the group. first is its deeply lyrical vein, with summits like See Red and Lights of April, tracks that have almost never been included on "best-of" projects, despite the fact that they represent some of the most moving songs these musicians ever wrote. this collection also explores the group's more adventurous side through a number of instrumental pieces. this aspect of their output is little known and often neglected, even though it was there from their very beginnings. these two combining currents, where experimentation precedes lyricism (and the other way around), turn this album into a truly new way of (re)discovering Eyeless in Gaza. This unique architecture creates the impression that each side strengthens the other one's presence. probably for the first time ever, the 21 tracks so redistributed provide the band with irrefutable arguments toward its rebirth. Yes, Eyeless in Gaza is one of the most underrated groups. in this world of ours, will integrity finally pay off ?" [label info] "Plague of Years is a single-disc retrospective by Peter Becker and Martyn Bates, aka Eyeless in Gaza. The duo began recording with minimal instrumentation -- Becker's piano and keyboards, some primitive drum machines, a guitar here and there, as well as a traditional drum kit (or at least the snares and cymbals) -- and made music in the post-punk era that was both challenging and hideously beautiful. The reason for that description comes from the sound of Bates' voice: nasal, emotionally overwrought, and often flat, it was a voice that expressed things in his utterly naked and poetic words that the heart could comprehend, but that the intellect often could not. Long before Morrissey ever warbled, Bates ripped the door off the closet of his fear, longing, love, and disappointment, framing it with colors that held many shades of gray, but also held out the glimmer of gold for hope. There are 21 cuts on this set, beginning with their earliest tracks from 1980's debut album, Photographs as Memories ("John of Patmos"), and the amazing "Every Which Way" from 1981's Caught in Flux, issued by Cherry Red, and moving through their utterly brilliant albums Drumming the Beating Heart, Song of the Beautiful Wanton, Orange Ice & Wax Crayons, and Back from the Rains. There are cuts from compilations, such as "To Steven" and "Sun-Like-Gold," that appeared as two parts of a three-part suite on Sub Rosa's Myths. Instructions., singles such as "County Bizarre" on NDN, and the gorgeous "Falling Leaf/Fading Flower" from the 12" Pale Hands I Loved So Well, which was a bonus disc tucked inside the Drumming the Beating Heart CD. There are also cuts here from Bitter Apples, the album they released for World Serpent in 1995, and Saw You in Reminding Pictures from the Ambivalent Scale label. This is but a taste, of course, since Eyeless in Gaza needed to be taken album by album, but one honest encounter with one of their songs will send the listener scrambling for more. The music here is beauty that is so out of place in this world, it can scarcely be borne." [Thom Jurek / Allmusic.com]	2006	€12.00
	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
	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
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
FEAR FALLS BURNING	I'm one of those Monsters numb with Grace	CD	"... beide CDs sind da natürlich erstmal für die interessant, die die limitierten LPs nicht haben, aber, nicht nur für die: neben schickem cover-artwork (martina verhoeven + carl clover/aleph) und genau so schicker ausführung als pappschuber, kommen beide reissues mit je einem, dafür gleich ellenlangen (27.57 + 34.22) bonustrack: "and the land torn down" (live aufgenommen von ronald marien am 16. may 2006 bei den audio-unit living room concerts in hamburg) und "dead wisdom". ersterer in unbedingt vergleichbarer qualität zu den auf "the infinite sea of sustain" kompilierten 6 konzerten, allerdings, im gegensatz zu den meisten der dort versammelten (und auch im gegensatz zu dem auf "the rainbow mirrors a burning heart" konservierten live-set) vollständig auf langsamen, fast endlosen aufbau setzend; ohne breaks, ohne harmonische veränderung, fast ein suchspiel, was sich / ob sich überhaupt etwas verändert / ab einem bestimmten punkt (etwas) verändert hat. perfekte ergänzung der oben genannten und musterbeispiel für "wie lange laufzeiten gleichzeitig hypnotisch UND abwechslungsreich anlegen“. "dead wisdom" dann gleich vom start weg sperriger; passt ja, ist / war die original "numb" ja auch schon. und viele der sounds auf "dead wisdom" sprechen dafür, dass alle drei stücke aus der gleichen session stammen. siehe z.b. die von mir damals als fast twang / surf / dub abstraktionen etikettierten, leicht schrägen, abstürzenden flächen, die auch hier, schon innerhalb der ersten 10 minuten, auftauchen. und nach ungefähr der hälfte der spielzeit auslaufen und vorgeben, das stück beenden zu wollen. nach dieser antäuschung dann der echte auslauf, fast 20 minuten lang... und tatsächlich: die "numb" bleibt auch in der extended version noch immer so ein ding ohne fassbaren anfang, ohne fassbares ende... irgendwie faszinierend." [N, Unruhr.de] "when the carnival of ourselves and i'm one of those monster numb with grace were originally released, dirk serries had only just started recording under the name of fear falls burning. the albums turned out to be decisive in shaping his vision of an ongoing drone-manifesto: during several exploratory sessions initiated in mid-2005, he quickly expanded the project's catalogue by a staggering eight releases within a single year. these would take the cosmic, post-rock- and kraut-infused production of his early recordings into new directions and eventually lead up to his current, raw and unpolished symbiosis of hypnotic guitar power and percussive thunder. the carnival of ourselves was the first full-length to follow the double-album »he spoke in dead tongues« and pointed towards an immersive and ghostly ambient sound. an extensive european tour, however, catalysed the inclusion of rock elements and heralded the advent of a more edgey and tribal approach: i'm one of those monster numb with grace, especially, was an important record, as it aligned the more refined studio output of fear falls burning with its direct and passionate live sound. as these strictly limited releases sold out in no time (resulting in numerous requests for a second print), tonefloat and fear falls burning decided to leave the legacy of the vinyl untouched and to reissue both albums on cd - featuring new cover designs and bonus tracks culled from the abovementioned sessions. the astounding quality of these discoveries from the vault should convince even those already in possession of a vinyl copy: the twenty-eight-minute »and the land torn down« (on the carnival of ourselves) at first seems to build into a dense, dirge-like drone-sheet but intruigingly cools off to a disturbing soundscape haunted by muffled feedback and echoes of theremin-chants. the monumental bonus track to i'm one of those monster numb with grace, »dead wisdom«, meanwhile, would have made for a complete album in its own right: thirty-four minutes of subcutaneous feedback hum lead the listener down a spiral staircase into a place of deep calm and tantric concentration." [label info] www.tonefloat.com	2009	€6.50
	The Carnival of ourselves	CD	"... beide CDs sind da natürlich erstmal für die interessant, die die limitierten LPs nicht haben, aber, nicht nur für die: neben schickem cover-artwork (martina verhoeven + carl clover/aleph) und genau so schicker ausführung als pappschuber, kommen beide reissues mit je einem, dafür gleich ellenlangen (27.57 + 34.22) bonustrack: "and the land torn down" (live aufgenommen von ronald marien am 16. may 2006 bei den audio-unit living room concerts in hamburg) und "dead wisdom". ersterer in unbedingt vergleichbarer qualität zu den auf "the infinite sea of sustain" kompilierten 6 konzerten, allerdings, im gegensatz zu den meisten der dort versammelten (und auch im gegensatz zu dem auf "the rainbow mirrors a burning heart" konservierten live-set) vollständig auf langsamen, fast endlosen aufbau setzend; ohne breaks, ohne harmonische veränderung, fast ein suchspiel, was sich / ob sich überhaupt etwas verändert / ab einem bestimmten punkt (etwas) verändert hat. perfekte ergänzung der oben genannten und musterbeispiel für "wie lange laufzeiten gleichzeitig hypnotisch UND abwechslungsreich anlegen“. "dead wisdom" dann gleich vom start weg sperriger; passt ja, ist / war die original "numb" ja auch schon. und viele der sounds auf "dead wisdom" sprechen dafür, dass alle drei stücke aus der gleichen session stammen. siehe z.b. die von mir damals als fast twang / surf / dub abstraktionen etikettierten, leicht schrägen, abstürzenden flächen, die auch hier, schon innerhalb der ersten 10 minuten, auftauchen. und nach ungefähr der hälfte der spielzeit auslaufen und vorgeben, das stück beenden zu wollen. nach dieser antäuschung dann der echte auslauf, fast 20 minuten lang... und tatsächlich: die "numb" bleibt auch in der extended version noch immer so ein ding ohne fassbaren anfang, ohne fassbares ende... irgendwie faszinierend." [N, Unruhr.de] "when the carnival of ourselves and i'm one of those monster numb with grace were originally released, dirk serries had only just started recording under the name of fear falls burning. the albums turned out to be decisive in shaping his vision of an ongoing drone-manifesto: during several exploratory sessions initiated in mid-2005, he quickly expanded the project's catalogue by a staggering eight releases within a single year. these would take the cosmic, post-rock- and kraut-infused production of his early recordings into new directions and eventually lead up to his current, raw and unpolished symbiosis of hypnotic guitar power and percussive thunder. the carnival of ourselves was the first full-length to follow the double-album »he spoke in dead tongues« and pointed towards an immersive and ghostly ambient sound. an extensive european tour, however, catalysed the inclusion of rock elements and heralded the advent of a more edgey and tribal approach: i'm one of those monster numb with grace, especially, was an important record, as it aligned the more refined studio output of fear falls burning with its direct and passionate live sound. as these strictly limited releases sold out in no time (resulting in numerous requests for a second print), tonefloat and fear falls burning decided to leave the legacy of the vinyl untouched and to reissue both albums on cd - featuring new cover designs and bonus tracks culled from the abovementioned sessions. the astounding quality of these discoveries from the vault should convince even those already in possession of a vinyl copy: the twenty-eight-minute »and the land torn down« (on the carnival of ourselves) at first seems to build into a dense, dirge-like drone-sheet but intruigingly cools off to a disturbing soundscape haunted by muffled feedback and echoes of theremin-chants. the monumental bonus track to i'm one of those monster numb with grace, »dead wisdom«, meanwhile, would have made for a complete album in its own right: thirty-four minutes of subcutaneous feedback hum lead the listener down a spiral staircase into a place of deep calm and tantric concentration." [label info] www.tonefloat.com	2009	€6.50
FEINE TRINKERS BEI PINKELS DAHEIM (F.T.B.P.D.)	A Bug's Life	CD	"Jürgen Eberhard aka Feine Trinkers Bei Pinkels Daheim celebrates 25 years of his artistic activity with the first full-length album on Zoharum entitled "A Bug's Life". keen observers of our activity certainly know his name, for instance from a common vinyl 7-incher entitled "Both Sides of The Looking Glass" shared with Bisclaveret duo or from the composition "Enigmatic Visions", which appeared on a commemorative compilation "07\|100\|15". "A Bug's Life" is the tenth full-length album in the discography of Feine Trinkers Bei Pinkels Daheim. It was being created, like the previous ones, for several years and is another conscious artistic statement. Seven compositions included here are of a collage nature and combine echoes of post-industrial ambient, drone music, musique concrete, field recordings and even plunderphonics. On his first studio album since "Die Legende vom Heiligen Trinker" from 2011, Jürgen Eberhard consciously continues his sonic quest on a depleted terrain and he manages to avoid traps of empty experiments. "A Bug's Life" is at the same time an atmospheric, and even accessible, album, and sonically elaborate and demanding of the listener." [label info] www.zoharum.com "FEINE TRINKERS BEI PINKELS DAHEIM ist ein Projekt, das ja eher unregelmäßig in der Musiklandschaft auftaucht, dabei aber bereits recht langlebig ist. Das letzte reguläre Album von JÜRGEN EBERHARD unter diesem Banner erschien 2011. „A Bug’s Life“ – so hieß übrigens auch der Pixar-Film „Das große Krabbeln“ im Original – widmet sich dem Namen entsprechend den Geräuschen von Insekten, die Grundlage für die Soundgestaltung des Albums gewesen sein sollen. Hierbei sollte man aber kein dauerndes, möglichst naturnahes Gezirpe oder Gesirre im Kopf haben – quasi ein Field-Recording-Overkill, sondern Klänge, die extrem stark bearbeitet und verfremdet wurden, wobei am Ende dennoch der Charakter von Sounds, die von Insekten erzeugt werden – auch knisternde, schabende Geräusche –, erhalten bleibt. Tatsächlich ist der Sound auf „A Bug’s Life“ aber relativ vielschichtig, teils auch wuchtig und massiv oder mit Drones durchsetzt, sodass das Ganze recht gut funktioniert und eben nicht an einen Abend auf der Terrasse erinnert. Auch Stimmen werden – verfremdet oder nicht – eingesetzt und Abwechslung kommt zusätzlich durch Stücke ins Spiel, die mit weiblichen Gesangslinien, die quasi als Zusatzinstrument fungieren, ausgestattet sind. Hier wäre wohl auch der Punkt, an dem man die Unterstützung von diversen Gästen wie u.a. MISS POLYESTER, FRL. LINIENTREU oder GENEVIÈVE PASQUIER erwähnen könnte. Das Klangspektrum reicht letztendlich von orientalisch angehauchten Sounds inklusive Rhythmus („Metallifekuwagamon“) bis hin zu düsteren Soundcollagen, die auch aufgrund der Bilder, die im Kopf entstehen, Unruhe auslösen können. Somit ist „A Bug’s Life“ eine spannende Sache für Freunde des Ambient oder der experimentellen Elektronik. Idee und Ausführung passen in jedem Fall hervorragend zueinander und die Qualität stimmt hier sowieso." [Tony F. für nonpop.de] "In der Geräuschmusik und überall sonst, wo mit Samples gearbeitet wird, sind Tiergeräusche eine beliebte Soundquelle, und zu den gefragtesten Geräuschproduzenten zählen seit jeher Insekten – was wäre ein sommerliches Kitschkolorit ohne das Zirpen von Grillen und Zikaden, und dass man aus dem Summen fliegender Insekten Noise und elektroakustiche Musik machen kann, ist hinlänglich bekannt. Beliebt sind Feldaufnahmen, bei denen die Sounds weitgehend naturbelassen bleiben und nur gelegentlich etwas Struktur eingebracht wird wie bei Dave Phillips’ und Hasegawa Hiroshis “Insect Apocalypse” oder “The Progeny of Flies” von Daniel Manche und Andrew Liles. Seltener sind Aufnahmen, bei denen die Sounds so stark verfremdet sind, dass man ohne Hintergrundwissen die Quelle kaum erkennen kann. Etwas derartiges hat der feine Pinkel, ähm: Trinker Jürgen Eberhard vor Kurzem unter dem Titel “A Bug’s Life” zustande gebracht. Die komplette CD wirkt wie ein Zoom, bei dem die Kamera dem lebenden Objekt so nah auf den Panzer rückt, dass man nur noch kleinteilige Strukturen in Übergröße erkennt, während größere Zusammenhänge nur noch zu erahnen sind. Vieles klingt wie ins Monströße vergrößert: Maschinell klingendes Summen, dass zeitweise in Noisewände übergeht, Detonationen, verursacht von einem enormen Insekt, das gegen eine überdimensionierte Scheibe knallt. Zirpen und Flattern, das eher nach einem Vogel klingt, und dem Tier, dessen rhythmischer Flügenschlag gegen Ende zu hören ist, möchte ich nicht im Dunkeln begegnen. So furchteinflößend es hier zugeht, hat die bizarre Szenerie auch irrsinnig Komisches zu bieten. Neben all dem gibt es zahlreiche Stellen, an denen kaum zu erkennen ist, ob die Aufnahmen ganz unkenntlich gemacht wurden oder anderen, z.B. elektronischen Ursprungs sind. Dies gilt für geschliffenen Ambientsound und zirkushafte Melodien ebenso wie für den entspannten Ethnosound, der irgendwann ganz überraschend eine Sängerin begleitet (die meisten Stimmbeiträge von Geneviève Pasquier, Allseits vs Troum, Frl. Linientreu und Joke Lanz sind spoken words). Ebenso gilt dies für monströses Brüllen, dass hoffentlich von einem Wirbeltier stammt. Aber warum eigentlich? Im Unterschied zu naturbelassenen Insektensounds lassen die Aufnahmen hier die Tiere enorm groß erscheinen und brechen so mit gänigen Wahrnehmungsgewohnheiten. Die nachhaltige, über den bloßen Schock weit hinausgehende Wirkung, kann im besten Fall in einem veränderten Blick auf das Tierreich münden." [J.G./U.S./African Paper]	2016	€12.00
FELIX KUBIN	II: Music for Film and Theatre	LP	YouTube Trailers: youtu.be/i5AEq3FMOwM youtu.be/n7dTsVsQpbA Here's the long awaited 2nd volume of soundtrack works by German Pop and Avantgarde Futurist Felix Kubin on the Dekorder label, following 2008's "Music for Theatre and Radio Play". Some of Kubin's most adventurous and far-reaching music stems from his commissioned works for films, theatre and radio plays. Freed from conventional song formats and genre stereotypes he effortlessly combines Musique Concrète noises, splashes of haunted virtual orchestras, Gameboy music minuets and voice collage interspersed with tons of suspense and gloomy industrial atmospheres. "Music for Film and Theatre" compiles 11 tracks from Polish director Robert Florczak's "Makbet Remix" (based on William Shakespeare's "Macbeth"), a waltz from Schorsch Kamerun's "Des Kaisers neue Kleider" (by Hans Christian Andersen) and the complete soundtrack (including the actual sound design) for Anke Feuchtenberger's animation short "Somnambule". Felix Kubin is a renowned composer and producer of radio plays based in Hamburg. In recent years he has released futuristic Pop Music on the legendary Zick Zack label, weirdo Big Band Jazz with Mitch & Mitch as well as the more experimental ode to the compact cassette "Chromdioxidgedächtnis". Over the past 10 years he has composed several major works for modern classical ensembles: "Echohaus" with ensemble Intégrales (released on Dekorder) "Falling Still" for Ensemble Resonanz and a boys' choir, premiered this year at Hamburg's Laiszhalle Symphony Hall and "Lunatyk" for Miłosz Pękala. His radio play "Orphée Mécanique" was awarded "Radio Play of the Year" in 2012 and "Best Audio Book 2014". Kubin's first recordings date back to his teenage years in the early 1980's (reissued in 2012 on the Minimal Wave label), followed by his electroacoustic noise duo Klangkrieg and the dada-communist Liedertafel Margot Honecker. https://dekorder.bandcamp.com/album/ii-music-for-film-and-theatre	2016	€16.00
FENN O'BERG (FENNESZ / O'ROURKE / REHBERG)	Magic & Return	do-CD	"Zwei junge Klassiker der Liveelektronik von 1999 und 2002 wiederveröffentlicht. Als Bonustracks mit aufgenommen wurden der Beitrag zur Sonar‘99-Compilation und ‚Adidas Sun Tanned Avant Man‘, der nur auf der japanischen Edition von Return Of enthalten war. Christian Fennesz, Jim O‘Rourke & Peter Rehberg hatten bei ihren Konzerten 1998/99 und 2001 - alles Material entstand damals als Livemitschnitt - als Indieallstartrio den Versuch unternommen, Avant-Electronica, d. h. komplexe, beatarme, polymorph-pervers improvisierte und untanzbare ‚Konzertmusik‘, als Attraktion auf der Höhe des Zeitgeistes etwas breiter zu streuen als üblich. Mit falschen Erwartungen von einseitigen O‘Rourke-Fans, die von ihm akustische Gitarre (wie mit Mazzacane Connors) oder gar Sonic Youth-ähnliches erhofften, musste man zurecht kommen. Gegen Borniertheit und Schmalspurigkeit kann man letztlich nicht mehr tun, als auf die verführerische ‚Magie‘ der eigenen Qualitäten zu setzen. Die Soundcollagen bis hin zum orchestral-opulenten ‚Fenn O‘Berg Theme‘ mit der Lizenz zu Betören sind geschichtet und verzopft eben nicht aus allem, was die Laptopspeicher hergeben. So beliebig und als bloße Summe ist Klangzauber nicht machbar. Ständiges Morphing und wuchernde Vielspurigkeit, Loops, Verzerrungen und Kompressionen, molekulare Diffusität, Einbrüche von Noise ebenso wie ungeniert melodiöse Einschübe von orchestralen Samples kitzeln die Empfänglichkeit und spotten - mit Schreibmaschinengetippe - dem Versuch, etwas derartig Logofugales in Worte zu fassen." [Bad Alchemy] "All tracks by Christian Fennesz, Jim O'Rourke & Peter Rehberg. Artwork by Tina Frank. Remastered at Piethopraxis, Köln, January 2009. The legendary Fenn O'Berg are resurfacing eight years since their last performance. Starting with this double CD reissue of their two albums; 'The Magic Sound Of...' and 'The Return Of...', originally released in 1999 and 2002. Fenn O'Berg (Christian Fennesz, Jim O'Rourke and Peter Rehberg) first hit the scene after a surprise appearance at the Nickelsdorf Festival in 1997. Throughout 1998 and 1999 the trio toured extensively throughout Austria, Germany, Belgium, France, Italy, Switzerland and Spain, as well as shows in North America and Japan. The highlights of these trips were presented on 'The Magic Sound'. Although they were not first group to utilise mainly mobile computing devices, they were the first to bring such a set up to venues that would not normally book or even be interested in such things. This resulted in some very polarised reactions from both audience and promoters alike. In many instances the group needed to 'escape' the city they played. In Rome Jim O'Rourke was even given an acoustic guitar and more or less forced to play a short acoustic set before anyone could leave the building. Despite all of this, there was a generally positive response, with some shows going down as local legend. However its worth considering that the technology at the tine didn't offer the convenience of 'plug in and play' of current operating systems and applications. This of course led to set of recordings like no other. Not only was the rule book ripped up but the tour book as well. Each show became an improvised twisted journey through the various strands of electronic music where popular music sources (some more obvious than others) clashed with more academic tricks, but never sounding like being part of either. By 2002, the groups live output was drastically reduced due to all three members schedules moving in different directions. Only two performances were committed that year, and although the sound was more polished and one could even suggest that 'they knew what they were doing', their polarising effect was still there. One show was a sold out over enthusiastic Centre Pompidou in Paris, and the other a miserable 'count them on one hand' turnout at a jazz club in Vienna. Edited highlights of these shows made up 'The Return Of'. Since then the trio has been on a constant pause. In October 2009 they will get together in Tokyo to record a new studio album planned for early 2010 release. This reissue is repackaged with new artwork by Tina Frank, and contains two bonus tracks from the same period." [label info] www.editionsmego.com	2009	€18.00
FIBO-TRESPO	Askel oikeaan suuntaan	CD-R	low-fi as low-fi can! Vergriffenes Vinyl (1997 & 98) des Inbegriffes oder absolutesten Steigerung des low-fi-drones aus Norwegen, auf dieser CDR versammelt... Im handgezwirbelten Tapetencover zu einem gar lächerlichen Preis. “ Excellent droning lo-fi ambient improvisation - or nor-wave - from this highly acclaimed Norwegian duo. This CD-R features their sold out 10" and 7" lathe cuts and two extremely rare compilation tracks from a few years back.” [press release]	2002	€6.00
FIEBIG, GERALD	Gasworks	CD	„Gasworks“ by sonic artist Gerald Fiebig collects his sound installations, radiophonic compositions, and live performances relating to the former gasworks in Augsburg-Oberhausen. They were created between 2010 and 2016, some in collaboration with colleagues EMERGE and Christian Z. Müller. Among the compositional materials of the album are processed recordings of the sounds of gas and industrial machinery, stories told by a former gasworks employee, and live improvisations in the echo chamber of the large gas tank. Liner notes by Gerald Fiebig: Cities phosphorescent on the riverbank, industry’s glowing piles waiting beneath the smoke trails W.G. Sebald, After Nature The former gasworks in Augsburg-Oberhausen (not to be confused with the better-known Gasometer in the city of Oberhausen in the Ruhr area) have been a subject of my artistic practice for more than a decade. This album collects all the works related to the gasworks except a site-specific installation version of Echoes of Industry that did not lend itself to documentation as a recording. Opened in 1915, the gasworks are a testimony to the spirit of what one could call the ‚heroic‘ age of industrialisation. The architecture of the ovens and machine halls features stylistic quotes from the façade of Augsburg’s renaissance city hall as well as from cathedrals. Technological progress is presented as both raison d’état and religion. This stands in stark contrast to the extremely hard, dangerous and – for a very long time – poorly paid working conditions described by long-time gasworks employee Johann Artner in Nach der Industrie / After Industry. From our contemporary viewpoint, informed by climate change and the impending end of fossil resources, the optimism expressed in the beautiful architecture of the gasworks also appears less than justified for ecological reasons: until 1968, the gasworks actually produced gas by burning coal in large ovens. They then continued to operate as a distributing station for fossil gas from transcontinental pipelines into the local network. Operations ceased in 2001. After almost two decades of merely intermittent use for festivals and other events, 2019 saw the re-opening of the gasworks area as an arts centre featuring a theatre as well as artists‘ studios, rehearsal rooms, and office spaces for creative businesses. This seems to imply that it has now entered the ‚post-industrial‘ age where clean, almost immaterial computer screens have replaced the factory floors once so dirty and dangerous. In fact, there is no such thing as a ‚post-industrial‘ age, just globalised capitalism increasingly outsourcing the dirty and dangerous work (manufacturing the microprocessors for the ‚post-industrial‘ devices, for example) to poorer countries. And of course industrial manufacturing still does form an important part of economies of the global North, even if the leading role in ideological narratives of growth and prosperity has been taken over by the ‚post-industrial‘ businesses. Both post-industrial, which is partly based on processed sounds of a metal tool factory quite close to the gasworks, and Echoes of Industry can be heard as reminders of these ambivalences. Echoes of Industry brings the space of the gasworks into contact with the sounds of textile machines. This is a reference to the fact that the decline of the gasworks as an industrial site paralleled that of Augsburg’s once-thriving textile industry. It also alludes to the role of the textile industry as one of the most prominent examples for the exploitative use of cheap offshore labour. But my interest in the gasworks is not only due to its historical ‚echoes,‘ documented so well by the committed friends of the gasworks, or Gaswerksfreunde Augsburg. As an artist working with sound, I am constantly fascinated by the literal echoes inside the large metal gas tank, 84 metres high and 45 metres in diameter. This unique sound effect is at the heart of Echoes of Industry, as well as the two live performances I did inside this space in 2016 under the title Ohrentauchen mit Echolot / Ear-diving with Echo Sounding. Doing this live improvisation in which acoustic sound-generators, from hammers to whistles, interacted with the physical features of the room as well as with its resonant properties, I felt it brought to completion the work I had begun in 2007 with a tour of the gasworks, guided by members of Gaswerksfreunde Augsburg, and the interview with the late Johann Artner. This album is dedicated to his memory. Excerpts: 1. post-industrial Excerpt of a sound installation in the so-called Apparatehaus during Grenzenlos festival, 2014 Sounds of hissing gas from a kitchen stove, processed by Gerald Fiebig, are combined with field recordings from a nearby factory in a building even older than the gasworks, processed by EMERGE. Composed & realised by Gerald Fiebig & EMERGE Commissioned by Christa Spaniol (Künstlergruppe 38/40) 2. Ohrentauchen mit Echolot Excerpts from performances in the large Gaskessel during Asche zu Farbgut festival, 2016 Various unamplified tools, toys, and instruments, as well as Gerald Fiebig’s voice and body, were used to create sounds inside the 84-metre high metal chamber. This included hitting the metal surfaces themselves. The performance took place in the centre of the chamber, with the audience walking around the performer. Live sound mix: www.yetiplanet.de Commissioned by Christa Spaniol (Künstlergruppe 38/40) 3. Nach der Industrie Sound installation at Lange Kunstnacht festival, 2010 (reworked version) The late Johann Artner worked at the gasworks from 1947 to 1989. He was interviewed by Gerald Fiebig in 2007. Excerpts from more than two hours of recorded material were arranged and combined with processed sounds of gas from a kitchen stove. A transcript and English translation of Johann Artner’s narration can be found at www.geraldfiebig.net/gasworks.pdf. Narration: Johann Artner Commissioned by Elke Seidel (Stadt Augsburg – Kulturamt) 4. Echoes of Industry Radio piece for Radioatelier on Radio Vltava, Czech Republic, first broadcast on 29 May, 2015 Two of Augsburg’s major industrial monuments meet in this piece: sampled recordings of textile machines (heard in part 1 of the piece) from the State Textile and Industry Museum Augsburg are played back inside the large Gaskessel. As they are transformed by the echoes of the room, a saxophone takes up an improvisational interaction with both the samples and the echoes. Part 2 of the piece is composed from live recordings of these improvisations in the gas tank. As the ‚remembered‘ machine sounds of industry become increasingly blurred, the theremin in part 3 gestures at the ambivalent perspective of a disembodied, ‚virtual‘ future of digital production. Christian Z. Müller: saxophones, theremin Gerald Fiebig: sampler, field recordings, processing Composed and realised by Gerald Fiebig & Christian Z. Müller Commissioned by Michal Rataj (Radio Vltava) 5 Tracks (68′18″) CD (500 copies) Credits: Composed and realised by Gerald Fiebig except where noted Audio mastering: Tomislav Bucalic and Tobias Schmitt Design: Martina Vodermayer – www.martavictor.design Photography: Sigrun Lenk, Martina Vodermayer, Gaswerksfreunde Augsburg Thanks to: Tobias Brenner, Oliver Frühschütz (Gaswerksfreunde Augsburg); Julia Quandt (Museen und Kunstsammlungen Augsburg); Wolfgang Riß, Annette Trass (Stadtwerke Augsburg); and to Jutta Weber, Manuel Schedl, Bonnie Lee Turner, and Tine Klink. Archival photographs are used by kind permission of Gaswerksfreunde Augsburg. www.gaswerk-augsburg.de The completion of this album was made possible by a residency at ELEVEN artspace, Starzach-Börstingen, Germany, in August 2018. The production was generously supported by Arno Buchegger Stiftung, Augsburg, and Kurt und Felicitas Viermetz Stiftung, Augsburg. www.gruenrekorder.de	2019	€13.00
FIRST HUMAN FERRO	Stardust	CD	"Dedicated to the 50th anniversary of the manned flight into space a Russian label Nitkie presents a new recording by a Ukrainian project First Human Ferro. "Stardust" is an ambient anthem tribute to the scientists, engineers and space pilots who contributed to the remarkable date. Their earthly dust is drifting like particles of god in the infinite space now, endlessly multiplying through the minds eye of the enthusiasts to come and carry the banner of scientific and technological revolution further. The album was recorded in 2004-2010 and featured by collaborations with Claustrum, Oda Relicta, and Louisa John-Krol. Designed by Marcin Lojek the release is limited to 500 copies in a digisleeve." [label info] www.nitkie.ru "Vor einiger Zeit hat OLEGH KOLYADA im NONPOP-Interview Bedenken geäußert, dass ihn sein Studium wohl zukünftig von musikalischen Aktivitäten abhalten würde. Dies scheint nicht der Fall zu sein, denn die Dichte an Veröffentlichungen, die auf den Ukrainer zurückgehen, hat eher noch zugenommen. Immerhin kümmert sich OLEGH mit seinem zweiten Hauptprojekt FIRST HUMAN FERRO nun schon zum zweiten Mal innerhalb kurzer Zeit um eines seiner Lieblingsthemen, den Weltraum. Erst vor wenigen Monaten erschien mit "Homo Shargey" (NONPOP-Besprechung) die Hommage an den ukrainischen Raumfahrtvordenker YURI KONDRATYUK, nun folgt mit "Stardust" eine allgemeine Reminiszenz an die bemannte Raumfahrt, die am 12. April 2011 ihren 50sten Jahrestag feierte; JURI GAGARIN umkreiste 1961 als erster Mensch in einem Raumschiff die Erde. Von der Anlage her ist "Stardust" ähnlich wie "Homo Shargey": OLEGH hat Stücke zusammengestellt, an denen er schon seit einigen Jahren arbeitet und die klanglich gut zusammen passen. Die zehn neuen Tracks sind in den Jahren 2004 bis 2010 entstanden, und wie auch auf dem Vorgänger merkt man dem Album diese Zeitspanne nicht an, es klingt wie aus einem Guss. Neu sind dagegen die Gäste: OLEGH KOLYADA war ja schon immer ein Bastler, hat mit seinem anderen Großprojekt ODA RELICTA mehrfach bewiesen, wie er ganz unterschiedliche Puzzleteile zusammenfügen kann. Diese Eigenschaft schlägt nun auch bei FIRST HUMAN FERRO durch, denn "Stardust" ist eine wohldosierte Mischung aus Dark Ambient, majestätisch-sakralen Klängen und einigen weiteren Einflüssen von CLAUSTRUM und LOUISA JOHN-KROL, die – neben dem eigenen Projekt ODA RELICTA – auf dem Cover genannt werden. Mit dem Dark Ambient-Projekt CLAUSTRUM aus Lettland ist es nicht die erste Zusammenarbeit, wohl aber mit der australischen Folk Pop-Nymphe LOUISA JOHN-KROL, die das hier schon häufiger besprochene PRIKOSNOVÉNIE-Programm ziert. Mit den ersten Tönen fängt die Reise an, alles klingt und riecht nach kühlen, fremden Welten und Sternenstaub. Flirrende Synthieklänge werden ab und an unterbrochen von Morsezeichen, später setzen auch bedrohlichere Klänge ein, dröhnend navigiert das Sonar durch unbekannte Sonnensysteme. Überraschend, aber nicht unpassend sind die sich langsam einschleichenden, klassischen Klänge, militärische Bläserfanfaren wie aus einem Filmsoundtrack mit Verweis auf das erste (Marsch)Album von ODA RELICTA (NONPOP-Besprechung). Die Stimmung wechselt im weiteren Verlauf, hinter bedrohlichen Drones lauert ein Knistern und Kratzen, der eingespielte Funkverkehr eines Weltraumspaziergangs mit dem Klassiker "one small step for man" klingt wie ein Original, und die zahlreichen Geräusche symbolisieren perfekt die Zerbrechlichkeit und Gefährlichkeit des Unterfangens. Über klassischen, höhligen und grollenden Dark Ambient arbeitet sich OLEGH in geheimnisvollere Gefilde vor, russischer Funkverkehr kratzt zwischen militärischen Trommeln und weichen, gleitenden Drones, dann dringt "Stardust" endgültig in die unendlichen Weiten vor. Einzelne Signale verschwinden im All, hinterlassen trommelnde Schallwellen. Eines der beeindruckendsten Stücke des Albums ist "Spectra Of Sferics" (08), Weltraumgefühl mit wenigen Mitteln: nur ein leises Knistern, dazu fremde, schöne und schwerelose Töne. Die Feenstimme macht "Of Earth Pristine" (09) zum ätherischsten Stück auf "Stardust"; wenige Keyboarddrones, auf die die Stimme von LOUISA JOHN-KROL vor sich hinsummt. Erinnert ein wenig an JACK OR JIVE. Das eindeutig ergreifendste Stück ist das letzte und längste, "Stars Scattered Pain" (10) zusammen mit CLAUSTRUM. Wunderschön und glänzend wird der Moment im Spacefilm vertont, an dem in der Einsamkeit ein Planet sichtbar wird und die Crew ahnt, dass sie doch nicht den Kältetod sterben muss. Eine langsame und majestätische Melodie, viele Klänge und Geräusche dazugepackt, wie ein 'Best Of' des ganzen Albums. OLEGH kann es halt, so einfach ist das. Seine All-Epen verkörpern immer die richtige Mischung aus Erhabenheit, Melancholie und düsteren Gedanken. "Stardust" sticht dabei noch einmal besonders hervor, weil zusätzliche Elemente beigemischt wurden, die einzelnen Songs – vor allem den drei letzten – ein besonderes Gesicht geben. Feines Album!" [Michael We. für nonpop.de]	2011	€12.00
FIVE ELEMENTS MUSIC	VarunaGhat	CD-R	"To the food industry, water is increasingly turning into a lifestyle product. For Russian artist Sergey, it is source of great purity which should be treated thoughtfully and with respect. On “Nameless Droplet”, his recently released and already all but sold-out Mystery Sea debut with his main project Exit in Grey, the metaphors were still covered by dark clouds and hidden in musical metaphors. The album represented a shoreless sea slowly being sucked down a vast and increasingly vociferous vortex. Under his “Five Elements Music” disguise, however, the metaphors are facing themselves in a Kirlian mirror, their souls exposed and their true nature revealed. Samples of various water recordings, therefore, are at the heart of “VarunaGhat”. For an artist who holds the traditional drone ethos even higher in his solo work than in his collaborational activities (which, on “Nameless Droplet” allowed for diversifications such as sombre guitar figures), this can hardly come as a surprise. With its complexly vivid inner pulsation and a constant outward frequency, after all, the sound of water is essentially a drone itself and compliments the suspended harmonies of the genre perfectly. On the other hand, Sergey is not content travelling to the same places others have already visited. Just like Exit in Grey caused minor erruptions by fluently shaping their intangible compositions into very concrete textures, Five Elements Music finds a niche between a traditional and a progressive use of its field recordings. Rhythm especially plays a vital role in this concept. There is a very simple logic behind this thought, as water in itself is silent and only becomes audible through movement. Whether it isparkles from a fountain, rushes through a ravine, gallops like fugitive horses or murmurs peacefully, Sergey concentrates on its pulse as well as its irregular gravitational centre. He doesn’t need all too many exterior extrapolations to achieve this effect and instead choses to leave most of the natural emmissions intact. His work lies rather in developping the samples through timbre and by allowing different sources to overlap and form new patterns. Simultaneously, he contrasts these waterscapes with the expansions of his drones. The vast, twentytwo minute long opening track takes this to extremes, as a single recording is awarded emotions ranging from aggression to tranquil zeal, while the sky is increasingly covered by black cumuli and distant lightning flashes. On the second untitled track, a sinus tone is softly stretched, forming a tender, wooly surface. Here, the basic technique is most apparent, as organic and surgically dissected material are brought together, while immobile frequencies clash with the underlying stillness. One has to see this as a decided step against the arbitrary use of water in electronic music. Many recent releases have both shown the great effect it can still have, as well as the danger of ending up a cliche. On “VarunaGhat”, no drop of water is carelessly spilt. It relies on the beauty of its path through nature, yet changes its course whenever this offers a chance for creating new sensations. You need to listen closely to this album to actually become aware of this seemingly insignificant but really quite important shift. If you do, however, there are great rewards lurking underneath its surface." [ By Tobias Fischer / Tokafi ] "Russian project Five Elements Music is a shoot coming from exit in grey's rich compost of sound experiments, and also Sergey's solo highly organic vehicle... the name comes from a vedic concept of "Five Elements" (ETHER, Air, Fire, Water, Earth) needed to have a global approach of reality, one that goes beyond appearances, words and consciousness for an enhanced experience of Life both on an emotional, physical & spiritual level... ETHER is the central element of this bouquet, holding all forms & colors, and the human body is the perceptual tool... Five Elements Music paints a sound canvas, trying to reach a sort of supra-awareness through the manipulation of chosen sensible sonic fragments coming from some essential elemental sources... - On "VarunaGhat" we share a common mystery with a pool of trembling water, being both in a dormant state, waiting to bloom while listening to its nocturnal flow... an imperturbable stream in phase with the world we speak as a river, our voices among stones, singing into the liquid like a choral of fluctuating micro-energies... In all those elements lies a detailed universe Drink its traces, slip into its convolutions, sense its immanent drift till your awakening..." [label info] www.mysterysea.net	2007	€12.00
FLETINA	Serrof	CD	https://unfathomless.bandcamp.com/album/serrof This past summer I was working part-time as the ''pool tester'' for a swimming pool in my local area. The job entailed going into the building's boiler room twice a day, working with various chemicals, testing the chlorine levels in the water and checking that all the pumps, tanks, gauges, valves and mechanical apparatus was all in good safe running order. Then at the end of the night I would be responsible for removing the mechanical cover for the swimming pool, inspecting the water, and eventually putting the cover back on... One day in the boiler room, I was totally struck and mesmerized by both the ambient room tone in there, as well as the sounds and noises of all the various equipment pumping away - the hissing machinery, the deep gurgling of the water/acid tanks, the chugging of the circulation pumps, the ticking of the valves, the creaking of the pipes, the humming of the fluorescent lights, etc... Creative inspiration continued to churn away inside me while I was inspecting the swimming pool at the end of my shift. I felt that the sound of the swimming pool was both soothing and rather haunting at the same time - the soft gurgle and sloshing of the water, the spillage being sucked through the drain grills, the drone of the heating system, the huge reverberations of the high-ceilinged room, the mysterious echoes and the squeal of the mechanical pool cover coming down... Thus the idea for this project began. That night I took two sound recorders and a couple of contact microphones and placed them in the boiler room and the swimming pool itself. I wanted to try and capture the sound and atmosphere of these two locations when no one was around. Once captured, I collaged these recordings into a couple of abstract sound works that hopefully paint some vivid images of what it feels like to be working in this strange, lonely and sometimes creepy indoor environment. (Fletina, 16 November 2023) LOCATION : "Serrof", Scotland. Recorded by Fletina in the Summer of 2023 using a handheld Zoom H1n recorder, a Sony ICD–PX470 recorder & an AKG C411PP contact microphone. Mastered by Flavien Gillié. Cover, card design + treatments by Daniel Crokaert. Based exclusively on photos by Fletina. Glass mastered CD. Packaged in clear vinyl sleeve with folded insert and additional art card on 350gr satin paper. Limited edition of 180 hand-numbered copies.	2024	€14.00
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
FORDELL RESEARCH UNIT / CULVER	split	10inch	"split 10" on black vinyl limited to 100 copies. one side each, one wonderful awesome brand new track from each. i love FRU & Culvers sounds, so to show my appreciation and love for their musik, ive been lucky enough to get to put this wee installment of a 10" record out to add to their already vast, impressive and brilliant cosmik catalogue of releases on labels of awesomenesses such as matching head, pjorn 72, basses frequences, dead sea liner, kovorox sound, turgid animal, dead pilot, sick head, at war with false noise, small doses and blackest rainbow to name but only a few. packaged in plain white disco jacket and paper inner with info card insert plus attached photos & art by Pete Burn and t." [Tom Newell]	2009	€12.50
FOSSIL AEROSOL MINING PROJECT [FAMP]	Scaath Catfish	CD	Songs about the river are a common trope in the history of music. Psalms of being cleansed, being baptized, being redeemed. There are ballads of murder, lost love, jealousy, and all sorts of rank human emotion reflected in the surface of the water. Respect, praise, and worship of the river are other themes often channeled through music as well. Even in the realm of ambient music, digital mimesis of the aquatic is commonplace. Fossil Aerosol Mining Project, in their ongoing archaeological approach to a post-industrial sound design, offers their own variant on this topic with considerable differences. It is not only the sediment, the debris, the waste, the scum, the mud, and the rot that are the source materials in Scaath Catfish, but also what is preserved in those elements and new forms of life fostered in this conceptual framework. Sibilant mutations from Fossil Aerosol’s multiple sources (field recordings, found sounds, etc.) spill forth as dilated tones, mesmerizing echos, clattering loops, and harmonic distortions. Floods of dense sonic accretion give way to languid mirages with human intervention complicating matters. Fossil Aerosol gives a preternatural language to the river, one that parallels their occasional collaborators in :zoviet*france: as well as the environmental ruminations of Biospshere and the practitioners of power ambient (Rafael Anton Irisarri, Fennesz, Tim Hecker, etc.) Fossil Aerosol addresses the album this way: Scaath Catfish was recorded in the spring of 2016, implementing field recordings made in the Illinois River valley and instrumental material found on a homemade cassette recording. The field recordings were made along the banks of a backwater lake and in the shadow of an aging power plant, following a spring flood. Twenty-six years earlier, one of the members of Fossil Aerosol purchased a homemade instrumental cassette tape recording (marked only “sacred”), at a thrift store in downtown St. Louis, Missouri. In 2016, fragments of the found cassette recordings were mixed with those made in the mud along the river. The result was Scaath Catfish. https://www.helenscarsdale.com/published/famp-scaathcatfish.htm	2020	€15.50
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, 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
FREIBAND	Stainless Steel	LP	"ini.itu is releasing a new vinyl only LP, the 8th of its catalogue, composed by Freiband • Freiband is one of the long lasting projects of Frans de Waard, who is making music since more than 25 years under many aliases and in different line-ups, the most well-known being Kapotte Muziek ( with Roel Meelkop and Peter Duimelinks ), Goem ( same team, different tools ), THU20 ( same, augmented by Jac van Bussel and Jos Smolders ), Beequeen ( w/ Freek Kinkelaar ), and more recently Wieman ( formerly known as Zèbra ) ( w/ Roel Meelkop ), Ezdanitoff ( w/ Wouter Jaspers ) and Tobacconists ( w/ Scott Foust from Idea Fire Company ). Solo he has been active under his own name, Shifts and of course Freiband. His other activities include : editor and writer for Vital Weekly, programmer at Geluidswerkplaats in Nijmegen, organizer of the residencies Brombrom and director of the labels Korm Plastics, Moll and Plinkety Plonk. • the name Freiband itself is picked from Asmus Tietchens' album Daseinsverfehlung, on which he explored sounds created by rubbing tape freely on magnetic heads. Frans de Waard transferred the concept to the digital field and now mostly uses that name for his computer-based pieces. What Freiband proposes here is 2 sides of radically reworked gamelan : • Side A seems to progress through an acid bath and take the magnifying glass to enhance the digital decays, evoking various stages of textural corrosions. Through these aggressive and irreverent treatments, the naturally metallic harmonics are by twist and turns abruptly dismantled and fractured into crunchy, dense and fuzzy fireworks. Despite the stop & go transitions this hard-edged and raw piece still holds a nice unity across the digital errs and disturbances. • on side B, through some arcane wirings, some machines end up spitting out shifting binary patterns with a somewhat alienating feeling. Proof that electronic music can be minimal and eschew the 4/4 dance floor pattern, in favour of some dry and uncompromising “Unerforschtes Gebiet” between minimal beats and Steve Reich’ early tape compositions. this LP further expands the horizon of ini.itu, successfully interrogating the link between south-east asian instruments and electronic contemporary music. Maybe something to file along Hecker, Pita, Mika Vaino, Fennesz or Alva Noto's Xerrox LPs. p.s. Frans de Waard will also simultaneously release a companion 3” on his Moll imprint, with a totally different track from the same sessions that couldn’t be included on the LP. That track is a spectral exploration of the higher frequencies, followed by a pile-up of gamelan sounds." [label info] www.iniitu.net "The LP thus both presents the quality of the gamelan style in its pure origin and 21st electronic avantgarde by one of Holland's finest sound artists. A superb ode to the importance of the gamelan music for the modern sound experimentations of the Western world." [NM/Vital Weekly]	2011	€12.50
FRICKE, STEFAN & ALPER MARAL	Am Grabe. Ein Audio-Ritual / At the Grave. An audio ritual	do-LP	Am Grabe (At the Grave) is an ongoing audio ritual executed by Stefan Fricke and Alper Maral. Since 2015, they have been visiting the graves and burial grounds of composers from various eras in order to record the sounds and noises present. Each sequence is a pure field recording, serving as a memento of a bit more than 4 minutes in length. After having been compiled for a series of radio programmes, selections from Am Grabe here appear on audio media for the first time. This edition commemorates 36 composers – from Bach to Beethoven, from Mahler to Eisler, from Stockhausen to Ben Patterson –, the recordings connected serially, sometimes overlapping, and compiled across 4 LP sides. "Am Grabe is a work in progress, a collection of homages which shall and can never end, as long as emphatic music will exist and will constantly be invented in the world." (from the liner notes) Stefan Fricke, b. 1966 in Unna, is a German musicologist. He founded the Pfau Verlag, specializing in books about contemporary music, in 1989, and since 2008 is editor for contemporary music and sound art at Hessischer Rundfunk (Hessian Broadcasting Corporation). He teaches as honorary professor at the University of Mainz. Alper Maral, b. 1969 in Istanbul, is a Turkish composer whose oeuvre encompasses theatre and film music, symphonic and chamber works, electro-acoustic music, a.o. He plays in a number of ensembles such as – for early music – İstanbul Barok, A-415 and Bornova Trio, as well as – for contemporary music – Karınca Kabilesi, Control Voltage Project and Alper Maral Multiphonics Ensemble. He is professor at the Ankara Music and Fine Arts University. https://www.edition-telemark.de/903.04.html	2019	€28.50
GARLAND, PETER	Three strange Angels	CD	"This historic release presents the first recordings of the early music of Peter Garland, one of the most personal voices in the second generation of West Coast minimalists. Drawing inspiration from Native American and Mexican ritual music, Peter creates beautiful and lyrical sonic portraits. This long out-of-print masterpiece, considered by many to be Peter's greatest recording, was originally released in 1989 on WhatNext? as Border Music and is supplemented here by rare live recordings from the same period. Featuring new expanded notes by the composer and rare photos from the period, this is the definitive document of an American experimental classic." [label info] www.tzadik.com "An excellent compilation of small compositions which are evoking peace and attention in the listeners mind. Sometimes very similar to the later Musci/Venosta: "A Noise A Sound", ReR, 1992 but with much more native american influences. The collection works also as a concept album. Memorizing are the minimal flute melodies, the drumming and the recordings of buzzing wood pieces. Ritual music for untroubled thoughts. The perfect soundtrack for Antonin Artauds "Tarahumaras" or Carlos Castanedas "Teachings of Don Juan". Thanks for this." [TestPieYoming]	2008	€16.00
GEERKEN, HARTMUT / MICHAEL RANTA	The Heliopolar Egg	5 x CD	Documentary recordings of Hartmut Geerken and Michael Ranta's November and December 1976 tour of the Middle East and East Asia. Geerken is known for his long relationship with Sun Ra including compiling a discography), but he wears many other hats too: musician, film-maker, archivist. Ranta is a percussionist best known for his famous 'Improvisation Sep.1975' collaborative record with Toshi Ichiyanagi and Takehisa Kosugi. This is a CD reissue of an LP boxset, originally released in 2010 as the last release on the now dormant Italian label Qbico. The tour started in Iran before moving east to India, Bangladesh, the Philippines, Korea, and ending in Japan. At their show in Osaka, they played together with Toshi Ichiyanagi. This edition includes the concert with Ichiyanagi, solo performances by Ichiyanagi and Shoko Shida, as well as a rare Delhi performance that was originally only included in the highly limited 6LP edition of the Qbico set. All the tracks overflow with rich multi-dimensionality, providing a glimpse of Ranta and Geerken's depth as performers. Boxset. Includes a 12-page booklet with flyers from the period. Limited edition of 500. Disc 1. rec. November 25; Baghe Ferdows-Zafaranieh, Teheran, Iran. rec. December 1; Max Mueller Bhavan, Delhi, India. rec. December 3/4; Max Mueller Bhavan, Calcutta, India. Disc 2. rec. December 8, German Cultural Institute in co-op with the Academy of the Arts, Dacca, Bangladesh. Disc 3. rec. December 13; Abelardo Inner Green (open air) in co-op with the U.P. College of Music, Manila, Philippines. Disc 4. rec. December 15; Korea Drama Center, Seoul, Korea. Disc 5. rec. December 18, Goethe-Institute, Osaka, Japan. www.art-into-life.com	2015	€52.50
GILLIS, ANNE	* *	CD	French musician & performance artist Manon Anne Gillis came to Japan to perform in 2016 following the 2015 release of the 5-CD archive box set from Art Into Life, which was a compilation of earlier recordings. Now at last, for the first time in 27 years since 1994’s “Euragine” in CD format, her long-awaited 7th solo album is completed. As she still continues to progress and evolve musically, this work is constructed primarily around primitive hiss noise and error sounds. Here she has woven a musical tapestry that is more blurred, obscured, and noise-oriented than her earlier work. With the strong cohesiveness of her disquieting singing voice in a thunderous roar bellowing from the inner depths, the repetition of the dense glitch sounds, and the nostalgic concept of the obscure rhythm track (track 5) will remind us of her days when she went by the alias Devil’s Picnic. 2015年にArt Into Lifeより過去の音源を総括した5CDアーカイヴボックスをリリースし、翌2016年には来日公演も果たしたフランスの女性音楽家/パフォーマーManon Anne Gillis。1994年にCDフォーマットで発表した[Euragine]以来27年振りとなる、待望の7thソロアルバムが遂に完成。プリミティブなヒスノイズやエラー音を主軸とした構造は、過去のどの作品よりも不明瞭かつノイジーであり、今尚進化を続ける彼女の音楽性が様々な様相で紡ぎ出される。粘着度の強い轟音の奥底から響く不穏な歌声、高濃密なグリッチサウンドの反復、そして初期の変名Devil's Picnicを思わせるオブスキュアなリズムトラック(Track.5)では原点回帰なコンセプトも確認出来る。 Mastered by Takumi Akaishi who was Anne’s supporting act for her 2016 performance in Japan. 彼女の2016年来日公演でサポートアクトを務めた赤石拓海によるマスタリング。 https://art-into-life.bandcamp.com/album/-	2021	€18.50
	" - "	LP	French musician & performance artist Manon Anne Gillis came to Japan to perform in 2016 following the 2015 release of the 5-CD archive box set from Art Into Life, which was a compilation of earlier recordings. Now at last, for the first time in 27 years since 1994’s “Euragine” in CD format, her long-awaited 7th solo album is completed. As she still continues to progress and evolve musically, this work is constructed primarily around primitive hiss noise and error sounds. Here she has woven a musical tapestry that is more blurred, obscured, and noise-oriented than her earlier work. With the strong cohesiveness of her disquieting singing voice in a thunderous roar bellowing from the inner depths, the repetition of the dense glitch sounds, and the nostalgic concept of the obscure rhythm track (track 5) will remind us of her days when she went by the alias Devil’s Picnic. 2015年にArt Into Lifeより過去の音源を総括した5CDアーカイヴボックスをリリースし、翌2016年には来日公演も果たしたフランスの女性音楽家/パフォーマーManon Anne Gillis。1994年にCDフォーマットで発表した[Euragine]以来27年振りとなる、待望の7thソロアルバムが遂に完成。プリミティブなヒスノイズやエラー音を主軸とした構造は、過去のどの作品よりも不明瞭かつノイジーであり、今尚進化を続ける彼女の音楽性が様々な様相で紡ぎ出される。粘着度の強い轟音の奥底から響く不穏な歌声、高濃密なグリッチサウンドの反復、そして初期の変名Devil's Picnicを思わせるオブスキュアなリズムトラック(Track.5)では原点回帰なコンセプトも確認出来る。 credits released November 5, 2021 Mastered by Takumi Akaishi who was Anne’s supporting act for her 2016 performance in Japan. 彼女の2016年来日公演でサポートアクトを務めた赤石拓海によるマスタリング。 https://art-into-life.bandcamp.com/album/-	2021	€30.00
GILLIS, ANNE / JAC BERROCAL / JACQUES DOYEN	Fuel 217 / Sacre	pic-7inch	Side A : Anne Gillis / Jac Berrocal - fuel 217 Collaboration between Anne Gillis (oil can de Dion-bouton) and Jac Berrocal (pocket trumpet). Side B : is a reissue of a collaboration between Jacques Doyen and Jac Berrocal on a text by Allen Ginsberg that was released on the tape compilation "Paris Tokyo" in 1983 on the Tago Mago label. "This is quite a little oddity. It is the only release (so far?) of this French label (listing the main distribution source as the address) and it is a picture disc on heavy vinyl. Both sides involve Jacuqes Berrocal, the French trumpet improviser and on one side he has a duet with Anne Gillis, of whom I had not heard in a long time. They met the lovely Parisian festival Sonic Protest and Gillis found an "oil can De Dion Bouton at a flea market" and used that in the recording. The other sees a lyric by Allen Ginsburg recited by Jacques Doyen and that song already appeared on the 1982 compilation 'Paris Tokyo' by the Tago Mago label. The whole thing is limited to 230 copies. It may seem odd to pair both songs together, but then: why not? The side with Anne Gillis is certainly a most curious affair with the crackling of can, oil or otherwise, and some far away sounds; it might be a trumpet but for all I know it might also be a voice. Surely a fine piece of musique concrete in a very naive sort of way, which is something I enjoy very much. The trumpet is easily recognized on 'Sacré', layered I should think, also not too present in the mix, unlike the voice of Doyen, reciting the French poem, and even without understanding what this is about, one feel the somewhat scared atmosphere of the piece. Do these pieces fit together? Maybe not, indeed. Does it matter? It doesn't, either. It is a most lovely 7" and that's what matters." [FdW/Vital Weekly]	2018	€17.00
GODSPEED YOU BLACK EMPOROR! [GYBE]	No Title as of 13 February 2024 28,340 Dead	do-LP	"Die schlimmen Kriegsereignisse in Nahost bestimmten die Titelgebung des 9ten Albums des kanadischen Postrockkollektivs genauso massiv wie sie auch die Band beschäftigte, die heftig darüber diskutierte und stritt, bevor sie aufnahm. Das hatte auch Konsequenzen bei der musikalischen Entstehung der wie immer ellenlangen Songs, die teils eine ganze LP-Seite ausfüllen. Das drohende Kriegsunheil und das Aufkeimen des Bösen ist schon immer wieder spürbar, auch wenn der bekannte ästhetische Rahmen nicht anders als auf den vorhergehenden Alben klingt. Z.B. auf der dritten LP-Seite in "Devils own this town": Von dumpfen Schlägen durchbrochene mahlende Distortiongitarren und die den GYBE immer auch mit prägende Geige schwingen sich lautmalerisch auf, dann kommen fernöstliche Klänge ins Spiel, dann zerreisst eine geschrammelte Gitarre den Aufbau. In den wiederum rein instrumentalen Stücke verbinden sich Kummer, Schmerz und Angst vor der Brutalität (drohenden) Krieges. GYBE zeigen sich spielfreudig und wirken hochemotional in den epischen Stücken, die unerwartete Wendungen nehmen, sich immer wieder steigern, abfallen, sich verändern und wenig Grund für Optimismus bieten. THE PLAIN TRUTH== we drifted through it, arguing. every day a new war crime, every day a flower bloom. we sat down together and wrote it in one room, and then sat down in a different room, recording. NO TITLE= what gestures make sense while tiny bodies fall? what context? what broken melody? and then a tally and a date to mark a point on the line, the negative process, the growing pile. the sun setting above beds of ash while we sat together, arguing. the old world order barely pretended to care. this new century will be crueler still. war is coming. don't give up. pick a side. hang on. love." godspeed you black emperor is/was/is = Thierry Amar – electric bass + contrebasse David Bryant – electric guitar + tape loops Aidan Girt – drums Timothy Herzog – drums + glockenspiel Efrim Manuel Menuck – electric guitar + tape loops Michael Moya – electric guitar Mauro Pezzente – electric bass Sophie Trudeau – violin Karl Lemieux + Philippe Léonard – 16mm film projections all of it recorded at thee mighty hotelatango winter of bombs 2024. engineered + mixed by Jace Lasek. mastered by Harris Newman at Grey Market. front cover photo by Stacy Lee. voice on "raindrops cast in lead" = Michele Fiedler Fuentes. 2x180gLP pressed at Optimal (DE) in 350gsm gatefold jacket + 300gsm inners printed LE-UV on uncoated Alaska artboards + DL card. https://godspeedyoublackemperor.bandcamp.com/album/no-title-as-of-13-february-2024-28340-dead	2024	€33.50
	No Title as of 13 February 2024 28,340 Dead	CD	"Die schlimmen Kriegsereignisse in Nahost bestimmten die Titelgebung des 9ten Albums des kanadischen Postrockkollektivs genauso massiv wie sie auch die Band beschäftigte, die heftig darüber diskutierte und stritt, bevor sie aufnahm. Das hatte auch Konsequenzen bei der musikalischen Entstehung der wie immer ellenlangen Songs, die teils eine ganze LP-Seite ausfüllen. Das drohende Kriegsunheil und das Aufkeimen des Bösen ist schon immer wieder spürbar, auch wenn der bekannte ästhetische Rahmen nicht anders als auf den vorhergehenden Alben klingt. Z.B. auf der dritten LP-Seite in "Devils own this town": Von dumpfen Schlägen durchbrochene mahlende Distortiongitarren und die den GYBE immer auch mit prägende Geige schwingen sich lautmalerisch auf, dann kommen fernöstliche Klänge ins Spiel, dann zerreisst eine geschrammelte Gitarre den Aufbau. In den wiederum rein instrumentalen Stücke verbinden sich Kummer, Schmerz und Angst vor der Brutalität (drohenden) Krieges. GYBE zeigen sich spielfreudig und wirken hochemotional in den epischen Stücken, die unerwartete Wendungen nehmen, sich immer wieder steigern, abfallen, sich verändern und wenig Grund für Optimismus bieten. THE PLAIN TRUTH== we drifted through it, arguing. every day a new war crime, every day a flower bloom. we sat down together and wrote it in one room, and then sat down in a different room, recording. NO TITLE= what gestures make sense while tiny bodies fall? what context? what broken melody? and then a tally and a date to mark a point on the line, the negative process, the growing pile. the sun setting above beds of ash while we sat together, arguing. the old world order barely pretended to care. this new century will be crueler still. war is coming. don't give up. pick a side. hang on. love." godspeed you black emperor is/was/is = Thierry Amar – electric bass + contrebasse David Bryant – electric guitar + tape loops Aidan Girt – drums Timothy Herzog – drums + glockenspiel Efrim Manuel Menuck – electric guitar + tape loops Michael Moya – electric guitar Mauro Pezzente – electric bass Sophie Trudeau – violin Karl Lemieux + Philippe Léonard – 16mm film projections all of it recorded at thee mighty hotelatango winter of bombs 2024. engineered + mixed by Jace Lasek. mastered by Harris Newman at Grey Market. front cover photo by Stacy Lee. voice on "raindrops cast in lead" = Michele Fiedler Fuentes. https://godspeedyoublackemperor.bandcamp.com/album/no-title-as-of-13-february-2024-28340-dead	2024	€15.00
GOGOOO	Long, lontain	CD	"Gabriel Hernandez, das Gesicht hinter dem Namen GoGooo, hat ein außerordentliches Gespür für das Strecken einer kleinen harmonischen Idee. »Long, Lointain« (Baskaru) ist dadurch ein sehr freundliches, wenn auch in gewisser Weise unscheinbares Album geworden: Was sich hier an Tönen und Geräuschen tummelt, hinterlässt einen Gesamteindruck, der sich blendend mit der klassischen Ambient-Definition nach Brian Eno verträgt. Diese Musik also verschwindet scheinbar, schon während sie erklingt. Doch das Erlebnis wird dadurch andererseits ein sehr gegenwärtiges, das auf den bleibenden Eindruck zu Gunsten einer feinsinnig ausgestatteten Begleitung durch den Augenblick verzichtet. Die Art von Field Recordings, die Hernandez seinen geschmackvollen musikalischen Miniaturen beigegeben hat, ist recht stark konzentriert auf Regen und Schlamm, auf organisch schmatzendes Material, das dem kurz gehaltenen Longplayer in der abschließenden Zusammenstellung eine charmante persönliche Note verleiht. Andernorts hat man all das schlicht elektroakustischen Folk genannt – eine Beschreibung, die dem sanften, kuriosen und gewitzten Wohlklang von GoGooo tatsächlich gerecht wird." [Kai Ginkel / SPEX] "Far-away sounds, close to the heart... Delicately-played instruments whose sounds, once sampled and digitally treated, seem to permeate our ears from a distant world both strange and strangely familiar. And yet, the resulting music is intimate as can be, full of untold and evocative imagery. GoGooo is Gabriel Hernandez, born in 1979 in Grenoble, France. Gabriel started making music because he wanted to accompany his guitar-playing cousin. Untrained, he turned to the computer, and thus came to life their duo Simagrée. Other collaborations ensued with Alain Basso (Sol III) and Daisuke Miyatani (Miyagooo). "Long, lointain" [Long, far] is GoGooo’s first professional full-length release, following a number of net releases, CDR EPs and compilation appearances. 2007 is a coming-out year for GoGooo, with additional releases on labels such as (1.8)sec Records (Canada), Magic Book (Japan), EKO (France) and his own netlabel Rain Music. "Long, lointain" features 10 short pieces exerting a fleeting charm, populated with field recordings, found sounds and skeletons of melodies, all delicately arranged to titillate and soothe your ears. This music can be compared to electroacoustic folk for its instrumentation, but is actually unique in style. Gabriel Hernandez is also a drawing artist, photographer and video artist, and most of these other facets of his art are represented in "Long, lointain"s packaging, including drawings decorating the digipack cover and four short videos." [label info] www.baskaru.com	2007	€12.00
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
GOOSE	Isabel	mCD-R	Klangschalen, Becken- & Glockensounds vermischen sich mit dem tiefen (genial effektierten) Rumpeln eines Hurrikans! Ein sehr kraftvolles & hypnotisches Stück, auch wenn (fast)-Stille eine grosse Rolle spielt. "Also known for his Stolen Light noise project and his annual xmas compilations on his Zaftig Research label, Goose is Brett Lunceford's alias for his drone & dark ambient sounds. this track was quite an experience/experiment for him: "i recorded part of that track while hurricane isabel was coming through pennsylvania, hence the title of the track. all we got was a lot of wind and rain and not a lot of damage, but it was nice to record. i had just bought a tibetan singing bowl and i have played drums for about 20 years now, so i love percussion sounds. i was just hoping that the people downstairs from me would not be too annoyed as i was playing the cymbals and bells! this was a bit of a departure from my typical long form drones that i generally do as Goose, but i like it a lot." so here is this hypnotic & acoustic droney track. to make it yet more hypnotic, it's been carefully mastered by our beloved italian master andrea marutti. let yourself carry along by isabel..." [label info] www.taalem.com	2007	€5.00
GRABOWSKI, PAWEL / THE BEAUTIFUL SCHIZOPHONIC / JAMES ECK RIPPIE + PAULO RAPOSO	Product	CD	Das fast 20minütige geisterhafte, auf rückwärtigen Sounds basierende “But I’m not” von PAWEL GRABOWSKI eröffnet den (Drone)-Reigen auf dieser Zusammenstellung; Jorge Mantas aka THE BEAUTIFUL SCHIZOPHONIC hat danach ein höchst kurioses 10teiliges Stück mit dem Titel “Love Songs for a Psychoacoustic Girl” beigesteuert, bei der er Frauenstimmen von verschiedensten Quellen zu sinnlichen Dronescapes verarbeitet hat, schliesslich JAMES ECK RIPPIE & PAULO RAPOSO, die ihr Stück experimentell cut-up / turntable-mässig beginnen, es dann aber schnell in konkret-flächige Gefilde mit mysteriöser Atmosphäre führen, inkl. found-sound Sprengseln von alten Platten wie es scheint... Insgesamt eine überzeugende Compilation, dieser 6.te Teil der PRODUCT-Serie auf Cronica ! Dazu gibts noch ein Quicktime von Video-track von THE BEAUTIFUL SCHIZOPHONIC! "elegantly packed with casey reas superb artwork arrives the sixth installment in the crónica's product series. this split opens with a long haunting composition from pawel grabowski, it settles with some ghostlike pieces with even a medieval feeling from the beautiful schizophonic and reaches its closure with natureza morta, a stunning piece teaming up paulo raposo and james eck rippie." [label info] www.cronicaelectronica.org	2005	€14.00
GRASSOW, MATHIAS	The Dreamquest Sessions	CD	Third and last link in the trilogy made up together with the Darklight Quest and the Nightquest Sessions. Longform desolate ambience as we soar through unknown vistas to places forgotten in time and space. Composed, mixed, arranged and recorded by Mathias Grassow in 1998, except some basic tracks recorded in 1994. Prologue and Epilogue composed and performed in 2013. Electronics, different undefined sounds and loops and effects by Mathias Grassow. Tibetan singing bowls by Klaus Wiese. Additional mix and editing in 2020 by mr_rehn. Mastered by A.P in October 2020. Cover painting by Mathias Grassow. Artist photo credit lost to the ravages of time. Design and photography by mr_rehn. https://gterma.bandcamp.com/album/the-dreamquest-sessions	2020	€14.00
GREENHAM, LILY	Lingual Music	do-CD	"Britain’s best known sound poet is Bob Cobbing, but it’s hard to come up with a list of other sound poets working in Britain in the 60’s and 70’s. It’s equally difficult to think of any female sound poets working anywhere. Lily Greenham was Danish, but spent her childhood in Vienna. After several relocations across Europe she settled in London in 1972 with her British husband (musician and poet Peter Greenham), where she lived until her death in 2001. Nearly all of her own writings and compositions date from after her arrival in London, but prior to her arrival in London she had been involved in two major European art movements. In the late 50’s she had been an active member of the early Wienner Gruppe, performing in their wild experimental theatre works and reciting the new poetry of young artists like Gerhard Rühm, Konrad Bayer and A.C. Hartmann, but before the Wienner Gruppe had established itself as the important art movement it was to become, she had moved on and changed her working practice. In 1964 she was back in Paris for a second time, but this time she was working as a visual artist specialising in optical art. She was soon directly involved in group shows with the ‘Groupe de Recherche d’Art Visuel’. For the second time she was at the centre of an emerging art movement that was exploring new ground, but predictably enough she moved on. Once in London she began to record her own text based compositions that used a mixture of sound poetry techniques, electronics and multi-tracking. The term ‘lingual music’ that she coined for her compositions refers to her technique of using tape loops of text to create complex and dense musical structures. Her most well known composition in this style is ‘Relativity’, which was made in 1974 in collaboration with the Radiophonic Workshop at the BBC. She also worked with quite a few musicians, both via the early LMC network in London, but also on an international scene. A list of musicians she worked with includes John Tchicai, Wolfgang Dauner, Bob Downes, Barry Guy, Hugh Davies, Max Eastley and Peter Cusack. This 2CD set compiles a wide variety of her own work, including live solo performaces, film soundtrack pieces, as well as many tape pieces. There are also examples of her performing works by Cobbing, Rühm and other sound poets, as well as recordings of her work with Bob Downes Open Music. The recordings date from between 1968 and 1984." [label info] www.stalk.net/paradigm	2007	€16.00
GRODOCK	Gesammelte Hintergründe	CD	https://audiophob.bandcamp.com/album/gesammelte-hintergr-nde On "Gesammelte Hintergründe", listeners are met with 16 different, intertwined soundscapes. Dense and harmonic frequency textures that shift and dissolve over the course of nearly 50 minutes. Synthesizers and function generator waveforms collide, building into broad fortresses, forming fragments of melodic sequences, and merging into atonal clusters. Altered instrument sounds, such as the rumble of a tuba, the voices of violins, and the tones of harmonicas, blend into dark, booming sound carpets and mix with electronic noise. Grodock is the ambient and noise project of David Leutkart, the owner of the label Grubenwehr Freiburg. Over the course of the project's 16-year existence, a large number of ambient pieces were created that had not yet been released on physical media. For the album "Gesammelte Hintergründe", they were remastered, reworked, and interwoven. ############# "The German label Audiophob has been in operation for over two decades, and one of its side activities is Krater Recordings. Krater is a bit more experimental and noisy than Audiophob, and as it has fewer releases (21 up to now, versus over 100), but this week it’s all about Krater. The most recent Audiophob releases will be reviewed in the coming episode. So, this is a new album by Grodock, who is David Leutkart, the man behind the label Grubenwehr Freiburg. I had reviewed something by him before, but since that was a collaboration, it’s not fair to use it as a comparison or inspirational material. So yeah! New stuff, new names! Grodock is a noise/ambient project so that it can go anywhere. This particular release is a compilation, featuring backgrounds that David created for performances over the past 12 years. And no (I can hear your thoughts !!!) this is NOT a ‘leftover’ release of any kind. This is a well-thought-out compilation, where the basics leave ample space for interpretation. There are 13 tracks, and the timing ranges from 90 seconds to almost 6 minutes. The total playing time is just under 50 minutes, making for a great listening experience. The source of the sounds is a combination of field recordings and ‘real’ instruments heavily manipulated, of course, in loops of some kind of synthetic sound. What all tracks have in common is that they’re atmospheres, built and created for Grodock to form the basics of a performance, as said earlier. But the real power is that they are strong enough to form a track without those previously considered live additions. With that in mind, the CD has two faces too. It can be played in the background as an ambient sound to create unity with real-world sounds, as Eno described what ambient music is all about. But on a higher volume level, the different compositions are strong enough and have more than enough dynamics to be listened to as a drone or minimal noise piece. In a way, you’re getting two albums for the price of one. And because of the variation in all the tracks, it’s also interesting enough to play more often, each time a new sonic reality is created or discovered. To make a long story short, this is something that ticked all my boxes for being a powerful release. Compliments to David and the Krater Guys for putting this one out! (BW)	2025	€13.00
GRÖHN, COSTA	2+1	mCD-R	"Während Asmus Tietchens nur manchmal dafür gehalten wird, ist COSTA GRÖHN tatsächlich ein Mann der Kirche, nämlich Pastor von St. Johannis-Harvestehude. Weit davon entfernt, ein heimliches Laster zu sein, ist sein offenes Ohr für die Dinge des Lebens um ihn herum eine Tugend, der man weitere Verbreitung wünscht. 2 + 1 (1000füssler 016, 3“ mCD-R) hat Grillen und Vögel erlauscht, Schritte, Stimmen, brausenden Wind, auch eine maunzende Katze, knisterndes Feuer. Draußen, daheim. Alles zart und geheimnisvoll genug, um unter die Rubrik ‚Ohrenblicke der Schöpfung‘ zu fallen (so hieß 2003 ein Projekt in der Hamburger Petruskirche, an dem Gröhn mitgewirkt hatte). Der Alltagsklang ist nicht allein collagiert, er ist detailreich bearbeitet, mit Vinyl-Samples beschichtet, mit fein schwebendem Feedback durchfädelt und durchwellt. ‚Discounterbeat‘ mischt das typische Piepen einer Supermarktkasse mit Drummachine und einem Hauch von Chor. Das hat seine eigene Art von Frömmigkeit. Weltfremd ist es definitiv nicht." [Rigobert Dittmann, Bad Alchemy] "Costa Gröhn makes field recordings on the road, at home, in the city or in the forest. On "2+1" he processed recordings from his archive and added feedbacks and vinyl record samples to 2 and 1 soundscape compositions. [P] January 2009. 1. Chirring calls at home 8'25 2. Within a circle of fire (disrupted playback) 3‘10 3. Discounterbeat 3‘44 About the Artist: Costa Gröhn was born 1976 in Bad Segeberg (northern Germany). He is a pastor at the St. Johannis Church in Hamburg. He has been composing soundscapes and doing performances since 2000. Besides tracks for compilations and remix-projects, he has also released two full length CD-R albums "Im Gehölz" and "Bouboukas" on the Gruenrekorder label." [label info]	2010	€6.00
GUTHRIE, ANNE	Gyropedie	LP	“Gyropedie,” Anne Guthrie’s third record for Students of Decay, takes us further into her hermetic practice, wherein expertly captured field recordings, French horn, and electronics are woven into potent and richly imagined electroacoustic environments. In Guthrie’s own words, “Quite literally a record of pilgrimage from East to West. Remnants of Midwest and East Coast soundmarks, instruments sold to lighten the travel load, sketched out and then buried under the new. Winter birds and crunching snow, frozen playgrounds, broken synths - I spent a year decoupaging over this, but of course it's still there. A second moon appears occasionally in the daytime, and there are frequent, murky transmissions. California has something alien about it I'm still trying to grasp. Primarily vintage, unabashed, corny, I find myself becoming an impressionist.” Anne Guthrie is an acoustician, composer, and French horn player. She studied music composition and english at the University of Iowa and architectural acoustics at Rensselaer Polytechnic Institute, where she completed her Ph.D in 2014. Her music combines her knowledge of acoustics and contemporary composition/improvisation. Her electronic music has focused on exploiting the natural acoustic phenomena of unique architectural spaces through minimal processing of field recordings. Her composition has focused on the orchestration of non-musical sounds, speech in particular. Her French horn playing has focused on electronic processing and extended techniques used in improvisatory settings, as a soloist and with Fraufraulein and Delicate Sen, among others. Her acoustics research has focused on the use of ambisonics for stage acoustics. https://anneguthrie.bandcamp.com "Anne Guthrie's third album for Students of Decay continues her trend of significantly transforming her vision with each new release, though the arc of her albums does consistently suggest an increasing aversion to conventional structure and musicality. In practical terms, that means that Gyropedie was primarily assembled from field recordings, though Guthrie's French horn does make a few ghostly and well-timed appearances. Notably, the sounds that Guthrie collected are entirely diaristic in nature ("quite literally a record of pilgrimage from East to West"), as she recorded and collaged a host of ephemeral and meaningful moments from her move from New York to California (birds, crunching snow, instruments that she had to sell, etc.). As Guthrie wryly notes in the album description, she found herself "becoming an impressionist." I heartily concur and believe that approach suits her work remarkably well. Given the deliberately abstract and elusive nature of the material, it took me a bit longer to become drawn into Gyropedie than it did for Guthrie's previous releases, but the album's second half contains some of the most tender, distinctive, and quietly beautiful work that she has yet recorded. The opening "Threading A Closed Loop" is a bold and interesting way to introduce the album, as it slowly rolls in like a mysterious fog of ambient outdoor sounds, plinking strings, distant woodpeckers, murmured voices, bees, and an occasional strangled sound from Guthrie's French horn. It is frankly about as understated and impressionistic as an album can get, but it does gradually cohere into something quite intriguing and evocative (I especially like the part where it sounds like the bees bought a distortion pedal). The following "Hill, Mountain" undergoes a similar trajectory, initially sounding like someone fumbling with a microphone while a woman recites poetry over a distorted radio, but eventually it blossoms into an enigmatic scene that seems to capture the time-stretched sounds of a train passing through a gently hallucinatory landscape of singing birds and metallic drones. I believe the "broken synth" mentioned in the album description makes an appearance as well. Both it and its predecessor are subtly beautiful in their own ways, yet my favorite pieces are the ones that follow. In "Variation on Coral," Guthrie paints a lovely seaside scene, as a slow, lovely French horn melody lazily unfolds over a backdrop of gently gurgling and lapping waves, lysergically smeared chimes, cooing vocals, and a host of other curious sounds. The closing "The Goldbeater’s Skin," on the other hand, sounds like a duet between a quietly plinking and fitfully operational music box and a lovelorn French horn player in a particularly bittersweet mood, but it is further enlivened by an evocative array of breath-like textures and wounded-sounding squeaks and warbles. To my ears, it is unquestionably Gyropedie's most lovely and memorable piece, as the unexpectedly poignant horn melody feels like the beating heart of the album finally being revealed, yet it would not make nearly the same impact without the languorous and dreamlike journey beforehand. Granted, Gyropedie is an album that demands some patience and attentive listening to reveal its full beauty, but its fragile and tender fantasia of memory fragments is well served by that steadily deepening immersion." [Brainwashed] "Threshold-dwelling lower case elisions of field recording and barely-there instrumental gestures by the wonderful Anne Guthrie, an occasional and prized presence on these pages. Guthrie’s solo work has previously snagged our ears with the gorgeous ‘Codiaeum Variegatum’ album and ‘Brass Orchids’, both for Students of Decay over the past decade. She returns to the label three years after her previous, and collabs with the GRM’s François Bonnet and Seymour Wright, to offer her most sublime sort of sonic mulch and vapours in ‘Gyropedie’, where she appears to quiesce the enduring air of Satie’s proto-ambient music into a more natural, elusive ecology of cherry-picked small sounds that amount to a lushly absorbing whole primed for pastoral sound bathing in the comfort of your own home." [Boomkat]	2021	€18.50
GYDJA	Ar Var Alda (In Ancient Times)	CD	This is Gydja's second appearance on the Winter-Light label, the first being on our '... that first season' DCD compilation back in 2017. Now Gydja (Abby Helasdottir) returns to Winter-Light with her spellbinding new full length album, 'Ár var alda (In ancient times)'. Thick, expansive drones, woven through with intricate percussive elements, unearthly vocals and atmospheric field recordings. An album of deep, primordial dark ambient comprising of 9 tracks, across four movements. English translation:- 1: That which was not 2: A chasm gaped 3: Winters unmeasured ere earth was made 4: The Great Measuring Tree beneath the earth 5: Nine worlds I recall, nine giantesses 6: Down from Elivagar did venom drop 7: And waxed till a giant it was 8: And thence arose our giants' race 9: The sun from the south warmed the stones of Composed, produced and recorded by Abby Helasdottir at Ultrasound between 2015 and 2020 Additional performers: Lyn Goeringer: vocals on Ór Élivágum stukku eitrdropar and þar eru órar ættir komnar allar saman Serena Helasdottir-Cole: percussion on Svá óx, unz varð jötunn, rainsticks on þar eru órar ættir komnar allar saman Mastered by Robin Storey https://winter-light.bandcamp.com/album/r-var-alda-in-ancient-times	2021	€13.00
HAARVÖL	Ridge of Humming Spoils	CD	The Portugese trio Haarvöl returns to Moving Furniture Records with the last part in their trilogy. After Bombinate and Peripherad Debris they conclude this journey with Ridge Of Humming Spoils. "Psychoanalysis refers to the frontier as an empty signifier: it embodies an interior and an exterior. The last album of the trilogy we set out to puts us there. On top of a vast set of remains whispering to us. Remains, because they have been left behind, because they are no longer useful. And yet, usefulness is something that tells little or nothing to us, artists. Quite the opposite. For this very reason, this new album is made up of these testimonies that whisper their condition very strongly to us. From the top of this pile of whispering remains we have achieved something that is precious to us: time, in its three dimensions, and not enclosed in that kind of perpetual present where they want to force us into, in a timeless time. Here, at the top of this ridge, we can look back and ahead. Because it interests us. Because we want to. We started the trilogy in a noisy place, but still with views to the center, we walked towards the periphery and now we find ourselves at the top of an empty signifier, on a border metaphor. It would have to be this way in a project where the important thing is the escape from formulas and repetitions: maintaining coherence without falling into concessions has always been our motto. Naturally, as we are at the border, its outside is much more appealing to us (it has always been this way until today. The continuous migrations of the past and of the tragic present prove it so) with its uncertainties and unfamiliarity, but also with the certainty of the difference. Is this not, after all, the appeal of art: that attraction for the unknown? Therefore, we have a certainty that is continually whispered to us by these remains that can be heard now: we will move on to the outer side, of course. The border, here made up of this ridge of whispering remains/humming spoils, has naturally closed the cycle. That is what borders are for: to interrupt, to limit; ultimately, to try to block. In our case, to be crossed affirmatively – as we well know, there are no walls that can prevent it. We will continue exploring the sounds that interest us: sounds that contemplate time and attention as decisive elements, sounds that can appear as specters, asynchronous, almost incongruous with this time with no time to have time, this autophagic time. But already outside. In a utopia of an exile that carries no form of negativity, it affirms itself as positive otherwise because it allows the necessary distance to a placement that wants to be creatively critical. One last note for something that sometimes appears in a completely innocuous way: the track titles. That is not our case. Here, just as it has been common throughout the rest of our discography, the titles we choose try to connect the real that surrounds us and that we don’t want to be oblivious to. After all, they embody this whole metaphor of abstract sonorities built up in trilogy, but, very attentive to the real. So is our stated intention to close the record with a small tribute to that remain of an already distant past, which yet continues being present, asynchronous. It is called Éliane. Maybe it’s a synonym of future. Who knows? Psychoanalysis refers to the frontier as an empty signifier: it embodies an interior and an exterior. The last album of the trilogy we set out to puts us there. On top of a vast set of remains whispering to us. Remains, because they have been left behind, because they are no longer useful. And yet, usefulness is something that tells little or nothing to us, artists. Quite the opposite. For this very reason, this new album is made up of these testimonies that whisper their condition very strongly to us. From the top of this pile of whispering remains we have achieved something that is precious to us: time, in its three dimensions, and not enclosed in that kind of perpetual present where they want to force us into, in a timeless time. https://www.movingfurniturerecords.com/haarvol-ridge-of-humming-spoils/ https://haarvol.bandcamp.com/album/ridge-of-humming-spoils	2020	€12.00
HAIGH, ROBERT	Tempus Fugit	CD	Robert Haigh made his trilogy of piano solo albums (‘Notes and Crossings’, ‘Anonymous Lights’, and ‘Strange and Secret Things’) during 2009-2011 and ‘The Silence of Ghosts’ in 2015 for Siren Records. The tracks for each of these releases were carefully selected with consideration for the flow and development of the project. Inevitably, for various reasons, some tracks did not fit a particular album and they have remained unreleased regardless of their quality. The original plan of the “Tempus Fugit” release was, as the subtitle suggests, to collect and assemble rare and unreleased tracks into an album. However, in the process of his compiling the tracks, Robert noticed that the project was developing into an album that had a flow and narrative of its own. Considering the structure and progression of the album, Robert carefully curated ten pieces from his recording archives (including three tracks left over from the Unseen Worlds period) and arranged them to make the best sequence selection. As a result, “Tempus Fugit” has grown into a unique album with its own sense of flow, though none of the tracks were recorded with the aim of making this particular album. “Tempus Fugit” will be a parting gift to those who have followed his works while at the same time, a useful selection as “young person's guide to Robert Haigh” to those who have yet to open the door of his music. The album opens with ’Slow Water.’ A distant and plaintive piano melody evolves with ghostly harmonies through a reverb soaked landscape. ’The Wind Blows Black’ is an improvisation on a theme where discordant piano figures tumble over fragile descending chords. ‘Sub Rosa’ and ‘Broken Bones’ are Haigh at his most melodic, conjuring up the feel of tracks such as ‘Clear Water’ and ‘Portrait with Shadow’.’ In A Space’ slightly predates the first Siren release and wouldn’t be out of place on an early Budd and Eno album. The album closes with the ghostly ‘Tesselate Air’, a slow-moving ambient trip across a misty and shadowy terrain, slowly fading to silence. And the silence is significant as Robert is insistent that there will be no more releases after this. Written and produced by Robert Haigh. Mastered by Denis Blackham at Skye Mastering. Sleeve artwork by Robert Haigh. Additional design by Saul Haigh.	2024	€14.00
HALO MANASH	Elemental Live Forms MMV - Initiation	CD	"Over a decade ago, HALO MANASH, an entity previously only known for its aural output, took the force and form of a live ritual perfomed by group of four mediums, in Tampere, Finland. ‘Elemental Live Forms MMV – Initiation’ is a recording of that first public Halo Manash live ritual, and also a complete, previously unreleased work in itself. The work was presented only a single time, also being the only time the involved personae of the group perfomed together as one. The live ritual focuses on the boundless elemental form returning from metaphysical pilgrimage – it bridges the worlds of being and non-being. Ash and antler, blood and bone, drum and drone, tree and metal collide to create an intense audial journey between worlds – one of re-birth, initiation, and primal thundering. Much more than a mere live recording, this seminal work, ‘Elemental Live Forms MMV – Initiation’ is now finally released in limited CD and cassette editions. The package, as an object of power, is handmade in the underground Aural Hypnox laboratories, featuring various guiding sigils, inserts and historical notes from the Halo Manash archives. The album is enclosed in an oversized screen printed cardboard covers including a 4-panel booklet, 4-panel xerox-insert and eight, two-sided insert cards within a stamped envelope. Limited to 444 copies." [label info] www.auralhypnox.com	2016	€15.00
	Elemental Live Forms MMV - Initiation	MC	"Over a decade ago, HALO MANASH, an entity previously only known for its aural output, took the force and form of a live ritual perfomed by group of four mediums, in Tampere, Finland. ‘Elemental Live Forms MMV – Initiation’ is a recording of that first public Halo Manash live ritual, and also a complete, previously unreleased work in itself. The work was presented only a single time, also being the only time the involved personae of the group perfomed together as one. The live ritual focuses on the boundless elemental form returning from metaphysical pilgrimage – it bridges the worlds of being and non-being. Ash and antler, blood and bone, drum and drone, tree and metal collide to create an intense audial journey between worlds – one of re-birth, initiation, and primal thundering. Much more than a mere live recording, this seminal work, ‘Elemental Live Forms MMV – Initiation’ is now finally released in limited CD and cassette editions. The package, as an object of power, is handmade in the underground Aural Hypnox laboratories, featuring various guiding sigils, inserts and historical notes from the Halo Manash archives. www.auralhypnox.com	2016	€13.00
	Unetar	CD	All audio material on this album originates from the “Tulitania” private ritual held in the deepest forest of Northern Ostrobothnia in December 2006. “Unetar”, an entity awakening after a decade-long hibernation was evoked by Anti Ittna H. in the somniferous Katajan Kaiku studio during January and March 2016. The album’s opening track “Unetar” also features a spectral appearance of JKV captured on tape right after the ritual in 2006. The first two liminal hymns were weaved together on the night of Total Solar Eclipse, 9th of March 2016. This CD edition also includes the original “Tulitania” version, that previously appeared on the “Desert Space” compilation album released by Tosom 2007. The album is enclosed in an oversized, screen printed covers including three insert cards. Limited to 400 copies.	2019	€13.00
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
HAURAS	Pervades	MC	Head to the western neighborhoods of San Francisco, and the city becomes a very quiet place after midnight. By 3am, one can almost hear the fog spilling past the sodium lights that illuminate a lonesome street corner at Judah and 15th. Whatever soundtracks that emerge from that time and that place inevitably embody that nocturnal atmosphere, a narcoleptic weariness, a waking dream of the insomniac. Such is the psychogeographical realm as channeled through sound for Hauras, the obliquely musical concern for San Franciscan Howard Ryan. In Pervades, Hauras returns to the fragments of guitar warbling through chains of echo and flange, his Basinski-esque loops of crushingly sad ambient melody, his EVP impressionistic vocals, and his curious interruptions from scanner radio. More than before, he expresses a confidence in his oblique craftsmanship that allows him to push the sounds to include a very compelling drum machine plus guitar noise track in "Stellaged." Richard Youngs, Gate, and Graham Lambkin all come to mind, as does the terminally obscure project Dial (Jacqui Ham's post-Ut band of similarly late nite expressionism). Pervades concludes a trilogy of recordings made during the pandemic era, that also includes In These Coming Days (2020) and The Glare of the Nave (2021). Inspired by Rinko Kawauchi and Audrey Szasz. Mastered by Brian Pyle. https://www.helenscarsdale.com/published/hauras-pervades.htm https://helenscarsdale.bandcamp.com/album/pervades	2023	€12.00
HAVDIS	Fugloya	CD	"On a distant shore far from the prying eyes of city nightlights we encounter a bleak and rock-strewn cliffscape, inhabited mainly by small colonies of pelagic birds. It can be an eerie and desolate experience but nowhere is the horizon as vast and at night the skies sing in mysterious colours. Journey with us to this forbidden islet and bring a thick blanket and a thermos of your favourite hot beverage. Composed and performed by Havdis between 2012 and 2019 Compiled and edited by mr_rehn Mastered by A.P in February 2020 Photography and design by mr_rehn https://gterma.bandcamp.com/album/fugl-ya	2020	€13.00
HECKER, TIM	Harmony in Ultraviolet	CD	Klang, schimmernd wie helles Licht! TIM HECKER ist nun auf Kranky gelandet, was seinem recht einmaligen Drone-Sound keinen Abbruch tut, im Gegenteil, HARMONY IN VIOLET erscheint uns wie der vorläufige Höhepunkt seines Schaffens: HECKER schafft es, seine digital-sphärischen Drones fast gleichzeitig wie einen monumentalen Noise-Sturm und doch höchst emotional harmonisch & zärtlich-melancholisch erklingen zu lassen.... "Hecker geht den auf seinen letzten Alben eingeschlagenen Weg weiter, baut ihn aus, erweitert ihn. Vielleicht ist "Harmony In Ultraviolet" nicht so hart wie das letzte Album "Mirages", aber Stücke wie "Chimeras" sind nicht weniger eindrucksvoll. Sie berauschen und entziehen den Hörer der Realität. Epische, weite und hocheindrucksvolle sphärische Momente brillieren da. Sie zeigen Heckers grosses Talent für Klangforschungen im Bereich der "spektralen" Musik. Überhaupt, Tim Heckers Klangkompositionen bewegen sich wie auf einem Farbspektrum: immer wieder werden neue Facetten und Färbungen abgetastet und herauspoliert. Feinfühlig, sensibel ebenso wie kalt, dunkel und zerfahren. Doch einerseits klingen die 15 neuen Stücke auf "Harmony In Ultraviolet" so bedeutungsvoll und geladen, andererseits aber so leicht zugänglich, durchschaubar... und bedeutungslos? Wie steckt man den Rahmen ab wenn man Heckers Musik beschreiben soll? Tim Hecker bewegt sich auf einem Feld von Ambient, Drone, elektronischer Musik, Noise und einem gefühlsmässigen Metal. "Harmony In Ultraviolet" ist ein Herbstalbum und erscheint genau zur richtigen Zeit. Denn zusammengefasst klingt es einfach wie der Herbstwind in all seinen Daseinsformen." [Creative-Eclipse] "Call Canadian Tim Hecker's fourth full-length release (and first for drone-oriented American label Kranky) "ambient for bombardiers." Like onetime-tourmates Isis, Hecker's focus is on the molten core of metal—the drones, distortions, compressed crunching, and industrial noises that course underneath its notes and riffs. Not surprisingly, one of his earliest releases deconstructed and distended Van Halen's "Ain't Talking 'Bout Love" to more ambient ends. The display of WWII-era portraiture on Harmony in Ultraviolet's cover suggests a cenotaph to downed pilots (in actuality it's an anti-fascist memorial), while the overhead shot of Bologna, Italy, on the interior forebodes the imminent firebombing. Hecker's focus, though, is on the interior of that flying fortress, a blurry suite of movements rife with churns and buzzes. At these stratospheric heights, the guitar's distinct qualities are made fuzzy and uncertain via laptop and digital effects. If you melted off the pop structure from My Bloody Valentine's Loveless with some molten magma, you'd have a good idea of Hecker's sound. Flow is maintained throughout, as Tim Hecker apparently understands that ever-tricky notion of fluid dynamics. He breaks up motifs (see "Palimpsest") with churning ebbs and digressions but keeps together the pinnacle suite, "Whitecaps of White Noise." And while Hecker has always been an adept craftsman, Harmony reveals his mastery of the idiom. Washes now feel oceanic, as epic and evocative ripples take shape out of unplumbed depths of feedback and distorted peals." [Andy Beta] "....Harmony is, paradoxically, Hecker's most dramatic and most oceanic record. The former implies twists, arc, and carefully planned change intended to evoke specific effects; the latter suggests stasis, immersion, and a state of dreamy contemplation. Harmony manages to be both these things by surprising as it mesmerizes, with Hecker reigning in or tempering any jarring effects just enough to keep the self-obliterating sense of endless drone intact. One key is that the tension never really dissipates, varying only in degree and quality. The opening "Rainbow Blood" sets the scene with a screeching and trebly drone, like an orchestra tuning up in the darkened theater where Rebecca del Rio performed in Mulholland Drive, and for the next 48 minutes, Harmony keeps the pulse elevated..." [Mark Richardson / Pitchforkmedia]	2006	€14.50
	Norberg	maxi-CD	"....Imagine if you will sitting on the sand of some enchanted beach somewhere, precisely at the intersection between land and ocean, where the waters break upon the shore. This is like an endlessly crashing wave of drones and rumbles, the sound swirling around one’s ears, initially breaking into myriads of liquid cut-diamond arpeggios glinting in the pure sunlight and submerging the body in womb-like warmth; and then slowly and infinitesimally receding, the music clinging longingly, almost reluctant to let go. Paradoxically, one doesn’t feel stifled or as if grasping for breath; instead, there’s a feeling of timelessness and limitless freedom, as if one could be absorbed by the waters and somehow find oneself a part of every single drop of water in the oceans and seas. Also paradoxically, even though the drones drape one in the velvet of the deepest ocean depths there is contradictorily a fragile beauty, airiness and lightness evident throughout." [S:M:J63, Heathen Harvest] "Recorded at the Norberg Festival (Sweden) amidst the mineshafts and cluttered buildings strewn throughout parts the city, this 21 minute live piece summarises much of what makes Tim Hecker’s music so vital and compelling. Adept at counter-pointing the most ferocious of distorted platters with smooth beds of ambient sound and potent melodic overtones, Tim Hecker creates music with a vast depth. On Norberg, this depth seems almost endless, as layer upon layer of sound are compiled into a swelling and all together visceral oceanic sound wave. Recently touring Australia and New Zealand and performing at ROOM40’S annual festival Open Frame, this CD comes on the back of some incredible live performances in the Southern Hemisphere." [label info] label-website: www.room40.org	2007	€10.00
HELVACIOGLU, ERDEM	Altered Realities	CD	"Meine erste Post aus Istanbul macht mich bekannt mit einem mehrfach preisgekrönten Elektroakustiker mit weltweiten Performance- und Installationserfahrungen, mit einem breiten Fächer an Sounddesigns für Film, Theater, Tanz, an Produktions- und Sessionjobs, an Auftrags-kompositionen, Kollaborationen (etwa mit Kazuya Ishigami von Neus-318) und Kompilationbeiträgen. Bei seinem Beitrag Kicking Memories zum Projekt Audio Elf beim ScoreCologne-Festival zur letzten Fußball-WM zeigte er polyglotte Fußballerinnerungen als global gemeinsamen Nenner. In seiner Performance Living in Istanbul zur Ausstellung BLUT & HONIG - Zukunft ist am Balkan (2003) operierte er u.a. mit Soundtracks populärer türkischer B-Movies und, ähnlich wie bei seinem CDDebut A Walk Through The Bazaar 2003, mit Straßenmusik und dem Alltagslärm von Istanbul, den er zusätzlich elektronisch abwandelt. Trash und Mischmasch ist das einzig ‚Folkloristische’ und ‚Balkan-spezifische’ dabei. Abwandeln, to alter, scheint Helvacioglus Leitmotiv zu sein - wo Blut [türkisch kan] war, soll Honig [türkisch bal] werden. Seinen neuen Arbeiten gab er Namen wie ‘bridge to horizon’, ‘sliding on a glacier’, ‘dreaming on a blind saddle’ oder ‘pearl border’. Sie entsprechen vollkommen dem impressionistischen, träumerischen, eskapistischen Charakter der Klänge, die er mit einer akustischen Ovation Custom Legend 1869-Gitarre erzeugte und gleichzeitig liveelektronisch mit Multieffektprozessor, Midi foot controller und Audiomulch-Software so modulierte, dass Wohlklang betont schwerelos und frei veränderlich sich entfaltet. Der folkloristische, mehr kosmo-politische als rein orientalische Aspekt des Saitenspiels wird transferiert durch ein Hightechmorphing, das ungeniert Wohlfühlsignale ausstrahlt, Entspannung jenseits so erdenschwerer Trivialitäten wie EU-Beitrittsverhandlungen, unbewältigtem ‚Armenierproblem’ und ‚Beleidigung des Türkentums’. Ohne Scheu vor Kitschverdacht lässt Helvacioglu seine Gitarre harmonieverliebt und zart blinken und all seine virtuosen elektronischen Manipulationen scheinen das Ziel zu haben, zuckersüßen Tee zur Entspannung zu servieren und spielerisch Veränderlichkeit zu realisieren. Einfacher sagte es Ishigami: "Ich fliehe in den Klang, es ist die Flucht aus einer kleinen Welt in eine große." " [Bad Alchemy] "Altered Realities is an album of solo acoustic guitar and live electronics. All of the compositions were recorded in real-time, directly to DAT (Digital Audio Tape) without any overdubs, mixing, editing, post-processing, or the use of previously recorded material. All of the textures were created based only on the acoustic guitar signal with no other sound source used during the recording. Within these textures, there are long sustaining single notes, beautiful shimmering chords and rhythmic clusters. During the making of this album, Ovation Custom Legend 1869 acoustic guitar, TC Electronic Fireworx multi effects processor, Behringer FCB1010 midi foot controller and the software Audiomulch were used. With no post-processing, no editing and no use of previously recorded material, the moment that is recorded is the moment that we hear on the cd." [label info] www.newalbion.com	2006	€14.00
HENNIX, CATHERINE CHRISTER	Further Selections from Electric the Harpsichord	LP	https://blankformseditions.bandcamp.com/album/further-selections-from-the-electric-harpsichord-2 Rediscovered and compiled for release shortly before her death in November 2023, Further Selections from the Electric Harpsichord presents a never-before-heard recording of composer and artist Catherine Christer Hennix’s early magnum opus. Originally debuted in 1976 at the festival Brouwer’s Lattice at Stockholm’s Moderna Museet, The Electric Harpsichord has steadily mystified fans and students of Western minimalist music for its implacable, transformative qualities, and the long-held, relative obscurity of its creator. Like the work of Hennix’s close friend La Monte Young, the piece is set in just intonation and focuses on the transcendental potentials of precise tuning, inspired by their studies with Pandit Pran Nath. Composed of bursts of oscillating, synthetic tones using a carefully retuned synthesizer and a tape-based system for feedback delay, the sounds swirl, twinkle, and appear to bend time, space, and perception. Additional, sustained chords on the sheng, most likely played by her Deontic Miracle bandmate Hans Isgren, are present at the opening of the piece and reemerge towards the end of the recording. The release of Further Selections constitutes the most comprehensive original recording of this foundational work to date. Originally billed as The Well-Tuned Organ during its debut in Sweden, The Electric Harpsichord has developed a legendary reputation, predicated on a twenty-six minute fragment salvaged and circulated by Hennix’s friend Henry Flynt. Promoting its importance on multiple occasions, Flynt aired the work on WBAI radio, organized a pair of tape concerts at New York alternative arts spaces in 1970s, and later penned a 1998 essay which served as the liner notes to its eventual CD release in 2010. For him, this work not only represented a sterling milestone in minimal sonic aesthetics, but also spawned a new genre that he dubbed “hallucinogenic/ecstatic sound environments (HESE),” which in turn inspired his own drone-like compositions. Gradually, interest in the recording led to a spate of archival projects, public performances, and new compositions by Hennix in the 2010s, in turn drawing into focus her multifarious practice, which includes serious contributions towards mathematics, poetry, sculpture, Noh drama, philosophy, and light art.	2024	€28.00
	Further Selections from the Harpsichord	CD	https://blankformseditions.bandcamp.com/album/further-selections-from-the-electric-harpsichord-2 Rediscovered and compiled for release shortly before her death in November 2023, Further Selections from the Electric Harpsichord presents a never-before-heard recording of composer and artist Catherine Christer Hennix’s early magnum opus. Originally debuted in 1976 at the festival Brouwer’s Lattice at Stockholm’s Moderna Museet, The Electric Harpsichord has steadily mystified fans and students of Western minimalist music for its implacable, transformative qualities, and the long-held, relative obscurity of its creator. Like the work of Hennix’s close friend La Monte Young, the piece is set in just intonation and focuses on the transcendental potentials of precise tuning, inspired by their studies with Pandit Pran Nath. Composed of bursts of oscillating, synthetic tones using a carefully retuned synthesizer and a tape-based system for feedback delay, the sounds swirl, twinkle, and appear to bend time, space, and perception. Additional, sustained chords on the sheng, most likely played by her Deontic Miracle bandmate Hans Isgren, are present at the opening of the piece and reemerge towards the end of the recording. The release of Further Selections constitutes the most comprehensive original recording of this foundational work to date. Originally billed as The Well-Tuned Organ during its debut in Sweden, The Electric Harpsichord has developed a legendary reputation, predicated on a twenty-six minute fragment salvaged and circulated by Hennix’s friend Henry Flynt. Promoting its importance on multiple occasions, Flynt aired the work on WBAI radio, organized a pair of tape concerts at New York alternative arts spaces in 1970s, and later penned a 1998 essay which served as the liner notes to its eventual CD release in 2010. For him, this work not only represented a sterling milestone in minimal sonic aesthetics, but also spawned a new genre that he dubbed “hallucinogenic/ecstatic sound environments (HESE),” which in turn inspired his own drone-like compositions. Gradually, interest in the recording led to a spate of archival projects, public performances, and new compositions by Hennix in the 2010s, in turn drawing into focus her multifarious practice, which includes serious contributions towards mathematics, poetry, sculpture, Noh drama, philosophy, and light art.	2024	€16.00
HENRIKSEN, ARVE	Strjon	CD	Drittes Album von ARVE HENRIKSEN für Rune Grammofon, eher bedächtig und melancholisch, eine Art ethno/world-ambient/drone-Jazz von allererster Güte ! "This is Norwegian Arve Henriksen's third full-length release on Rune Grammofon. On Strjon, Henriksen is joined by his Supersilent colleagues Ståle Storløkken and Helge Sten, who also produced the album. Strjon brings together the various sides of Henriksen, from the zen-like solo pieces of his debut album Sakuteiki to the open-ended melancholia of Chiaroscuro to the dark, brooding lyricism of Supersilent. "Strjon" is the medieval name of Arve's hometown Stryn on the west coast of Norway, referring to a streaming river or water. The nature around Stryn is fantastic and the changes between winter and summer are quite drastic, from crashing avalanches in steep mountains to calm beauty and majestic tranquility. Some of the music dates back to sketches made by a young Arve Henriksen in these surroundings, later worked on by both Arve himself and Helge Sten. Arve Henriksen is without doubt one of Norway's leading instrumentalists and a master of the trumpet, as can be heard on his previous solo albums, numerous Supersilent albums and as a side player for musicians such as Trygve Seim, Christian Wallumrød, Dhafer Youssef, David Sylvian and Frode Haltli to name only a few. As Henriken himself explains: "Most of the music comes from my own 'library' of sounds and music created during my days at Stryn. At the age of 16 I started to make sketches and recorded lots of cassettes with improvised electronic sequences, and over the years loads of tapes and discs have been added to the pile of homemade studio sketches. My idea has been to look into this material to search for a history, for moods, perhaps to understand a little bit more and maybe discover some reasons for why I play like I do." Performed by: Arve Henriksen (trumpet, voice, keyboards and electronics), Ståle Storløkken (keyboards) and Helge Sten (guitars and bow)." [label info] www.runegrammofon.com	2007	€15.00
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
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
HOARFROST & INNER VISION LABORATORY	Decline	CD	"Both Hoarfrost and Inner Vision Laboratory are young projects, but it would be an understatement to call them 'newcomers.' Each of them has already released debut albums alongside numerous split releases, collaborations, web extended plays and compilation tracks. Thanks to them they gathered a substantial following among experimental music listeners. It was just a question of time when the men behind the projects would collaborate on a release. The result is 'Decline' – a tale of descending into the pits of madness in 8 parts. Inspired by two poems, 'Madman' and 'Modern Icarus,' takes you on a journey into the realms of dark thoughts. With such a clear concept, it's no wonder that the music is cinematic, thus slowly building images in the listener's head. Face the stillness, but remember: something is lingering in the corner." [label info] www.zoharum.com	2010	€12.00
HOROLOGIUM	La cartoline perse	CD	"A collection of various unreleased and rare compilation tracks by this cult Polish act. Four tracks have never been released before, while the last track, “Anywhere”, gives us a taster of the forthcoming album “The World Is Not Enough”. The music ranges from Symphonic Industrial with strange, haunting vocal samples, to upbeat Laibach-esque Industrial pop anthems. A nice range of styles on this disc and a good introduction to the act. Limited to just 300 hand-numbered copies in an outsized foldout package (with a couple of naked ladies on the cover for good measure!)." [Cold Spring Records]	2006	€8.00
HORTOBAGYI, LASZLO	Transociety Relics	do-LP	László Hortobágyi is an electron released in the current world sound system galaxy. His sound art is simultaneously an expanded ethnography of an invented folklore and a way to preserve his acoustic environments for future generations. They are compositions of both terrestrial and spatial sound that present a rich auditory ecology and trace the path from the past to the future. Ancient and futuristic environments interconnected by invisible historical complexities and inhabited by guardians of tradition. Hortobágyi's music, conceptually fascinating, reveals a unique and transitory world of sound carried out in a singular work form that opens as a portal to another musical dimension. “Transociety Relics”, his latest opus, compiles previously unreleased archive material spanning the period 1974 / 2019. Each side of this two-LP set reproduces a specific impulse in László Hortobágyi's long and influential career. SIDE A - “Sygnus Synth Seasons 1974” collects pieces of the 1974-1978 period composed designed and played on the modular synth Sygnus, invented and constructed by Péter Radványi at the Department of Phonetics of the ELTE University. “My friend Peter Radványi (of the Phoenetics Department of ELTE, Bp.) began the construction of his own modular instrument following the principle of more serious modular synthesizers or the portable EMS Synthi VCS3-AKS 1969-1971 (eg:Whitenoise) at the same time... "These early electronic music were born in the world of the realized socialism. Not in the West, where thanks to the industrial revolution, by way of original and free accumulation of capital, that is, through exploitation of distant countries and continents, the exotic properties and various genres of musics have become available on the shelves of shopping centers.” (read more in the downloable “Transociety Relics Supplement 2022”) SIDE B – “Earthlingua-dub 2010-2016” “The classic "psydub", however beautified, is nothing more than a modern traditional musical distillate of collective human misery. It is the music of the shattered consciousness that, due to the man-made uninhabitability of the world, wants to leave this reality with the help of music and drugs and seeks another world where it builds a collective culture.The natural evolution of dub is in sync with the misery of the world’s societies…” (read more in the downloable “Transociety Relics Supplement 2022”) SIDE C – “Gandharva Sangeet 2019” “I would like to outline with personal motivation that the 5 pcs tracks here have come together as the conclusion of my private mythology. A progenitor of this is the Gáyan Uttejak Mandali - Society (at the foot of Malábár Hill, now Mumbái) at the turn of the last century and one of its founders, a certain Visnu Náráyan Bhátkhándé, who wrote a 4-volume summary entitled Gandharva Sangeet Paddhati, (ca. "Heavenly Musicmethod"). - and this was published by krámika pustak máliká, that is, in a series of books. In this series of books…” (read more in the downloable “Transociety Relics Supplement 2022”) SIDE D - “Transociety-prána 2013” “In the year of 2010 a new civilization has emerged, with relics, memorials and the wreckage of Noah’s Ark among its ruins, full of memories of the future and, among others, an incomplete ethnomusicologic collection that would be catalogued in subsequent eras as “Transociety Relics “ Later, the "subliminal sociostasis" change of consciousness led to the Ars Guothica Nova movement, whose primary aim was to process the Relics Collection. The restored material has entered the common knowledge as an “Entransociety Live” chapter of eL-Horto’s concert repertoire.” https://amarxe.bandcamp.com/album/transociety-relics	2022	€29.50
HUNTING LODGE	Nomad Souls - Tribal Warning Shot - The Harvest (Expanded & Remastered)	3 x LP set	40 Years ago Hunting Lodge was nearing the peak of its fertile “Tribal” period. In celebration of this anniversary we are releasing Nomad Souls, Tribal Warning Shot (expanded) and The Harvest (live/expanded). All of the included tracks have been lovingly remastered from the original reels and cassettes, restored and mastered by Grant Richardson, with further vinyl mastering by Sion Orgon. Nomad Souls LP was released in the fall of 1984 on S/M Operations in the U.S., and in the following spring on Side Effekts Records, U.K.. Tribal Warning Shot 12” 4-track EP was released early 1985 on S/M Operations (U.S.). The title track was remixed with drums added for a 12” 45 release on Normal Records (Germany) soon thereafter. This version appears here (the original mix is included as a digital bonus track). A new remix of the 1983 7” “Night From Night” b/w “Untitled” is included, along with 2 tracks that appeared on compilation albums and one unreleased track. The Harvest cassette was a collection of live Hunting Lodge tracks circa 1984. Those tracks are #15, #18 through #27, and digital bonus track #1. The Detroit show bears the distinction of being the only time Roselle Williams (“The Wolf Hour”) sang live with the band. Included here are two previously unreleased tracks, one from Chicago and the other from Detroit. This set features a replica of the original S/M Operations' Nomad Souls cover, and of the original Normal Records 12” art on the second LP. The third sleeve features a newly designed back cover by Rolaid Alpo Cola, and an inner panel including the original promo poster artwork along with an essay from Graeme Revell. Puppy38 pulled together all of the design elements. This release is a joint venture between US-based S/M Operations & Fourth Dimension's subsidiary Winter Hill Recordings. https://huntinglodge.bandcamp.com/album/nomad-souls-tribal-warning-shot-the-harvest-expanded-remastered	2024	€50.00
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
	The Rhythm of the Ritual / Ein Phallischer Gott	do-CD	"Zoharum continues reissuing past works of one of the most interesting projects coming from the 1980s underground - Hybryds. ”The Rhythm of the Ritual / Ein Phallischer Gott” is the fifth instalment in the reissue series of Hybryds classic releases. Sandy tells a few words about the period: In the 1990s only small independent labels existed which had their own area to cover distributionwise hoping to spread our music in the world. ”The Rhythm of the Rituals” (1994, Charnel Music) and ”Ein Phallischer Gott” (1997, Crowd Control Activities) shared some songs. There were no official media supporting this world of “underground” music. Acid and rave became popular in the “commercial” scene. Pro Tools was the magic word. But we made our music live on the 8-track. The only sequences were the drum machines. We stayed loyal to working the old-fashioned way. It's the more rhythmical and ethnical site of Hybryds, lots of percussion, played acoustically, or sampled and looped, or from drum machines. Some of the basic music was from the 1980s but by then we worked on a reel-to-reel 8-track tape recorder with a bigger mixing desk. Livewise we started to transfer to our cyberpunk period (as visible in the live version of ”Whisper”). Depending on the demand we had two live shows, the “magical” or the cyberpunk. It was also the time when Yasnaïa and me did the live shows alone. We did not work live on stage with others anymore. We had a manager, Patty Hele from Motherdance. It was easier to travel and perform with two people only. Yasnaïa released her solo album and started playing live with her solo project. The first CD collects tracks from two studio releases ”The Rhythm of the Ritual” and ”Ein Phallischer Gott”. The live CD contains live versions of the studio CD (some taken from the live Obuh vinyl LP) and some extras, like an unreleased song ”Dusk Falling”." [label info] www.zoharum.com "Neben dem Backcatalog anderer Bands taucht in den letzten Jahren auch immer wieder ein Album der HYBRYDS via ZOHARUM auf. Mit „The Rhythm Of The Ritual/ Ein Phallischer Gott“ ist man dabei bei zwei Werken von 1994 bzw. 1997 angekommen, die nun ergänzt um Live-Aufnahmen aus der Zeit als Doppel-CD, wiederaufgelegt werden. Hierzu ist allerdings anzumerken, dass nur drei Stücke des „The Rhythm Of The Ritual“-Albums enthalten sind. Die drei anderen wurden bereits mit der (Wieder-)veröffentlichung von „The Ritual Should Be Kept Alive“ 2015 erneut ans Tageslicht befördert. Auch nicht alle Stücke von „Ein Phallischer Gott“ haben es auf diese Zusammenstellung geschafft. Dafür taucht z.B. das eindrucksvolle „Call Of The Tuareg“ auf – ein Compilation-Track aus jener Zeit. Auf die fürchterlichen, quietschbunten 90er Jahre Computer-Cover der Originale wurde zum Glück nicht zurückgegriffen. Stattdessen wurde dem Release ein absolut stimmiges Artwork verpasst, das sich in die aktuelle, künstlerische Darstellung der HYBRYDS einpasst. Dass die vorliegenden Aufnahmen um die zwanzig Jahre alt sind, lässt sich tatsächlich nur schwer heraushören. Frei von damaligen Trends wirken die Stücke eher zeitlos. Die stark Ritual-, Tribal-lastige Musik wird zumeist von einem Rhythmus-Loop zusammengehalten, über den nicht durchgängig aber hin und wieder YASNAIAs Stimme gelegt wurde. Daneben erklingen Flötenklänge und Synthesizerpads, so dass der Gesamtsound mal organischer und mal elektronischer wirkt. Beteiligt waren an den Arbeiten damals auch illustre Gäste wie HERMAN KLAPHOLZ (u.a. AH CAMA-SOTZ) oder MOON FAR AWAY. Die Live-Aufnahmen und Proberaumaufnahmen der zweiten CD stammen ebenfalls aus der Zeit – zumeist 1996. Neben anderen Stücken, sind hier auch einige Tracks noch einmal in der Live-Version vorhanden, die auf der „Studio-Seite“ bereits zu finden sind. Der Sound ist dabei bis auf einige Ausnahmen durchweg recht gut. Wie oben dargestellt ist „The Rhythm Of The Ritual/ Ein Phallischer Gott“ keine Wiederveröffentlichung im eigentlichen Sinn, sondern eher eine Zusammenstellung von Stücken aus einer zeitlichen Periode, die in sich aber absolut stimmig und geschlossen wirkt und mit den zusätzlichen Live-Versionen und Outtakes einen gewissen Mehrwert mitbringt. Hörer, die sich für rituellen und Tribal-lastigen Ambient interessieren, sollten ruhig ein Ohr riskieren, da die Musik ohne Frage gegenüber der heutigen Konkurrenz mithalten kann – mindestens." [Tony F. für nonpop.de]	2016	€16.00
	The Ritual of the Rave	do-CD	For the past several years Zoharum has been reissung the subsequent albums of the Belgian independent scene legend, Hybryds; so far five has been released. "The Ritual of the Rave" is the sixth installment in this series and is an expanded version of the 1995 album. It has not lost its freshness in those years. It is electronica with strong ambient and ethnic music influences locked in six long, slowly developing compositions. Here there are rhythmic elements directly taken from techno (which announced further changes in the Belgian project's repertoire.) "Icarus" or "Sjamanistic Dream" are still classics in the Hybryds catalogue. This is also one of the expanded editions of their classic albums. The second disc shows what Hybryds was like at concerts during the period when the recordings were made (live tracks compose the first five tracks recorded in 1995). In addition, we have three studio compositions here here. The first one belongs to the collaborative Hydra project, whose only official recording appeared on the compilation "The Uncertain Future" on Antler. The other two are the early recordings from 1988 by Magthea with Mark Burghgreave of Klinik. One of them, "Octahedron", appeared on the absolutely first single of the project. The album has been digitally remastered from the original master tapes by none else but Sandy Nys, who also provided the cover based on the previous editions. The CDs are housed in a digipak sleeve and the album is strictly limited to 500 copies. https://zoharum.bandcamp.com/album/the-ritual-of-the-rave	2017	€15.00
	In the Wake of the Witch	do-CD	After a slightly longer break, HYBRYDS returns to the Zoharum catalog, not with a reissue, not a compilation, but with brand new material. "In The Wake Of The Witch", as this is the title of the new album of the Belgian, or rather Belgian-German band, will be released as a double CD album. It contains as many as 21 tracks, related with each other in such a way as if they were only a fragment of a larger whole, at times a bit intriguing, sometimes giving a chill, and at the same time so interesting and addictive that we can easily immerse ourselves deeply as if suspended somewhere between dream and reality... This almost fairy-tale world was intricately woven by each of the musicians participating in the recordings, using the sounds extracted from their instruments; that is, unchanged for years - Magthea is responsible for the electronics, melodic layer, compositions and sound, accompanied by: TraumaSutra, who plays his own drums and is responsible for a large part of the arrangements, and Peter Geysels, who plays various types of wind instruments. The instrumental layer is complemented by equally important content sung by Madeline Arndt and Katharina Galgareipi, outlining a unique theme, building the right atmosphere and narrative to best present the concept developed on it. Finally, it should be said that "In The Wake Of The Witch" is one of the best albums in the HYBRYDS discography, containing all the elements that have influenced the unique sound and character of their music, the echoes of which can be heard both here and in previous publications . The latest album brings, above all, new, fresh compositions that are in no way inferior to such classics as "Electric Voodoo", "Dreambient" or even "Music For Rituals". 2CD edition released in a six-panel digipack. https://zoharum.bandcamp.com/album/in-the-wake-of-the-witch	2025	€17.00
HYPNOZ	Breath of Earth	CD	CISFINITUM-Fans aufgepasst! Aus dem Umfeld des grandiosen Moskauer Projekts stammt HYPNOZ, und auf diesem Album ist CISFINITUM aka E. VORONOVSKY auch bei 5 von 7 Stücken mit dabei. BREATH OF EARTH ist voller pulsierender elektronischer Ambience, dicht & spannend arrangiert, leicht rhythmisch und mit gewissen Reminiszenzen an die "kosmischen" 70er Jahre, aber mit ganz eigener Note.. "Hypnoz is a project of Dmitry Zubov, a musician from Moscow suburb Fryazino, the town that endowed the lovers of post-industrial music with such names as Hum and Staruha Mha. His first composition was recorded in 1993, and during its existence Hypnoz has released one CD on the Moscow label Insofar Vapour Bulk, which gathered tracks from different periods, a couple of very limited CD-Rs, and participated on the compilation "Iznutri" by the Ewers Tonkunst label with a fragment of a composition from this album. Aside from Hypnoz Dmitry plays in several other projects: Zuboff Sex Shop (post-punk / new-wave), Circle Of Iron Tape (harsh noise), BRZB (electronics, with Alexey Borisov), etc... The basis of most of the tracks for "Breath of Earth" was recorded by Dmitry together with Evgeny Voronovsky (Cisfinitum) during their joint night psychedelic sessions, and this is evidently felt in their mood. Stylistically this can be called tranquil electronic ambient with a remarkable experimental touch – but who thinks about it while recording? Slowly twisting sound helixes, drawing inside the astral subspaces, pulsating rhythms, cosmic sounds of old analogue synthesizers, – all this produces an appropriate effect on the listener's mind, and there's nothing more to demand from music." [label description]	2008	€12.00
IA (ALEX COPELAND)	Peak of Anchorite	mCDR	"IA is the project of us artist alex copeland who sent us a while back a handful of beautiful tracks, and also a great collaborative track (with julien demoulin) titled "the bay" alas 40min long. "the bay" was happily since co-released by ronda and our dear collegue from basses frequences (check this great disc here if you haven't yet!). luckily the solo tracks were of equal beauty and we were immediately hooked by some of them... "peak of anchorite" is a perfect example of IA's music: a kind of ancient, lo-fi drone that could remind the good old days of rapoon. a great newcomer to discover!" [label info] www.taalem.com	2012	€5.00
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	Fin de Siecle	CD	"Long overdue re-issue of this long out of print LP on Korm Plastics (kp 5495), and perhaps its fits the format of CD even better. Illusion Of Safety is Dan Burke, here with Kurt Greisch. Since 1983 Illusion Of Safety has been the ongoing project of Daniel Burke, working alone and with various collaborators. They have released over 20 CDs on labels such as Complacency, Die Stadt, Experimedia, Odd Size, Silent, Soleilmoon, Staalplaat, Tesco, and Waystyx, and played over three hundred concerts in Europe and North America. IOS' work has been called ambient, post-industrial, electro-acoustic, noise, sound collage, improvisation, and power electronics, but they are unwilling to limit their work to any given style or method. The sonic character and affective substance of the music will often shift abruptly within each recording and live performance. 'Fin de Siecle' was part of the 'ambient series' of Korm Plastics and has some highly subtle music to offer, based on field recordings and quiet electronics. Part One and Part Three, the original sides of the LP, were recorded for a tour in 1995 and edited to release on vinyl. The CD version has an extended 'prologue' and 'epilogue' as bonus tracks, making the total CD 66 minutes long." [label info] www.kormplastics.nl "Behind the legendary project Illusion Of Safety, you find the two sound artists, Daniel Burke and Kurt Griesch. The two main pieces of present album "Fin de siecle", was created for an American tour back in 1995. Due to the time-limit of the vinyl-media which was the original release format, the pieces were cut and revised to fit the time-span of the vinyl. Now sixteen years later, the two pieces have returned from the historical archives to be presented on this re-issue on Dutch label Korm Plastics. The twosome has for this particular occasion composed two smaller pieces - an epilogue and prologue for the original album. After the abrasive "Epilogue"-piece, we move into first piece of the original "Fin de siecle"-release, simply titled "Part one". A 22-minutes running piece of ambient tranquility built on repetitive sound-drones until the closing moment where the piece culminates in a harsh grande finale. Second piece of the original vinyl is a lengthy work combining field recordings and trippy sound drones - a subtle piece of an almost inaudible character. Stepping to the last piece of the album, the "Prologue"-track is another recent created work for this re-issue. As was the case with the epilogue, this is a piece of a more upfront nature with long-stretched monotonous tone that because of its repetitive nature create a nice hypnotic atmosphere stretched over the 22 minutes run-time." [NM/Vital Weekly]	2011	€10.00
IN MEDITARIUM [IN MEDITARIVM]	Plexus / Uterus	do-CD	Composed and recorded by Olegh Kolyada and Sergey Svistelnik in 2000 - 2001. Additional mastering by Olegh Kolyada in 2015/2019. Female vocals by Ooteka. Photos by Svetlana Kazmerika, taken in summer 2003, Zhytomyr. Design by Mauro Berchi. A compilation of the two official early albums of the project "Les Fleurs Du Mal" and "Uterus" with three exclusive tracks recorded during the same period. In memory of Sergey Svistelnik († 2nd January, 2018). https://oldcaptain.bandcamp.com/album/in-meditarivm-plexus-uterus	2019	€13.00
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
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! “ Internal Fusion is a rare group. In almost fifteen years of activity, it has only released one solo CD (the fabulous "om vaira sattva hum" through Staalplaat), one CD in collaboration with Désaccord Majeur under the Tlön Uqbar moniker ("la bola perdida" also through Staalplaat), two tapes (through Désaccord Majeur) and taken part in a handle of compilations (including two on our own Harmonie). In spite of (or thanks to, who knows) this limited production, Internal Fusion knows perfectly its field and succeeds once again in captivating the listener. Staalplaat once described Internal Fusion’s music like "the French response to Rapoon and Muslimgauze." Add a good Lustmord proportion (one of the absolute references of Internal Fusion) and you will have a good idea of its music : dark ambiences rhythmed by numerous ritual sounds (bells, ethnic percussions, foreign languages...). listen: https://taalem.bandcamp.com/album/nedenbahe-alm-3	2002	€5.00
IOLINI, ROBERT	Songs from Hurt	CD	„ROBERT IOLINIs ‚Silent Motion‘, der erste Teil von Songs From Hurt (ReR RI2), ist ein Stück für actor, besser Sprecherin (Virginia Baxter), sampled film projectors, pianos and 1927 fotoplayer und setzt sich auseinander mit einer aus widersprüchlichen Texten über (Stumm)Filmmusik collagierten Theorie derselben. Fast kniggemäßig wird ein Katolog von Empfehlungen, Gebrauchsanweisungen und Warnungen verlesen, das Repertoire von Lautmalerei, Phantasie-handläufen und Stimmungstriggering - Grotesque, Mysteriouso, Sinister, Religiouso etc., das Leitmotiv wird eher verdammt, der heutige Usus, Gefühle durch bekannte Hits mit bereits eingeimpften Assoziationsreflexen zu gängeln, sowieso. Iolinis eigener ‚Silent Motion‘-Soundtrack, der mit seinem ‚Funiculì, funiculà‘-Auftakt gleich ungeniert in eines des Fettnäpfchen tritt, ist wie Stummfilm ohne Bild, ein Cowboy ohne Pferd, das er verkehrtrum sattelt. Abstrakt und ironisch wird die emotionale Magie von Stummfilmmusik demonstriert, mal mit, mal gegen den Text. Mit den Songs zu Phillip Crawfords Doku Hurt und mit ‚Black Sheep‘ geht der 1960 geborene Australier, der mit seinem Beitrag ‚Hong Kong: City in Between‘ zur Soundscapes Be)for(e 2000-Compilation schon einmal in BA auftauchte, dann den Schritt von formalen Fragen zu praktischen Verknüpfungen von Form und Inhalt. Bei ‚Songs from Hurt‘ for voices and rock band kommen jugendliche Misfits zu Wort. Ihr O-Ton vom alltäglichen Horror, von Drogen, schlagenden Vätern, Müttern und Polizisten skizziert lakonisch und im Zeitraffer, wie sie im Jugendknast landeten und fungieren 1:1 als ‚Lyrics‘. Iolinis Versuch, in einer falschen und kaputten Wirklichkeit als Künstler realistisch zu werden, collagiert bei ‚Black Sheep‘ erneut ausschließlich O-Ton von Insassen, aktuellen, ehemaligen und potentiellen (sic!), des Don Dale Detention Centre in - ausgerechnet - Darwin, Australien, gemischt mit Aussagen von Sozialarbeitern und Experten für Jugenddelinquenz. Als musikalischer Fond dient minimale Elektronik aus Fieldrecordings, die Jugendliche im Umfeld des Gefängnisses aufgenommen haben. Iolinis schwer zu kategorisierende Audio-Art, „part music, part documentary and part drama“, zeigt verwandte Züge mit Arbeiten von Gregory Whitehead, Jon Rose oder Bob Ostertag, deren Radiophonien Fact & Fiction, Form & Function, Was & Wie so neu justieren wie Raymond Chandler einst den Kriminalroman. Und das mit einer Credibility, die das Maulheldentum des Rap krampfhaft sucht.“ [Rigobert Dittman, Bad Alchemy # 47] “Robert Iolini is a composer who transcends the divisions between music, documentary and radio art, mixing investigative journalism, sound ecology, storyboarding and conventional notated composition -- using songs, spoken word, field recording, improvisation and electroacoustic manipulation to make complex audio works that might equally be music, documentary or fiction. He works, initially, like a radio journalist: researching, collecting materials, conducting interviews. The bulk of Songs From Hurt have been constructed in this way, around the extraordinary testimonies of aboriginal teenagers, prisoners, shadow communities and witnesses to a world in which the interviewees are continually told that they are surplus to requirements. Then this raw data is organised, transformed and integrated into complex musical compositions, becoming itself musical in the process -- its pitches no longer simply prosaic, its rhythms driving the structure of its setting while remaining intact -- not looped or pressured into becoming servants to the overall organisation of an aesthetic fiction. The witnesses and sounds converse and conspire in Iolini's work, but never give way to one another. It is rare for conventional and electronic compositions to remain so respectful of voices and what they have to say, and this plain matter of fact-ness makes most rap sound like bluster, and most opera sound like history." [press release]	2005	€14.00
IRM / SKIN AREA	Purple Screen // Red Eruption / Red Discharge	10"	Harsh Noise with a sometimes jazzy (yes!) feel to it from SKIN AREA, who use also drums and bass and voice, in fact they begin with harsh noises and end up in an improvisation. Very strange and beyond good and evil. IRM create one long dark piece interesting soundwalls... new swedish noise on a new swedish label ! “ Two of Sweden's finest bands share this slab of vinyl. Skin Area delivers a 14-minute track that begs you to push the volumes louder and louder until your brain becomes one with the raging hardcore noises they produce. You'll wish there were drugs as hard and vicious as these sounds, but I'm afraid western science hasn't come that far yet... Skin Area's versatility might shock (and offend) some listeners who are unprepared to blow their minds on a regular basis. IRM makes full use of the 10" format with what could very well be their finest moment yet -- a 12 min epic that expertly combines menacing electronics and more traditional sounds (this should be among the top-five of any best-power-electronics-with-glockenspiel list ever compiled). Since none of you are regular church-goers, why not make it your Sunday ritual to blast the neighborhood with this 10"? You will be rewarded.” [label info]	2003	€10.00
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
ISHIGAMI, KAZUYA	Trash, Rubbish, poor Works	CD	"1stCD of KAZUYA ISHIGAMI. from 2004 to 2006 unreleased 10 works.MAY/2009 release. >>>>detail of works<<<< tr1 God of a stone and God of dog Jun/2004 = note: "A long time ago, it believed in God of a stone and God of dog .They were called "DI-GAMI".However, they were exterminated by technology now.Nobody believes them now." tr2 Otera de Banzai Dec/2005 = note: "Sounds materials from "Oto-no Enniti/SOUND BAZAAR VOL.3" at Senkoji in 30/Jun/2005.I played in the Temple. I calmed down. I sang many no means words for Buddha, and Many "Banzai" for Buddha." tr3 Story of Assaji Feb/2006 = note: "Assaji was pupil of the Buddha.We must know about his great story.And His great personality -- very strong "modesty".." tr4 mu-seki-nin ~irresponsibility~ Sep/2005 = note: "We need responsibility. responsibility of sounds. responsibility of music.responsibility of life.responsibility of death.responsibility of peace." tr5 Zarur cradlesong Mar/2005 = note: "Zarur is just cheap FEED-BACK system.small speakers + small piezo make feed-back sounds and very simple processed from "MAX/MSP".Original sound materials from Zarur live performance in 2002~2004.This work is composed from asymmetrical pulse and noise rhythm.I think , Almost digital sounds(new wave electro-acoustic sounds) is no-passion, no-emotions. but, Zarur Feed-Back have passions and emotions. Zarur Feed-Back is like a life. Sounds grow up gradually." tr6 Zarur quartet Feb/2005 = note: "Original sound materials from Zarur live performance in 2002~2004.This work is composed from 4 sounds layers." tr7 Devadata's childhood Feb/2006 = note: "Devadata was pupil of the Buddha.We must know about his story...I don't know ,now he is in heaven or not.." tr8 fu-an-tei Feb/2005 = note: "The meaning of fu-an-tei is unstable." tr9 Victim is attacked from assailant protection Jun/2006 = note: "Mad, Human rights protection, Contradiction, Tragedy from the tragedy, Where is the god?, peacefully sleep." tr10 God of a stone and God of dog ver2 Feb/2005 = note: "ver2 of God of a stone and God of dog" [website info] www.neus318.com	2009	€12.00
ISHIJIMA, AKEMI	Time drops	maxiCD	Japanischer Composer, bekannt von der Variations 2 – Compilation vom selben Label... Diese erste CD (20 min. playtime) beherbergt zwei Stücke, die sich als intensive, “Zen-like meditations on sound“ beschreiben lassen, sehr klare und helle electro-acoustics mit Glockensounds, "Time drops creates a poetic correspondence with cosmic harmony". Sehr zu empfehlen!	2000	€8.50
JARL	Negative Rotation / Intensive Fracture	do-CD	"After the critically acclaimed (and almost sold-out) collaborative album with Evenomist, Jarl returns to Zoharum fold with the next release. It is the first in the series of albums collecting rare works of Erik Jarl known for his involvement with IRM and Skin Area apart from his solo work. His own compositions are an exquisite mix of static ambient with strong influence of drone, noise or post-industrial electronica in general. This double CD is a reissue of two cassettes originally released by Abisko. They were recorded on a Fostex 8-track recorder. Both tapes sound very different. ”Negative Rotation” is cold and monotonous, but with some changes in sounds that repeats themselves, while ”Intensive Fracture” is improvised psychedelic floating noise. Both recordings were done with analogue synthesizers and analogue effects. This double CD also contains five bonus tracks from different compilations. The CD are housed in an ecopak sleeve and is strictly limited to 250 copies. The cover picture and design was made by Karolina Urbaniak (responsible for the lastest covers Jarl, IRM and Skin Area albums and widely known for here photographic work.) The album was remastered by Łukasz Miernik. The whole production process was overseen by Michał Porwet."	2017	€15.00
JARL / ENVENOMIST	Tunguska Event	CD	"Erik has teamed up with David Reed aka Envenomist to create a sonic reenactment of the Tunguska event. It was ”was a large explosion which occurred near the Podkamennaya Tunguska River in what is now Krasnoyarsk Krai, Russia, at about 07:14 on June 30, 1908” [Wikipedia]. It flattened 2,000 km2 of the forest and it caused glowing sunsets on the horizon. There are many theories concerning the cause of this particular event. Some scientists claim it was connected with an asteroid or comet that burst in the air above the region, others claim that it might have been a small black hole passing near the Earth. The mystery is still unsolved. The music, presented here in five parts, is full of oily drones and industrial blasts intertwined with unsettling ambient textures. The sound on this recording is of complex and mature nature, which hardly comes as a surprise when thinking about years both musicians spent mastering their skills (David with Envenomist and Luasa Raelon; Erik both in IRM and Skin Area, and solo known simply as Jarl). It is an interesting piece of work for those who search for something on the fringes of electronic music. The CD is housed in an ecopak sleeve and is strictly limited to 300 copies." [label info] www.zoharum.com "Erik Jarl is not a man to release a lot of music. I quite enjoyed his 'Parallel/Collapsing', way back in Vital Weekly 401, and since then he also was reviewed in Vital Weekly 470 and 860, and on a few compilations. Here he works together with David Reed, also known as Envenomist, who has had releases on Brise Cul, Segerhuva, Chrondictic Sound and Bloodlust! Certainly two dark drone meisters who meet up here. Their CD is about events at Tunguska, in 1908: a large explosion that flattened 2,000 square kilometres of forest. Why it happened it was not clear, so that's fertile ground for conspiratists worldwide: alien life form, asteroid or comet explosion or a black hole passing earth. Still a mystery that remains unsolved. I assume both gentlemen are at the controls of a bunch of synthesizers and sound effects and together they created five top-heavy pieces of dark synthesizer music. It's not of the pure drone variation, starting and then stopping at some point, but it comes in waves; like a sea at night: you hear the waves, feel a cold wind in the face, but you can hardly see a thing. Another difference is that there is a bunch of looped, percussive sounds. Usually without much variation they simply tick away time, rather than setting a beat. It's all spooky, mysterious and it could very well the soundtrack to the X-files or any other movie on the invasion of the body snatchers. It's music that fits early dark autumn evening very well." [FdW/Vital Weekly]	2014	€12.00
JECK, PHILIP	rpm	do-CD	https://philipjeck.bandcamp.com/album/rpm With rpm, we wanted to join some of the dots of Philip's life and involve many other collaborators, early and more recent. Fennesz was a friend and kindred spirit on the same label. Claire M Singer formed a new chemistry and partnership and although their plans must now take a different form, Mary found some sketches Philip had laid out using Claire's organ recordings, for further development. Faith Coloccia & Philip had already released Stardust on Touch in 2021. Their live performance together at 2220arts + archives, Los Angeles in March 2022 celebrating Touch's 40th anniversary had to be shelved. And in September of that year Iklectik hosted a memorable tribute night with live work from Chris Watson, Liverpool Improvisation Collective, Claire M Singer and others – most of all a dedicated audience who knew and felt that this was a future event and not the end of the story. A work in progress at the time of Philip's death, Oxmardyke, a project with Chris Watson, saw the light of day as Touch Tone 83 in early 2023 – working on recordings Chris had sent, Philip with laptop perched on hospital bed, almost to the end. There were other artists who wanted to actively contribute further, whether in performance or contributing to this album: Jana Winderen had already sent Philip her recordings of pilot whales and the track you hear was finished in March 2022. Cris Cheek was in Slant with Philip and Sianed Jones, who also sadly left us that same year – their work together predates Philip's with Touch. Philip owed much in his early years of composing and playing to his collaboration with dancers, theatre and film makers – in particular, a 10 year working and performing partnership with Laurie Booth, Yip Yip Mix and the 20th Century, which toured widely during the 1980s and early 90s. An early audio visual work, Vinyl Requiem (1993) was created with visual artist Lol Sargent, using 180 record players, nine slide projectors and two 16mm projectors producing a live performance on a huge scale. Vinyl Requiem wasn't exactly about the end of vinyl, but the dawn of some- thing else regarding sound recording and music. It was never a final statement but a testament to the work to come. credits released November 15, 2024 Compiled & edited by Mary Prestidge, Mike Harding & Jon Wozencroft Photography & design by Jon Wozencroft Mastered by Denis Blackham Bonus track: Philip Jeck & Liverpool Improvisation Collective – Makeshift	2024	€22.50
JENERIK, SCOT / R.H.Y. YAU	Meat	CD	" NOISE = LIFE! Nach langer Stille endlich was neues von S.JENERIK nach seiner Europa-Tour im Sommer '99. JENERIK benutzt live ein selbstgebautes, feuerspuckendes Instrument namens "VOLATILE", welches er percussiv bearbeitet und dessen Klänge er hier auf CD gebannt hat: Feuer, Rauschen, mächtige Metallschläge, sich steigernd mit unbändiger Kraft und z.T. nachbearbeitet; aber auch ein eher collagenhaftes Stück mit Insektengeräuschen & Alltagslärm ist hier vorhanden, welches sehr hypnotisch wirkt.. Amazing stuff!! Check it out!! Der uns bisher unbekannte R.H.Y.YAU dagegen ist noch wesentlich abstrakter, mit konkret-noisigen Elementen bewegt er sich irgendwo zwischen BRUME, heftiger Elektro-Akustik und gänzlich abstrakten Klängen..." [Drone Rec. info 2000] "And in this corner: from San Francisco, Scot Jenerik and his cacophonous loops of percussion and processed sound, industrializing any room it is played in. And in this corner: Randy Yau, also from The State Over On The End, with his unpredictable eruptions of vocal and kinetic energy. That can't be good for his microphone, folks. We're looking at close match, and the winner gets a pile of metallic-flavored meat." [ronsen.org/monkminkpinkpunk/23/lostreviews.html]	1999	€13.00
JERMAN, JEPH	Keep the Drum	CD	New Forces is pleased to offer a reissue of Jeph Jerman's "Keep the Drum," originally released on cassette by Apraxia in 1990. Since the 1980's Jeph Jerman has been a key figure in experimental music, from the textural noise of his legendary Hands To project, to more recent studies in field recording and acoustic sound recorded under his own name. On "Keep the Drum" Jerman explores what he calls "concussion music," working with a pile of hubcaps, sheet metal and "other bits of junk" to rethink the traditional drum kit. The sounds on this disc crackle, pop, and thud. Each tactile scrape conjures up the rusted edge of some bit of scrap-metal as the ambiance of the physical space hums in the background. As Jerman tells the story, these recordings were a continuation of his interest in “using things other than musical instruments to construct sound works… I think 'Keep the Drum' was also the very beginning of my interest in small sounds. One afternoon Darren Soule brought over a bunch of tiny metal pipe pieces which he had mounted on bent paper clips so that they could be played. They rang like bells, but were very difficult to control. I loved that about them. There’s also a short piece wherein I played small bones, foreshadowing a lot of my later live work.” Recorded on a borrowed 4-track with two battered old mics, “Keep the Drum” is full of Jerman’s trademark textural intimacy. The recordings have been remastered by Grant Richardson to bring them to life without sacrificing their individuality, making these extremely rare recordings once more available. https://newforces.bandcamp.com/album/keep-the-drum-concussion-solos	2021	€14.00
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
JOAQUIM, VITOR	A Rose is a Rose	CD	Very complex digital-ambience soundscapes from this portugesian composer, hard to describe but much acoustic happenings are going on here on different levels, carefully constructed and drowns everything into a surrealistic, ominous atmosphere.... excellent stuff ! “Der Gertrude Stein’sche Titel seines rosenfarbenen Solos ist ja eigentlich das Motto jeder Musik. Sounds sind Sounds und können nicht übersetzt werden. Alles narrative und imaginäre Beiwerk ist subjektiv, ja geradezu idiosynkratisch. Allerdings ist eine rigorose Idiosynkrasie mein bad alchemystischer Generalschlüssel zur Welt, um sie zu durchstreifen als ein Spiegelkabinett, eine Echokammer des Imaginären, eine Passage voller synästhetischer Reize und kryptischer Symbole. Und Rilke hat schon gewusst, dass die Rose nicht nur eine Rose ist, sondern ein „reiner Widerspruch’ und die „Lust, Niemandes Schlaf zu sein.’ Joaquims bruitistisches Cinema pour l’oreille, imprägniert mit unkenntlichen TV-Samples, ist, wie alles Abstrakte, eine vieldeutige Projektionsfläche. Acht Tracks, alle namenlos, stoßen die Phantasie in ein traumlandschaftliches Erewhon, in dem sie sich unwillkürlich zu orientieren versucht - stotternder Funkverkehr im verrauschten Wellensalat (1), eine Unterwasserwelt (5), ein Fabrikgelände in der Nacht (6)? Das Gewebe aus vibrierendem grauem Rauschen ist wie durchpulst und durchatmet von etwas, das gleichzeitig organisch ist und automatisch, vital und mechanisch, elektronisch und psychophysisch, etwas wie Eshuns Futurhythmachine, wie eine Wunschmaschine. Die war schon bei Sade fähig zu glossolalischen Flüchen wie „Chivarusmarbarbarmavosacromicrepanti!’. Und von Sade stammt auch die weitsichtige Erkenntnis, dass es nicht die Maschine ist, sondern „das unreine Reptil, das eine Rose schändet.’ Joaquim fungiert als ein weiterer Pilot eines oulipoetischen Perpetuum mobile, das unermüdlicher ‘Autor’ einer ecriture automatique ist. Er (der Künstler) „präsentiert paranoische, Wunder- und Junggesellenmaschinen, als wären es technische Maschinen, stets bereit, die technischen Maschinen mit Wunschmaschinen zu unterlaufen. Vielmehr ist das Kunstwerk selbst eine Wunschmaschine. Der Künstler füllt seine Schatztruhe für eine bevorstehende Explosion...’ (Deleuze/Guattari) Joaquims Tracks 7 & 8 zeigen die Klangmaschine in der Metamorphose vom kalibanisch gurgelnden Poeten zum knurrenden Hund zum rückwÄrts lallenden Orakel. Laut M. Pfister & S. Zweifel ist es die „Imachination’, die die Verhältnisse zum Tanzen bringt.“ [Rigobert Dittmann / BAD ALCHEMY 45]	2004	€13.00
JUNKIE FLAMINGOS	Lemegeton Party	LP	"Lemegeton Party is the narcotic and occluded industrial-ambient debut for the Junkie Flamingos, a project conceived in 2017 by Luca Sigurtà, Alice Kundalini, and Daniele Delogu. Each of these musicians has their distinctive sounds: Sigurtà with his vertiginous electronica, Kundalini best known as the author behind the death industrial project She Spread Sorrow, and Delogu in the bombastic folk of the Barbarian Pipe Band. Their collective amalgamation shifts but does not denude each of these aesthetics in the construction of this oblique, sidereal album. Inspired by Freidrich Holderlin’s Hyperion, Lemegeton Party is gilded with a neoclassical sheen that alludes to both the divine and the diabolical. Kundalini’s whispered invocations which have so creepily effective in addressing psychosexually abject conditions in She Spread Sorrow are immediately recognizable here. Yet, she shifts the content towards messages of power and strength, even if cast in the shadows of desolation and solitude. The arrangements ebb and flow upon a rhythmic spine of drum machines and cybernetic sequences, laden with acoustic instrumentation bathed in effects and treatments that all serve to bolster Kundalini’s allegorical declarations. To think of Coil’s post-MDMA experiments in chill-out isolationism wouldn’t be far from the mark, with the Junkie Flamingos making a stark nod to the slow motion, proto-techno torpor of Elettronica Meccanica instead of ‘90s British rave culture. Mastered by James Plotkin and photograph by Stefano Majno."	2019	€20.00
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
	Infinity	CD-ROM	K-SPACE ist das Projekt von TIM HODGKINSON, KEN HYDER und GENDOS CHAMZYRYN, die für ihre dritte Veröffentlichung eine (soweit ich weiss) Weltneuheit geschaffen haben: Das 20 minütige "Infinity" klingt bei jedem abspielen (geht nur auf Computer) neu und erschafft sich quasi jedesmal selbst noch einmal, da eine auf der CDR mitgelieferte Software die einzelnen Klangelemente & Parameter jedesmal individuell "mischt". Enthalten sind perkussive & vokale Ritualsounds von diversen Schamanen, RADIK TYULYUSH (Mitglied bei der legendären sibirischen "throatsinging" Gruppe HUUN-HUUR-TU), ein ganzer russischer Chor aus Kyzyl, sowie diverse ethnische & klassische Instrumente die von den K-SPACE Mitgliedern eingespielt wurden. Die INFINITY-Versionen die ich bisher hören konnte klingen nach einer organischen Melange aus Ethno- und (Geräusch)-Jazz-Elementen, dunkler Geräuschmusik und rituellem Post-Industrial. Faszinierendes Konzept und sehr stimmiges Ergebnis ! "A first in formatting. This CD will only play on your computer, on the on the other hand it will always be different, every time you listen to it. K Space is Tim Hodgkinson (electronics, Hawaiian guitar, reeds), Ken Hyder, (percussion, voice) and Gendos Chamzyryn (voice and percussion), but this doesn't tell you much. There are also environmental recordings here, and deconstructed fragments, all pooled so that specially written software will compile and sequence 20minute pieces according to complex algorithms (rather than just randomly) that will never repeat. In other words there is no object here that will deliver what you know; there are materials that are constantly recombined so that each audition will be something unexpected. A great idea, brilliantly realised." [label notes] www.adhocrecords.com	2008	€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
KA-SPEL, EDWARD (LEGENDARY PINK DOTS)	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
KABUKABU / KLEZMER CHIDESCH	performs The KREV Underwater National Anthem # 3 / 4	7	Die "Nationalhymne" des Königreichs Elgaland-Vargaland (KREV) in der afrikanischen und Klezmer 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, Teil 2 der vierteiligen Serie entstand im Haus der Kulturen der Welt in Berlin im Oktober 2006 und enthält zwei wilde live-Versionen von KLEZMER CHIDESCH und KABUKABU.. "These recordings were regally made on 21 October 2006, Haus der Kulturen der Welt, Berlin at the opening of the Elgaland-Vargaland Embassy for Germany in the presence of the Kings, Michael I and Leif I, Consul Hans Ulrich Obrist (who made the inauguration speech) and the KREV Ambassador Bernd M. Scherer. This 7” is the second in a series of vinyl acoustic versions of the National Anthems of Elgaland-Vargaland. See also the Mariachi version on Ash 7.2 ~ Ash International, 2007. Genuflections to: Dorothea von Hantelmann and Vera Dorsch. BERLIN AFROBEAT DYNAMITE... Kabukabu Vocals and percussion: Akinola Famson Drums and vocals: Ekow Alabi-Savage Bass and vocals: Patrick Frankowski Trumpet: Daniel Allen Keyboards: Matti Klein Tenor/baritone saxophone: Michael Holder Percussion and vocals: John Famodimu 2005, after the dissolvement of the then only afrobeat band in Berlin “Rhythmtaxi”, the city witnessed the birth of a new offspring of Afrobeat family christened “KABUKABU”(a slogan used in Lagos / Nigeria for Buses used in transporting the masses. The bus not only transports people from one point to another, but also serves as a medium of desseminating news and messages to the people). A band formed by Akinola Famson, Ekow Brown and Patrick Frankowski (pillars of Afro and Reggae scene in Berlin) alongside with other international outstanding musicians, who have dedicated their artistic life to improving on the legacy laid by Fela Kuti “God father of Afrobeat” , an explosive combination of Westafrica rhythms with Funk and Jazz Americas. Irresistable groove travelling round the globe. KABUKABU stands out as the only unbeatable “Afrobeatdynamite”. Through its new style of playing and the introduction of diverse musical acts as well as other indigenous percussive instruments, the band had added a new dimension into the way Afrobeat is being played, taking afrobeat to another level which conforms with the present musical demands of all music lovers without neglecting the original intention of “ANIKULAPO” the initiator . The band had created a musical delicacy termed “Explosive-Afrobeat” through its mix of HipHop, Reggae, Dancehall, Soul, Funk with african traditional elements. This new dimension enables the band to cooperate and work with other solo artist as well as Dj’s and Mc’s e.g. the collaboration work with exotical musicians like JIMI TENOR, TM STEVENS, MFA KERA…etc. With just one year of refining the left overs of Rhythmtaxi, KABUKABU’s just finished EP with “3 delicious tracks” will be release soon. So stay tuned and watch out when next the rhythm bus is passing through your area. Klezmer Chidesch Accordion: Jossif Gofenberg Clarinet: Igor Sverdlov Drums: Mark Szmelkin Double bass: Alexander Franz BERLIN KLEZMER: (the miracle called Klezmer) brings the most cheerful and heart-moving mood in the music halls with its rapid tempo. The four musical souls bring nostalgia, melancholy, love and amusement together in a feeling of life: The Klezmer. Their Klezmer music is particularly facet-rich, since all four musicians have professional music training and an experience of many years. The lovely Band from Berlin, that consists of trained musicians, who originally come from Ukraine and White Russia, plays the original Jewish instruments and the folks music of eastern Europe with a lot of soul and energy. "We play very gladly at your weddings, birthdays and also all other occasions and guarantee for the fact that, our Jewish folks music that comes from the heart will inspire you will draw you along." www.klezmerchidesch.de [full label info] www.ashinternational.com	2007	€7.50
KALLABRIS	Off Mind	mCD-R	„Things happen. This is obviously wrong.“ Nach langer Sendepause eine weitere Kallabristische Exkursion in abseitige Bereiche! Schon die Verpackung (verschlossene Senftüte mit einer Art Zeitung darin die sowas wie philosophische Aphorismen bzw. logisch aufeinander aufbauende Widersprüche enthält) ist aussergewöhnlich genug, das akustische Sprach- und Musik-Material verwirrt und regt weiter an: verfremdetes endloses erkenntnistheoretisches Geschwurbel garniert mit seltsam halb-rhythmischen Mantra-Strukturen und ebenso seltenen Geräuschen.... wir sind begeistert vor so viel Geist im Nicht-Geistigen. Ein genialer Streich. “Kallabris’ scientific research has always been outstanding: their North Pole expedition, the chemistry of change that can be experienced in mocha, the ondadynamical theory as a clue for the explanation of mental phenomena - just to mention a few, well-known highlights. This time, they go for the core of it all: epistemology covered with ontological speculations. The Apologia gives a rough, yet charmingly delivered sketch of the project -- impressions and reflections performed with an impressing beat. The Corpus Maior is a dance of condensed thought, a playful and enchanted rhythm that cheerfully leads to the Epilogus which, with its skeptical melancholy, makes plainly obvious how little is done when the answers are given. A tribute to quest, but in no means to discovery.” [label info]	2006	€13.00
KAMMERFLIMMER KOLLEKTIEF	Schemen	LP	11. Album des einzigartigen Kollektivs: Psychedelia und Free Form Jazz (not Jazz) bilden die Grundlage für ausgedehnte Exkursionen mit eigentümlichen Texturen und drastischen Wendungen. Disloziert dichte Musik voller geheimer Zusammenhänge! Bevor die Vernunft siegt, auf die sich jene berufen, die wollen, dass alles so bleibt wie es ist, unterbricht das Kammerflimmer Kollektief die etablierten Lieferketten der Töne. Es sucht interessantere Wege, sie zusammenzusetzen. Im Vertrauen darauf und besonders im Satthaben dessen, dass sowieso jeder Ton, der noch aus Gitarre und Bass und Harmonium und Schlagwerk und Elektronikapparaturen heraus geschliffen kommt, schon in die Bedeutungsmangel genommen worden ist. Schluss damit. Hier wird nichts mehr erklärt. Hier wird in Schemen gesprochen. Verschliffen und ruckartig. Die Bilder, die das Kammerflimmer Kollektief heraufbeschwört, passieren daher nicht im Fokus des Bewusstseins, sondern in dessen äußeren Bereichen. In jenen, denen man gerade nicht seine volle Aufmerksamkeit schenkt, die aber trotzdem wahrgenommen werden. Wenn beispielsweise im Augenwinkel ein Blatt vom Boden zurück an den Baum fällt und ein Moment entsteht, in dem du das für möglich hälst, bevor du erkennst, es war ein kleiner Vogel, der in den Baum fliegt: In solchen irritierenden Momenten zwischen Wahrnehmung und Erkenntnis findet auch die Kunst des Kollektiefs statt. Wenn nämlich auf »Schemen« vertraute Fragmente sanft um ihren Kern schweben – ein Fender-Rhodes-Ton, eine Bassfigur, ein Gitarrenmotiv, ein meisterlicher Drum-Shuffle, ein dem Harmoniumspiel Christa ›Nico‹ Päffgens entlehnter Moment der eisigen Stase – und dabei kurze Assoziationen triggern, bis sie durch Free-Jazz-informierte Editierarbeit langsam in andere Richtungen abrauschen, dann können ebenfalls solche Zonen entstehen, in denen die Wahrnehmung ein paar Tricks bereit hält und sich früheres Erleben plötzlich ganz anders ins Jetzt bricht. Halb vermutet, halb gesehen. Halb-Musik wie sie auch die Kölner Can – ebenfalls Meister des Impro-Editierens – vor ein paar Jahrzehnten bisweilen in ihren Zwischenmomenten produziert haben. Dort wo gerade nicht der Liebezeitliche Groove den augenblicklich nachvollziehbaren Takt gibt. Die ersten Minuten von »Future Days« etwa, die sich sachte einblenden und von allen Richtungen des Raums aus eine kaum konkret zu greifende Gestalt skizzieren. Auf ähnlich offene Entwicklungsmomente lässt sich auch das Kammerflimmer Kollektief ein. Locker entzieht es sich den ersten prägenden Eindrücken und hält sich für Zeitpunkte bereit, die keiner Verabredungslogik folgen. Diese Lockerheit im Umgang macht das Kammerflimmer Kollektief so fluide hörbar, selbst wenn sich dissonante Spitzen und freies Spiel zeigen. Was für Cans Kompositionsverständnis Karlheinz Stockhausen ist, sind für das Kammerflimmer Kollektief dabei vielleicht die Aufnahmen von The Cocoon. Letzteres eine Zusammenkunft von Garagenpsychedelikern aus dem Raum Hannover mit freien Jazzern der Galaxie Dream Band, dessen 1985 in unbeobachteten Augenblicken aufgenommenes Album »While The Recording Engineer Sleeps« in ganz ähnlicher Weise mit dezentralen Wahrnehmungsambivalenzen operiert und erst vier Jahre später mehr oder weniger heimlich auf Wilhelm Reich Schallspeicher erschienen ist. Andere Spuren von »Schemen« führen zum Debutalbum der Quicksilver Messenger Service. Die ungezwungen auf sich Bezug nehmenden Gitarren von Gary Duncan und John Cipollina sind Anleitungen zum Loslassen. Sie wollen nicht in jeder Note als Solo nachgespürt werden, sondern sie geben ihrer Musik ein Gefühl, dass sich das Wesentliche außerhalb des Zentrums abspielt, im gegenseitigen und intuitiven Beschenken von liebevollen Hinwendungen. Bewusstseinsfrei. Liebevolle Hinwendungen wie diese eine kleine Gitarrenphrase, die wie eine Art Leitmotiv immer mal wieder mehr oder weniger unverändert durch die Alben des Kammerflimmer Kollektiefs geistert. Eine Coricidin induzierte, sehr einprägsame, aus uraltem Æther herausgefilterte Slide-Idee, die – wer weiß – vielleicht sogar schon vor Jahrhunderten ihren Weg von irgendwo nach Amerika fand – das alte, das unheimliche – und von da aus durch die Zeiten weiterwaberte in das südliche Deutschland, in ein verräuchertes Studio in der oberrheinischen Tiefebene. Als eine Erinnerung, von der selbst die Erinnerung nicht mehr weiß, an was sie einmal erinnerte. Ungesagt, dann vergessen. Im Kammerflimmer Kollektief findest du zudem einen Freund sich langsam aufbauender, ungehetzter Musik, die wohl auch der alte Franz Mesmer geschätzt hätte, der vor gut 200 Jahren nach tranquillierenden Behandlungen seinen Patienten manchmal noch ambiente Weisen auf der monströsen Glasharmonika vorzuspielen pflegte. Um sich jedoch nicht vollständig dem Fluss der eigenen Lebensenergie hinzugeben, wie es Mesmers Therapien vorschwebte, legt das Kammerflimmer Kollektief beizeiten noch hektische Spannungen unter, sanft umarmt vom Dröhnen eines Sinusgenerators, als könnte man in Trance noch mal kurz eine Erfrischung nehmen. Dieser alte, analoge Sinusgenerator ist neu im kammerflimmerischen Sortiment der Töne. Die Kunst des Kollektiefs dockt also gerne mal an moderne Zeiten an, während sie Vergangenheit im Schilde führt. Zustände beginnen zu flackern zwischen Einbildung und Gewissheit, zwischen kulturgebundener Kunstäußerung und Zufällen: Ein Krächzen und Schaben kann bei ihnen auch immer einfach nur ein Krächzen und Schaben sein, wie bei Andy Warhol ein Pilzesser einfach nur einen Pilz isst. Heike Aumüllers Cover-Arbeiten, die alle Alben des Kammerflimmer Kollektiefs illustrieren, wirken zusätzlich als Verstärker nicht erklärter Brechungen. Ihr Stil besteht aus Augenwinkel-Kunst, die es auch dann noch bleibt, wenn sie direkt angeschaut wird. Ihre Aufnahmen bleiben unbehaglich, weil sie sich auch im Nachhinein nicht zurecht ruckeln in eine beruhigende Ordnung. Statt sich aber der aufkommenden Angst beim Betrachten durch den Versuch zu entziehen, sich irgendeinen irrationalen Reim darauf zu machen, gilt es sie auszuhalten. Das gilt auch für die Musik. Der Trick besteht darin, Teile Teile sein zu lassen, ohne sie zwanghaft zu in falsche Sicherheit wiegende wahnhafte Muster zu verknüpfen und sich dadurch womöglich selbst etwas vorzumachen. Freiheit bedeutet in diesem Zusammenhang, nicht ängstlich in allem einen herbeifantasierten übergeordneten Sinn sehen zu müssen. »Schemen« wirkt antiverschwörerisch. Liner notes: Werner Ahrensfeld https://karlrecords.bandcamp.com/album/schemen www.kammerflimmer.com	2023	€19.50
	Schemen	CD	11. Album des einzigartigen Kollektivs: Psychedelia und Free Form Jazz (not Jazz) bilden die Grundlage für ausgedehnte Exkursionen mit eigentümlichen Texturen und drastischen Wendungen. Disloziert dichte Musik voller geheimer Zusammenhänge! Bevor die Vernunft siegt, auf die sich jene berufen, die wollen, dass alles so bleibt wie es ist, unterbricht das Kammerflimmer Kollektief die etablierten Lieferketten der Töne. Es sucht interessantere Wege, sie zusammenzusetzen. Im Vertrauen darauf und besonders im Satthaben dessen, dass sowieso jeder Ton, der noch aus Gitarre und Bass und Harmonium und Schlagwerk und Elektronikapparaturen heraus geschliffen kommt, schon in die Bedeutungsmangel genommen worden ist. Schluss damit. Hier wird nichts mehr erklärt. Hier wird in Schemen gesprochen. Verschliffen und ruckartig. Die Bilder, die das Kammerflimmer Kollektief heraufbeschwört, passieren daher nicht im Fokus des Bewusstseins, sondern in dessen äußeren Bereichen. In jenen, denen man gerade nicht seine volle Aufmerksamkeit schenkt, die aber trotzdem wahrgenommen werden. Wenn beispielsweise im Augenwinkel ein Blatt vom Boden zurück an den Baum fällt und ein Moment entsteht, in dem du das für möglich hälst, bevor du erkennst, es war ein kleiner Vogel, der in den Baum fliegt: In solchen irritierenden Momenten zwischen Wahrnehmung und Erkenntnis findet auch die Kunst des Kollektiefs statt. Wenn nämlich auf »Schemen« vertraute Fragmente sanft um ihren Kern schweben – ein Fender-Rhodes-Ton, eine Bassfigur, ein Gitarrenmotiv, ein meisterlicher Drum-Shuffle, ein dem Harmoniumspiel Christa ›Nico‹ Päffgens entlehnter Moment der eisigen Stase – und dabei kurze Assoziationen triggern, bis sie durch Free-Jazz-informierte Editierarbeit langsam in andere Richtungen abrauschen, dann können ebenfalls solche Zonen entstehen, in denen die Wahrnehmung ein paar Tricks bereit hält und sich früheres Erleben plötzlich ganz anders ins Jetzt bricht. Halb vermutet, halb gesehen. Halb-Musik wie sie auch die Kölner Can – ebenfalls Meister des Impro-Editierens – vor ein paar Jahrzehnten bisweilen in ihren Zwischenmomenten produziert haben. Dort wo gerade nicht der Liebezeitliche Groove den augenblicklich nachvollziehbaren Takt gibt. Die ersten Minuten von »Future Days« etwa, die sich sachte einblenden und von allen Richtungen des Raums aus eine kaum konkret zu greifende Gestalt skizzieren. Auf ähnlich offene Entwicklungsmomente lässt sich auch das Kammerflimmer Kollektief ein. Locker entzieht es sich den ersten prägenden Eindrücken und hält sich für Zeitpunkte bereit, die keiner Verabredungslogik folgen. Diese Lockerheit im Umgang macht das Kammerflimmer Kollektief so fluide hörbar, selbst wenn sich dissonante Spitzen und freies Spiel zeigen. Was für Cans Kompositionsverständnis Karlheinz Stockhausen ist, sind für das Kammerflimmer Kollektief dabei vielleicht die Aufnahmen von The Cocoon. Letzteres eine Zusammenkunft von Garagenpsychedelikern aus dem Raum Hannover mit freien Jazzern der Galaxie Dream Band, dessen 1985 in unbeobachteten Augenblicken aufgenommenes Album »While The Recording Engineer Sleeps« in ganz ähnlicher Weise mit dezentralen Wahrnehmungsambivalenzen operiert und erst vier Jahre später mehr oder weniger heimlich auf Wilhelm Reich Schallspeicher erschienen ist. Andere Spuren von »Schemen« führen zum Debutalbum der Quicksilver Messenger Service. Die ungezwungen auf sich Bezug nehmenden Gitarren von Gary Duncan und John Cipollina sind Anleitungen zum Loslassen. Sie wollen nicht in jeder Note als Solo nachgespürt werden, sondern sie geben ihrer Musik ein Gefühl, dass sich das Wesentliche außerhalb des Zentrums abspielt, im gegenseitigen und intuitiven Beschenken von liebevollen Hinwendungen. Bewusstseinsfrei. Liebevolle Hinwendungen wie diese eine kleine Gitarrenphrase, die wie eine Art Leitmotiv immer mal wieder mehr oder weniger unverändert durch die Alben des Kammerflimmer Kollektiefs geistert. Eine Coricidin induzierte, sehr einprägsame, aus uraltem Æther herausgefilterte Slide-Idee, die – wer weiß – vielleicht sogar schon vor Jahrhunderten ihren Weg von irgendwo nach Amerika fand – das alte, das unheimliche – und von da aus durch die Zeiten weiterwaberte in das südliche Deutschland, in ein verräuchertes Studio in der oberrheinischen Tiefebene. Als eine Erinnerung, von der selbst die Erinnerung nicht mehr weiß, an was sie einmal erinnerte. Ungesagt, dann vergessen. Im Kammerflimmer Kollektief findest du zudem einen Freund sich langsam aufbauender, ungehetzter Musik, die wohl auch der alte Franz Mesmer geschätzt hätte, der vor gut 200 Jahren nach tranquillierenden Behandlungen seinen Patienten manchmal noch ambiente Weisen auf der monströsen Glasharmonika vorzuspielen pflegte. Um sich jedoch nicht vollständig dem Fluss der eigenen Lebensenergie hinzugeben, wie es Mesmers Therapien vorschwebte, legt das Kammerflimmer Kollektief beizeiten noch hektische Spannungen unter, sanft umarmt vom Dröhnen eines Sinusgenerators, als könnte man in Trance noch mal kurz eine Erfrischung nehmen. Dieser alte, analoge Sinusgenerator ist neu im kammerflimmerischen Sortiment der Töne. Die Kunst des Kollektiefs dockt also gerne mal an moderne Zeiten an, während sie Vergangenheit im Schilde führt. Zustände beginnen zu flackern zwischen Einbildung und Gewissheit, zwischen kulturgebundener Kunstäußerung und Zufällen: Ein Krächzen und Schaben kann bei ihnen auch immer einfach nur ein Krächzen und Schaben sein, wie bei Andy Warhol ein Pilzesser einfach nur einen Pilz isst. Heike Aumüllers Cover-Arbeiten, die alle Alben des Kammerflimmer Kollektiefs illustrieren, wirken zusätzlich als Verstärker nicht erklärter Brechungen. Ihr Stil besteht aus Augenwinkel-Kunst, die es auch dann noch bleibt, wenn sie direkt angeschaut wird. Ihre Aufnahmen bleiben unbehaglich, weil sie sich auch im Nachhinein nicht zurecht ruckeln in eine beruhigende Ordnung. Statt sich aber der aufkommenden Angst beim Betrachten durch den Versuch zu entziehen, sich irgendeinen irrationalen Reim darauf zu machen, gilt es sie auszuhalten. Das gilt auch für die Musik. Der Trick besteht darin, Teile Teile sein zu lassen, ohne sie zwanghaft zu in falsche Sicherheit wiegende wahnhafte Muster zu verknüpfen und sich dadurch womöglich selbst etwas vorzumachen. Freiheit bedeutet in diesem Zusammenhang, nicht ängstlich in allem einen herbeifantasierten übergeordneten Sinn sehen zu müssen. »Schemen« wirkt antiverschwörerisch. Liner notes: Werner Ahrensfeld https://karlrecords.bandcamp.com/album/schemen www.kammerflimmer.com	2023	€13.00
KAMMERFLIMMER KOLLEKTIEF / STRINGS OF CONSCIOUSNESS	split	10inch	"Für den Auftakt der halluzinatorischen Wahrnehmungen gewidmeten Parakusis-Reihe des mit Bill Laswell gestarteten Karlsruher Labels, variieren Thomas Weber, Heike Aumüller & Johannes Frisch zwei Tracks ihres Staubgold-Releases Jinx, bei denen der Musik Flügel wachsen, die einen in eine Art ‚out of body experience‘ davon tragen können. ‚Jnx (Excursion)‘ klopft, rasselt und dröhnt und Aumüller kaut mit zittrigem Gesang die Luft weich, damit das Karlsruher Schamanen-Kollektief an der Weltachse entlang in die Anderwelt gelangt. ‚Both Eyes Tight Shut‘ (Instrumentalversion) bringt Strings -Frischs Kontrabass arco, Heike Wendelins Viola und Martin Siewerts Lapsteel - so in Schwingung, dass die Phantasie auf sanften Langwellen den Orbit verlässt und durch Outer Space driftet, nirvanasüchtig wie der finale Surfer in Dark Star. Zwei astrale Trips in der Tradition krautiger Space-Psychedelik. Hinter fest geschlossenen Augen öffnet sich die Tür des Cactus Tree Motels auf den Mäanderweg in Sound, der in Altered States lockt. Stringtheoretisch versiert zeigt sich auch das von BiP_HOp-Macher Philippe Petit versammelte 11-köpfige Ensemble STRINGS OF CONSCIOUSNESS. Saiteninstrumente haben die absolute Mehrheit gegenüber der Fraktion aus Trompete, Saxophon, Vibraphon, Sampler und Petits Laptop. Nach einer ersten Duftmarke auf der BiP_HOp-Compilation Generation v.8 wird man hier entführt in den ‚Forest of Spades‘ mit seinem von Streichern und Vibraphon gestreuten Nadelteppich, von Perceval Bellones süßem Saxophon in ein ‚Fantastique Alaska‘ und von Andy Diagrams Trompete auf Bergkämme, auf denen sich nicht nur die Wasser scheiden. Diese Fourth World hat ihren Magnetpol im Osten. Die Musik verflüssigt das Bewusstsein so, dass es dem Sehnsuchtshorizont stetig zuströmt. Wenn nicht auch die Anderwelt ein Kugel wäre." [Bad Alchemy] "Kammerflimmer Kollektief/Strings Of Consciousness Split 10". Exclusive tracks on a strictly limited aficionados edition of 500. Both bands recently released a full-length album. Gatefold sleeve, elaborate artwork." [label info] www.karlrecords.net	2007	€12.00
KEELER, JAMES P.	Terrarium Dreams	mCD-R	james p. keeler submitted us the three tracks of "terrarium dreams" in november 2020 for the fifth volume of our "homework" annual digital compilations. it was so intense that it was absolutely impossible to take one track so we proposed james to release a new 3", almost 20 years after his "5 shades for a grey room" released on taâlem in 2002. et voilà! james p. keeler used: field recordings, object manipulation, samples, synths recorded 2020 "From the various projects that James P. Keeler has, as Keeler Designs, or in groups such Amputation Theory, Astronomy, Hedorah, Human As Disease, Maggotapplewonderland, Minotaur, The Leg, The Oak Trio, and Wilt, only the latter made it to these pages, albeit a long time ago. This is his second release for Taalem, following '5 Shades For A Grey Room', in 2002. Keeler uses field recordings, object manipulation, samples and synthesizers. Here we arrive at the more noisy end of ambient music. And, perhaps, also a more ritualistic aspect attached by Keeler. I am not sure why I am thinking of this, but the chirping of insects and wandering along the coast, along with the occasional slow thud, just make it sound like a ritual. The three pieces here drift on the edge of noise and lacks the delicacy of many other releases by Taalem. I found all of this a bit without focus, but at the same time, I am not sure why I am thinking this." [FdW/Vital Weekly]	2021	€5.00
KLEISTWAHR	Winter / Music for Zeitgeist Fighters	do-CD	https://garymundykleistwahr.bandcamp.com/album/winter-music-for-zeitgeist-fighters-2 This is the first CD release of the Kleistwahr albums Winter and Music for Zeitgeist Fighters. The albums previously appeared on vinyl. Winter was originally released on cassette in 2019 as part of the On Corrosion box set compilation released by the Helen Scarsdale Agency. The same label reissued it on vinyl in 2021. Music for Zeitgeist Fighters was released on the Nashazphone label on vinyl in 2017. This 2CD set is released by Fourth Dimension Records. With the end of Vital Weekly rapidly approaching, is there something lost? As in, for me? Something I will regret? Absolutely. For one, it is no longer receiving music from musicians whose work I have enjoyed for a long time, and you know where this is going: Gary Mundy's Kleistwahr is such a project. I am a fan, but not one to rush out and buy every record. Luckily, there's Fourth Dimension Records to reissue the limited vinyl onto a format I prefer: the CD. This double CD contains the LP 'Winter', first released by the Helen Scarsdale Agency in 2021 (an edition of 300 copies), and the 'Music For Zeitgeist Fighters' on Nashazphone in 2017, also in an edition of 300 copies. I missed out on both of them, but, as said, always welcome on a CD, especially with five bonus pieces. Following Kleistwahr's output in recent years, which has been substantial since the restart in 2009, a discernible 'signature sound' can be noted. A few words always spring to mind, and noise is an obvious one, but not noise for the sake of noise. Through the use of reverb, spread across all of Mundy's instruments (guitars, vocals, synths), the sound is dark and ominous, even orchestral. Mundy likes his music to be massive, even in its more vulnerable moments. These arrive using soaring, mournful organ tones, another trademark of the Kleistwahr sound. A tremendous howl of dystopian proportions. A word that fits Kleistwahr's music is psychedelic; not rainbow-coloured, hippy-dippy stuff, but various shades of black and grey, and with the epic length of the pieces, usually between 10 and 20 minutes, there's time for the music to develop and for the listener to be on a spacious drift, into the vast unknown realm of a black hole. While these records are from some years apart, it's interesting to note the differences and similarities, with 'Winter' seemingly having a slightly broader instrumental palette. Still, it's music by the same musician, and the quality of it all is excellent. The bonus tracks on both discs are earlier/alternative versions of the official pieces, and mark some interesting variations. Especially 'Music For Fucked Films' is quite a different thing altogether, but all five offer something different from the main work, and not just for completists.	2025	€16.00
KOJO, HITOSHI	Lux Ova	MC	" "Lux Ova" is a compilation album of my old recordings in the middle 90's before my first release "To Fill Up All The Coeloms By Radiance" in 1998 (re-released as "Sacrifice + Phosphorus" under "Spiracle" pseudonym in 2000). "To Fill Up All The Coeloms By Radiance" was made with a particular theme 'catastrophe sound action' and 'initiation' in relatively a short period in 1997. However I had remembered that a lot of other solo recordings had been blindly made mostly on cassette tapes between a so-called band period until 1995 and the "sound action" period in 1997. While digging up the mass of cassette tapes, I had discovered some blindly therefore free and honest recordings that contained fertile texture like a origin of the sea, and few of them already sounded like later works as Spiracle. I gathered them first, and treated on a computer to unify the utterly disconnected feelings of each recording, then compiled them to an album, and brought them back to a cassette tape again for the release. The original sounds seem to be produced by acoustic instruments and organic materials such as voices, flutes, guitars, metals, ceramics, wind, water. However they were all melted into a mass of textures and tones through various effectors, and had simmered in samplers and a multi track tape recorder until they became bright coloured thick fractal soup. The artwork in the folded insert was taken from colour pencil drawings ‘birth of stars’ and ‘medium’ that had been also blindly made between 1998 and 1999." [label info] www.omnimemento.com	2010	€9.50
KONRAD KRAFT	Temporary Audiosculptures and Artefacts	CD	"After 15 years of silence this is the first major release by duesseldorf electronic artist detlef funder, aka konrad kraft. In the early days of experimentation he was one of the leading figures behind the label SDV (Stimme des Volkes) who put out stuff by such great projects like Strafe Fuer Rebellion, Paul Schuetze and TUU. For "temporary audiosculptures and artefacts" detlef has changed his trademark ambient sound flows to resemble something that sounds liek a cross between fade out post-industrial, concrete sounds and a desire for filmic density. if that makes any sense... In his own words: Trying to set musical events in a sculptural form, the Düsseldorf/Wuppertal based artist and musician Detlef Funder (a.k.a. Konrad Kraft), develops the temporary audio-sculpture. Knowing that a tonal event can never take the materiality of a real sculpture, Konrad Kraft attempts this special transformation with the help of various elements. Human imaginativeness, time, as well as the tonal event itself are the elements for the listener to form an individual audio-sculpture and to let it develop in their heads. The audio-sculpture with its acoustic body, around which various tonal/sound elements and events float, appears with a physical structure, a dimensionality. Tonal/sound elements are of various origins. In part elicited from nature, or being conjured up synthetically, or just being put together randomly, all elements are enhanced and altered sometimes significantly to the point that the character has changed completely and can hardly be identified. The term ‘artefact’ relates to the fact that sound fragments, through the synthetic alteration, are broken-up and only exist and appear as particles. They flow as ‘artefacts’ in the tonal range. It sounds like floating metallic sound units interfere with small concrete sounds in the foreground. It reminds us at times of some of the work by Illusion Of Safety, Controlled Bleeding and Cisfinitum. Detlef Funder alias Konrad Kraft Bio 1979 ¬ Purchase of first semi-modular synthesiser. 1982 ¬ Creation of experimental and avantgarde music project “Konrad Kraft“. Various tapes and CDs as well as compilation tracks are published. 1988 ¬ 1994 Co-founder of the Düsseldorf based music label “SDV-Tonträger”. Responsible for A&R work. 1989 ¬ 1999 Freelance work as video editor and post-production supervisor for German broadcast and private TV. 1990 ¬ 2011 Producer of electronic music (experimental, ambient, techno) and work as DJ and live-acts worldwide (“Konrad Kraft”, “Gilgamesch”, “D-Fundation”, “Detson Engineering” & “Four Carry Nuts”). 2004 ¬ After a long break resumption of work as artist (fine arts and painting). 2011 ¬ Release of Konrad Kraft “Temporary Audio Sculptures and Artefacts“ audio-CD, with the label “aufabwegen, Cologne” Releases: 1992 Dino Oon & Konrad Kraft ¬ “Environmental Studies“ (SDV-Düsseldorf) CD 1996 Konrad Kraft ¬ Alien Atmospheres (Elektro Smog-Frankfurt) CD " [full label info]	2011	€13.00
	Quadrat	LP	"Quadrat is the title of Konrad Kraft’s (aka Detlef Funder) newest album. In some ways this album constitutes a kind of continuation of his previous work, which started with Temporary Audiosculptures. A sound manifestation of imaginary, sculptural and graphic structures. Like before, the production concentrates, in a more diffused way than in his previous album, on adding compositorial characteristics to graphic-geometric structures. The result is a formal Grammatik of complex sound structures existing of wanted and indeed unwanted sounds and improvised moments. Fragmentary passages join homogeneous ones, spatial agglomerations follow cut-ups, acoustic adhesion meets simmering hotspots. Quadrat is clearly more poetical than his last album. Reduction and occasional use of minimalistic tonality and rhythm are in the forefront, and invite for sound excursions. The dogmatic choice of electronic sound production as well as the extreme manipulation of field recordings, allows for the formation of an abstract electronic parallel world. Detlef Funder alias Konrad Kraft Bio: 1979 – Purchase of first semi-modular synthesiser. 1982 – Creation of experimental and avantgarde music project “Konrad Kraft“. Various tapes and CDs as well as compilation tracks are published. 1988 – 1994 Co-founder of the Düsseldorf based music label “SDV-Tonträger”. 1990 – 2011 Producer of electronic music (experimental, ambient, techno) and work as DJ and live-acts worldwide (“Konrad Kraft”, “Gilgamesch”, “D-Fundation”, “Detson Engineering” & “Four Carry Nuts”). 2004 – After a long break resumption of work as artist (fine arts and painting). Releases: 1992 Dino Oon & Konrad Kraft – “Environmental Studies“ (SDV-Düsseldorf) CD 1996 Konrad Kraft – Alien Atmospheres (Elektro Smog-Frankfurt) CD 2011 Konrad Kraft - Temporary Audio Sculptures and Artefacts (aufabwegen) CD www.aufabwegen.com	2016	€18.00
KONTAKT DER JÜNGLINGE	Makrophonie 1	CD	"The first album by Kontakt der Jünglinge since the release of their CD n (DS63) on Die Stadt back in 2003, »Makrophonie 1« is also their very first studio album. It's the result of various scores which were developed before and during miscellaneous live performances. These worked out structures were then taken to the studio, where they were concentrated and received their final finish. »Makrophonie 1« can be described as KDJ music in highly-concentrated form. The album was recorded at Audiplex Studios, Hamburg in 2013 and produced by Okko Bekker. Limited edition of 500 copies in Digipack cover." [label info] www.diestadtmusik.de "It has been quiet for some years for Kontakt der Jünglinge, the duo of Thomas Köner and Asmus Tietchens. But after a bit of music on a compilation CD in 2007 it was all silent, and their main bulk of releases was already from 2001-2003. I don't assume there has been a band fight, but as these things go: people meet up, do something and do something with much interest for a while, but then get torn apart for whatever reason, usually other work somewhere else. I am sure that's what happened here, as nor herr Tietchens, nor herr Köner are persons to put up a band fight. Two of gentlest, kindest Germans I know. And two of the best in their respective fields. Closely linked perhaps, but also a bit different. Tietchens is the man who brings out musique concrete into the field of the unacademic composers, self-trained, and explorer of the terra incognita of the studio. It can take many forms. Köner does the same but much of his work is more spaced out, more drone like; the arch father of Isolationist music - to some. Their duo is named after a pun on two works of Karlheinz Stockhausen, and so is the title of their latest work, 'Makrophonie 1'. That may all seem rather playful, but the music isn't that playful, and actually more serious. These thirty-seven minutes are filled by the darkest of drones, but not 'long fade in, and stay there for a long time, short fade out' (the cigar shape, as some one once noted), but we are transported through various moods and textures, ranging from the very soft, and not so outspoken ones, to the more louder passages of unearthy low drone sounds (Köner) and high clicks and beeps (Tietchens). At one point, around twenty-five minutes, I had the impression that this was live recording, as the feedback beeps that sound here are of a varying length and interval. Maybe it's intentional, I am not sure - the press text says this is a studio recording. They don't seem to be men who who make 'mistakes'. The balance moves like a ticking clock between these two opposites, the dark drone rumble of Köner and the more precise tinkling sounds of Tietchens, best exampled at the very end of this release. A work of powerful beauty of a very dark nature. Soundtrack music which is no need of a movie. I think it's a great work, but I am the first to admit I'm very biased. Recently I was going through lots and lots of CDs I have, and I decided to keep all of Tietchens works, including the previous releases by Kontakt der Jünglinge, and that means something to me. Not a single release I didn't like, and I can proudly add 'Makrophone 1' to my collection. As dark as the cover it comes in, but what a beauty." [FdW / Vital Weekly]	2014	€14.00
KOSEMURA, AKIRA & LAWRENCE ENGLISH	Selene (cloudy white vinyl)	LP	Atmosphere and gravity lean into each other. They are simultaneously expansive, and anchoring. They hold us, and lend a sense of perspective. They provide a stability and a knowingness which is essential in the absolute, and yet we can't help but find ourselves gazing upward, outward and reaching towards that which sits outside those things and ways we know. Selene is a record about that this lingering desire for that which sits beyond. It is work that seeks new perspectives snatched from familiar vistas, and it meditates on that sense of anchor and perspective. The work is also a speculative hymn to the visions of the celestial zones that spill ever outward. These visions, once merely what we could perceive with the naked eye are now so much more. Our minds eye is fed in equal parts by radio telecopy, filmic dreams and fiction renders of a place most of us will never know first-hand. This recording ties into a linage that reaches back, while stretching forward. It is just one story of so many, told across places, across cultures, across generations. It sits in the in-between of before and after, and in that moment invites us to situate ourselves and lean into it. https://lawrenceenglish.bandcamp.com/album/selene	2024	€29.50
	Selene	CD	Atmosphere and gravity lean into each other. They are simultaneously expansive, and anchoring. They hold us, and lend a sense of perspective. They provide a stability and a knowingness which is essential in the absolute, and yet we can’t help but find ourselves gazing upward, outward and reaching towards that which sits outside those things and ways we know. Selene is a record about that this lingering desire for that which sits beyond. It is work that seeks new perspectives snatched from familiar vistas, and it meditates on that sense of anchor and perspective. The work is also a speculative hymn to the visions of the celestial zones that spill ever outward. These visions, once merely what we could perceive with the naked eye are now so much more. Our minds eye is fed in equal parts by radio telecopy, filmic dreams and fiction renders of a place most of us will never know first-hand. This recording ties into a linage that reaches back, while stretching forward. It is just one story of so many, told across places, across cultures, across generations. It sits in the in-between of before and after, and in that moment invites us to situate ourselves and lean into it. Written and produced by Akira Kosemura & Lawrence English Akira Kosemura - Piano Lawrence English - Electronics, shortwave radio, treatments Cover photography by Malena Szlam Mastered by Stephan Mathieu at Schwebung. https://lawrenceenglish.bandcamp.com/album/selene	2024	€14.50
KOUW, MATTHIJS & GAGI PETROVIC	Recalcitrance	do-CD	After their track on the Moving Music compilation, 'Recalcitrance' is the second collaboration and first full-length release by Matthijs Kouw & Gagi Petrovic. This album will be released as Double CD and digital on April 16th, 2021. "Philosopher of science Isabelle Stengers has studied the operations of states and their mobilization of technical practices to serve a presupposed general interest, which involves the production of rules and norms. Such rules and norms are blind to forms of knowledge that are denigrated as ‘local’ and ‘traditional’, and feature the correlative elimination of what does not conform and cannot be standardized – in other words, what is recalcitrant to objective evaluation. Anything that resists subsumption to technical rationality is seen as a threat to public order (Isabelle Stengers, In Catastrophic Times: Resisting the Coming Barbarism, pp.73-4). The eight tracks on ‘Recalcitrance’ examine abstract topics that range from metaphysical speculation and psychological investigation to reflections on the process of creation itself. Taking a shared set of source sounds as their starting point, Matthijs Kouw and Gagi Petrovic invite listeners to trace the common sources of their pieces and to become recalcitrant themselves by experiencing the compositions in ways that defy what Stengers describes as technical rationality. Recalcitrant subjects ask new questions, thereby allowing the currently dominant reductionist mindset obsessed with productivity to be unsettled by space for reflection and quiet contemplation. The album comes in beautiful artwork by Zeno van den Broek and Rutger Zuydervelt and is mastered by Jos Smolders. https://gagi-petrovic.bandcamp.com/album/recalcitrance?label=13328016&tab=music	2021	€15.50
KRCFHL	same	do-CD	The KRCFHL recording was made on September 28, 2005 by three well-known Russian sound experimentalists M.M. (Kryptogen Rundfunk), Evgeniy Voronovskiy (Cisfinitum) and Nikolay Kalmykov (Hladna). The musicians gathered in Evgeniy’s home studio in Moscow, spontaneously played and recorded this psychedelic set. The recording remained unknown to the public for 16 years, but worked as a fail-safe therapy for the kultFRONT label during all these years. KRCFHL is a smooth immersion in the pulsating world of analogue synthesizers, embellished with the sounds of violin that does not sound like itself. Prior to this recording, the musicians performed several times on the same stages, either at post-industrial music festivals (a joint photo in the album’s artwork was taken on the Thalamus II fest, which happened in Pskov in May 2005), or in collaboration sets. After this recording, they didn’t practice any joint immersions, but the musicians worked on releasing other recordings. In 2021 the recording became a double album thanks to four tracks from KRCFHL colleagues from the next generation of Russian sound experimentalists. Friends reimagined the recording from 2005, each in their own recognizable way. The first track was made by the project NOTUM, which was born in St. Petersburg, but is now developing in Berlin. The second remix was recorded by Xenia Lotus (Drone Liberation Front, a collaboration project with Tim Six) under the guise of her solo project BEZVLASTJE. The third rework was done by “the noise queen” Sveta Svetlo, aka SVETLO111. And the second disc (or side B on the cassette) is wrapped up by Ilya SYMPHOCAT. The album artwork features photographs of an old wall in the vicinity of the Smolniy Convent in St. Petersburg. The place with the KRCFHL inscriptions has already become a point of attraction for pilgrims. The album is released on 50 compact cassettes with a total length of 85 minutes. Additionally, the album is available on 200 double CDs. KRCFHL is clear proof of how music and its magic only becomes more interesting over the years. credits released December 29, 2021 KRCFHL (parts I & II) recorded live by M.M. (KRYPTOGEN RUNDFUNK), Evgeniy Voronovskiy (CISFINITUM), Nikolay Kalmykov (HLADNA) on September 28th, 2005 at Evgeniy’s home studio, Moscow ~ kryptogen.bandcamp.com ~ cisfinitum.bandcamp.com ~ hladna.bandcamp.com KRCFHL (NOTUM remix) recorded by Ikk Ygg in October 2021, Berlin ~ notumschaltung.com KRCFHL (BEZVLASTJE remix) recorded by Xenia Lotus on November 25, 2021, St. Petersburg ~ soundcloud.com/bezvlastje KRCFHL (SVETLO111 remix) recorded by Sveta Svetlo in October 2021, St. Petersburg ~ soundcloud.com/svetlo111 KRCFHL (SYMPHOCAT remix) recorded by Ilia Symphocat in October-November 2021, St. Petersburg ~ symphocat.com Mastered by M.M. & ArSch Photos by kultFRONT, Luiza Arroz, @cht00000, Vera Bezrukova Design by kultFRONT Co-released with ZHELEZOBETON Distribution Division: zhbd.bandcamp.com https://kultfront.bandcamp.com/album/krcfhl	2022	€16.00
KRENG	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	€29.50
	Lowlife	LP	Nach "Camino" veröffentlicht Kreng seinen nächsten Soundtrack auf dem britischen Label Invada. Kreng ist das Projekt des Belgiers Pepijn Caudron. Dieser erstellt Soundtracks mit der Hilfe moderner Sampling- Technologie. Seine Scores bestehen zumeist aus düstern Klanglandschaften, die an die Werke von Trent Reznor & Atticus Ross, Cliff Martinez („Drive“) und Mogwai erinnern. „Lowlife“ ist das Spielfilm-Debüt des Regisseurs Ryan Prows, der die Handlung in der Subkultur Los Angeles ansiedelt. Sein Thriller bringt schräge Charaktere, absurden Humor sowie harte Action zusammen und ist zugleich ein kritischer Kommentar zu dem modernen Amerika. Lowlife is the berserk, blood-spattered, and wickedly entertaining feature debut from Ryan Prows. Set amidst the seedy underbelly of Los Angeles, Lowlife zigzags back and forth in time as it charts how fate—and a ruthless crime boss—connects three down-and-out reprobates mixed up in an organ harvesting scheme that goes from bad to worse to off-the-rails insane. The score is pressed on purple coloured vinyl and housed in a deluxe sleeve with digital download card included. Kreng is known for his previous score to CAMINO (also released on Invada Records), and for his score to Cooties, released on Deathwaltz Media Group/Milan Records. As well as this, Kreng is also known for his critically acclaimed L’Autopsie Phénoménale de Dieu (2009), Grimoire (2011), and the lavishly designed retrospective compilation box Works For Abattoir Fermé 2007-2011 (2012). www.invada.co.uk/products/kreng-lowlife-original-motion-picture-soundtrack	2018	€26.00
KRYPTOGEN RUNDFUNK	Liquid Circuits	CD	" "Liquid Circuits" is the second solo studio album by Kryptogen Rundfunk released 12 years after the debut album "22.SZ" (Mechanoise Labs, 2004). The gap between these two works was filled with many collaborations and split recordings with such artists as Hladna, Lunar Abyss, Neznamo, Umpio, Forgttn, to name a few, and many tracks on various experimental and noise music compilations. Behind the project stands M.M., also known for running the ZHELEZOBETON and Muzyka Voln labels and participating in other projects such as Hattifnatter, Govorit Radio Kosmos, etc. The album is built on the use of analogue synthesizers and effect processors, various found sounds, samples and, of course, traditional for this project multiple kinds of radio noises and interceptions recorded both in home studio and various unusual places (the Caucasus mountains, Kola polar region, several cities of Western Europe…). Kryptogen Rundfunk combines elements of sound collage, drone and dark ambient, power electronics, chaotic and structured noise, weaving his multilayered musical fabric from them. Sonic streams radiate with all shades of frequencies, looped pieces of interference spiral out and soft rhythmic pulsations make room for scorching detailed electric noise burning out holes in sonic perception."	2016	€12.00
KSHATRIY	Slepok Soznaniya	CD	"The project Kshatriy appeared on the Russian post-industrial scene in 2004 and up to present has participated in several compilations, as well as released some solo and collaboration recordings on limited edition CDRs. Muzyka Voln presents the project’s first "professional" compact disk with the album "Slepok Sonzaniya" (meaning "a mould of consciousness" in Russian). This work is based on the concept of consciousness of a warrior, a galactic warrior of light, bringing to world pure knowledge, infinite silence, perfect balance, a moment of power and might, a flight of freedom, love, serenity, joy, light, unified time, eternal life, simplicity and bliss. The music of the project can be described as fractal dark drone ambient with lots of patterns, woven from various sonic fibres: synthesized drones, processed field recordings, acoustic echoes and rhythmic loops. Calm and profound, filled with resilience and hidden power, like an endless ocean of tranquility, energy and beauty." [label info] http://zhb.radionoise.ru/ "Kshatriy is the project by musician from Vsevolozhsk not far from St. Petersburg. Earlier his records were released on CDr, and album Slepok Soznaniya became the first work released on CD, before it I didn't know anything about this creative unit. With his music Kshatriy creates space dark and dull as well as beautiful and interesting. In anxiously boiling sound lava there merge deep electronic drone, processed field records and also unobtrusive hissing, crack and other noise effects. Musician himself writes that his creativity "is based on the conception of warrior consciousness... galaxy warrior of light, bringing to the world clear consciousness, unlimited silence, absolute balance, a moment of force and power, a flight of freedom, love, serenity, gladness, light, common time, eternal life, simplicity and bliss...". These words sound as nothing else but an unequivocal hint at trips "inside yourself" and the state of trans provoked by music. And it is so. Slepok Soznaniya is a huge mental reactor with boiling up fragments of dark recollections, fused and crumpled into one heavy lump which dissolved all around in impenetrable swamp of its body. Rusty, smelling with dust and dampness postindustrial spirit spreads together with these sounds to colossal spaces around. Huge volume of theses spaces is one of the main special features of this music ruining all barriers inside the dark universe, and Slepok Soznaniya became a ticket to it. You peer into the darkness and don't see any limits, as if you have fallen under ground and found an alternative cosmos there. Beautiful, charming and sometimes even epic sound design making you hold your breath in long intriguing moments and make your heart beat quickly with resounding rumble and voluminous, heavy drone. It's worth to be heard." [Pi Micron, The Sound Proector] http://www.soundproector.com/?cat=reviews&id=259 "Heaving, psychonaut droning from this Russian project, Kshatriy. The name of Sergey Uak-Kib's project is actually Sanskrit, as a now deracinated caste of warriors from ancient India. Uak-Kib posits something of a balance between the spiritual and the physical in the beliefs for this class of enlightened fighters. The holistic fortitude found in that statement seems to be furthered in the glowingly psychedelic artwork that has graced some of Kshatriy's other recordings. So much for first impressions, as this is fucking bleak. Anenzephalia bleak. Thomas Koner bleak. Lustmord bleak. Thrumming drones of Vulcan intensity and Promethean scale gird the entire album of Slepok Soznaniya. The thunderous cracks that introduce "Lights" are cataclysmic in nature, tumbling from deep space and smashing into the Siberian forest, unleashing shockwaves across the curved surface of Russian's landmass and creating elegantly harmonic ripples across the swampy taiga. Iron wheels grind on long-train tracks which lead to destinations unknown on the "Hymn To Kali," which is more of a dirge than a hymn through the slow, militant pound and evolving reverberant chord shifts for an ashen, musical negativity. The almost self-evidently named "Space Travel" surfs the solar winds with echoes of distant pulsars and glowing nebula clouds flickering through the endless expanses of nothingness. We were awestruck by the work that Kshatriy produced for the 2014 Drone-Mind / Mind-Drone III compilation; and so we're delving into his catalogue. Slepok Soznaniya was originally released in 2009 on the bracingly good Russian imprint Muzyka Voln. Not all that much in the way of distribution west of the former Iron Curtain; so this one makes for a new favorite in the radiant black dronemusik camp." [Aquarius Records]	2009	€13.00
	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
KUBOTA, KAZUMA / S.I.V. [SELF-INFLICTED VIOLENCE]	The first Cry / Atrocity of Sunrises	7inch	"Japanese cut up harshnoise legend Vs Polish epileptic cut up strong man!" [label info] undergroundpollution.e-monsite.com	2013	€7.00
LA CASA, ERIC	W2 (1998-2008)	do-CD	"A collection of previous released compositions and longtime sold out made between 1998 and 2008 and gather under two main theme, Water and Wind. + a few unreleased pieces. A geographic inventory, a sonic journal, a living alchemy, the pulsing of the world. With Les pierres du seuil, S'ombre, Spirale, Les oscillations, L'Inspir du rivage, Dans le feuillage du lointain, la clameur d'un bruissement, Quelque chose de cela, le désert, L'air au fond rouge, Les aubes sont navrantes." [label info] www.herbalinternational.tk "Essential compilation of now hard to find material from sound artist Eric La Casa, thematically separated onto two CDs around the themes of wind and water. These pieces are just as much shaped by geography as by time itself, with each track's vocabulary varying according to what was recorded then and there. As always La Casa masterfully crafts compelling sound stories with these two elements, emphasizing narration over some purely static documentary exercise. The sound of breezes, flowing rivers, wind tunnels, rain drops and other storms are structured but never denatured, retaining all of their organic depth and beauty. Absolutely recommended, especially to those appreciative of G*Park." [Mechanoise Labs]	2010	€20.00
LA STPO (La Société des Timides à la Parade des Oiseaux)	Wir schwitzen Blumen / La STPO in Concerts	LP	"IF you’re shy, you especially need to pay attention in not too much exposing yourself! Our illustrious society - the best-kept secret of the experimental musics in Rennes ! - skips away continuously for almost 30 years behind folding screens in the shape of sea horses, pieces deceiving the hearing and other fancies fruits of their harmonious inventiveness. The oblique, kinematic and double - bottomed compositions of the STPO join just as much the lineage of a certain 'rock in opposition' over-subtle and deserving the legacy of Albert Marcoeur and Etron Fou Leloublan for the texts and the odd atmospheres, as for the overexcited energy of the post-punk, like The Pop Group, or for the vocal eccentricities à la David Thomas from Pere Ubu! This anthology of tracks, live recorded by KdB between 2006 and 2009 during three memorable concerts, because yes! our Shy society members are really great performers, reveal their capacity of this combo from Rennes to transform these long and over-subtle pieces in real playlets in which every musician embodies various roles, under the leadership of Pascal Godjikian, polymorphic storyteller who perspires of beautiful intensity. "Wir Schwitzen Blumen" presents five live pieces taken from the recent concert set of La STPO. "I Cuento Blumen" and "The Sound Of The City Seems Not To Disappear" come both from the album " Tranches de Temps Jeté / Slices of Thrown) time " released in 2005 on the american label Beta-Lactam Ring Records. The piece " Le Minisme " was recorded in 2009 for the compilation CD of the french label In-Poly-Sons " We All Believe in Utopia " ;; " La Vallée des Empreintes / The Valley of Imprints " a live track from the same period engraved here for the first time on a record, to our bigger satisfaction ! As for " Le Femme Immortel ", funny miniature between glossolalias and Dada choral singing, immortalized for the first time on a now impossible to find maxiCD, it is a vestige of their stage set of the 80s which they go on playing from time to time. So immerse yourself without further delay in the fantasy of this densely populated micro-society and rather than get lost in trying to raise the current direction of these river like compositions, let yourself be carried by the lush sonic textures and the inventiveness of the orchestrations of La STPO that function like lines of flight. Following the conclusion of the good doctor Faustroll: "What, however, should attract the attention of the naturalist, are some unexpected gaps, in no doubt spontaneous, of the bird to escape the net: here there is certainly an atavistic revival, and perhaps a return to wild instincts." [label info] kdbrecords.free.fr	2013	€15.00
	L'Oeil au Centre de L'Oeil	CD	"Nach „Romanciel“ (2022) offeriert Alma De Nieto von LA STPO nun auch L’oeil au centre de l’oeil (DNN 046 C). An Bass, Violine & Melodica der phantastische Sébastien Desloges, an Drums & Percussion der unersetzliche Patrice Babin, an Guitar der einzigartige JimB, an Keyboards & Synth der liebenswerte Christophe Gautheur. Und Voice & Lyrics wieder unser einzigartiger Pascal Godjikian. Um durch die Pupille in See zu stechen. Als Fracht die beim Freakshow-Artrock Festival 2023 bereits ausgebrüteten Überraschungseier: 'La Japanatheque': BabaBabaBaba, knurriger Bass, Knüppelbeat, heulende Gitarre, die Rhythmik ostinat repetiert. Pascal singt guttural und als Kastrat mit hysterischem Touch, zu schillernden Keys, Dampforgel, Trommelgewirbel. Er lacht HiHiHiHaHaHa, die Gitarre flimmert. Ridiri-A-A-Ah, die Stimme eskaliert, die Geige setzt ein, fiebert zu Glockenspiel, der Bass bratzt träge, Pascal schreit!. 'L’immortinaliste': Die Geschichte eines Unsterblichen... Mit Treppauf-Gitarren-Noise, Tremolo. Pascal singt pathetisch zu einem halben Groove, er deklamiert feierlich zu einem mittelalterlichen Reigen. Sébastien bläst Melodica zu Trommelwirbeln, Pascals Lippen brodelnd, die Gitarre wetzt zu heftigen Beats. Ein Groove hinkt, eine Fliege surrt, Pascal singt absurd zu trägem, zart bebendem Flow. 'Tabous': Nach Sigmund Freud. Voller Spott, mit Hatschi-Mitschi und BumBumBum-BumBumBum-Bass. Das Becken crasht, der Bass knurrt, Babin glockenspielt, die Band träumt, die Zeit läuft rückwärts. Pascals beschwört zu Triolen der Geige rhythmisch Tabus. 'Exagéré' (Pascal: Ich übertreibe gern): Und er tut's, zu hüpfendem Piano und Bass, mit spitzer Vokalisation. Zu einem vom Piano zerkrachten Drehwurm-Groove geht Steinschlag ab. Pascal verfängt sich in einem unaufhörlichen Locked Groove mit Jim B. Bis er sich endlich mit zarter Kopfstimme befreit, zu Bass und träumerischer Gitarre. Doch erst nach noch einem Drehwurm entschwinden sie alle in knurrigem Dunkel. On top: 'Moise & Aaron'. Ich pawlowe „O Wort, du Wort, das mir fehlt!“ – denn Moses' Zunge ist (bei Schönberg) ungelenk: Die Gitarre eröffnet zart, Bass und Drums folgen rabiat, Pascal repetiert Mitutadu-SaySaySay (ah, das war doch eine der Zugaben beim Festival). Sein Mundwerk tanzt Walzer zu Keys, Bass, Geklöppel und röchelnder Gitarre. Pascal hechelt zu geigerischer Fata Morgana, stottert und hurzt zu geschlagener Gitarre, zu Synthsoundgespinst, Glockenspiel. Hinein in einen Loop mit erst fragiler, dann kräftiger Gitarre – rund ums Goldene Kalb? Zu nochmal 1-2-3-Bass, gutturalem Sang, Gitarrensound und polternden Drums streben sie nach Milch und Honig. Doch nur die Sehnsucht leckt auch daran. Ich bleibe dabei, die beste Band, die ich kenne. [BA 130 rbd] https://lastpo.bandcamp.com/album/loeil-au-centre-de-loeil JimB : guitar Patrice Babin : drums, percussions Sébastien Desloges : bass, violin, melodica (2) Christophe Gautheur : keyboards, synthesizer Pascal Godjikian : vocals, lyrics + Iomai : sax (2), trumpet (2)	2025	€13.00
LA STPO (SOCIETE DES TIMIDES A LA PARADE DES OISEAUX)	Tranches de temps jete (Slices of thrown time)	LP	Für jeden Recommended Records- und „AvantRock“-Fan ein MUSS, das neue Album dieser ungewöhnlichen Band, die auf französisch singen, sprechen und schreien und musikalisch fast schon theatralisch zu nennende „Szenen“ entwerfen, die irgendwo zwischen Geräuschmusik, Filmmusik & Experimental-Rock liegen.... wobei jedes Stück bis ins kleinste Detail ausgearbeit ist ! Nicht nur höchst kurzweilig, sondern auch anspruchsvoll und ästhetisch tönen diese Aufnahmen, die bereits im Jahre 2000 gemacht wurden... Dies die limitierte Vinyl-Version.... “Ed. of 325 copies. Vol. 3 of Records are not for Baking In the midst of the world's fascination with so-called Electroclash, leave it to the old school to really show what post-punk is really about, while simultaneously turning the concept on its fractured head. LA STPO has the finesse and invention and the je ne c'est quoi to massage its victims into a quiet trance, only to pummel them seconds later. Slices Of Throw Time is like a Van Der Graaf arc between the bombast of Blurt/Ex/Dog Faced Hermans/Contortions/Birthday Party and the subtle, avant-composerly moments of Henry Cow/This Heat/Univers Zero/Faust. The punchy rhythm section, abetted by the squawky horns, makes for a music to which one can truly contort. LA STPO's musical muscle, however, is always backed up by solid jazz/classical informed chops that can and will chop any lesser outfit into nothing more than a pile of over-loud rock and roll dust. LA STPO infuses their punk with dynamics of both volume and texture, producing a slightly zeuhl flavoured post rock, which should, by all rights, land Slices Of Throw Time on many a critic's year end top 10 list. We all know this will not likely happen, but hopefully there is enough room in YOUR top ten list for rock that both rocks and explores.” [label info] www.blrrecords.com	2006	€17.00
LAABAN, ILMAR	Ankarkättingens slut är sängens början	CD	Obscure Swedish sound-poetry with some very old recordings, from one of the lesser known artists in this field where meaning of words meets with the noise of words... Comes with nice gold-embossed small book with texts, pictures and graphics, all in Swedish ! “Ilmar Laaban´s poetry, practically a class in itself in Sweden, traverses linguistic borderlands where words can get split and torn apart, reduced to something beyond words, perhaps more universal than words, but where the various components can just as often be reassembled in new words. The cycle of destruction and construc- tion always fascinated Laaban the word-wright and word-kneader, going through it over and over again to find the cracks and clefts from which an unexpected spring might well forth.” Like Tristan Tzara he holds to the maxim "thought is born in the mouth. Laaban´s poetry, which gives sound and form to the subconscious, is a poetry of utterance, and therefore speaks for itself. But the appended compilation of statements on the subject, from the writer himself, nevertheless offer a rewarding insight into his poetic method and reveal much about the associative pathways down which his imagination has wandered. This CD begins with two examples of Labaan´s surrealist recitation from the 40´s and 50´s, followed by some of his polyphonic text-sound poetry (which he started in 1967), and finally some sound poems from the 90´s. Ilmar Laaban was born in Tallinn, Estonia in 1921. He studied Romanic languages at the university of Tartu and musical composition at the Tallinn conservatory. To avoid being drafted into Hitler´s army he fled to Sweden in 1943. He had already been writing surrealist poetry in Estonia, and continued in the same vein in Sweden, supporting himself as a freelance culture and art reviewer. His grasp and overview of the international art arena gave him an important role as a guide and source of inspiration for many artists who came in contact with him, not the least those in the circle around Fylkingen.” [label info] www.fylkingen.se	1998	€12.50
LASWELL, BILL & PETE NAMLOOK	Outland	6 x CD BOX	The 'Outland' album series was a collaborative endeavour by the visionary US bassist-producer Bill Laswell and the late German musician Peter Namlook that pushed the boundaries of dark ambient and electronic music. Spanning five albums released over a thirteen year period from 1994, this new boxset serves as a testament to the creative synergy between the two masterminds. At the time the duo joined forces, the New York-based Laswell was already a famous producer with a massive client list that included cutting-edge rock, pop, funk, jazz and electronic artists, but he had also founded the Axiom label in 1989 and been responsible for groundbreaking work in genres that included ambient, dub and world music. Namlook was recognised as a pioneering figure in the ambient techno scene, having founded the label FAX +49-69/450464 in his native Frankfurt in 1992. 'Outland' became a fusion of their individual musical sensibilities that resulted in a unique set of releases. At the heart of the series is an exploration of sound as a vehicle for emotion and contemplation, with Laswell's signature basslines and experimental soundscapes interweaving seamlessly with Namlook's ethereal textures and intricate sonic layering. Each album is characterised by a sense of expansiveness, taking listeners on a voyage through rarely charted sonic dimensions. All have the ability to evoke a wide range of emotions and have their own distinctive sonic palette, ranging from ambient tranquility to cosmic intensity. 'Outland' has endured as an influential touchstone, its impact felt not only in its captivating soundscapes but also in its invitation to engage in deep introspection and cosmic contemplation. With each album, the duo beckoned listeners to transcend the mundane and embark on a sonic voyage into the extraordinary, where sound becomes a conduit for spiritual and artistic expression. The lavish matte-finish boxset opens to the 5 "Outland" albums in separate matte sleeves, with all-new designs, and all audio completely remastered. This box also contains a new addition to the OUTLAND series - an album of dense, bass space drone by Bill Laswell, entitled "Blackland". The boxset also contains an exclusive card with an essay about the project written by BIll Laswell, July 2023. ........................................ Their collaboration actually began after Namlook discovered that several samples from early Fax releases had been utilised for Laswell's own projects, prompting an initial forthright exchange that quickly turned into a deep mutual admiration. "We started to send music back and forth, Frankfurt to Brooklyn and back again," explains Laswell. "There were so many recordings and different collaborations that several of them turned into a series. In addition to 'Outland', there was 'Psychonavigation', 'The Dark Side Of The Moog' and more." For 'Outland', he recalls that "I had done an Asian tour with my friend Akira Sakata where I managed to record a lot of traditional music in Mongolia, which is heavy drone singing and the ultimate ambient. When I was in Europe, I brought these recordings to Pete and we worked on them in Frankfurt. That was the start of 'Outland', which then continued for another four releases." He also reveals that Namlook told him about the very start of his career. "He was playing guitar and working in a bank. Every day, on his way home with his guitar, he would pass a river and stop and play with the river flowing. I think that's where his ambient obsession began. I recorded a piece with Bernie Worrell entitled 'By A River (for Peter)', which is the first track of the box set compilation 'Die Welt ist Klang: A Tribute to Pete Namlook', which was released in 2013, a year after his death." CD1: Produced by Peter Kuhlmann. Written by Bill Laswell and Pete Namlook. Mongolian voices and instruments by Nicky Skopelitis & Oz Fritz. CD2: Produced by Peter Kuhlmann. Written by Bill Laswell and Pete Namlook. Ethnic sounds recorded in West Africa by Oz Fritz. Recorded at Klanglabor, Frankfurt. CD3: Produced by Peter Kuhlmann. Written by Bill Laswell and Pete Namlook. Recorded at Klanglabor, Frankfurt & Traben-Trarbach. CD4: Produced by Peter Kuhlmann. Written by Bill Laswell and Pete Namlook. Recorded at Klanglabor, Frankfurt & Traben-Trarbach. CD5: Produced by Peter Kuhlmann. Written by Bill Laswell and Pete Namlook. Recorded at Orange Music, West Orange,NJ, and Klanglabor Hödeshof. CD6: Bill Laswell: Bass, effects. Engineering: James Dellatacoma. Recorded at Orange Music, West Orange,NJ (Bassmatter, BMI). https://coldspring.bandcamp.com/album/outland "Quite a catch and a very pleasantly surprising one. I would not have imagined that Cold Spring Records, known for all their darkness, would dip into ambient electronic pioneer Pete Namlook's (1960-2012) work, particularly his piece with Bill Laswell. The latter is a bass player and producer with a massive body of work, mainly outside Vital Weekly (Herbie Hancock's 'Rockit' is a VW HQ favourite, sometimes), both on bass and production duties. Pete Namlook played electronic ambient music, usually without too many rhythms, but he wasn't too shy to put a full set on. Namlook's catalogue is massive, as at one point, he released a CD every month on his FAX +49-69/450464 label. He had a line of collaborators with whom he worked a lot (Klaus Schulze, Tetsu Inoue, and Richie Hawtin, for instance). With Bill Laswell he recorded five parts of 'Outland', which are now re-issued with a bonus disc of a new work, 'Blackland', by Laswell. There was more work by the two, 'Psychonavigation', which also spanned various CDs (and maybe something to come in the future?), which is one I really enjoyed. I could call myself a Namlook fan, yet I also know I heard maybe 50% of his work. Back in the day, I couldn't afford to buy everything I wanted, and Namlook's output was, as said, massive. From the original 'Outland' albums, I only heard two. It is interesting to play these six works as they provide an excellent picture of the diversity of ambient house music, at least in the approach of Namlook and Laswell. There isn't one kind of ambient house. The word 'house', as in 'house music', is a loose term anyway in this respect, indicating dance music. Ambient House never relies too much on strict dance beats but uses more complex rhythms, such as on 'Outland Two - African Virus', which is more exotic, wilder and sometimes indeed more African. 'Outland Three' (no subtitle) has rhythms that are a bit more straightforward and minimal, but it's not something for the dance floor. On 'Outland Four', the beats are more dub-like in some of the pieces (as with all of these pieces, it moves through various ideas and textures per album), another interest of many ambient house musicians. On the other side of the musical spectrum, we find music devoid of rhythm, spacious synthesizers, minimalist drones, and perhaps something ambient in the truest sense. As with many Namlook releases, there is a certain directness about the music, indicating that the music is one long session, a live-in-studio approach, with mixing and editing afterwards. There is not much extra information in this release explaining methods. The whole live-in-studio approach might be something that is only in my mind. Each album is a trip, and so is the whole five-plus hours of this. I played this for the first time in one row on a lazy Sunday, sipping tea after a long night. Ambient music is the preferred waking-up music for me. Maybe with the idea that my living room is a sort of chill-out place today, as some of this music is clearly the intended soundtrack for such a place." [FdW/Vital Weekly]	2023	€47.50
LEACH, MARY JANE	Woodwind Multiples	LP	Mary Jane Leach is a composer focused on the physicality of sound, its acoustic properties and how they interact with space. She has played an instrumental role in NYC\\\\\\\'s pioneering Downtown scene alongside Arthur Russell, Ellen Fullman, Peter Zummo, Philip Corner, and Arnold Dreyblatt, as well as devoting years to the preservation and reappraisal of Julius Eastman\\\\\\\'s work since his death in 1990, compiling Unjust Malaise (2005) and editing the book Gay Guerrilla: Julius Eastman and His Music (2015). Woodwind Multiples features four pieces for multiples of the same instrument: four bass flutes, nine oboes, nine clarinets, and seven bassoons. Each piece works closely with the unique sound of each instrument, combining pitches that create other, sometimes unexpected, tones, primarily combination and interference tones, as well as rhythmic patterns. What you hear is what happens naturally -- there is no processing or manipulation. 8B4 (1985/2022), played by Manuel Zurria, is for four bass flutes. It is a revision of 8x4, which was written in 1985 for the DownTown Ensemble and was only performed once, due to its unusual instrumentation: alto flute, English horn (originally bass oboe), clarinet, and voice. Xantippe\\\\\\\'s Rebuke (1993) was written for Libby Van Cleve, for eight taped oboes and one live, solo oboe. The eight taped parts are equal and dependent, while the solo part is meant to be a solo with the tape as accompaniment. The piece works with the unique sound of the oboe, starting with unison pitches that create the richest sound, building the piece from there. Pitches and rhythmic patterns that occur naturally are notated and then played later, which in turn create other pitches and rhythmic patterns. Charybdis (2020), played by Sam Dunscombe, is for solo clarinet and eight taped clarinets. It combines a somewhat obscured reference to Weep You No More, a John Dowland piece, which combines with the sound phenomena created from the melody and supporting chords of the Dowland. Feu de Joie (1992) was written for bassoonist Shannon Peet and is an homage to the bassoon and its wonderful sound. It is for seven parts -- six taped and one \\\\\\\"live.\\\\\\\" The taped bassoons combine to create a bed of sound that exploits the unique qualities of the bassoon, creating combination and interference tones, starting off with unison pitches, creating a rich sound that builds from there. Most of the subsequent pitches and phrases occur naturally, and are then notated later on in the piece, which in turn creates other notes and phrases. Engineered by Manuel Zurria, Bryce Goggin, and Sam Dunscombe, mastered by Rashad Becker. https://soundcloud.com/modernlove/mary-jane-leach-8b4	2023	€30.00
LEGENDARY PINK DOTS (LPD)	10 to the Power of 9 (special ed.)	2 x CD bag	"Deluxe limited edition of 99 copies issued with an extra CD in a cardboard sleeve. The album CD is included in a jewel case and compiles both volumes of the vinyl. Issued in a black velvet bag with a glow-in-the-dark pin and a transparent plastic postcard." [label info] www.rustblade.com "Endlich als CD und limitierte Box-Edition erhältlich. Die Kult-Fomation meldet sich mit einem großartigen Konzeptalbum zurück, erscheinend auf RUSTBLADE als CD im Jewelcase und als lim. Box mit Sammlerinhalten. Selten passt das Attribut legendär so gut wie auf die Gruppe um EDWARD KA-SPEL und PHIL „THE SILVERMAN“ KNIGHT, die seit nun mehr als drei Dekaden für ihren unverkennbaren, einzigartigen Soundkosmos verehrt wird, bei dem Psychedelic-Heads, Dark Waver und Freunde experimenteller (Elektronik-)Klänge gleichermaßen auf ihre Kosten kommen. Mit ihrem neusten Machwerk legen die LEGENDARY PINK DOTS den ersten Teil einer komplexen Story über Konspirativität, Magie und Spiritualität vor. Minimale Synths, Gitarren, synkopische Beats, die Verwirrung stiften, psychedelische und transzendentale Geräusche, welche wie gewohnt von der charakteristischen Stimme KA-SPELs begleitet werden. „Ten To The Power Of Nine Vol.1 „ist ein dunkler und außergewöhnlicher Trip in die musikalische Psyche der LEGENDARY PINK DOTS, die hier wieder einmal ihren Status als absolut unverkennbare musikalische Ausnahmeerscheinung bestätigen. Die limitierte Box-Edition enthält zustäzlich zur normalen CD noch eine Bonus-CD mit exklusiven Songs, einen Anstecker (leuchtet im Dunkeln) und eine transparente Postkarte, verpackt in einem Samtbeutel." [Broken Silence info]	2015	€40.00
	Come out from the Shadows 4 - Live at Lounge AX Chicago 1993	do-LP BOX	COME OUT FROM THE SHADOWS PART 4 Lounge Ax ,Chicago 1993 This is the third and final instalment from The Silverman’s cassette archive which had been gathering dust in a dark cupboard- and it’s a special one, especially for those who hold the "Shadow Weaver" and "Malachai" albums close to their hearts. It’s hard to downplay the importance of the show presented here. Four years earlier, in 1989, The Dots anxiously anticipated their first show in Chicago (a city they viewed as one of the music capitals of The World) only for the date to vanish without explanation. In 1991, they were due to play third on the bill to Einsturzende Neubauten and old friends, Front Line Assembly at The Vic.In a chaotic scenario The Dots played filling in the sandwich between the 2 more famous bands, allowed a mere 15 minutes. It was a fiery show but most of the audience didn’t know who we were, as The Dots’ name was missing from the poster. Consequently this show at Lounge Ax in 1993 felt like our first “real” show in the city. Can you imagine the horror when EK succumbed to a throat infection in Milwaukee a night earlier? That show, in front of 30 people, was curtailed after 30 minutes. It was thanks to Nicoletta Stephanz and her box of medical wonders that the singer found his voice 24 hours later- and we have her to thank for this storming recording. Enjoy. The Silverman-keys,Ryan Moore-bass, Martijn De Kleer-guitars;Niels van Hoorn-horns;Edward Ka-Spel-voice,keys; Ray Steeg-sonix. https://legendarypinkdots1.bandcamp.com/albumcome-out-from-the-shadows-4-live-at-lounge-ax-1993 Erstmalige Veröffentlichung dieses bis dato unveröffentlichten Konzerts (1993, Lounge Ax Club Chicago) der Kultformation LEGENDARY PINK DOTS feat. EDWARD KA-SPEL. Erscheint als limitierte Doppel-CD Version im Digipack, als Doppelvinyl (Gelbes Vinyl, auf 299 Stück limitiert!) sowie als streng limitierte (199 Stk.) 3-LP-Box mit allerlei Gimmicks: Doppel-LP „Lounge Ax Chicago“ in Orange marmoriertem Vinyl, Doppel-CD, Bonus LP „Live in Philadelphia“ und ein Poster!). 1980 in London von EDWARD KA-SPEL und PHIL ‚THE SILVERMAN‘ KNIGHT gegründet, avancierten THE LEGENDARY PINK DOTS mit ihrem unverkennbaren, Genregrenzen überschreitenden Soundmix aus Progressive- / Jazz-Rock, (Dark) Wave, Psychedelia, Folk, Ambient und experimenteller Elektronik zu einer bis heute kultig verehrten Band. Seitdem erschienen von der anglo-niederländischen Formation bis dato neben diversen Singles / EPs und Compilation-Beiträgen mehr als achtzig Longplayer! RUSTBLADE macht nun dieses verloren geglaubte Kleinod erstmalig im Handel erhältlich: Ausgegraben aus dem Bandarchiv und bisher nur für den Eigengenuss der Band und deren Umfeld bestimmt, gibt es nun das komplette Konzert von 1993, aufgenommen im Lounge Ax Club in Chicago, mit allerhand Klassikern der Band (u.a. „Golden Dawn“ & „Maniac“) in drei Ausführungen!	2021	€36.00
	Come out from the Shadows Vol. 5 / Parkzicht	CD	LEGENDARY PINK DOTS open-air live-section at "Parzkricht / Rotterdam" in 1983. These recordings from the park have been floating around the World Wide Web for some time, but never as a complete show. This offering fills in the gaps and completes the puzzle. Tracks 1-3 are taken from the VPRO Radio recording of the show, while the rest was never broadcasted in full. "They Don't Horses.." did appear on a compilation cassette many years ago (Recloose Live Series Number 1), but this is almost impossible to find. Sound quality has been worked on extensively - a big thank you to Raymond Steeg who did a great job on cutting out unwanted noises. Great psychedelic experience, a full immersion in the golden PINK DOTS era! TLPD line-up for those recordings was: The Silverman April White Stret Majest Alarme Roland Callaway Edward Ka-Spel Kastro KlingKlang	2023	€15.00
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
LEWIS, E.G.	All Under	CD	"All vocals and instruments recorded and produced by Edvard Graham Lewis at Tip Top Studio, Uppsala,Sweden Between 2003-13. With contributors, Thomas Öberg, Pauline Svanerö, P.T.Kirk, Richard Sporrong. Mastered by Russell Haswell. Cut by Rashad Becker at Dubplates & Mastering in Berlin. Cover and inner images by Edvard Graham Lewis. Sleeve Design by David Coppenhall. 'All Under', the companion release to 'All Over' compiles soundtracks to films, installations and a self penned short story. This is familiar terrain for Lewis who, along with Bruce Gilbert produced the early interactive audio-visual installation 'MZUI' at London's Waterloo Gallery in 1981. Since this period Lewis as been involved in countless soundtracks to all manner of cultural artefacts. The haunting score to Gunilla Leander's 2003 short film 'All Under' was improvised in real time with a sampler and FX processing and recorded on to mini disc. The results are a viscous ambience of swirls, feedback and distortion. This material was then adapted for an immersive 3 screen installation of the same visual material which features combinations of 6 nude bodies (4 men, 2 women) fighting and wrestling, filmed underwater. The soundtrack here crawls further in the depths as electronic phrases swim amongst a foreboding ambience. Both of these works encapsulate the same disembodied effect of the visual material as hovering, uncanny sound worlds seep into the listeners subconscious. The Eel Wheeled' features Lewis' reading one of his own bizarre stories underscored with a suitably disorientating soundtrack sourced from sound effects of the Prime Sounds SFX Library. This version was re-mixed by Thomas Öberg (member of Bob Hund and 27#11). 'No Show Godot' concludes the set. A soundtrack to a 'sky movie' (road movies be warned) completed in 2013. Coming out of the initial sub aquatic environments of the opening works, 'No Show Godot' takes us on a spiralling high before folding into a gritty godly industrial mantra which comes along as a perfect means of tying up these two concurrent releases as a symmetrical whole." [label info] www.editionsmego.com	2014	€14.00
LILES, ANDREW	In my father's house are many mansions	CD	Grossartiges meist surrealistisch-dunkles Material auf dieser ANDREW LILES – Remix Compilation von vielen namhaften v.a. britischen Projekten! "Various artists remixing, re-ordering, adding and subtracting the recordings of Andrew Liles. Paul Bradley Journey Remix Colin Potter All Doors Open Aaron Moore Auto Manipulator - Trumpet Mix Jonathan Coleclough Aviophilia Ruse The Ether Reel Rendered Band of Pain Apathy in the UK (Blast# 3) Bass Communion Something to do with Hans Bellmer in a Pub at Last Orders using 15th Century Rural Magic Aranos Auto Manipulator - Gong Mix Darren Tate Lite Irr. App (Ext) Ape Greasing Resonant Curvature Around Antiseptic Orifice The Hafler Trio Song of the Ergophile Unsong Te Whare Ao Aitu (Waits In Double Bed) vidnaObmana 8 O'Clock Nurse With Wound Soliloquy for Lile(s)th Freiband Reis" [label credits] “...In fact so busy, that his latest CD is a remix project. On this poetically entitled disc (Liles loves his titles) we find a host of well-known Liles-friends such as Paul Bradley, Colin Potter, Jonathan Coleclough, Bass Communion, Aranos, Darren Tate, Irr. App., Hafler Trio, Nurse With Wound, Vidna Obmana and Freiband paying aural tribute to the man. Each of these artists re-work one of Liles tunes with often-impressive results. At times the mixes remain close to the original gentle collages (like the mixes by Bradley or the very recognizable piano theme Potter uses) or more like soundscapes such as the tracks by Coleclough, Tate, Nurse With Wound (a Soliloquy no less) and Bass Communion. Ruse and The Hafler Trio deliver trademark, more abstract versions and Freiband submits, compared to the other tracks, the noisiest piece of them all. It is interesting to note that as much as these tracks are made by individual artists with individual styles, this CD still sounds as a coherent project, which makes for enjoyable listening and is probably why this is released under the name Andrew Liles. Another intriguing and highly enjoyable addition to the already impressive Liles-catalogue.” [FK / Vital Weekly] Address: http://www.adverse-effect.com	2005	€14.00
	Somnambulance to Dream General	CD	Bevor Mr. LILES v.a. durch die Beteiligung an NURSE WITH WOUND einem grösseren Hörerkreis bekannt wurde, werkelte er jahrelang recht versteckt an seiner bizarr-surrealistischen Soundwelt herum, hier bestehend aus Synth-Drones & sperrigen Elektronoises, Pianosequenzen, Sprachmaterial, traditionelles englischsprachiges Gesangsmaterial (wie Kinderlieder und Abzählreime, die ein nostalgisches Flair verbreiten), melanchronische Instrumentalquellen, wirre found sounds und Versatzstücke aus Jazz, etc. etc. SOMNAMBULANCE ist eine Neubearbeitung einer CDR-Compilation mit frühem Material - gleich 21 Stücke fanden den Weg auf dieses äusserst kurzweilige Album, schwankend zwischen Düsternis und anregender Exzentrizität. Als Einstieg in LILES recht einzigartige, verschrobene Klangwelt wohl ideal !! "Somnambulance" is a reworking of an album of odd and obscure tracks that was released in a microscopic edition on CD-R before. For this CD, Mr. Liles has provided his funniest and possibly most controversial artwork as of yet. You get an hour of music of many different styles: Andrew Liles' trademark of eerie and spooky sounds is there; also electronics and a whole range of instruments are placed in between sketches and longer tracks. And if all this weren't enough, you get three bonus tracks that didn't appear on the CDR at all. After a long line of collaborations, finally a new album by Current 93 and Nurse With Wound man Liles himself!" [label info] www.klanggalerie.com	2008	€14.00
	Miscellany Deluxe	do-LP	Kollektion alter und ältester Aufnahmen des exzentrischen Briten! Dies ist die "einfache" Version im Gatefold-Cover. "Much of the music included in this set is exclusive to this vinyl version of ‘Miscellany’. Andrew Liles has compiled a comprehensive anthology including as much varied, interesting and unreleased material as possible. He spent many an afternoon sifting through piles of cassettes seeking the oldest and arguably most definitive pieces of music from literally hundreds of hours of tape. The earliest recordings on these discs date back to 1984. ‘Find a New Husband’ was made on Liles' fathers very cheap Amstrad tape-to-tape system. The tape machine ceased to work properly shortly thereafter. This track was the result or many hours of rewinding and re-playing and re-recording, and thus began Liles fascination, obsession and addiction with tape-manipulation, sound FX and recording techniques. Listening back to some of these works reminds us of the archaic and laborious fashion in which music used to be created and assembled. In hindsight the merits of working with tape compared to digital technologies seem to be the random nature of what would happen. Tape bleed, mishaps, the low-fi quality and errors seemed to give unique and often unpredictable results. Many of Andrew Liles' early experimentations and accidental consequences are included in this collection. Also included are selections from his two self-released cassettes under the name Lividity. The Lividity tapes were given away to friends and sent as demos to assorted labels. Some 20 years later it is very doubtful that any of them exist other the two remaining copies Andrew Liles has kept tucked away in some forgotten corner." [label info] www.vinyl-on-demand.com	2009	€21.50
	Miscellany Deluxe (Box Edition)	3 x LP-Box & T-Shirt	Limitierte Box-Version - neben der auch einzeln erhältlichen do-LP gibt es noch eine weitere LP mit weiterem Material so wie ein synapsenkillendes ROSAfarbenes T-Shirt, alles in einer silbernen Box! "Much of the music included in this set is exclusive to this vinyl version of ‘Miscellany’. Andrew Liles has compiled a comprehensive anthology including as much varied, interesting and unreleased material as possible. He spent many an afternoon sifting through piles of cassettes seeking the oldest and arguably most definitive pieces of music from literally hundreds of hours of tape. The earliest recordings on these discs date back to 1984. ‘Find a New Husband’ was made on Liles' fathers very cheap Amstrad tape-to-tape system. The tape machine ceased to work properly shortly thereafter. This track was the result or many hours of rewinding and re-playing and re-recording, and thus began Liles fascination, obsession and addiction with tape-manipulation, sound FX and recording techniques. Listening back to some of these works reminds us of the archaic and laborious fashion in which music used to be created and assembled. In hindsight the merits of working with tape compared to digital technologies seem to be the random nature of what would happen. Tape bleed, mishaps, the low-fi quality and errors seemed to give unique and often unpredictable results. Many of Andrew Liles' early experimentations and accidental consequences are included in this collection. Also included are selections from his two self-released cassettes under the name Lividity. The Lividity tapes were given away to friends and sent as demos to assorted labels. Some 20 years later it is very doubtful that any of them exist other the two remaining copies Andrew Liles has kept tucked away in some forgotten corner." [label info] www.vinyl-on-demand.com	2009	€60.00
LINDE, OKSANA	Travesias	LP	Venezuelan composer Oksana Linde presents Travesías, her second album released by Buh Records, featuring pieces created between 1986 and 1994 in her private studio in San Antonio de Los Altos, Venezuela. These compositions belong to the same creative period as the works included in her acclaimed debut album, Aquatic and Other Worlds (Buh, 2022). The pieces “Mundos Flotantes,” “Horizontes Lejanos,” and “Arrecifes en el espacio” were expressly composed for the concert Travesía Acuastral, presented by Linde in February 1991 at the Casa Rómulo Gallegos during the 3er Encuentro de la Nueva Música Electrónica. This event, produced by Maite Galán in collaboration with the group Musikautomatika, was a milestone in the development of an experimental electronic music scene in Venezuela, which at the time was one of the most vibrant in Latin America. The name Travesía Acuastral reflects the surreal imagination that inspired much of the artist’s work. These ideas, centered on extraordinary ways of perceiving reality, also connected with alternative meditation practices such as Reiki, which attracted Linde’s attention from the mid-1980s to the early 1990s. This period followed her departure from her career as a chemical researcher due to severe health issues. During this time, she composed a series of pieces for meditation sessions, four of which are included in this compilation: “Luciérnagas en los manglares,” “Estrellas I” and “II,” and “Kerepakupai vena.” The latter references two words from the Pemón Indigenous community in southeastern Venezuela, meaning Salto Ángel [Angel Falls]—the name of the world’s tallest waterfall, located in the state of Bolívar. Born in 1948 in Caracas to Ukrainian immigrant parents, Oksana Linde’s career is an example of resilience and innovation. After leaving her work as a chemist due to health problems, Linde turned to music, experimenting with synthesizers to create an evocative sound universe. She produced a substantial amount of recordings during the 1980s, many of which remained unpublished until the release of Aquatic and Other Worlds. Since then, Linde’s work has been compared to artists such as Isao Tomita and Suzanne Ciani. Travesías further establishes her as an essential figure in electronic music and continues to unveil one of the most fascinating musical archives of Latin American electronic music. This compilation is released by Buh Records in a limited edition of 500 copies. It was compiled and annotated by Luis Alvarado, mastered by Alberto Cendra at Garden Lab Audio, with cover photography by Elisa Ochoa Linde, and artwork and design by Gonzalo de Montreuil. This album was made possible thanks to the Ibermúsicas fund. buhrecords.bandcamp.com/album/traves-as	2025	€32.00
LLYN Y CWN	Megaliths	CD	Step into the shadows of ancient mysticism as Llyn Y Cwn, unveils the mesmerising odyssey that is "Megaliths". A profound exploration of the sacred resonance embedded within stone circles, capturing years of field recordings from the silent and enigmatic monuments that stand as timeless witnesses to the ebb and flow of existence. Crafted by artist Ben Powell, "Megaliths" is a sonic voyage that mirrors the sacred spaces marked by stoic pillars of rock, each track representing a specific site. Delving deep into the esoteric significance of stone circles, the album portrays these structures not merely as historical relics but as religious ceremonial sites where the veil between our world and the eternal realm becomes tantalisingly thin. Prepare to be engulfed in ambient soundscapes extracted from burial chambers, where Ben has utilised convolution reverbs to replicate the ominous ambiance of these ancient spaces. A veteran of stone circle exploration, Ben's decades-long journey has yielded field recordings that capture the haunting whispers of wind and the solemn caws of crows, enveloping the listener in a ghostly atmosphere that transcends the ordinary. Guided by the wisdom found in Julian Cope's "The Modern Antiquarian" and Aurbrey Burl's "A Guide to the Stone Circles of Britain", Llyn Y Cwn embarks on a sonic pilgrimage across the country, exploring the remote bleakness of these sites. Ronald Hutton's insight, that the circular shape of stone rings "mirrors the sun, the full moon, and the bounds of the horizon," becomes a tangible reality in the album's mesmerising compositions. Aubrey Burl's words resonate as the album transitions from the cramped, gloomy chambers of tombs to the unroofed, wide rings - a journey from darkness to light, from the dead to the living, and from the grave to the sky. "Megaliths" invites the audience to experience stones strategically positioned to occupy the centre of the world, acting as microcosms of the surrounding landscape. Archaeological speculation on whether the stones are monuments to ancestors or supernatural entities, such as deities, adds an extra layer of intrigue to the album's enigmatic narrative. More than just an album, "Megaliths" is a ritual, a sonic séance that transcends the constraints of time and space. It beckons listeners to commune with the ancient energies that saturate these sacred circles - an invitation to traverse astral planes, to witness the convergence of past and present, and to embrace the otherworldly energies that resonate within these ancient stones. Brace yourselves for an atmospheric descent into the heart of mysterious realms, where the boundaries between the earthly and the spiritual blur into an indistinguishable, haunting atmosphere. Experience the haunting beauty of "Megaliths" as Llyn Y Cwn unlocks the gates to the mystical realms of stone circles. Embrace the darkness, and let the stones speak. The journey begins now. https://llynycwn.bandcamp.com/album/megaliths	2024	€15.00
LOPEZ, FRANCISCO	VirtuAural Electro-Mechanics	USB card	'VirtuAural Electro-Mechanics' (machinic pieces 1995 – 2018) About the first piece of this compilation, originally commissioned for the 25th anniverssary of the Sónar Festival in 2018: "Internationally acclaimed for the intensity, richness and astonishing audio detail of his live immersive surround performances in the dark, sound artist and composer Francisco López has created yet another magnum sonic tour de force in his new ‘VirtuAural Electro-Mechanics’. A creation developed from a myriad of original sound recordings of mechanical machines, electro-mechanical systems and industrial environments gathered over the past 25 years all over the world; from food factories to “white rooms”, from 18th-century automata to computers, from wood and wires to magnetism, from the microscopic to the monumental. Resulting from a massive process of evolution, recombination and spatialization of these materials; merging the “real” with the rise of a new breed of unexistent, magnified, dramatically hyper-real machines; this gargantuan multi-layered creature is all about an extraordinary ontological sonic experience of VirtuAurality in the dark that will put you at the core of The archetypal machine." Physical edition supported by the MOP Foundation, the Monomedia Institute and Stroom Den Haag. https://franciscolopez.bandcamp.com/album/virtuaural-electro-mechanics	2019	€33.00
LOPEZ, FRANCISO & MIGUEL A. GARCIA	Ekkert Nafn	CD	"The collaborative album Ekkert Nafn was composed from sound materials collected by Francisco López and Miguel A. García. Some of these materials were derived from field recordings, others from electrical and mechanical devices, all were manipulated with digital tools to varying degrees. After compiling the collection of sounds, both artists proceeded to compose independently, arriving to pieces that inevitably intersected each other’s aesthetics. In the two chimeric works presented in this album, we may recognise each artist’s authorial identity intertwined with the other’s in multiple and surprising ways. The title of the release is actually yet another manifestation of this superposition: García often uses invented words to title his pieces, looking for sounds and forms that somehow connect with the music. Sometimes, within these invented words, he discovers words from languages he does not understand. Ekkert Nafn happens to not be made up of invented words — although it could have been — but is composed by two Icelandic words that translate to the quintessential López title, No Name. Francisco López is internationally recognised as one of the major figures of the sound art and experimental music scene. For forty years he has developed an astonishing sonic universe, absolutely personal and iconoclastic, based on a profound listening of the world. Destroying boundaries between industrial sounds and wilderness sound environments, shifting with passion from the limits of perception to the most dreadful abyss of sonic power, proposing a blind, profound and transcendental listening, freed from the imperatives of knowledge and open to sensory and spiritual expansion. He has hundreds of concerts, projects, workshops and sound installations in over seventy countries of the six continents. His extensive catalog of sound works has been published worldwide, including live and studio collaborations with hundreds of international artists. He has been awarded four times with honorary mentions at the competition of Ars Electronica Festival and is the recipient of a Qwartz Award for best sound anthology. www.franciscolopez.net Miguel A. García (aka Xedh) is a restless sound artist living in Bilbao. Trained in Fine Arts, he works on electroacoustic composition and improvisation, using sources obtained from the manipulation of electrical devices, sometimes mixing these with sounds of acoustic instruments and field recordings. He has performed extensively across Europe, America and Asia, and appeared on more than a hundred albums. He is also part of the coordination of Hotsetan en Azkuna Zentroa, founder of Klub Larraskito, and director of the Zarata Fest festival, all of them platforms for the diffusion of risky music and related disciplines. www.xedh.org Untitled #351 created by Francisco López at ”mobile messor” (Den Haag, Chicago, Ljubljana, Gougan Barra, Kathmandu, Paris) and Dune Studio (Loosduinen), 2013-2017. Applainessads composed by Miguel A. García in 2018. Mastered by Francisco López. https://cronica.bandcamp.com/album/ekkert-nafn	2019	€13.00
LUCIER, ALVIN	Works for the Ever Present Orchestra	do-LP	Black Truffle’s documentation of the prolific recent work of legendary American composer Alvin Lucier continues with Works for the Ever Present Orchestra. This is a very special release for the composer, as it presents pieces written for the thirteen-member Ever Present Orchestra, formed in 2016 exclusively to perform Lucier’s works. At the heart of the ensemble are four electric guitars, an instrument Lucier began composing for in 2013 with Criss-Cross (recorded by two core members of the Ever Present Orchestra, Oren Ambarchi and Stephen O’Malley, for whom it was composed, on Black Truffle 033). Through the use of e-bows, the guitars take on a role akin to the slow sweep pure wave oscillators heard in many of Lucier’s works since the early 1980s, but with added harmonic richness. Like much of Lucier’s instrumental music, the pieces recorded here focus on acoustic phenomena, especially beating patterns, produced by the interference between closely tuned pitches. The work presented here is some of the richest and most inviting that Lucier has composed. Though all of the pieces clearly belong to the same continuing exploration of the behaviour of sound in physical space and make use of related compositional devices, each takes on a strikingly different character. Titled Arc, for the full ensemble of four guitars, four saxophones, four violins, piano and bowed glockenspiel inhabits a world of sliding, uneasy tones, punctuated by a single piano note. Where Double Helix, for four guitars, rests on a pillow of warm, low hum, EPO-5, for two guitars, saxophone, violin, and glockenspiel possess a limpid, crystalline quality. Accompanying the four new compositions are two adaptations of existing pieces for radically different instrumentation, demonstrating Lucier’s excitement about the new possibilities suggested by this dedicated ensemble. Works for the Ever Present Orchestra is an essential document of the current state of Lucier’s continuing exploration, as well as offering a seductive entry-point for anyone who might yet be unacquainted with his singular body of work. Presented in a deluxe gatefold sleeve with cover artwork and liner notes from Alvin Lucier. Includes a download code featuring hi-res vesions of the LP material. The download code also includes the bonus Adaptions for the Ever Present Orchestra featuring two pieces (“Two Circles” and “Braid”) that are not included on the LP version. Mastered by Rashad Becker. Design by Lasse Marhaug. https://blacktruffle.bandcamp.com/album/works-for-the- ever-present-orchestra	2020	€26.00
LUNAR ABYSS DEUS ORGANUM	Uzor	CD	"The third "real" CD by LADO combines tracks recorded in 2002-2004 and due to various circumstances initially spread over various compilations and EPs ("Heilige Feuer III", "Thalamus II", "Holy Mother Russia", "Listopad Vot On", "Brusnika"). Now the circle is closed and this CD represents the pieces almost in the same order as they were created. The album reflects a certain period of creativity and especially author's interest in proto-Eurasian cultures. Sounds like the best album of the project, although it is a kaleidoscope, creating a new pattern for the hearing. The compositions are created from acoustic and electronic structures, drum and noise loops, voice samples, scientific & journalistic recordings and deep wave drones." [label info]	2011	€13.00
	A Sherpa's Sleep is More Milk Music	CD	L.A.D.O. is a project that has literally appeared from a sleep. His founder first saw and heard this name in a dream, and being quite surprised upon awakening, decided to embody it. Subsequently, many fragments of sound, associations and images came from sleep and drowsy moments. So is this album. Each composition is a piece, a fabric woven from the sounds of various origins: resonant dawns and dusks, roars of distant thunderstorms, rustling of small creatures, sough of wind and leaves, ringing of strings and trumpet calls. All this is interlaced by multi-layered electric threads of analogue and synthetic instruments and call signs of unknown radio stations. All this swarm of sounds doesn't fall into chaos but builds up in a forest temple surrounding sleeping children, and the air vibrates with emptiness. L.A.D.O. – проект, возникший из сна, в буквальном смысле. Его основатель впервые услышал и увидел это название в сновидении, и, немало удивившись по пробуждении, решил его воплотить. Впоследствии многие фрагменты звучания, ассоциации и образы приходили из сна и дремотных промежутков. Так и этот альбом. Каждая композиция – это пьеса, ткань, сотканная из звуков различного происхождения: гулких рассветов и закатов, рокота дальних гроз, шорохов малых существ, шелеста ветра, листвы, струнных перезвонов и трубных призывов. Всё это переплетено многослойными электрическими нитями аналоговых и синтетических инструментов и позывных неизвестных радиостанций. Весь этот сонм звуков не опадает в хаос, а выстраивается лесным храмом вокруг спящих детей, воздух вибрирует пустотой. credits released December 9, 2019 "Let go of what has passed. Let go of what may come. Let go of what is happening now. Don’t try to figure anything out. Don’t try to make anything happen. Relax, right now, and rest." ~ Mahasiddha Tilopa "Within my body are all the sacred places of the world and the most profound pilgrimage that I can ever make is within my own body." ~ Mahasiddha Saraha https://lunarabyss.bandcamp.com/album/a-sherpas-sleep-is-more-milk-music	2019	€12.00
LUNDVALL, TOR	Ghost Years	CD	" 'Ghost Years' is my first retrospective CD featuring tracks from various compilations, vinyl-only releases plus some unreleased material. The focus is more on my vocal work, however there are a few instrumental pieces included as well. Although the music spans about a decade, I was surprised at how well the tracks flow together to make a coherent ensemble, evolving from my earlier song-oriented compositions to the more ambient nature of my recent recordings. (Tor Lundvall, November 2009). 13 Ghost Ambiences." [label info]	2010	€6.50
LUSTMORD & VARIOUS ARTISTS	The Others (LUSTMORD deconstructed)	do-CD	Over 13 years after the release of [ O T H E R ] , Pelagic Records has gathered 16 bands and solo artists to record their own unique takes on tracks from the Other-sessions. The result is an album that is more than a compilation, and more than the sum of its parts; covering a wide range of musical niches and directions, but sharing the same underlying mood and vibe defined by Lustmord's timeless soundscapes: from the ambient solo performances provided by IHSAHN, ENSLAVED or JONAS RENKSE to the subdued voice of ZOLA JESUS woven into Lustmord's sombre fabric to the industrial carnage that is GODFLESH's version of 'Ashen'. What demonstrates the profound influence of Lustmord on this contemporary music underground showcased here is that artists from disparate ends of the sonic spectrum all feel inspired to explore the essence of his idiosyncratic sounds within their own realm: experimental electronica icons ULVER excel on a stunning, hazy rendition of ‘Godeater’, while Japanese post-rock act MONO deliver a crushing version of ‘Er Eb Os’, and THE OCEAN take us on a cathartically heavy mindtrip back to our 'Primal [State of Being]'. In the end, each of these 16 artists delivers an interpretation that pays the deepest respect to this pivotal artist, while also standing out as a new track of its own. As Williams himself often puts it in interviews: “Copying someone you like with the right equipment isn’t going to be the least bit interesting. What matters is that you have good ideas and interesting things to say.” The Others (Lustmord Deconstructed) is not only a tribute and an excellent entry points into the discography of the founding father of dark ambient. It is also a celebration of the most accomplished visionaries in the underground music scene of today, and a manifestation of what binds them together—an undeniable devotion to attitude over ability and the courage to remain in the shadows and be The Other. https://lustmord.bandcamp.com/album/the-others-lustmord-deconstructed	2022	€20.00
	The Others (LUSTMORD deconstructed)	3 x LP	Over 13 years after the release of [ O T H E R ] , Pelagic Records has gathered 16 bands and solo artists to record their own unique takes on tracks from the Other-sessions. The result is an album that is more than a compilation, and more than the sum of its parts; covering a wide range of musical niches and directions, but sharing the same underlying mood and vibe defined by Lustmord's timeless soundscapes: from the ambient solo performances provided by IHSAHN, ENSLAVED or JONAS RENKSE to the subdued voice of ZOLA JESUS woven into Lustmord's sombre fabric to the industrial carnage that is GODFLESH's version of 'Ashen'. What demonstrates the profound influence of Lustmord on this contemporary music underground showcased here is that artists from disparate ends of the sonic spectrum all feel inspired to explore the essence of his idiosyncratic sounds within their own realm: experimental electronica icons ULVER excel on a stunning, hazy rendition of ‘Godeater’, while Japanese post-rock act MONO deliver a crushing version of ‘Er Eb Os’, and THE OCEAN take us on a cathartically heavy mindtrip back to our 'Primal [State of Being]'. In the end, each of these 16 artists delivers an interpretation that pays the deepest respect to this pivotal artist, while also standing out as a new track of its own. As Williams himself often puts it in interviews: “Copying someone you like with the right equipment isn’t going to be the least bit interesting. What matters is that you have good ideas and interesting things to say.” The Others (Lustmord Deconstructed) is not only a tribute and an excellent entry points into the discography of the founding father of dark ambient. It is also a celebration of the most accomplished visionaries in the underground music scene of today, and a manifestation of what binds them together—an undeniable devotion to attitude over ability and the courage to remain in the shadows and be The Other. https://lustmord.bandcamp.com/album/the-others-lustmord-deconstructed	2022	€52.00
LUTZ SCHRIDDE	Troum Dreams	consiliis animum fatigas?	Troum dreams quid aeternis minorem consiliis animum fatigas? Cur non sub alta vel platano, vel hac pinu iacentes .... (Horatius, carm. 2,11,13) Why lying on dying, never we'll be with eternity, Hear no evil, no bad under this tree, Lay, see and be, here, no worry with me. About Horatius we read in Nietzsche's "Götzen-Dämmerung" that in his poetry we find 'sound', 'position', 'term', what is with the words (Klang, Ort, Begriff) . This German romantic appreciated the artistry and effectivity, and he considered his own wording equal. Today, I feel free to take 'sound, position, term' to put compositions of Troum into the context of romanisation of German language what informed the romantic metaphor of music as a language. The challenge of translating Horatius into other languages, as Nietzsche had accentuated, is not to fail such artistry and effectivity. What I want to say is that compositions of Troum are more than romantic translations, beyond music as a language. Troum is sound, yes, and then listening is navigating, and listening then is without translation. The German romantics claimed art to be not of purpose, no, art were autonomous and a value in itself, so were a genius. Does that mean the compositions of Troum – when not dubbing it romantic – have a purpose? Troum's navigations are taking the listener beyond such question. It is not about purpose or autonomy, Troum is two composers together, Stefan Knappe and Martin Gitschel. Their collaborative compositions is band-work, there is no solo. Like technical stereo-navigation of pilots in early airplanes, their navigations are even not communicating questions or answers. Following and listening here is about sharing their state of navigation, their state of mind. Stefan contacted me in 1997 and told me about the end of Maeror Tri and a new project he had no name for at the time. I had collected most of Maeror Tri and contributed liner notes once. Moreover, Stefan was irritated how I could identify his hidden solo compositions on my own. Actually, after my time as a connoisseur of music I entered the sphere of musique concrete and drones for sort of cultivating my mind. I had already learned about the righthandedness of European music, had even read Wolfgang Scherer's dissertation "Babellogik" on the matter. Maeror Tri always seemed a soundtrack to my search for a new vantage point. Stefan liked my approach to revaluate the implicit morale of music, himself a lefthanded. When he told me Maeror Tri was disbanding and the new project needed a name, that occured right in time to jump to the new vantage point. Musique concrete and post-punk creativity had affected me, and Maeror Tri all that time reminded me of the restrictions of surreal or psychogeograhic composition some people like to dub the French and British accomplishments. Maeror Tri - cassette by cassette since 1988 - shed some sound on that fashion, sometimes ambient, sometimes industrial, sometimes drone. To me, the fascination came through a sense of game and improvisation, often leaving any boundaries of the genres behind. Some of their early cassettes seemed informed even by the very wish to stay beyond boundaries, an approach to go for a change of any game before. Reading the reviews in Vital Weekly, I find a similar appreciation with the editor. Such exploration of composition may have resulted in new awareness and reflection then in 1997, disbanding Maeror Tri and a new project may explain itself. And as I see it today, the new project went on to explore and navigate beyond any boundaries of genres. Changing games is a skill of the lefthanded. And again, Stefan was surprised watching me identifying his hidden solo compositions. I am righthanded, touched by surreal music and post-punk creativity, I am not a composer. And I will not out his solo compositions here, no. Nietzsche was a lefthanded, his skills surfaced in writing, and he was seemingly not selfaware of this natural skill and tending to curious vanity. His opinion about Horatius shows that in particular. Nietzsche never learned about the giveness of his skill when running his revaluation of all values. He was with the German romantic tradition all the time. And he had a certain selectivity who he liked to value, all were lefthanded (Goethe, Ceasar, Bismarck, Napoleon), all game changers, very skilled. In romantic music, Beethoven and Mozart were skilled brilliantly as such. In visual art, we may call Paul Klee an example. When Stefan needed a name for the new project, I was ready to try. I said "Traum". In English, dream. By 1997, my search for a new way of composition beyond the genres of 'improvised', 'free jazz', 'world music', 'industrial', 'ambient', 'noise', 'drone', 'musique concrete' and else had already ended in sort of disappointment. I was sure, that the romantic tradition and its relative surrealism encompassed my search well, but at the time I had little in hand. My short essay "Noise Culture" in Vital Weekly Supplement in 1996 was a result of my search. Then talking with Stefan, and by intuition I avoided consideration of material or procedure what is behind the genre division. During that talk I threw myself out of that and looked for the location in musical anthropology. I looked for the essence of the genres and opened gain. So it became "Traum". Stefan liked that immediately. He made it "Troum", just as if he knew the game change behind. To be clear, Troum is no music for Nietzscheans. And I am not a Nietzschean, although I have mastered in philosophy and know about him. His approach is restricted to values and valuation, in his case furthermore to the 'game' the values are framed by. That spoke to his nature and his romantic vanity. It happened, that I decided to leave Germany and I am teaching in China for eight years now. Here, musical anthropology is still a vantage point, and I am listening to Troum in Xian at the eastern end of the Silk Road. Troum had done great things, I like the long-trackers "Sen" and "Mare Idiophonica". The Tjukurrpa-trilogy is also with me here, and allow me to highlight the collaboration with Martyn Bates and raison d'être. My current favorite of Troum is "Acouasme". And if you know Horatius, yes, then you may be the right one to try Troum. It is sound, navigation and prior to translation. Here is abroad. Lutz Schridde, Xian, China, April 1st 2018 Horatius in German: Wozu, da er doch nicht gewachsen ist Ewigkeitsgedanken, willst du deinen Geist damit plagen? Warum wollen wir nicht unter der hohen Platane oder unter dieser Pinie liegen sorgenlos, .... This German translation is taken from Bernhard Kytzler, Horaz. Eine Einführung, Stuttgart 1996, page 176, on Nietzsche and Horatius see same page. The English version above is mine.	2018
M.B. / COALMINER + ALLIES	Antimateria	LP	Allies: GNAW THEIR TONGUES (Netherlands); RICHARD RAMIREZ (USA, founder of Black Leather Jesus); TORTURING NURSE (China) ZENABI (Philippines); GRODOCK (Germany); TOSHIJI MIKAWA (Japan, founder of Incapacitants); MANY BLESSINGS (USA; with Ethan Lee of Primitive Man); UNSIGNIFIED DEATH (Thailand) MAURIZIO BIANCHI is one of the founders of early industrial and noise music and should be familiar to the most. For ANTIMATERIA he contributed two brand new, merging pieces in which he approaches the theme through sounds of iluminescent and rushing keyboard clusters. COALMINER establishes several harshnoise tracks, for which they collaborated with the most diverse artists of the genre, from different countries. in the next few days, the various supporters will be presented here. Art by: Paul van Trigt, M.B. and Bruno Erber https://grubenwehrfreiburg.bandcamp.com/album/antimateria "Schon vor etlichen Jahren haben Kernphysiker verschiedene Untersuchungen zu den Klängen von Antimaterieteilchen durchgeführt. Die Ergebnisse sind mittlerweile vermutlich Legion und mir weitgehend unbekannt. Wenn im Zuge dessen allerdings so etwas wie der Sound auf der vor einigen Monaten erschienenen Compilation “Antimateria” möglich ist, dann wäre ich prinzipiell dafür. Auf der LP “Antimateria”, die wenn man genau sein will ein zwischen Kollaboration, Compilation und Split-Release angesideltes Objekt darstellt, arbeitet auf der ersten Seite das hierzulande hoffentlich bald wesentlich bekanntere philippinische Harsh Noise-Duo Coalminer mit einer Reihe an Acts zusammen, die trivial formuliert fast wie ein Who is Who internationaler Lärmkünste anmuten. Die Resultate offenbaren einen starken verbindenden Rahmen, unterscheiden sich aber im Detail sowohl in der klanglichen Beschaffenheit (Rauheit versus relativ glatte Politur, oder besser leicht abgemilderte Rauheit) als auch in der Struktur (Fluss versus Stakkato und alle Zwischenstufen). Den Auftakt bildet ein Track, den die beiden (wie vermutlich in fast allen Stücken) in Mail Art-Manier zusammen mit der ursprünglich mal als Band gegründeten und heute von Junkie im Alleingang betriebenen Shanghaier Institution Torturing Nurse und dem deutschen Noise- und Experimental-Act Grodock aufgenommen haben. Nach wenigen brummenden Sekunden bricht eine Lawine aus Schutt und Geschrei auf die Ohren nieder, und was anfangs noch eher wie im Fluss wirkt, in welchem man die Schreie von Kindern und Schmerzgeplagten hört, wird irgendwann von einem ohrenbetäubenden Donnern und Rattern und Rumpeln zerstampft. Anschließend geht es in Zusammenarbeit mit Richard Ramirez und dem Landsmann Zenabi zunächst etwas zurückgenommener zur Sache, man hört verhaltenes Brodeln und Kratzen, bei dem sich zum einen die vielzitierte Noise-Wall mit rauer Tapete abzeichnet, aber auch das, was ungeübte Ohren gerne einen “Kaputte Boxen-Effekt” nennen. Das ist aber nur die Kulisse, auf der sich viele andere zum Teil entgrenzte Dinge wie schwindelerregender Drehungen oder höllisches Gekeife aus einem riesigen Mund ereignen. Die qualvollen Schreie zeigen sich am eindrücklichsten in dem Track, den Coalminer zusammen mit dem aus dem experimentellen Black Metal stammenden niederländischen Projekt Gnaw Their Tongues und dem Amerikaner Ethan Lee McCarthy alias Many Blessings aufgenommen hat. Hier mischen sich die Todesschreie in ein furioses ambientes Rauschen, das mit der Zeit immer mehr zu einem kleinteiligen, schnellen Flickerbild mutiert. Zusammen mit Toshiji Mikawa (seines Zeichens Mitgründer der Incapacitants) und dem von Bangkok aus operierenden Polwach Beokhaimook alias Unsignified Death schließt die erste Seite mit einem Track, in welchem eine anfangs fast noch angenehm klingende Wall durch hochtönendes Feedback, beängstigendes Lachen und herausgekotzte Vocals zum Einsturz gebracht wird. So wird Antimaterie zu einem Fest für die Ohren. Zu einem kompletten Tapetenwechsel (ohne Raufaser, pun intended) kommt es beim Auflegen der zweiten Seite, denn die beiden jeweils rund zehnminütigen Stücke, die Maurizio Bianchi hier unter seinem Kürzel M.B. abliefert, könnten zum bisher gehörten kaum eindrucksvoller kontrastieren. Was vom Label als “sounds of iluminescent and rushing keyboard clusters” beschrieben wird, erweist sich als Labsal von flirrender ambienter Struktur, deren helle, obertonreiche Gestalt immer in Bewegung bleibt. Im Verlauf der beiden Stücke entfalten sich – beim zweiten “Yangnay” mehr noch als beim eröffnenden “Gnayang” – leisere und lautere Abschnitte, in denen kleine Unregelmäßigkeiten, die manchmal wie Tonstörungen anmuten, für eine im besten Sinne unspektakuläre Dynamik sorgen. Und durchgehend sorgt eine sonnengeblendete Flimmerästhetik für ein fast nostalgisches Deja-Vu zu klassischen Synthesizer-Kompositionen besserer Zeiten. Weit davon entfernt den Veröffentlichungsturnus v.a. im Harsh Noise zu überblicken schätze ich, dass “Antimateria” zu den herausragenden Releases in diesem Bereich zählt. Das betrifft natürlich primär die Coalminer und seinen Kollegen gewidmete Seite, aber auch in dem hier adressierte Dunstkreis tut ein Blick über den Tellerrand, hinter dem Bianchi seine sanften Keyboardsounds spielt, sicher ganz gut. Tolle Platte, die hoffentlich nochmal neu aufgelegt werden wird." [U.S./African Paper] "First off, this album has six different vinyl versions, ranging from 10 copies in pristine white to 90 copies in red/brown flamed. Some are with additional CDs, some without, but Grubenwehr really put some effort into this release. I give compliments to you guys; your effort and energy paid off. The two sides of this album are unrelated to each other. With this, I mean, it's not artists remixing each other or collaborative work using each other's sounds or so. It's 20 minutes per artist, and I think I have never had a better opportunity to present two fully different definitions of noise music in the same review to you, the reader. First of all, Side A: Coalminer. A duo from Manilla. Philippines, on their four tracks, work together with friends from all over the world. How about (and it's just half of them) Torturing Nurse, Richard Ramirez, Gnaw Their Tongues and Unsignified Death? And the music is so intense!!! I couldn't tell you the content of the lyrics, but the titles kinda imply it. "Dissection", "Gaping Crevice", "Decomposition" and "Electrocution". I mean ... It's probably all lullabies for the sick and twisted (pun intended). The reverse side contains two 10-minute pieces by M.B., a.k .a. Maurizio Bianchi. M.B. started working on his art in 1979 using pre-recorded sounds and, in 1980, worked more with the generation of his own sounds. He is absolutely one of the pioneers of early industrial and noise, and on the two pieces presented here - "Gnayang" and "Yangnay" - he approaches the theme of "Antimateria" through sounds of luminescent and rushing keyboard clusters. How does that translate to sound? Two lengthy pieces in which not much happens but where a lot happens. It sounded like a combination of organs and vocoders and was never-ending, always moving. I had a few moments where I was drawn into the atmosphere of Wendy Carlos works, but then more of a static/non-static drone. IF M.B.'s interpretation of the subject was that while nothing happens, a lot happens, and at the same time, because a lot happens, nothing happens, then he succeeded cum laude. Beautiful works, but in all honesty, It's an acquired taste." [BW/Vital Weekly]	2023	€20.00
M.B.(MAURIZIO BIANCHI) / LAND USE	Neural Frequencies	mCD	"Spectral modulations refer artificial synthesis of psychophysical filters, while electro hypnotic segmentations unclose multiple external stimuli of pauperized dimensions. The neural degree is shading the higher method of frequencies, but the turgescent preceptive instruments autoregulate the recognizable discomfort. The normalization method is already remitted to the infected acquisition: it's the lacerating beginning of the epileptic end." [label info] www.steinklang-records.at	2007	€8.50
MACHINEFABRIEK	The Measures Taken	CD	"After last year's two releases (a compilation of rare tracks ”Dubbeltjes” and the reissue of a collaborative album with Dag Rosenqvist entitled ”Vintermusik”) a renowned sound artist Rutger Zuydervelt returns with a completely new album called ”The Measures Taken”. It is the score for a dance performance by choreographer Alexander Whitley and visual artists Marshmallow Laser Feast. ”The Measures Taken” was originally commissioned by the Royal Opera House (it premiered there in May 2014). The spectacular performance involves a lot of hi-tech interactivity between dancers and projected visuals. The theme of man vs/with machine is magnified by the music, which combines warm melodic pads with glitchy white noise and (more than on any other Machinefabriek release) propulsive rhythms. Now you can enjoy the music from the performance on a physical album which is also striking without the use of the visual side. The album is released in a 3-panel ecopak in a strictly limited edition of 300 copies. The cover is based on the original by Rutger Zuydervelt. It was mastered by Łukasz Miernik. The whole production process was overseen by Michał Porwet." [label info] www.zoharum.com "It seemed 'quiet' lately when it came to Machinefabriek. It might have been not since Vital Weekly 925 that we last reviewed something - which, in the world of Machinefabriek, not equals: didn't release anything - but I do know he's busy with on-site pieces, installations and in the case of 'The Measure Taken', music for a choreography by Alexander Whitley and also, at the same time, visual artists Marshmallow Laser Feast. This piece was commissioned by The Royal Ballett Studio programme and premiered in April 2014 in France and also performed in London. There's a short introduction piece, followed by the four parts of the piece. Obviously I haven't seen the dance piece, or the visuals, but judging by the music, there has been a shift in Machinefabriek's music. Some of the 'old' Machinefabriek is still present here, the long ambientesque soundscapes is of course something that is still present, but it seems as if Machinefabriek now handles the form of sound collage more and more, building towards crescendo's and then drops out radically. Another important addition is the use of rhythm in 'Part II'. A kind of click 'n cut rhythm that is not unlike that of, say, Carsten Nicolai. It's quite surprising but it works out very well. Topped with some noise bits here and there, this is surely on the more varied releases by Machinefabriek in quite sometime. If you aren't the biggest fan of Machinefabriek but like to check out a release every once in a while, then make sure you check out this one." [Fdw/Vital Weekly]	2015	€13.00
	Amalgaam	CD	Amalgaam is a raw and unpolished album. Which doesn’t mean that it’s blunt or trite. The grainy, textural sounds on this record have a fleeting, cinematic quality to them, combining spaciousness with a sense of intimacy – at times interrupted by noisier outbursts. The album is based on a series of improvisations on a very hands-on hardware setup, with an old tone generator, effects pedals, dictaphones, contact mics, etc. This material was then mixed and edited into the pieces on this album, while retaining the liveliness of the source material. The only deviation is ‘Metallic (Edit)’, which is an older track that originally appeared on a Japanese compilation tape, but - especially in this newly edited form - seemed to fit between the Amalgaam pieces perfectly. Music constructed by Rutger Zuydervelt in September and October 2019 Metallic (edit) was originally recorded in 2017 and edited in October 2019 The original version was released on the compilation Landscape Painting (Duenn, 2018) Mastered by Łukasz Miernik Executive production for Zoharum by Michał Porwet Sleeve by Rutger Zuydervelt https://machinefabriek.bandcamp.com/album/amalgaam	2020	€13.00
MACLISE, ANGUS	Tapes	3 x CD BOX	Angus MacLise, the first drummer for the Velvet Underground, was a poet, composer, and a member of The Theatre of Eternal Music alongside La Monte Young. The "Tapes" 3CD Box is the first-ever reissue of a 3-cassette compilation that Pleasure Editions originally released in 2015, limited to only 100 copies. The 3CD box set comes with a miniature poster and track lists, and each CD has a paper sleeve that reproduces the original cassette card artwork. This comprehensive 3CD box set is over three hours in length and includes session recordings with Tony Conrad and William Breeze (of Coil, Current 93, and Psychic TV), mystical recordings from the filming of Ira Cohen's "The Invasion of Thunderbolt Pagoda" (1968), shortwave experiments, and sounds of Tibetan Buddhist monks recorded by MacLise. The "Tapes" compilation features excerpts from the archives of the Angus MacLise Papers, which are held at Columbia University Library. The archives contain over 100 hours of reel-to-reel tape recordings of live improvised music, theatrical performances, and sound experiments created by MacLise and his associates during the 1960s and 1970s. MacLise produced the original... Jim O'Rourke completed a new sound restoration and mastering of the recordings in 2023. The 3CD box comes with a miniature poster, a sheet of track list, and each CD comes with a paper sleeve which reproduces the original cassette sleeve artwork. ジム・オルークによる2023年リマスタリング版を収録(カセット版とは異なる正確なトラック分割を行いました)。オリジナルアートワークを使用したディスクスリーヴ、貼箱仕様、ポスター、トラックリスト付き。 ----------------------- Special thanks to Hetty MacLise, Ossian MacLise, La Monte Young, Marian Zazeela, Sheldon Rochlin, Ira Cohen, Rob Ward, Jim O’Rourke, Johan Kugelberg, Tim Barnes, Erica Barnes, Dia Art Foundation,and Robert Bielecki. This official release is authorized by DREAMWEAPON New York, a project of the MacLise Family Estate. dreamweaponnewyork.com Jim O'Rourke completed a new sound restoration and mastering of the recordings in 2023. The 3CD box comes with a miniature poster, a sheet of track list, and each CD comes with a paper sleeve which reproduces the original cassette sleeve artwork. https://art-into-life.bandcamp.com/album/tapes	2023	€45.00
MAEROR TRI	Meditamentum	CD	Endlich die Wiederveröffentlichung der zweiten MAEROR TRI–CD von 1994, die eine Zusammenstellung von frühem Cassettenmaterial ist (1989 bis 1992). Kommt mit bestickter Stoff-Banderole und Reproduktion des Original-Inlays mit Text von Lutz Schridde. “The masterful german drone-guitar trio is now just a memory. But by culling the best tarnished gems from cassettes and compilations, Meditamentum I becomes a seamless, darkly grand proclamation of the wordless beauty and sorrow that was Maeror Tri. Prequel to the first manifold release; Meditamentum II, this one reaches even further back, putting in order pieces that were too good to languish unheard on a few hundred copies of cassettes. This compilation is probably the more ambient of any Maeror Tri compilation, going for more textural guitar and drift than the rumbling, backwards-chord sound. Comes in an amazing brown artboard case and embroidered cloth sleeve, four-page booklet inside inspired by rough layouts of cassette-years past gives plenty of text to absorb with the sounds. Amazing sounds demand amazing packages and we wanted to make sure this would be a treasure for all who were ever interested in Maeror Tri.” [press release]	2005	€10.00
	Meditamentum (I & II)	do-CD	After a successful reissue of a long-lost classic "Emotional Engramm", MAEROR TRI returns to Zoharum and New Nihilism with another album. This time it is a double, deluxe reissue of both volumes of "Meditamentum" (released previously on Holonom and Manifold respectively). Unavailable for many years, "Meditamentum" is a collection of tracks culled from tape releases and rarities hidden on many compilations. It spans the whole existence of Maeror Tri, starting with 2 tracks from 1989 ending with 3 tracks from 1996. It is a sort of "best of" Maeror Tri, as it tells the story of the bands progress. From rough edges of "Peak Experience" to dreamy soundscapes of "The Beauty of Sadness". "Meditamentum" is also a document of the underground tape scene of the 1980s and 1990s, and of a genius of MAEROR TRI as purveyors of mind-altering sonic experience. It's "Music for the Brain" at its best. The release is presented in a lavish gatefold Japanese vinyl replica designed by Marcin Łojek (Ibsendesign, responsible also for the cover for Zoharum's reissue of "Emotional Engramm"). Each volume is extended with a bonus track making the whole collection 155 minutes long and comprising of 23 tracks. The sound is greatly enhanced by our remastering wizard Łukasz Miernik. "Meditamentum" is co-released by Zoharum and New Nihilism to give you the maximum sonic experience. This double CD is strictly limited to 500 copies." [label info] www.zoharum.com "Whenever there is no new music to digest, I return to my collection and see what I have - I guess a pretty normal activity if you love music. I tend to play music label or group-wise, so a while ago I pulled out all the Maeror Tri CDs I have - which I guess is pretty much all of them in their original released form - and had that on play for a couple of days. Not much later it was the turn for Troum, Maeror Tri successor - and I decided that I liked Maeror Tri better, even when the differences are pretty small. Just a matter of highly private opinion, but I am bringing this up, since today I got this double pack of the two 'Meditamentum' releases. The first volume was released by Holonom and then re-issued by Manifold, who also released a second volume of it. Both of these releases compile tracks that were scattered on compilation cassettes in the very early Maeror Tri, the years of inexpexerience and lots of experiment. It's years that I have close to my heart and very early on I was in contact with the band and liked their music straight away. I reminded me of Zoviet*France and was regarded back then as ambient industrial. Through all these twenty-three tracks (two are new bonus pieces, also from compilations, but on the previous volumes) you can follow their early steps from Maeror Tri on CD one which spans 1989-1992 and their more refined sound on CD two, 1992-1996, when their music gained more and more depth. Still all highly ambient, right from 'The Threat' (1989) to 'Res Magnifica' (1996) with endless sustaining sounds, drones, processed field recordings and harmonium/guitar/percussion sounds and sometimes bringing the sound back, deep into the earth. Tons of effects have been used, but all with the right amount. If you are a Maeror Tri fan you may have the original releases, but worth here for the bonus tracks and the excellent remaster. Or if you are curious what the hell all the fuzz is about this obscure band in it's day worth all these re-issues, then this is also your place to start." [FdW/Vital Weekly]	2013	€18.00
MAGGI, PHIL	Blue Fields in Paramount	CD	Nach der schönen IDIOSCAPES-Compilation die zweite Veröffentlichung für das belgische Label aus Gent. PHIL MAGGI ist Mitglied diverser Bands (z.B. ULTRAPHALLUS) und legt nach zwei CDRs seine erste "fabrikgepresste" CD vor. Seine subtilen wie ätherischen Drones werden mit field recordings aus Zagreb angereichert (Akkordeon-Folk eines Strassenmusikers, Sounds in einer Kirche), immer wieder sind im weiteren Verlauf effektierte Echo-Gitarren oder Rückwarts-Harmonien eingesetzt, die dem ganzen einen verträumt-sehnsüchtigen Anstrich geben... sehr schön, to discover ! "Blue Fields in Paramount is a very personal and fascinating opus, a beautiful introduction to the style of this talented artist, that could be qualified as 'dark psychedelia for daydream believers'. It has been mastered by James Plotkin (Khlyst, Khanate, Old, Phantom) and is out now as a limited to 300 copies ekopack release with a fantastic artwork by czech artist Jan Karpisek." [label info] "The album contains a 39 minutes track that is formed by totally different mini suites made with loops, fields recordings (he did his sessions in a church and in the streets of Zagreb) and sampled contemporary classical music. The track starts with a dark ambient drone mood with tones inserts and follows with Zagreb sounds mixed with backward classical music. Suddenly anxious atmospheres take a hold thanks to synth sounds coupled with an orchestration of sampled/treated breaths. The tracks changes skins different times and each one is renewing like a phoenix born from its ashes and Phil succeeds into keeping the listener's attention high thanks to interesting sounds, light melodies and tension. I liked it..."" [Maurizio Pustianaz, CHAIN D.L.K.] www.idiosyncratics.net	2009	€12.00
MANDELBROT	Kaleidoscop	CD	Since their album "Auf Tauchfahrt" (auphcd003) back in 2005, Mandelbrot have played a very important role in the artist line up of audiophob. With "Kaleidoskop" (auphcd022) - the latest work of the prolific duo from Bielefeld - we are able to look at an impressive shared path, consisting of none less than five full time albums, as well as a wonderful online remix release and several compilation tracks on the labels compilations. The optical effects of a kaleidoscope resemble the musical style of Mandelbrot on this new release in quite a good way: While discovering the beauty of sometimes repeating patterns, you soon realize that everything is in flow and will never return to the current state again. Sometimes the tracks build up to cluttered and chaotic moments, only to suddenly transform into order and harmony. Each of the ten tracks combine atmospheric to melodic synthesized sounds with slightly rhythmic noise patterns and recordings to create unique dark ambient works. (auphcd022)	2014	€6.50
MANGAN, FELICITY	String Figures	LP	Felicity Mangan's first solo vinyl LP and first release for Elevator Bath is "String Figures", a stunningly beautiful collection of tactile drones and electronic tonalities infused with natural sounds and rhythms. This is fascinating, emotionally resonant work, novel in its inventiveness and impactful in its delivery. Created in the summer of 2024, the six pieces on "String Figures" sample and combine the resonant timbres of strings and electromagnetic textural fields with field recordings from wetlands. These elements were shaped through digital processing into polyphonic, angular assemblages. On side A, the austere minimalism and found sounds of "Watering Device" are followed by the gorgeous drones of "Cello Figures" while "Magnetic Moss" bounces electronic tones and pulses around the stereo field. Side B kicks off with "Invisible Strings", an elegiac ambient piece, which soon leads to the poetic and moving "String Thing". The concluding "Magnet, Paper, Frog" is the perfect combination of sundry techniques, offering a superb example of Mangan's singularity. As an album, it is a refreshingly varied yet thoroughly cohesive document. Indeed, "String Figures" is this highly unique and exciting composer's most compelling work to date and one that Elevator Bath is overjoyed to share with discerning listeners. - - - - Felicity Mangan is an Australian sound artist based in Berlin, Germany. She combines field recordings, electroacoustic composition, and electronic music techniques to create immersive, quasi-bioacoustic music aided by digital audio tools. Her compositions have been presented in multichannel installations, live performances, site-specific settings, and published works on labels such as Longform Editions, Mappa Editions, One Instrument, and Warm Winters, among others. Written, produced, and mixed by Felicity Mangan Tracks A2 and B2 contain samples of cello performed by Moritz Draheim Track B3 contains a sample of southern leopard frogs recorded by Kevin Songer Mastered by Stephan Mathieu at Schwebung Mastering Lacquer cut by Andreas Lubich at Loop-O Mastering Photography by Constanze Flamme; Layout by Colin Sheffield https://felicitymangan.bandcamp.com/album/string-figures ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ "Felicity Mangan’s String Figures is an immersive exploration of field recordings, electronic textures, and string timbres, blending natural sounds from wetlands with lush, slowly evolving drones and quasi-bioacoustic compositions. Across six pieces, she transforms subtle environmental cues—water, frogs, moss, and children at play—into meditative, minimalistic soundscapes that range from austere elegance to rich, enveloping resonance. In this beautiful collection of tactile drones and electronic tonalities infused with natural sounds and rhythms, Felicity Mangan combines field recordings, electroacoustic composition, and electronic music techniques to create immersive, quasi-bioacoustic music aided by digital audio tools. The six pieces on String Figures sample and combine the resonant timbres of strings and electromagnetic textural fields with field recordings from wetlands. She has the moon with her, by the water. From the picture it could be a pond or slow moving river, I can almost hear the slow moving water. What are she and the moon up to? Listen, so close to the water’s edge, lush in the brush and abundant sounding flora. There is a strong reflection in the water, she has a twin image. These elements were shaped through digital processing into polyphonic, angular assemblages, ranging from austere minimalism to sumptuous drones and elegiac ambience. Her compositions have been presented in multichannel installations, live performances, site-specific settings, and published works on labels such as Longform Editions, Mappa Editions, One Instrument, and Warm Winters, among others. Still your mind. Starting with an emphasis on field recordings which are enhanced, to become a classic EM Kosmiche drama, and growing from one long note from each member of the orchestra. The blending elements slightly wag and wave, tugging at all of the harmonics. Always a sumptuous ambience and quasi-bioacoustics, simple electronic poetics leveraged with the recording arts and deploying a variety of instrumental sounds. Consistently minimal in approach, with long sustained drone style tones, each track slowly fades in and slowly fades out. Side A: Kids are playing behind the sound of lawn sprinklers, juxtaposing austere minimalism and found sounds. I am attracted to the phasing patterns between several sprinklers. “Watering Device” (7:20) emerges very slowly, a low tone, a buzz, warm and sinister. Refreshing and wet from hissing, I could find no spills or drips, just kids playing in splashes. There is an ominous hum too. Here come the warm jets, with wind in the distance. “Cello Figures” (8:44) contains samples of cello performed by Moritz Draheim, zillions of tiny cellos playing one note, odd field recording of a dark tunnel and a squeaky toy being finessed into subtle barking squeaks, from within a shifting sandy cloud of bowed sounds drone style. These shifting clouds of sand are becoming stronger, they sort of swell and then diminish and then swell again, blending as time goes by. The richness increases like melted butter spreading over my ears dripping and getting into the deepest delicious places, disguised gorgeous drones. Deep dark bubbly “Magnetic Moss” (6:24) bounces electronic tones and pulses around the stereo field, a dark monotone boogie with a jittery low tone. In the natural world, it might be assumed that moss does not do much, it persists and constantly slowly grows, filled with tiny stringy chaos, magnetic pulls or pushes or nothing at all, and moss would be on the forest floor. Clearly magnetic moss is different. Dodging and weaving, the action is to just bubble away, a short wave radio in a wet cave, a loose beat, a grand bubbling boogie flow with textures." [Igloo Mag.]	2025	€22.50
MAREGIANO, ANNE	CHARLEMAGNE PALESTINE, THE GOLDEN SOUND	DVD	"Born in New York City, composer, performer, and visual artist Charlemagne Palestine was a contemporary of Steve Reich and Phillip Glass in the avantgarde classical music scene of the 1960s and 1970s. On stages filled with his own home-made stuffed animals, Palestine performs his trance-like strumming music. He is often referred to as a minimal composer, but rejects that in favour of maximalism. Anne Maregiano's documentary about Palestine, The Golden Sound (2011), allows the artist to tell his own story while putting his music and performance, in long, unedited takes, at the centre of the film' - Michael Garrad, (Close Up)Bonus Films: 'The Red Suitcase' by Anne Maregiano (2011). 'Body Music 'by Charlemagne Palestine (1975). 'Charlemagne 2 : Piltzer' by Pip Chodorov (2002).'Sound Recording: March 7, 1975' by Charlemagne Palestine.Book (44 pages) with texts written by Ingram Marshall, Roland Spekle, Pip Chodorov and Anne Maregiano. Photos by Kathleen Agnoli, Elaine Hartnett, James Lapine, Charlemagne Palestine. English with French subtitles." [label info] "Il est 19h30 au Louvre le 6 mars 2001. Charlemagne Palestine descend les marches du grand auditorium avec sa valise en toile rouge. Il porte un grand chapeau Weston, plusieurs écharpes bariolées, un pantalon orange et des chaussures rouges. Il pose sa valise devant le majestueux piano Bösendorfer et en sort une grenouille, un petit singe, un ours, un perroquet… quelques peluches rescapées des poubelles de l’histoire. Charlemagne débute son concert devant une salle pleine. Il ne faut pas plus de cinq minutes de Strumming Music pour qu’un spectateur se lève et crie au scandale. Le concert s’interrompt, Charlemagne lui suggère de quitter la salle. Après un échange musclé, l’homme à lunettes se rassoit. A la fin du concert, je revois la même personne félicitant Charlemagne de sa performance. Que s’est-il passé ? Qu’est-ce qu’il lui a fait changer d’avis : l’origine ukrainienne de l’artiste, son appartenance à l’avant-garde new-yorkaise au début des années 70 (Tony Conrad, La Monte Young, John Cale, Taylor Mead, Terry Riley...), son expérimentation électro-acoustique à Los Angeles (Morton Subotnick, Ingram Marshall), son art vidéo (Nam June Paik), ses accointances avec le cinéma expérimental (Stan Brakkage) ou son exil vers l’Europe. Le film vient de commencer… » Sous la forme d’une confession intime et sur fond d’archives d’époque (vidéos, photos et musiques inédites), Charlemagne nous livre sa quête de « l’or sonore". [Anne Maregiano]	2013	€23.00
MCDOWALL, DREW	Lamina	6 x CD-BOX	This long-gestating box set of Scottish electronic pioneer Drew McDowall’s solo work takes its title from a technical term meaning ‘plate’ or ‘layer’ most often used in contexts either geological or anatomical: Lamina. He speaks of the compiling process similarly: “Digging into my archives felt like a mix of psychoanalysis and archaeology – uncovering buried things.” The six CD collection includes expanded editions of his four most recent Dais LPs (Collapse, 2015; Unnatural Channel, 2017; The Third Helix, 2018; and Agalma, 2020), alongside a disc of rarities (Undulations and Aberrations) and one of live performances (Entanglement). Taken together, it presents a definitive portrait of McDowall’s cryptic, questing artistry, forever seeking “that sense of stepping over a threshold.” The bonus material in particular is revelatory, broadening both the context and complexity of its respective full-length. “Palisades,” a Collapse outtake, patiently builds a mantric throb into a rippling cascade of head-nodding cosmic noise, like some glowing shrapnel splintered off the rest of the record. “Tell Me The Name (Alt Version),” a reworking of the eerie opener of Unnatural Channel, embodies McDowall’s goal for the compilation as “a window into the process of iteration.” More emaciated and reptilian than the original mix, the track shivers and shimmers in a reverie of alien melancholy, a corrupted file of some interdimensional hymn. “False Memory Demo,” from The Third Helix sessions, showcases the textural trial-and-error behind these compositions – a wobbly collage of seasick scrapings, sine waves, and tectonic circuitry, tested like source material in a lab. Similarly, an unreleased Agalma vault cut, “Cest,” captures the artist at the brink of breakthrough – a time-stretched drone traced in muffled voices and phasered haze dilates across five lysergic minutes. It’s the sound of a palette being refined, poised for deployment. The fifth disc spans two decades of stray recordings, from 90’s studio experiments to lost comp tracks to sold-out tapes, modular oddities, and rhythmic sketches. Sequenced chronologically, it demonstrates the zig-zagging evolution of McDowall’s sound, colored by formative years collaborating in Coil but extrapolated into freshly forking paths: industrial dub, icy downtempo, tonal devotionals, hexed gamelan, interstitial murk. The suite of live sets, too, is essential listening. He describes his inclusion criteria as performances that fuse “the sacred and the feral, like you’re in a cathedral but the floor is dirt.” All four recordings are rich and unhinged: a spiraling, seething, somber voyage for Ascetic House and Mount Analog’s’s dark experimental series, Nuit Noire; a jagged, dissonant excerpt from his Collapse release show at New York venue Alphaville; a fractured, psychedelic rendering of “Agalma III” for Root Radio’s Exist Festival live stream; and a delirious, magisterial take of “Agalma I” for the Agalma release party at Strange Editions, produced by Quo Vadis (his ambition for which was “to mirror the pandemic-related ontological feeling of being suspended in mid-air”). Despite its duration, Lamina is a leanly plotted survey, devoid of dead weight. Few artists as omnivorous as McDowall are also as self-editing – his standards are rigorous, and revealing: “While working, I’m always changing things, hacking them away, abandoning them when they don’t work. When listening back I’m looking for a sense of awe and wonder. Otherworldly magic. If I’m not hearing that, I don’t see the point.” https://www.daisrecords.com/products/drew-mcdowall-lamina	2023	€38.50
MCFALL, CHRISTOPHER & ASHER	An amber hollowed Night	mCD-R	"a multi-layered track created by two prolific and very talented us sound artists. christopher mcfall first issued a bunch of netreleases on respected labels such as alg-a, conv, earlabs or test tube then physical releases on entr'acte, 1000füssler, mystery sea or sourdine (asher's label). he likes to collaborate with other sound artists too (with ben fleury steiner or more recently with luigi turra on mystery sea's sister-label unfathomless). he's known for his rich soundcsapes full of treated field recordings. asher's output shares many labels with his partner (earlabs, conv, homophoni, mystery sea, and/oar...) and also produces multi-media dvd releases... here's what christopher mcfall says about this track made with four hands: "this release is entitled 'an amber hollowed night.' the reason i proposed this title is that it accurately describes the feelings and environment that i was experiencing when I was assembling the tracks that comprised the final multi-track format. i was composing late at night in my studio and then taking the work that i had done for any particular evening and walking with it in the streets of kansas city to listen and access the results. effectively, this collaboration came to fruition as a result of asher sending me piano fragments taken from a series of recordings entitled 'passages' that was recorded in vermont in 2007 and audio from an installation entitled 'materials for spaces'. i worked extensively with these tracks and combined them with a series of field recordings that i had compliled and recorded to treated tape. the source material for the field recordings were primarily from the train yards here in kansas city, whereby the digital field recording was eventually transfered to treated audio tape. the individual tracks were then manipulated more in the computer and multi-tracked together to form the final recorded track. these recordings were compiled and rendered into 'an amber hollowed night' in the fall and winter months between 2007 and 2008." [label info] www.taalem.com "The final new release is by Christopher McFall and Asher, both highly active with numerous releases in various formats (mp3, CDR, CD). They both have sound input, Asher gives his piano music and McFall field recordings from Kansas City. In the first stage the sounds were treated on tape and then later on the computer. Its probably exactly the kind of piece you would expect from them. Hissy, low in volume, but also highly beautiful. I don't think it adds that much to what you may already know from either of them, but as so often with things like this, that hardly matters. People like McFall and Asher have carved out a very specific sound of their own and work within that very well. A highly atmospheric piece of music." [FdW, Vital Weekly]	2010	€5.00
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
MENCHE, DANIEL	Scattered Remains:Early Remixes	do-CD	Zusammenstellung von frühen & raren Material, meist von nicht mehr erhältlichen Compilations, alles von 1994-1999. Der oft noch eher „noisige“, rauhe, mit mehr konkretem Touch arbeitende MENCHE.... Nice priced, alles re-mastered! “Keeping track of the musical output of Daniel Menche has never been easy. Besides his numerous albums and singles, released by an eclectic range of labels, he has contributed countless tracks to compilations, many of which reached only the smallest of audiences. Scattered Remains tracks his progress from 1995 through 1999, collecting the best of these pieces, now fully remastered, onto two full-length CDs. With the passing of time it has become nearly impossible to find many the original releases these tracks came on, making this rarities collection a must have for long-time fans and new converts alike. Besides the material culled from CD compilations, three tracks previously only available on vinyl appear in digital form for the first time ever. The list of labels involved reads like a who’s who of cutting edge music in the 90s: Banned Productions, Ash International, 23five, Noise Museum, Self Abuse, Isomorphic, KAON, Shirocoal, Suterfuge, G.M.B.H. and of course, Soleilmoon. Best of all, it’s a great value: Two CDs for the price of one. What’s not to love?” [press release]	2005	€13.00
MENCHE, DANIEL / WILLIAM FOWLER COLLINS	Raised Coils of the Giant Serpent of Eternity / I Heard only the Eternal Storm	LP	" “I traversed the worlds, I ascended into the suns, and soared with the Milky Ways through the wastes of heaven; but there is no God. I descended to the last reaches of the shadows of Being, and I looked into the chasm and cried: ‘Father, where art thou?’ But I heard only the eternal storm ruled by none, and the shimmering rainbow of essence stood without sun to create it, trickling above the abyss.” So declares Christ in the opening section of Jean Paul’s 1796 text “Speech of the Dead Christ”. The text served as inspiration for the music presented on this split album by Daniel Menche and William Fowler Collins, and in the instance of the above quote, also functions as an apt description for it - immense, harrowing, and numinous. Like the procession of images conjured in Jean Paul’s twisting passages, the sounds made by Collins and Menche unfurl in a trail of drifting shadow punctuated by convulsive spasms of light. Opening the album with a harmonious set of gently spiraling tones, Daniel Menche’s piece “Raised Coils of the Giant Serpent of Eternity” offers only this brief moment of serenity before a headlong dive into a cacophonous abyss of darker dimensions. Suspended in pools of liquid bass, layers of molten brass hover, dissolve and reappear. Pitches rise and fall, intersecting for brief periods of melodic convergence before crumbling again into heaving slabs of rumbling dissonance. Closing out the piece a low and solemn tone emerges from the roar of Menche’s spectral orchestra, seeming less like resolve, than the final flickering breath of a dying star. Conversely, William Fowler Collins’ offering on the second side remains in a state of subdued tension for much of its duration. Primarily constructed around the emanations of decayed strings, these glimmering filaments seem in perpetual retreat from comfortable stasis or momentous upheaval. Swaying over a backdrop of inky black, disharmonious clusters gradually pile one over the other, pulling apart and recombining, eventually forming a jagged and unsettling crest. From here bilious clouds of humming static overtake the disintegrating strings, appearing long enough to set the stage for the conclusion of the narrative. Much like the opening Menche’s piece on the reverse side, Collins’ gently cascading sheaves of brushed guitar that close out the album serve as a small enclave of comfort in the otherwise lightless caverns through which he and Menche have driven the listener." [label info] sigerecords.blogspot.de	2014	€21.50
MENCHE, DANIEL & MAMIFFER	Crater	CD	"There are profound forces that enmesh the minds, bodies, and souls of these venerable artists. Mamiffer unfurls darkened hymns and sprawled abstractions authored by Faith Coloccia in partnership with Aaron Turner. Daniel Menche stands as a stalwart noise technician of many years, with his blood and sweat permeating all of his adrenaline fueled recordings and performances. Collectively, they design sound to slip between the formally defined practices of metal, noise, song, and drone, offering a phenomenological essentialism that amplifies and exaggerates the earthly ele- ments of water, moss, soil, and fire. This can be a sonic transubstantiation of field recordings and in situ object documents from Coloccia and Turner’s home on Vashon Island, Washington; and this can be the aestheticized forms of mythic poetry cast through austere melodies for guitar, piano, electronics, and plainsong chant. The communal production took four years to develop with a few performances that spilled forth. Menche, for one, abhors the notion of collaboration, preferring to qualify this as a documentation of their friendship. “’Collaboration” sounds so... business like or formal or something of a technical term. We’re just friends making acoustic sounds together and recording nature with our hikes together. Then we eat pizza and laugh.” This relational intimacy and interpersonal development brings an understanding of each other’s strengths, and from that understanding, the conviction to extract out the very best that each has to offer. From Menche’s perspective, Coloccia projects a nearly religious capacity for harmony and melody; Turner has grace and fury in his DNA; And Menche quips about his own work: "I’m a chainsaw artist making those touristy statues of grizzly bears but instead of wood I’m using sound.” Ellipses of guitars and piano sparsely populate this album. Upon appearance, these forms are progressively dissolved into a dislocation of machined noise and wintry drone, abraded with the tactility of stone and iron. It can become difficult to determine where the province of negation ends (e.g. emptying the musical structure as a simulacrum of the sublime) and that of accretion begins (e.g. layer upon layer of noise, pressure, and volume to feed a collapse). In this liminal iceblink, the work of Mamiffer and Menche is resoundingly heroic, tragic, haunted, cold, and beautiful. To Menche, though, “this is a very humble recording. When we’re old and grey and come across this in a old dusty box, we’ll have a warm smile. Maybe we’ll play it on our death bed?!?!" [label info] sige.bigcartel.com "Daniel Menche, Faith Coloccia, and Aaron Turner have been close friends for quite a long time now, with this album emerging as the first fruits from their communed relationship. And as collaborative projects go, Crater is a superb document showcasing how each of these equally talented folks in disparate facets of the dark arts (noise for Menche, hallowed / haunted plainsong for Coloccia, and heroic riffage from Turner) can work so effortlessly and gracefully. Glacial harmonic drones expand from field recordings, church organs, abraded stone & steel, and guitars only to be disrupted by heavily hammered piano melodies that in turn are gristlized by the collective noise strategies, machines, and snowstorms. Alternately, meditative and explosive, imposing and rapturous. Brilliant through and through." [Aquarius Records]	2015	€16.00
MICROMELANCOLIE & STROM NOIR	49°05'19,3	CD	"The album of the enigmatic title "49°05'19,3"N22°34'04,0'E" is the result of the collaboration between two artists signed to Zoharum: Emil Mat'ko aka Strom Noir from Slovakia and Robert Skrzyński aka Micromelancolié from Poland. Both have two albums and participated in several compilations released on our label on their account. Their collaborative album is a piece of work suspended between two stylistics penetrated within their own solo projects, and at the same time it is perfectly complementary. On one side we have the guitar/electronic passages so characteristic of Strom Noir, and on the other the sonic structures prepared from defects and scraps that has been explored for several years by Micromelancolié. Two untitled compositions float slowly and are contemplation of places a bit distant to urban civilization. "49°05'19,3"N22°34'04,0'E " is a sound postcard from the mysterious place hidden in the title. Where is it? The answer is in the music itself, and in the coordinates composing the title of this collaborative album." [label info] www.zoharum.com	2016	€12.00
MIEVILLE, EMMANUEL	Ethers	CD	Slowly but o-so-surely, Emmanuel Mieville is building an impressive body of work, where each new album seems to make the previous one pale in comparison. And the music press would be wise to catch on to him. The man is discreet and unassertive, so is his music, but he – like it – cannot be dismissed as just another proponent of the field recording. For Mieville, music is some of the most spellbinding art for the ear out there in the aether. "Ethers" is Mieville's second album for Baskaru, and though the previous one certainly stands the test of time, this new opus pushes the bar higher, much higher. In the composer's own words, "Ethers is an attempt to give an earthy quality, a dense texture to drone music, to lower it from the 'skies'." Mieville first trained as a sound engineer, and then studied musique concrète at GRM. He grew up listening to creative radio programs and embraced field recording as a form of art. His latest works fully realized a synthesis of all these elements: the attentive ear to one's surroundings, the abstract approach to sound, the sense of drama that makes a field recording composition take life. Mieville has worked with Buto dancers, video artists, and like-minded musicians like Eric Cordier, Guido Huebner, and Benjamin Thigpen. After appearances on compilations albums, he released two CDs in Malaysia (on Herbal Records and XingWu), followed by his Western full-length debut "Four Wanderings in Tropical Lands" on Baskaru in 2011. Since then he released two thematic albums: "Buddha – Anima – Asia" (Obs*, 2012) on Buddhism, and "Concret-Sens" (Crónica, 2014), a homage to early musique concrète. www.baskaru.com "The last time I heard something from Emmanuel Mieville was in Vital Weekly 803, and that was his previous album for Baskaru. Mieville, a trained composer from GRM uses a lot of field recordings in his music, which he treats into music. I am not sure how Mieville works in creating his music, but it could very well be that he has many treatments of the same sound source and which are later stuck together and crafted into a piece of music, with all the subtle changes possible, which Mieville can choose from when doing this. I might very well be entirely wrong of course. His music can be compared to that of Whetham (or vice versa, but that's not the order I am hearing these releases): quite closed off blocks of sound, but somehow the work of Mieville sounds more coherent than Whetham on his new release. It also seems to be less closed off, with a bit more air in between the various treatments that he uses in his music. Whetham's music seems hermetically closed. There is fine vibrancy in the pieces by Mieville, shifting back and forth, ignoring strict classical rules of composition. Excellent release." [FdW/Vital Weekly]	2015	€12.00
MIGONE, CHRISTOF	Sound Voice Perform	Book & CD	“With contributions by Brandon LaBelle, Martin Spinelli, and Allen S. Weiss. "Sound Voice Perform” documents the performance, sound, and video works of the Canadian artist. Working since the mid-80s, Migone weaves together a multitude of media, from radio to telephones to digital objects, to form a stunning and highly dynamic practice. Combining an acute sonic sensibility with performative usages of the body, video, and the voice, his work engages corporeal presence with a subtle invasion, unsettling speech and gesture through investigative and theoretical poetics. Including documentation of works and a full length CD of audio works compiled from over the last 15 years including previously unreleased material. With essays by Allen S. Weiss and Brandon LaBelle, an interview with the artist by Martin Spinelli, "Christof Migone — Sound Voice Perform" is the first monograph on this unique artist.“ [Errant Bodies/Ground Fault]	2005	€17.00
MOHAMMAD (MMMD)	Pèkisyon Funebri	3 x 10inch BOX	"Leaving behind their folk based trilogy, Mohammad return to their own original material. Heavy and concentrated, majestic and dark, ethereal and subtle, Pèkisyon Funebri marks a new era in Mohammad's existence, unfolding earthly murmurs and ghostly chants over their distinctive seismic diapasons. An exhilarating procession through highly charged sonic plateaus, from the burning core to the silent skies." [label info] www.antifrost.gr "The PAN label's premier purveyors of “chamber doom” return with a new cycle for longtime alibis, Antifrost, following their acclaimed folk trilogy of LPs between 2014-15, and the still-resonating tones of Som Sakrifis (2013) for PAN. If you’ve encountered any of the aforementioned, you will have a very good idea of what to hope for in the 3-part Pèkisyon Funebri; namely a majestic sense of struggle against the flattening feeling of despair and fatigue that haunts our times. This is music which appears to carry the weight of the world on its shoulders whilst wielding a cello and bow in its heavy limbs, dredging the psyche for signs of life which are found and coaxed from their holes to emerge as churning low-end gestures who reinforce their dual resonant frequencies in slow, wide vortices aimed at centring and quaking your thorax. Subterranean in their prostration but sidereal in hope against the frustrations that we can only imagine must be felt in Greece right now, Pèkisyon Funebri is a masterful reminder that even at the lowest ebbs there is solace and resilience to be found if one remains faithful to the search. Huge recommendation." [Boomkat] "Is “all-encompassing” a cop-out term? Greek trio MMMD, a.k.a. Mohammad, have been eating us alive since 2013’s Som Sakrifis, and as someone following underground music back then, reading various interpretations of its sonic power was enthralling because its uncompromising, sensory-depraving tones assured that our reflections came out of our own visceral reactions rather than out of our interactions with any sort of external text. Our own Birkut began his immersive review of Som Sakrifis with an image of being alone on an island off of Cambodia with nothing but a winking, far-off light for assurance. Som Sakrifis in this allegory was both enveloping darkness and faint, hopeful light. What, then, is Pèkisyon Funebri? And what kind of status quo does its long-form drones conjure? What kind of hope, if any, does it offer a listener? MMMD’s music has always reminded me of Howard Shore’s scores for The Lord of the Rings films, and as such, my listening has always been guided by that association. For me, Som Sakrifis was heroic music, war music, music by which pastoral hobbits fought against evil wizards and abominable orcs and glowing eyeballs, when outcomes of such battles meant everything to every thing, big or small, dwarf or elf, human or tree. Its overwhelming oppressiveness brought me into a breaking world, vied over by many, but plagued by absolutes. With Pèkisyon Funebri, MMMD has signified a formic return after a brief cartographical break from its regularly scheduled programming. It’s a quiet return at first, as opener “Az álmok itt érnek véget (rész 1)” culls an open landscape, a place where blood has been shed by neighbors who have found themselves equal under a force more terrible than God. “Qoxra” follows, a tremor-inducing dirge for everything that has been lost since “Liberig Min.” What follows is as nerve-wracking as it is steadying, and while my complete ignorance of Greek language obscures my semiotic reading of Pèkisyon Funebri as a multi-movement piece, my feeling is that its slow, plodding drones are of great human import somehow. Unlike its stylistic predecessor, Pèkisyon Funebri is broken down into many long form movements. There are hiccups here, moments of letting up that are later infiltrated by solid, unyielding sound. “Sorsa” is punctuated by muted pulses, for instance, offering real moments of reprieve from this conjured world’s constant gravity while amplifying more sinuous, time-defying stretches of obligatory crying out like on “Malproksime” and closer “Erdia Da.” Whereas Som Sakrifis felt like that riddle about what has four legs by morning, two by afternoon, and three by evening, Pèkisyon Funebri asks “What’s in my pockets?” Its massiveness, sustained by a bold confidence in potentially liberating non sequiturs, signals a subtle change in trajectory toward a shadowy asymptote; this may not be MMMD’s magnum opus, but its power is great and its cohesion as a work is palpable. And like Som Sakrifis, its reach is absolute. Uniquely, its staying power suggests that MMMD’s reach can transcend time, bridging a Middle Earth and a dying one. A function of drone as a form is that it grabs and sustains our attention in its steadfastness. It slows us down. It directs our attention. It soundtracks our movements, placing new and unusual stresses on our actions in time. As an electroacoustic genre, its affectiveness relies on subjectivity, while its deliberateness is a sign that begs some kind of reflection. Is Pèkisyon Funebri all-encompassing then? I’m not sure. Its reaches in reality are relatively short as its audience is limited by dedication and access, but its potential, I think, is a unifying one, even if it unifies primarily by pressing down on everything equally. Much like Barry Lyndon’s Epilogue, Pèkisyon Funebri reminds us of our fundamental equality amidst violent inequity: “It was in the reign of George III that the aforesaid personages lived and quarrelled. Good or bad, handsome or ugly, rich or poor. They are all equal now.” So what do we do from here while we are alive? Well, as TMTer Mukqs once said, “Just sit and listen.” 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. If even for a moment, let it make you feel something so that you have proof of your own dignity when forces of evil threaten it. Let it play. And let it outlive its own dark cloud." [Jackson Scott, Tinymixtapes]	2016	€58.00
MOLJEBKA PVLSE	Borrowed Scenery: Appearance	maxi-CD	During the pandemic, many of the restrictions introduced, in particular, on movement, artists, like most of us, made their journeys mainly in their own rooms or made pilgrimages deep into each other. Mathias from MOLJEBKA PVLSE at that time uses his own studio as a vehicle he traverses through virtual field recordings, composing his own abstract environments and discovering distant lands. The map of these borrowed places is written in 3 long compositions, complementing each other like the topography of neighboring places or overlapping grids showing different properties occurring at the same latitude. It is possible to read them separately, just as it is possible to listen to only one of the three compositions and it gives some idea, allowing you to capture a selected fragment, this listening to the whole gives a deeper insight. The material from the session was divided according to a similar pattern and properly divided into two complementary releases: the album "Borrowed Scenery", which will be released next spring on vinyl, and CDEP "Borrowed Scenery: Appearance", introducing the atmosphere of the longplay, respectively. The CD containing over twenty minutes of composition folded in a 6-inch gatefold with two postcards attached is the next installment of a series of short musical forms, initiated in our catalog by the publication of the material "Klechdy" by Rigor Mortiss. CD EP folded in 6" gatefold sleeve + 2 postcards limited to 200 copies https://zoharum.bandcamp.com/album/borrowed-scenery-appearance	2021	€12.00
MONTEIRO, ALFREDO COSTA	Transient Spaces as Impermanent Lines	CD	Transient spaces as impermanent lines was composed as a sonic drift with no other purpose than a mindful wander. This lack of direction, expressed through a hypothetical narrative, shapes an itinerary through different sound atmospheres carried by the materiality of sound and thus creating variable emotional states close to disorientation; exactly as in a psychogeographical drift, which implies a certain renunciation of what to expect, depending on each space where this underlying narrative evolves. It is a piece for found sounds, inspired by the found footage technique in experimental cinema, where images, often from anonymous sources are shown as if they were edited in a narrative by those who literally found them. Like a soundtrack for a non-existent movie, it could be compared to a piece of cinéma pour l'oreille (cinema for the ear), literally applying the French expression donner à voir (something like "allow to see"), but with sound as its means. All the sounds were compiled during the first three months of the process; the source of most of these sounds has been intentionally forgotten in order to empty them both of their psychological and contextual content. Composed, assembled and mastered by Alfredo Costa Monteiro at Mont Efímer between september 2022 and june 2023. Photos by Alfredo Costa Monteiro Sleeve by Rutger Zuydervelt • Glass-mastered CD • Mini-LP sleeve • Printed outer and inner sleeves with matt finish • Designed by Rutger Zuydervelt • Sealed https://sublimeretreat.bandcamp.com/album/transient-spaces-as-impermanent-lines	2024	€13.00
MONTESSUIS, JOACHIM	Chapel Perilous	LP	"After a prolific 2011 with a handful of splendid releases on CD, DVD and cassette + collaborations with the likes of Charlemagne Palestine, Julien Ottavi and The Master Musicians of Joujouka, “Chapel Perilous” marks the debut vinyl release and first proper solo album by the Paris based audio/visual artist and curator of the exquisite Erratum label. 23 tracks, totalling approx. 35 minutes, compiled from recordings made in the course of the past eight years, de- and recomposed for this album in early 2012. Drawing on his voice as the main tool, Montessuis delivers a frantic opus of cut-up noise poetry, making “Chapel Perilous” le chef d’œuvre of his extending body of work." [label info] www.fragmentfactory.com	2012	€17.50
MONTGOMERY, GEN KEN	Birds + Machines	CD	"With the enthusiasm of a born-again composer, I reviewed music I composed in the 80s, giving special attention to pieces that fused electronic sounds with everyday recorded sounds and noisy songs." - Gen Ken I knew of Gen Ken Montgomery long before I ever met him, in fact one of the first tracks to attract me to his music is on this cd. And then I did meet him, etc etc. (Ken was a co-founder of Pogus, by the way). So it is with special delight that Pogus can release this cd of Ken's works from the 1980's. I think that what Rene van Peer writes in his notes for this disc sums up much of Ken's work indeed: Gen Ken Montgomery's sound worlds are full of activity. Not in the sense of sinuous melodies and chord progressions that try to set flea-hopping records. The sounds conjure up images and atmospheres of workshops where people busy themselves with assembling and repairing a variety of contraptions. Places where humans and tools intermingle, where technology (both hi and lo) appears as a trusted and respected companion. It is as much accepted as an integral part of the human sphere as a dog or a cat might be - and it sounds equally homely. That is not to say that all sounds you'll hear in his music are commonplace, mundane. Many of them are immediately recognizable. Many of them can be traced to their source, even through dense veils of modification. Some derive clearly from instruments, some from birds. But many are absolutely singular, there's no telling what produced them. And to tell you the truth (my truth): it doesn't really matter. Regardless what sounds or sources form the components of this music (everyday or extraordinary objects; musical instruments or electronic tools; his own voice or environmental recordings), what is important is the mind that processes them and welds them together into the independent entities that we call songs. It is evidently an open mind that enjoys toying with sounds. His music sounds as if he works with what he finds. Obviously he has prepared materials to be used. But the way he puts everything together makes the impression of someone following his judgment of the situation on the spot. These are not guided tours, mapped out beforehand. These songs are explorations. Trips into an unknown. They aren't, however, excursions done in seclusion. Everywhere he goes Ken Montgomery creates a buzz. He creates a sphere of sound around him that feels humane, sociable. A warm cloud of sonic strangeness. But a loud cloud, too, mind you." [label info] www.pogus.com "Although never really 'away' from the scene, Gen Ken Montgomery's career has been up and off the radar quite a bit, but these days he feels like a born again composer. He has been around since 1980 and recently reviewed the first decade of his career, and compiled this overview from these years and released it on Pogus, a label he was one of the founding fathers of (a fact I was unaware of). Heavily under the influence of electronic music, from all sorts of directions. From industrial music to Conrad Schnitzler and the serious sixties avant-garde, but also working, early, with field recordings (bird sounds return in various pieces). This collection spans all of these interests and makes up a highly varied disc of experimental, electronic music. The free spirit of these pieces, mostly made through improvisation with synthesizers, electric violin, found sounds, is partly crude, inherent to the period it was recorded I guess, is great. Not every track is great, 'Crema Di Roma' just gets on and on a bit too much for my liking, but there is enough great music here in this package to enjoy. If you missed out his own early tapes and records, and 80s styled electronic music was just discovered, then this is a must have. All others already made a note to fill in the gap in history." [FdW/Vital Weekly]	2010	€13.00
MOU, LIPS!	Peanuts and shells geometria	CD	Italienisches Projekt aus dem TU M’ – Umfeld; zeitlos schöne Minimalismen aus prozessierten Gitarren/Bass/etc-Klängen; eine Mischung aus digitalen und analogen Sounds mit einer sehr schwungvoll-leichten Note. Erinnert z.B. an TORAL, AMBARCHI, FENNESZ... “Based in Pescara, Italy, Emanuela De Angelis and Andrea Gabriele are mou, lips!, and this is their debut EP. Emanuela has worked with the group Joyce Whore Not and also as a guest with tu m', and here performs on voice, computer, guitar and objects. Andrea was one third of tu m' before leaving the group recently, and here performs on laptop, turntable, sounding table, guitar, double bass and objects. Together, they make music at times light and playful (I have no doubt some of these tracks would feel right at home on a Sonig compilation), at others chilling and austere. But always, throughout these six tracks, there's a sense of adventure, of embarking on exploring new sounds and interesting combinations, taking the glitch aesthetic as a basis and making something quite compelling with it. Occasionally the crackles and pops are accompanied by a voice (and yet even this voice quickly becomes processed and consumed by the glitches), and more often by other electronic interruptions and sounds both concrete and synthetic. Usually the tracks are not driven by rhythm, but by tone and atmosphere; although there are rhythms all over the place here, mostly in the form of minimal or playful loops, crackling sounds and half-melodies trying to make it into the foreground. A small taste of possibly great things to come” [Richard di Santo INCURSION]	2002	€13.00
MØHR & MAEROR TRI	Hafenstadt	CD	" On “Hafenstadt”: This music was originally planned to form a part of the third tape box in the MØHR interpretation series of ZNS TAPES. In this series different artists got an individual 30-minutes-piece of basic material by MØHR to be interpreted it in any way: Using it as a backing tape and adding some more tracks, getting inspired and doing something unique in the spirit of the basic material, deconstruct and arrange it anew. The invited artists had any opportunity to re-work the source material. For the actual release the basic material was placed on side A and the interpretation on side B, enabling the listener to compare the basic and the final sound. Three tapes were compiled as one tape box linked by a loose theme. The first box, Bürokratie, contained works by DAS KONZENTRAT, BESTATTUNGSINSTITUT and SUICIDE COMMANDO (released in 1990), the second, Kulturschock, contained works by ANDREW CHALK/DARREN TATE, ECTOPLASMIC EMBRYO EXPERIENCE and FLAGRANTs D’ELI (released in 1991). The third one, which was to contain Hafenstadt by MAEROR TRI (as well as material of PBK and THE HATERS), has never been released due to the sudden end of ZNS TAPES. We’re convinced that this combination of basic stuff plus musical reworking is still an interesting and exciting experience for the audience, maybe especially after more than 20 years in the archives. (Andreaz Vogel) MØHR biography MØHR existed between 1986 and 1994 as the solo project of Andreaz Vogel. Previously he had been active as a bass player and drummer in various post punk and noise rock groups.Since its inception the main aim with MØHR was to create a dense and energetic sound without the use of conventional instruemnts. With this wall of sound the listeners were almost under attack and forced into a dark and brooding listening environment, both on the recordings and in the live situation. Andreaz also ran the important tape label ZNS TAPES. MAEROR TRI biography MAEROR TRI existed from April 1988 to the end of 1996, coming from the very north-western part of Germany. The three members were influenced by (post) industrial, noise rock and experimental ambient and found a way to establish their very own drone based style, using often guitars but also other instruments plus all kinds of (self build) objects and masses of sound effects. Their symbol, the triangle “Wheel” stood for ‘consciousness’, moving & shining in different colours and speed. The sound was meant as a tool for the listener to open the mind for transcension & sensitization: ‘We want to transmit a total openness, the bursting and overcoming of all mental barriers, the breaking out of the enforced subject “Tunnel-Reality” of modern society. ‘ Out of MAEROR TRI evolved the projects TROUM and 1000SCHOEN that are still very active." [label info] www.aufabwegen.com www.aufabwegen.com "Mohr was the work of German avant tape-machinist Andreaz Vogel who ran the ZNS Tapes label in the late '80s and early '90s; and our introduction to this work dates way back to the very second Drone Records single, released in 1993. This was about the time when Vogel pretty much called it quits on sound construction; but given how many great artists had been introduced through the Drone Records series of singles, Mohr's work had always been intriguing even as it had been quite elusive in the global cassette underground at that time. By the end of Mohr's tenure, Vogel had embarked on three mail-art pieces in which various audio sculptors and sound destroyers would rework / deconstruct a 30 minute track from Mohr. The second in this trilogy was notable to those Andrew Chalk enthusiasts as an unknowable Ora cassette from 1992. The third - and never released - cassette was to include Maeror Tri, The Haters, and PBK. With Hafenstadt, we now have a glimpse back into the gristled, contorted, and mangled tape construction that Mohr had been producing in conjunction with a pretty stellar set of black hole implosion of x-ray drone courtesy of Maeror Tri. Vogel took something of a Fluxus approach to his industrially bent constructions, purposely avoiding musical instruments in favor of the found sound that got flung into orbit in a spiraling descent of his tape loop dub and squeaky wheel rhythmic errata. These are deliberately raw and malformed cyclical patterns for a DIY musique concrete. Maeror Tri's brain-crush of sustained reverb and backwards masked flares of dark energy bury much of the insistent hypnosis from Mohr well beneath their grim wall of leaden noise and nuclear winter drone. It's always a wonder to behold the early works from Maeror Tri, and here it's nicely paired with Mohr's mangled hypnogogia." (Aquarius Rec)	2015	€13.00
MURMER	Periodic Exercises in (f)utility [homework 2016-2022]	do-CD	this is a Kokeshidisk release - kodi 14 - september 2023 "i work slowly, and sometimes i work not at all. so having an open invitation from taâlem to create work at the end of each year, especially as winter is setting in and it is beginning to feel like i’ve done nothing all year (i haven’t, but it can feel that way), comes as an energy boost, a reassurance, and an opportunity to resurrect some confidence, and a sense of worth. so i push myself to take that opportunity - and have done so each year since the project began (aside from the year in which my father died, explaining the 2019 gap) - and i thank jean-marc for providing it. in many, in fact almost all, of the years represented here, my piece for homework was the only work i published. indeed, this collection is sandwiched by my two most recent (physical) releases: songs for forgetting was released in late 2016, just before the docks sing in strange tongues appeared on homework 1, and tether was released in early 2023, several months after thaw and timber was published on homework 7. so this collection could be viewed as my complete sonic journey over those 7 years, digging in archives, showing off newly discovered sounds, and all in all attempting to prove to myself that it is all for something, that the tape should keep rolling, and that i must pay attention, because my homework will soon be due." (patrick/murmer, june 2023) the docks sing in strange tongues (2016) objects and situations found in rovaniemi, hamburg, mooste, põlgaste, tallinn, and bordeaux between 2003 and 2016. title found in the poem of the same name by panos panagiotopoulos. echo surveys: viljandi (reimagined) (2017) echo surveys is an ongoing series of activities including performances, workshops, installations, and compositions that consist of site-specific sonic interventions; all sounds heard are produced and/or recorded in a chosen space, using only materials found therein. this 'reimagined' work adds a new layer; it is based on a live performance at the noisy november festival at supersonicum in viljandi, estonia on 2017.11.17, and is composed from the initial field recordings made in the space for use in the performance, as well as from the recording of the performance itself. also participating in the performance and therefore in this composition were erik alalooga and taavi suisalu (the event organiser and other performer on the bill that night, respectively) and a number of members of the public. water, grain, oil (2018) water, fingers, and nylon string (france, 2008); disturbed ants (finland, 2014); panelia mill grinding wheel (finland, 2009); empty oil tank interventions (latvia, 2008) nail down your ghosts (2020) source material recorded in an abandoned and now-demolished house in the estonian town of valga in october 2019. sonic interventions performed, and elements subsequently reworked, by liisa hirsch and patrick tubin mcginley, 2019/2020. composed from those elements in june 2020. originally created for the short film to crumble into clouds above your living room by anna hints, commissioned as the estonian contribution to the 2020 venice biennale of architecture, postponed to 2021 due to the covid-19 pandemic. echo surveys: nuti (reimagined) (2021) in november, 2020 i participated in an event curated by shawn pinchbeck for BEAMS (the boreal electroacoustic music society) in canada entitled together apart... an evening of audio wonderments. it was to be another online concert in response to the covid-19 pandemic and lockdown, but due to the time differences for artists spread throughout north america and europe, we were given the opportunity to pre-record our performances. this allowed me to create a piece in our half-renovated farmhouse in the estonian countryside, from which a live stream would have been impossible to organise. the piece streamed online on the night of november 21st, and was then briefly archived on BEAMS’ twitch page. i then made this 'sound film' available permanently online (murmerings.com/2021/01/echo-surveys-nuti/). for this release i reimagined this work for sound only, editing a piece together from the original live performance recordings and the sources used therein. thaw and timber (2022) dripping woodshed roof (estonia, 2022); railings at the bfm (estonia, 2022); thawing earth (estonia, 2022); water heater (france, 2008); toddler making feedback (estonia, 2020); sodablasting log walls (estonia, 2020); inside kreenholm (estonia, 2017); baltijaam wall (estonia, 2011) photographies by patrick tubin mcginley design by désaccord majeur mastered by flavien gillié https://taalem.bandcamp.com/album/periodic-exercises-in-f-utility-homework-2016-2022-kodi-14 "As Taalem sees a restart (see elsewhere), so is their sub-division Kokeshidisk. The mothership Taalem releases a yearly Bandcamp digital-only, pay-as-you-want compilation called 'Homework', and for seven years, they have been doing this every year, resulting in a massive album (always announced in Vital Weekly). I am unsure why they selected Murmer to collect his pieces from six (one year he was absent because his father died) and someone else. Other, of course, then they think these are good pieces. Murmer likes to submit relatively long pieces to compilations, hence the double disc. Patrick Tubin McGinley, the man behind Murmer, isn't the most active musician in the releasing CDs (cassettes, vinyl) department. He's a man of words, and for each of the six pieces, there is a list of sound sources and inspirations for titles. For many years, he has lived in Estonia and is very active with field recordings, which he incorporates in music, installations, workshops, etc. His primary interest lies in finding sustaining and minimal sounds. 'The Docks Sing In Strange Tongues', the first piece here, collects sounds from various harbours and in the mix, it all makes a very coherent, minimalist music piece, which reminded me of Ingram Marshall's 'Fogtropes'. This piece sets the tone for the other five. In each of his works, Murmer uses a limited set of sounds, different sounds, that is, and these are cleverly woven together. Nothing stays for very long in the place, as Murmer uses a variety of lengths, so there is never the same overlap. In that respect, he reminds me of the sadly recently deceased Steve Roden. It bears the same tranquillity, the same effective sparse use of sound sources and working within limitations to a significant effect. His field recordings are usually entirely obscured, which adds to the beauty of it all. In 'Echo Surveys: Nuti', there are wind chimes, and in ''Echo Surveys: Viljandi' birds, perhaps. Water sounds in 'Water. Grain. Oil', maybe, but whatever else? I don't know. Murmer uses quite a bit of filtering (at least, so I believe) and prefers darker sounds. This, too, adds to the ambient quality of the music. It is an excellent release, which begs the question: why isn't there more of Murmer available?" [FdW/Vital Weekly]	2023	€15.00
MUSLIMGAUZE	Chapter of purity	CD	Stücke von längst vergriffenen Vinyl-only releases 1985-1987! ” www.pretentious.net/muslimgauzeI'm pleased to announce the new (is it right term?) Muslimgauze album on Tantric Harmonies. "Chapter of Purity"compilation gives you a chance to see where the legend started. Tracks on this CD were selected from four early Muslimgauze vinyl releases:Blinded Horses - LIMITED 2 (9/1985), Flajelata - LIMITED 3 (2/1986), Hajj - LIMITED 4 (8/1986) and Jazirat-Ul-Arab - LIMITED 5 (3/1987).As always Bryn's music is full of Middle Eastern atmospheres, power and beauty. All titles for the first time on CD format! ” [press release]	2002	€13.00
MYSTIFIED & MARTYN SCHMIDT	An Effort of Memory	CD-R	"ACE 1002: CD-R in folded cardboard sleeve Many albums in the Attenuation Circuit Eco Series are split releases, but this hour-long composition is a true collaboration with 50 per cent input from both US-based drone artist Mystified and German poet and sound artist Martyn Schmidt. Starting with a poem, Schmidt’s voice morphs into pure vocal improvisation and breathing, both processed to amalgamate with Mystified’s acoustic drones. The result sounds at times like La Monte Young meeting Morton Feldman or like Norwegian experimental jazz singer Sidsel Endresen imitating deep bass strings with her voice. Using feedback loops, the sound of whale bones played as percussion instruments on a Danish island, and jackhammers from local building sites, Schmidt „encoded, stored and retrieved“ (as the back cover says) lots of samples along with the music by Mystified he was reacting to - encoding, storing, retrieving being the three steps of memory as conceptualised by psychology. Connecting psychoacoustics back to his poetic roots, Schmidt also quotes (on the cover-artwork) the poem “Andenken” (Memory, or Remembrance) by Hölderlin. Memorising, forgetting, and recreating sounds and words turn out to be different sides of the artistic process, and the drone as a music that forever seems to dissolve and congeal, to ebb and flow, to move and stand still, seems a perfect sonic metaphor for this." [label info] www.attenuationcircuit.de "A collaboration by Thomas Park's project Mystified and Martyn Schmidt, a German poet and sound artist. There is a short spoken word prologue, a sixty-two minute piece of music, and short epilogue. In the main piece, 'An Effort Of Memory', uses, according to the information, 'feedback loops, the sound of whale bones as percussion instruments on a Danish island and jackhammers from local building sites', of which Schmidt made the samples which he combined with the music of Mystified, resulting in this hour long sound collage of all things atmospheric. Forget the word jackhammers (or building site), as there is nothing 'industrial' or loud about this. The music here is all atmospheric, dark in the full moon night, and everything flows into each other. The music may seem an amorphous mass of sounds mixed together, without real beginning or end, and perhaps (I might be wrong) without much compositional planning. More like a go with the flow kind of music, which is nothing strange in this particular musical underworld. None of the sound sources are easily recognized here, if at all, but all is transformed into a long, sustaining mass of atmospherics, and works very well. A cold day today, autumn has arrived it seems and this is the soundtrack for such seasonal weather. Nothing new, but it works very well." [FdW/Vital Weekly]	2013	€8.00
N [XX] (HELLMUT NEIDHARDT)	Tremonia	LP	N is one of the most profiled German drone / ambient artists - being active since the early 1990s he has released more than 50 records. On "Tremonia" he returns with the idea to picture a certain place musically - his approach goes further than before, using field-recordings for the first time. "Tremonia" is located under a row of 17 railway-bridges very close to the central station of Dortmund. Those bridges are played by the trains entering and leaving and also give house to an unknown number of homeless people. All these impressions can be heard on the field recordings of "Tremonia" taken in the early morning hours. Technically the record still sticks to N's "no overdub" rule with solo recordings: The field recordings were played over a third amplifier while recording the guitars, thus the mix was done live. Part of the tracks had been selected by Urbane Künste Ruhr for a compilation of places described by music. heavy handprinted rough cardboard covers, black polylined inner sleeves, 180g black vinyl, strictly limited to 100 copies https://n1511.bandcamp.com/album/tremonia	2023	€33.50
NADJA / PICASTRO	Fool, Redeemer	LP	"Fool, Redeemer is semi-collaborative split release between Canadian acts Picastroand Nadja. Having toured together and shared a stage many times over the course of the last half-decade, the two bands thought it was time to finally release something together. Nominally a split album, with side A featuring tracks by Picastro and side B a sidelong track by Nadja, members of both groups contributed to each other's songs. And a certain mutual influence seeped into the compositions, Picastro's dark-folk appearing at the beginning of Nadja's track "Venom" and Nadja's trademark drone/dirge tendencies lending a heavier, noisier edge to Picastro's songs. Nadja is a Canadian duo made up of Aidan Baker (guitars, vocals, woodwinds, drum machines) and Leah Buckareff (bass, accordion, vocals), alternately based in Toronto, Canada and Berlin, Germany. The project, originally formed in 2003, creates music which has variously been described as 'Ambient doom,' 'Dreamsludge,' and 'Metal-gaze,' combining the atmospheric textures and elements of shoegaze and experimental/ambient music with the heaviness and volume of metal and noise. Nadja has toured extensively around the world and released numerous recordings on such labels as Alien8 Recordings, Hydrahead Records, Beta-Lactam Ring Records, Blocks Recording Club, and their own fledgling label, Broken Spine Productions. Toronto-based Liz Hysen's (guitars, vocals, piano, violin) Picastro has existed in various forms with various players (including members of Final Fantasy and Rockets Red Glare), since 1997. Currently active as a trio, Hysen is joined by Brandon Miguel Valdivia (drums, percussion), and Nick Storring (cello, guitars, woodwinds, electronics). Picastro creates stark, brooding, discordant song which draw on folk and psych traditions, noise, and post-rock. The band has released four full-length albums on such labels as Pehr Records, Polyvinyl and Blocks Recording Club." [label info] http://brokenspineprods.wordpress.com "A split release by Nadja, well-known in the pages (and outside I guess) and Picastro, a Canadian group around Liz Hysen's (guitars, vocals, piano, violin), with a fleeting membership, but here a trio of Hysen with Brandon Miguel Valdivia (drums, percussion) and Nick Storring (cello, guitars, woodwinds, electronics). Nadja of course is a duo Aidan Baker (guitars, vocals, woodwinds, drum machines) and Leah Buckareff (bass, accordion, vocals). There is however an overspill between both bands as they play on each other tracks - semi-split.There is something to say to put both of them on a disc together. Picastro plays music that is also 'heavy', but also with an interest for folk like music, psychedelics and post-rock. The violin and cello wail about, and the band plays on. This CD is cleverly constructed: via two psych rock pieces we arrive at 'Darnia', a more meditative piece of percussion and strings and a mellow song for acoustic guitar and strings in 'A New Souls Benediction'. The tinkling takes over for 'Venom' - the twenty-three minute excursion carried out by Nadja, which starts out with equal low strumming and whispering vocals, before slowly erupting into a wall of sound which is the trademark of Nadja, complete with drum overload towards the end of the piece. It marks a full and complete album." [FdW /Vital Weekly]	2011	€15.00
NEAU, PHILIPPE	Etang Donne	CD	Saisir la densité impassible de l’eau. Le jour. Le chant des oiseaux. La nuit. La clameur des nuages. L’été. Le souffle des arbres. Au printemps. Celui des poissons, à l’automne. Le bourgeonnement des arbres. Soleil zénithal. L’éclosion des fleurs, un soir de pleine lune. Les vaguelettes poussées par le vent sur la surface écarlate de l’étang. Le déplacement furtif des branches des saules sous une pluie diurne. Le saut des insectes à la lumière chaude. Le cri rauque du coq. En hiver. L’air lourd un matin brumeux … l’ombre fine des grenouilles sautant au passage du vent … Cartographier par le son un lieu. Arpenter soniquement … sonder sonorement un paysage … PhonoGraphier l’étang du village où je vis, m’est apparu comme une évidence pour ce projet. Cet élément naturel, morceau de paysage à la fois liquide et organique, travaillait déjà mon imaginaire pictural et mental depuis plusieurs années. Se situant à quelques pas de l’atelier, je m’y rends pour respirer, observer, enregistrer des images, prendre des matériaux, enregistrer des sons. Il existe un lien caché entre ce lieu et un autre imaginaire que j’ai appelé muori pour un cycle de peintures. Un lien caché avec les îles de la Réunion et des Antilles habitées un temps. Du reste, l’étang de Saint Jean sur Erve, à la sortie du premier confinement, a vu en son centre émergé une île. Etrangeté de la tectonique des plaques et des rencontres imagées, imaginaires. Cette captation s’est étendue sur un temps assez long, finalement. Plusieurs années, par petites touches afin de former des croquis, vagues, des esquisses incomplètes, sourdes à certaines fréquences ou couleurs du lieu. Les prises donnent lieu parfois à quelques gestes ou rituels avec ou dans la matière organique de l’étang. L’eau clapote. Les pas se font moelleux. Les oiseaux enchantent l’espace. Les gouttent glissent sur le bois du chêne. L’écureuil s’enfuit à mon approche. Le couple de hérons traverse sur l’autre rive en fonction de mes arrêts. Les marches sont plus ou moins longues. Elles ont lieux à divers moments. A la recherche d’une surprise, d’un son nouveau, d’une révélation. Le paysage est saisi dans un mouvement continu et cyclique. Les matières sont ensuite confrontées, assemblées, découpées, développées, remodelées, juxtaposées, superposées pour former un paysage, autour de l’étang, mémoire phonique et réserve d’images. Couches après couches le paysage imaginaire se transforme, bouge et finalement il mue en peinture fragile et tangible. Etang donné* apparait ou voudrait apparaitre comme un paysage mental, un espace sensible, une peinture sonore non pas réaliste, ni narrative du lieu visité, sondé, regardé, arpenté, traversé, vécu mais l’aboutissement d’une expérience de cet étang. Une pièce sonore aux allers et venues contractées, aux mouvements de balancements, aux « retours » incessants, aux cercles concentriques formées par les multiples passages. Le morceau éclot. La peinture se fait dense. Les sons enflent. Une « présence » résonne en nous. On entre dans la matière du lieu, composite, organique. (Le titre du morceau rejoue celui de Marcel Duchamp, histoire d’eau aussi) (philippe neau, 25 June 2021) ~ Capture the unshaken density of water. The day. Birdsongs. The night. The clamour of the clouds. Summer. The breath of the trees. In spring. That of the fish, in the fall. Budding trees. Zenith sun. The blooming of flowers on a full moon night. The ripples blown by the wind across the scarlet surface of the pond. The furtive swing of the willow branches under a diurnal rain. Leaping insects in warm light. The hoarse cry of the rooster. In winter. The heavy air on a misty morning … the flimsy shadow of the frogs jumping in the breeze … Mapping a place by sound. Sonically pacing … sounding a landscape … PhonoGraphing the pond in the village where I live seemed obvious to me for this project. This natural element, a piece of landscape both liquid and organic, had already fuelled my pictorial and mental imagination for several years. The pond being a few steps away from the workshop, I often go there to breathe, observe, record images, take materials, record sounds. There is a hidden link between this place and another imaginary world that I called Muori for a cycle of paintings. A hidden link with the islands of Reunion and the West Indies that were once inhabited. Moreover, an island surprisingly appeared right in the centre of the pond of Saint Jean sur Erve, at the end of the first lockdown. Strangeness of imagery plate and picture tectonics. Oddity of imaginary encounters. This capture went on for quite a long time, after all. Several years, by small touches, in order to form sketches, waves, incomplete sketches, deaf to certain frequencies or colours of the place. The takes sometimes trigger gestures or rituals with or within the organic matter of the pond. The water is lapping. The steps are soft. Birds enchant the space. The drips glide over the oak wood. The squirrel fled as I approached. The pair of herons crosses to the other side mirroring my wanderings. These walks vary in length. They take place at various times. Looking for a surprise, a new sound, a revelation. The landscape is captured in a continuous and cyclical movement. The materials are then confronted, assembled, cut, developed, remodelled, juxtaposed, superimposed to form a landscape, around the pond, a collection of sound memory, a stockpile of images. Layer after layer, the imaginary landscape transforms, moves and eventually turns into a fragile and tangible painting. Etang donné appears -or would like to appear- as a mental landscape, a sensitive space, a sound painting that is neither realistic nor narrative of the place that was visited, probed, contemplated, surveyed, crossed, lived in, but simply the outcome of an experience of this pond. A sound piece with condensed comings and goings, swaying movements, endless “come backs”, concentric circles formed by multiple visits. The song hatches. The painting becomes dense. The sounds swell. A “presence” resonates within us. We enter the material of the place, composite, organic. *(The title of the piece aludes to that of Marcel Duchamp, Histoire d’Eau Aussi -, meaning “also a story of water”. Etang donné translates as « given Pond » with a pun in French meaning « Given that») (translated by Florence Collobert, June 2021) LOCATION : étang de Saint Jean sur Erve (small town in Mayenne), France 48°02'06.5"N 0°23'18.6"W Source recordings made between 2018 - 2020. Mastered by Flavien Gillié. Cover & card design + treatments by Daniel Crokaert. Based exclusively on photos by philippe neau. Portrait by philippe neau. Glass mastered CD. Packaged in clear vinyl sleeve with folded insert and additional art card on 350gr satin paper. Limited edition of 170 hand-numbered copies. https://unfathomless.bandcamp.com/album/tang-donn	2021	€14.00
NERVOUS GENDER	Music From Hell	do-LP	Repressed; double LP version. "Nervous Gender's legendary synthpunk LP Music From Hell burbles up from infernal depths to resurface on Dark Entries! Confrontational, unhinged, and unabashedly queer, Music from Hell is an unholy grail for fans of the strangest underbellies of post-punk, minimal synth, and early industrial music, and is presented here newly remastered and on expanded double LP. Nervous Gender (de)formed in LA in 1978 at the hands of Phranc, Gerardo Velaquez, Edward Stapleton, and Michael Ochoa. Phranc, the androgynous embodiment of the band's name, left in 1980. Following her departure, a wide cast of LA freaks would find themselves drawn into the band's orbit, including Alice Bag of the Bags, Paul Roessler of the Screamers, the Germs' Don Bolles, and an 8-year-old drummer named Sven Pfeiffer. In 1980, Nervous Gender appeared on the seminal Live at Target compilation alongside Factrix, uns, and Flipper. With the band's notoriety cemented, Music from Hell followed in 1981 on Subterranean Records (as no LA label would touch this material). Side A, dubbed 'Martyr Complex,' presents a more punk-forward sound with live drum salvos and slabs of aggressive synth. These twitchy, unsettling shockers ooze with the kind of snotty misanthropy that will endear them to fans of the Screamers or Crass. Side B, known as 'Beelzebub Youth,' is a live performance the band labeled 'an electronic bruto-canto dissertation on the banality of spiritual transcendence.' Mutant melodies cede way to synthesized clangs, whirs, bleeps, manipulated tapes, and howls of despair. In addition to all the material from the original LP, we're treated to a full disc of the band's demos, the material from the Live at Target compilation, and early live recordings. Included are unrecognizable covers of Carly Simon and Lou Reed, and the Sex Pistols that are so despairingly skewed they fall into the void. This reissue of Music From Hell includes a 36-page lyric booklet, foldout poster, and gatefold sleeve with photos, flyers, and news-clippings designed by Eloise Leigh. Tackling taboo issues like sexual kinks, mental illness, drug use, and childhood molestation, Music From Hell is still surprising -- even shocking -- over 40 years after the album's release. Nervous Gender stand as one of the most genuinely anti-establishment outfits in underground music, a colossal fuck you to social norms from religious strictures to gender essentialism." https://nervous-gender.bandcamp.com/album/music-from-hell	2024	€31.50
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
NIBLOCK, PHILL	Brazil 84	DVD	"Brazil 84 16mm film & music by Phill Niblock (77 minutes) “Three Orchids” for 3 orchestras (2002-03) Orchestra of the SEM Ensemble, conducted by Petr Kotik “Two by Tom,” for 2 orchestras (2005) Trio Scordatura (Amsterdam) and the Nelly Boyd Ensemble (Hamburg) “Three Orchids” (2002-03) Trio Scordatura Phill Niblock (b.1933) is an intermedia artist using music, film, photography, video and computers. He makes thick, loud drones of music, filled with microtones of instrumental timbres which generate many other tones in the performance space. Simultaneously, he presents films / videos which look at the movement of people working, or computer driven abstract images floating through time. Brazil 84 is from Niblock’s series “The Movement of People Working.” 16mm, unedited long shots, carefully framed to compress single movements, shot in rural and urban settings, capturing people in their working environments, men and women using their hands and body to an eternal working choreography that seems tuned to the microtonal universe of Niblock’s music. All these images are timeless, they could have been shot today, in the ‘60s or even earlier in the century. All these images have a perfect timing, a perfect framing, captured not as a document but more as a choreographic gesture, as visual music. The images are raw, the colors are saturated and the sound seems to happen in your head. Phill Niblock says: “In 1984, I returned to Brazil, deciding to travel the coast, closest to the ocean, from Salvador, Bahia, to as far north as I could get in the time I had. That turned out to be Natal, 1000km away. I was the sole film crew, carrying the camera bag and tripod, loading the film, reading the light and occasionally applying sun screen. The film from that trip is the material on this DVD. And it was beautiful to see that country and those people.” Originally silent, Niblock chose to add his music as the soundtrack, as he often does during screenings of his films. These works, specially compiled for this release, are presented in both stereo and surround mixes. For this DVD, a new transfer was made of the original 16mm film, which was then restored under Niblock’s supervision. The Digipak package contains an 8-page booklet of essays by Niblock, Bob Gilmore (music), Carlos Casas (film) and Johan Vandermaelen (the recordings)." [label info] www.moderecords.com	2014	€24.00
	Niblock for Celli / Celli Plays Niblock	LP	Composer, filmmaker and photographer Phill Niblock is a true pillar of the New York avant-garde. In the past 50 years, he has curated over 1,000 performances at his Centre Street loft and steadfastly built a massive, multidisciplinary body of work. While his earliest musical compositions date back to 1968, Niblock waited until the early '80s to release any recordings. Nothin To Look At Just A Record, a powerful debut with densely layered trombones, would be the first to unfurl his unique approach to sound. The second album and perhaps the most rare in Niblock's vast catalogue, 1984's Niblock For Celli / Celli Plays Niblock is a meeting of two great minds. Working with reed player Joseph Celli (a composer in his own right, who has collaborated with John Cage, Pauline Oliveros and Ornette Coleman), Niblock nimbly removes the breathing pauses from Celli's oboe and English horn to create seamless, enchanting drones. 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. This first-time reissue is recommended for fans of Alvin Lucier, Yoshi Wada and Dome.	2018	€21.50
	Exploratory I	LP	Matière Mémoire present the new work of Phill Niblock: EXPLORATORY. One of the most beautiful and powerful works that Phill Niblock has ever offered. Phill reinvents and probes the oceans of drone music possibilities deeper than ever. This piece has been performed and recorded for over a year by many great musicians around the world, under the supervision and direction of Phill: Arditti String Quartet, David Watson, Lucy Railton, Phoenix Ensemble Basel, David Maranha, Ben Richter, David First, Andre Goncalves, and many more. Matière Mémoire is now releasing the first two volumes by Arditti String Quartet, David Watson (Vol. 1) & Phoenix Ensemble Basel (Vol. 2). https://www.matiere-memoire.com/page-d-articles/phill-niblock-exploratory-vol-1 SOUNDOHM: Phill Niblock "Exploratory l & II" (2LP in bundle / CD) Only a handful of years after their launch in 2018, the Belgian Imprint, Matière Mémoire, has quickly ascended to become a label to watch. Focused on releasing new works by some of the most important figures in contemporary experimental music - Carlos Casas, Susana Santos Silva, Torbjörn Zetterberg, Hampus Lindwall, Charlemagne Palestine, Jim O'Rourke, Oren Ambarchi, and numerous others - their catalog features a thrillingly diverse array of ambitious sounds. Among the artists offered a more dedicated focus within central Matière Mémoire’s output, is legendary minimalist composer Phill Niblock. 2019 witnessed the label’s release of Music For Organ, followed by his collaboration with Franck Vigroux and Kasper T Toeplitz, BestiaIRE, in 2020, and then Browner his contribution to their ambitious MMXX ‎series, later that year. Now they’re back with a stunning double bill of LPs from Niblock, Exploratory I and Exploratory II, comprising a sprawling set of sonic exploration performed and recorded over the course of an entire year by Arditti String Quartet, David Watson and Phoenix Ensemble Basel. Issued in limited editions on transparent and clear red vinyl respectively, as well as in a CD edition that collects both, in his 88th year Niblock remains as visionary and ambitious as he ever was. A composer, filmmaker, photographer, and tireless supporter, Phill Niblock is a pillar of American experimental music. For the last fifty years, there hasn’t been a time when he wasn’t there. Few haven’t, in one way or another, been touched by his music - carefully crafted, constrained works of durational tonality and shimmering harmonics - and his many efforts. For much of his career, Niblock has been focused on live performance acoustic phenomena, refraining to release his music in recorded form until the early 1980s, and then at an incredible slow and considered pace. Consequently, while more constrained that most artists of his generation, his output has been defined by a remarkable sense of clarity and depth, with each album album amounting to near perfection. Thankfully, over the last five years, pace of releases has begun to quicken, nearly doubling his discography during that period. Matière Mémoire’s latest double batch, the LPs Exploratory I and Exploratory II, takes us deeper into the incredible world, further expanding our access to his work for acoustic instruments, first unveiled by seminal albums like Nothin To Look at Just a Record, Niblock For Celli / Celli Plays Niblock, and Four Full Flutes, and increasingly returning to occupy a central place in his practice during recent years. Exploratory I and Exploratory II belong to a larger body of extended works performed and recorded, under the close supervision and direction of Niblock for more than a year, by a remarkable cast of international players including, but not limited to, Arditti String Quartet, David Watson, Lucy Railton, Phoenix Ensemble Basel, David Maranha, Ben Richter, David First, and Andre Goncalves. The first instalment, Exploratory I, features two distinct iterations - each offered a full side of the LP - one by Arditti String Quartet - the famous UK based ensemble founded 1974 by Irvine Arditti, Levine Andrade, Lennox Mackenzie and John Senter, focussed for nearly half a century on supporting contemporary composers by rendering their works in the closest possible way to their original vision - and the second by David Watson, the seminal New Zealand, New York based, experimental musician and bagpiper. Like so much of Niblock does, the LP unveils a startling sense of scope - especially via the interplay and contrast by the renderings - from incredibly constrained means, each built from layers of sustained tones that reconfigure the notions of drone in real time. Imbued with remarkable tension and intensity, subtle shifts of harmonics bend time, moving at such a glacial pace that it’s sometimes impossible to know if they are tricks of the ear, creative considerations embedded within the work, or byproducts of mental and physical states of the players, with Arditti String Quartet’s side occupying a lower register and thicker sense of range, standing in contrast to Watson’s, that bristles in its spareness in ways that only his instrument can produce. Of the three rendering, Exploratory II has what is arguably the broadest timbral range. Created under Niblock’s supervision by Phoenix Ensemble Basel - currently one of the most important contemporary music groups based in Switzerland, running for more than 20 years with a cast of roughly 25 musicians in its ranks - the half hour long piece (also the longest of the three featured across the Matière Mémoire’s two LPs) swells with oceanic depth, moving subtly between the appearance of stasis, beneath which remarkable power and diversity lays, and moments that build with tension, like a storm about to explode. With Niblock’s work over the last 40 years occupying such a high bar of quality, it’s impossible to have favorites or designate one as better than the next, but Exploratory I and Exploratory II are easily some of the most exciting of his recordings to have emerged in recent years. Imbued with the power, depth, and range that only acoustic instruments can unleash, they are a stunning immersion into of world of brilliant creativity via the constraints of durational tone. Issued by Matière Mémoire in two editions of 300 copies - Exploratory I on transparent vinyl and Exploratory II on clear red vinyl, as well as in a CD edition that collects the material from both LPs, they’re impossible to recommend enough.	2021	€26.00
NIETO, MIKEL R	Dark Sound	BOOK & CD	"The book contains Ecopolitik, an introduction as an epilogue by José Luis Espejo, a letter to the Huaorani people, two research texts and one bertso, descriptive texts and photos of recordings, a possible chronology, a glossary, a compilation of several texts with testimonies, reports and declarations from different people, groups, institutions, and publications in reference to the impact—direct or indirect—of the noise from the oil industry during its various phases of development on the people, the environment and the fauna. More info at dark.mikelrnieto.net 34 recordings in one track. In a black polycarbonate CD. Final editing, mastering and carbon print from Ireland by Slavek Kwi. Tracklist 01. Nyctridomus albicollis 02. Lipaugus vociferans 03. General Electric CF34-10E 04. Hypsiboas lanciformis, Hypsiboas boans and Unidentified Oil Extraction Machines in the Distance 05. Pogonomyrmex barbatus 06. Paraponera clavata 07. Atta cephalotes 08. Ectatomma tuberculatum 09. Termitidae procornitermes 10. Eciton burchellii 11. Gryllidae and Unidentified Frogs 12. Lophostoma yasuni 13. Leptonycteris yerbabuenae 14. Yamaha Enduro E40X 15. Unidentified Underwater Animals 16. Honda GX160 17. Unidentified Underwater Survivors in Produced Water 18. Changlin YZ26 19. Electric Generator at Tiputini Biodiversity Station 20. Electrical Substation at the Yasuni Research Station (Ten Meters Distance) 21. Electrical Substation at the Yasuni Research Station (One Meter Distance) 22. Air Conditioner for the Electrical Substation at Yasuní Research Station 23. Chevrolet S10 24. CAT MD6420B Drill 25. Cummins KTA19G4 26. HongSheng CYJ-83-37HB 27. CAT 3512 DITA 28. MTU 396 29. Shale Pump SP1614 30. Tiger Rig ZJ30LDB 31. Oilon Wisedrive WD32-34 32. Maxon Oxytherm LE 33. Preamp Battery Blackout 34. Radio Jungla 94.3 FM Through Several JBL Control 1 Pro in Repsol-YPF Access Control" 176 pages, dark paper, black ink, hardback. languages: huao, basque, spanish and english" www.gruenrekorder.de/?page_id=15050 "In the product page on the label’s website the description of this release ends with this warning: “Partially legible. Sunlight reading recommended”. It’s hard to fail recognising that this warning is absolutely appropriate, until you realise that it’s a black book, with black opaque pages, printed with black lucid ink, housing a black CD. And it doesn’t stop there, as it doesn’t have a fixed sale price, but its price is determined by the crude oil Brent price at the time of purchase, so the author and label warn that if you buy the book you’ll “contribute to the destruction of the planet.” With these creepy premises, a curiosity about the content of the work immediately arises. And after a few attempts, the reader can find the right angle and light to (struggle to) start reading realising that it’s a remarkable collection of essays, pictures and documents on the oil industry’s impact on the Ecuadorian natural environment. This is coupled with a CD with 34 recordings in one track from the Ecuadorian rainforest (the whole work is part of the Field Recording Series by Gruenrekorder). It progresses from delightful natural sounds to industrial machines slowly disrupting them. Then reading, meanwhile, some testimonies or a detailed chronology perfectly let this whole suppressed world to (painfully in every sense) re-emerge from its current status. The pervasive “black”, eventually, doesn’t hide anymore, but becomes the mandatory colour to engage with, in order to learn and understand what has been hidden, but must now be revealed." [Neural Mag.] "I have listened several times to the CD Dark Sound by Mikel R. Nieto over the past month and have been intrigued by the purpose of the recordings presented by the album. — Dark Sound is a CD length single track album of field recordings taken by Mikel R. Nieto mostly in and around the Ecuadorian rainforest within areas associated with the colonisation and domination of contested areas that were found to have oil reserves. The album traces the relationships between a number of different indigenous groups who have resisted becoming associated with Western European and global models of capital, in favour of continuing the heritage and lives they had prior to the arrival of Spanish conquistadors in the late 15th Century. The single track CD contains a wide number of field recordings from across various situations that the recordist encountered whilst investigating the noise and culture of Ecuadorian oil mining operations and the impact it has had on the biophonic soundscape and ecology of non-native human, native human, and nonhuman populations. The album comes with an accompanying black paged book with black glossy lettering throughout which makes it impossible to read other than in bright sunlight; a statement upon the darkest of dark geological substrates; crude oil, as well as a comment on the practices of obfuscation that have continued in pursuit of capital gain through oil drilling by corporations. This has led to a number of significant historical, political events including the death of Alejandro Lebaka, a Basque man who in the 1980s took it upon himself as a missionary to position himself as “the voice of the voiceless” (Lebaka in Nieto, 2016: 53) but in his attempted defence and support for a number of native groups, specifically the Huaorani (literally meaning those who speak our language”) which is to say, the native people of the Ecuadorian rainforests, was killed by spears from a group of Huaorani referred to as Tagaeri who no longer wished to partake in the violent systems of control forced upon the Huaorani. The book provides a significant overview to the political history and issues encountered as a result of the colonisation, and pacification of the indigenous people of Ecuador in pursuit for oil whilst also raising a broad ranging investigation into acoustic research and/or phenomena that are a consequence of the oil operations and their effect directly and indirectly on the Ecuadorian ecology. The album itself, contains a number of ethnographical and environmental field recordings that include weather events, insects, birds, fish and small mammals and security guards, diesel turbines and high security perimeter fencing. The recordings range from acoustic captures to hydrophones to ultrasound and contact microphones in an attempt to reflect the wide range of acoustic, para-acoustic infra and ultrasonic phenomena that are comprised, altered and ruptured in the pursuit of capital. The book is highly politicised and the recordings only further emphasise the massive transitions from small tribe to mass industrial practice and the absolute refusal for some to be forced to be adapted and co-opted into a military industrial complex and capital based system of goods exchange and parasitic raping of newly discovered lands." [Mark Parker]	2016	€44.00
NIGHT SCIENCE (MAGAZINE)	Vol. VI	BOOK + CD	The sixth issue of my \'Night Science\' \'zine/compilation CD. Thorough interviews and stellar CD tracks from Purgist, Iron Fist Of The Sun, Toshiji Mikawa, Spiteful Womb, Taeter, Hostage Pageant/Still Life and Torba; an interview with Lee of Annihilvs; live reviews of Puce Mary, Hair Stylistics, Hijokaidan and Merzbow; and a slew of reviews of releases from the past few years including some choice reissues and the Come Org, \'On Corrosion\' and Masonna boxsets. 124 pages, perfect-bound, pro-pressed CD. https://cipherproductions.storenvy.com/products/31437583-v-a-night-science-vi-zine-cd	2020	€16.00
NILSEN, BJ & STILLUPPSTEYPA	Big Shadow Montana	LP	"After producing their frozen trilogy of intoxicated dronemuzik for the Agency, these Scandinavian gentlemen have ventured into more absurdist territories through fictionalized soundtracks for imagined Mondo films and science fiction serials. It is in this context that BJ Nilsen & Stilluppsteypa present the apparitional Big Shadow Montana, an album of slow-motion delirium manifested in occluded smears, nocturnal gasps, and arcane tones from a variety of analogue synthesizers. Amidst the near constant wash of bleary-eyed etherealism, Big Shadow Montana cycles through several sonic themes and leitmotifs, displayed in varying states of clarity. In these transitions between half-remembered phrases and bleary-eyed thrumming, the album emerges as if it were the aftermath from a protracted bout of metaphysical channel surfing. Flickered impressions flash in conjunction with Breton's manifesto of Surrealism in the form of the memories from happily drunk escapades in the heart of winter, the sidereal spells cast by the innerspace travelers Klaus Schulze and Coil, and the nagging questions of existential portent: 'Was that bassline from Goblin, or was it German Oak? Maybe something from Faust IV?' The trio of Nilsen, Sigmarsson, and Thorsson elegantly twist and bend these fleeting images into a spiraling symphony of bubbling electronics and spectral drones that mutate on both sides of the record into lugubrious yet carnivalesque waltzes. When this first appears, it is the echoing undercarriage of a simple melody, bobbing amidst rattling chains and cascading cymbal crashes only to dissolve into sequences of cold-war era tone beacons and empathic swaths of maudlin sound design. At the second occurrence, the melody washes ashore on the Iceland beach, where nude Viking men and women try in vain to get a tan when the sun is just barely going to rise above the horizon in the winter months. It is a pyrrhic jubilation of calliope harmonies set down by organs and synths turning a pale-blue hue in the wake of all that white skin shivering underneath the arctic sky." [label info] www.helenscarsdale.com "Recently this trio was undercover present as Evil Madness (see Vital Weekly 773), an exercise in disco, and perhaps some of that experience rubs off in this new collaborative work - I believe the fourth or fifth time they work together. Up until now their work together was deep atmospheric excursions into the space we call drone music, but something has changed. Maybe its the re-arrival cosmic music that put them back at their analogue synthesizers and organs? The press text supplied hints certainly towards that. Certainly an album with more open spaces than what they produced so far. A far cry from monolithic blocks of highly computerized drones, this buzzes in an analogue way, carrying small melodies around, rattling percussion in the background, or the air sucked into a harmonium. Somewhere on the b-side (no track titles, so 'Big Shadow Montana' should be seen as one piece) it leaps into one of those pre-set rhythms found on organs with meandering, somewhat cliched melody, which actually sounds very sweet. It adds, once more, that lovely cosmic ring to the music. This album sees them leaping out of the old fashioned drones in return to something that is perhaps even more old fashioned, but which sounds like a fresh start again. It holds a great promise for the future." [FdW/Vital Weekly] "Collaborations in the experimental scene come and go, so it's so great to see one that has some longevity. This is album number seven from BJ Nilsen and Stilluppsteypa, and the fourth released by the discerning Helen Scarsdale Agency label. Since this trio (Benny plus Sigtryggur and Helgi of Stilluppsteypa) unleashed their drunken drone trilogy through the aforementioned Agency, they've been venturing into all sorts of delirious bouts of murky psychedelic collages and imagined soundtracks. There were the weird ruminations upon a found cassette, turned into a mondo filmscore on Man From Deep River; and then the sci-fi opus of synth meanderings found on Space Finale. Now what may be the best to emerge since that earlier alcohol-inspired trilogy is this, the mercurial and hauntological album Big Shadow Montana. Two long-form pieces make up the album, with the A side standing as a hallucinatory foreshadowing of what is to come on the flip. Here, ghostly drones broadcast directly out of the haunted ballroom from The Shining, flickering with half-received transmissions, bumps in the night, and any number of other worldly sounds. Bits of structure emerge in this slow-motion churning of drone, shadow, and filigree coming across somewhere between the fucked up collages that seem to bring all of the Teenage Filmstars records to a close and the subterranean drone-rock sensibility of German Oak. When the record flips, a cosmic stream of vintage synths slump toward oblivion paralleling what has been done by Emeralds and Oneohtrix Point Never (both of whom have released work alongside this trio on Editions Mego), but before this can venture any further down the rabbit hole of Schnitzler and Schulze references, Nilsen & Stilluppsteypa slip into a faux-exotica guise with cheap Casiotone melodies swaying to and fro through old Les Baxter and Martin Denny records. It's a signature move for Stilluppsteypa, if anyone remembers how they mustered a similar strategy on The Best Possible Yet back in 1997. But the maudlin organ harmonies and percolating tone-bloop oscillations are much more confident here, emerging perfectly out of the drone fog like those organ-led numbers on that Deathprod boxset, only to slip into a twin engine thrum of inner-space expansion. In listening back to the second side of the album, it's clear that the first is a lengthy dub of the second, recast and recontextualized as a percussive ghost. Totally captivating through and through, and with a damn trippy cover sporting a vibrantly hypnotic, candy-colored mandala. Yup, it does have a download card. Yup, it is limited. Yup, it is highly recommended." [Aquarius Records]	2011	€20.00
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
NLC / EISENLAGER / OCCUPIED HEAD / WILFRIED HANRATH	Thing	CD-R	In 2022, attenuation circuit starts a new series of four-way split albums called THING. The aim is to provide a medium for exchange and presentation of a great variety of artists. As each artist spreads the copies to their network, listeners also get to know the other artists featured on the same disc. The title references the fact that the CDs are physical objects – things! – but also refers to the 'thing' or 'ding' in old Norse and other Germanic languages, which designates the place of a popular assembly or the assembly itself and thus alludes to the 'meeting-place' character of the albums on (or around) which the four artists and their audiences meet, if only virtually. With the second instalment of the THING series, attenuation circuit presents four artists that offer their various, but always rather deep and spacious takes on ambient. EISENLAGER have previously released download albums on attenuation circuit; both Occupied Head and Wilfried Hanrath have released on the label and were also featured live at attenuation circuit's “re:flexions sound-art” festival. In addition to these three German-based artists, Nouvelles Lectures Cosmopolites from France make their first appearance on the label with their contribution to this compilation. A continuous presence in the international experimental music underground for decades, Julien ASH of NLC first inspired label head Sascha Stadlmeier to open attenuation circuit – up until then only a release platform for his own music – to other artists in 2010. Therefore, attenuation circuit is very happy to welcome Nouvelles Lectures Cosmopolites to the label roster with this new track in their new duo line-up of Julien ASH and Alois L., which started in 2021 after NLC had stopped their activity for more than a decade. https://emerge.bandcamp.com/album/thing-2	2022	€8.00
NNHMN	Deception Island	CD	NNHMN returns to Zoharum with "Deception Island" a compilation CD of tracks taken from vinyl EP-s titled Deception Island Part 1 and 2 respectively, released by Spanish Oráculo Records. As expected, the duo of Lee and Michal Laudarg deliver hell of a ride. Dark Wave, Synth Pop, EBM, New Romantic, Dark Disco - you name it. Spirit of '80s nostalgia is strong in this music. It's hard to listen to this without nodding your head or moving your hands and feet. Deception Island is very propulsive. From the first synths of "In Darkness" to the last beats of "Nachtgang" NNHMN keeps you enslaved on the dancefloor. The track order has been slightly rearranged so the compilation has a more album feel and makes you find yourself listening to it for the third time in a row moving and watching the stars. You just don't want it to stop. Restless dance of the night endless. CD edition of 300 copies comes in "silk" digipack. https://zoharum.bandcamp.com/album/deception-island-full-length-album "The Berliner based Polish duo of NNHMN last year released two EPs entitled “Deception Island 1” and “Deception Island 2” on Oráculo Records. Zoharum this year released both EPs together as an album featuring the ten original songs. Content: NNHMN is a band I personally consider as one of the greatest revelations from the past few years; Minimal-Electro-Wave music, which is clearly reminding me of the sterile- and cold atmospheres of the 80s. The whispering and totally emotionless way of singing of Lee creates an icy, sensual touch while Michal’s sound production creates a kind of dark-cellar dancefloor sensation. + + + : If there’s one band that awakens my curiosity on each new work it for sure is NNHMN (Non Human). They aren’t setting the world alight, but creates a fascinating vintage exposure with a true Minimalistic approach. The typical melodic strings, dry snares and icy sequences are reminding me of the 80s. I think it’s a real good thing both EP’s have been assembled as a full length album and there are some brilliant songs on it like “Deception Island”, “Education Lost”, “In Darkness”, “Nachtgang” and “Robot Woman”. – – – : This album is a kind of compilation so if you already know both “Deception Island”-EPs you’ll be not surprised. Conclusion: I remain totally addicted to the impressive Minimalism of this Berlin based duo; this is how Electro-underground music has to sound!" [Side-Line]	2021	€12.00
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
	Chrrroooooom !	CD	"NTL are one oft the most important bands of the German Industrial scene of the 1980's. Most of their albums were released as cassettes only - six of those can be found on this CD. All material here has never seen a release outside these tapes: "Made on Cuba", "NTL", Rekonstruktionen", "Tavo Ctas Esna", "Ware11" and "Wladiwostok 111984". Compiled by Sea Wanton, this CD is filling an essential gap in the band's discography. Very harsh Industrial sounds from the Golden Age of German 1980s, traces of Einstürzende Neubauten and Sprung aus den Wolken. A perfect companion to the SBOTHI CD released in October this year - both featuring Achim Wollscheid. Limited to 300 copies only." [label info] www.klanggalerie.com	2010	€15.00
NORDERVAL, KRISTIN	Aural Histories	CD	"Kristin Norderval cut her musical teeth touring with Einstein on the Beach in 1992, went on to record works of American composers such as Tania Leon, David Lang, and Anne LeBaron, improvised in the New Circle Five with Pauline Oliveros and Susie Ibarra, and co-founded the electro-acoustic duo Zanana with trombonist Monique Buzzarté. Now she has released a solo CD of her works for voice and laptop. The composer writes: “Aural Histories is a compilation of works for voice and electronics. None have lyrics, but they all have stories. Some are improvisations recorded in one take with live sampling and audio processing in real-time; others are electronic compositions with varying degrees of vocal improvisation; and still others are through-composed electronic works. Some use the voice alone as sound source, and others contain pre-recorded and processed sounds of machines and electronic equipment, from coffee machines and microwaves to incubators and antique motors.” Zooming further out, alongside singers and composers including Meredith Monk, Anne LeBaron, Juliana Snapper, and Mendi and Keith Obadike, Norderval’s work fits within […] a contemporary U.S. feminist opera that seeks to denaturalize singing, listening, and sound. This is work that faces rather than masks sound’s dependency on material transduction. Furthermore, it never forgets that sound always sounds in a three-dimensional setting even when played through speakers or headphones, as will be the case with this CD. […] For Kristin Norderval each sound’s specific location in space is a significant compositional parameter. Aural Histories is not a linear sound trajectory; instead it is an invitation to step into any of its ten different scenes. The doors are open to you, the listener: please enter." [label info] www.deeplistening.org	2012	€13.00
NOSTALGIE ETERNELLE	Notre Debut	CD	"Nostalgie Éternelle was a German duo active from 1986 to 1991. Stefan Heinze (well-known as Inox Kapell) and Dieter Mauson (later member of Delta-Sleep-Inducing Peptide, with Siegmar Fricke) recorded a large number of songs in just few years, distributing them mainly through self-released tapes and international cassette compilations. “Notre Début” is a collection of twenty (!) remastered tracks from Nostalgie Éternelle solo cassettes and compilation tapes, 1988 – 1991, now available on CD for the first time in a handnumbered digi-slim sleeve. Classic 80's dark minimal synth-wave, distant obscure vocals, thrilling synthscapes, including influences from icy electronic music and d.i.y. industrial. “Notre Début” is also an open window to know better 80's cassette-scene and culture; n example, four songs have been previously released on two tapes in 1988, on my old Discipline Produzioni cassette-label: releasing this CD has been a great chance to bring them back to life, together with songs published at that time by 80's cult labels such as Insane Music, Jar, EE Tapes, Headkleaner, Weed Music and more. A cold, dark “Goodbye!” to 80's decade and a claustrophobic “Hello!” to the upcoming 90's. Someone told us that 2011 will be the year of Nostagie Éternelle comeback: If so (fingers crossed), “Notre Début” will be the best introduction to this precious, interesting, original 80's electro-wave band." [label info] www.finalmuzik.com "Die zweite Welle der Kassettentäter bekommt endlich und wohlverdienterweise ihre eigenen Re-Releases, mit dabei auch das Duo NOSTALGIE ÉTERNELLE, das von Mitte der 80er bis in die frühen 90er aus INOX KAPELL und einem Teil von D.S.I.P. bestand und fleißig verschrobene, Minimal-Elektonik produzierte und in der ganzen Welt verbreitete. Somit ist es nicht verwunderlich, dass hier keine "komplette" Kassette wiederveröffentlicht wird, sondern einzelne Tracks die auf diversen Compilations zu finden sind und den Werdegang perfekt nachzeichnen. Den Charme dieses Duos macht sicher der naive, aber stets konkrete Umgang mit der damals noch nicht so ausgereiften Keyboards und Samplern (Casio SK-1 rules!) aus. "Schräg" nannt man das irgendwann mal... Es wurde einfach sessionartig produziert und veröffentlicht. - Welchen Stellenwert hat soetwas heute? - Es sind schöne Erinnerungen die sonst verblassen würden und für die Generationen danach ist es Geschichtsunterricht was alles möglich war und ist, wenn man nur einfach mal anfängt was eigenes zu machen! (7)" [Carsten Vollmer/OX]	2011	€12.00
	Magie Fragile	LP	"NOSTALGIE ÉTERNELLE (ewige Sehnsucht) wurden 1986 in Leer / Ostfriesland von Stefan Heinze (Inox Kapell) und Dieter Mauson gegründet. Verwurzelt im Punk, NDW, Industrial, NoWave, Post-Punk und der Elektronikmusik beginnt das Duo ihre Musik auf nationalen und internationalen Cassetten-Samplern zu veröffentlichen und Konzerte in Ostfriesland zu spielen. 1989 erfolgt dann der Umzug ins Rhein-Main-Gebiet. Es werden nun auch Konzerte im Ausland gespielt. Nach einigen Tapes und Beiträgen zu Vinlysamplern zieht es Dieter 1991 zurück in den Norden (Hamburg). 1992 löst sich das Duo aufgrund der räumlichen Entfernung auf. Der Kontakt bleibt über die Jahre bestehen. 2009 fassen die beiden den Entschluss ihre musikalische Zusammenarbeit fortzusetzen. Inox wohnt inzwischen in Berlin (und zweitweise noch in Wiesbaden) und Dieter noch in Hamburg. Wie in den Anfangstagen singen beide Bandmitglieder und während Inox zumeist für die Elektronik zuständig ist, spielt Dieter vornehmlich Bass und Gitarre. In der Folgezeit werden Alben mit Archivmaterial der Band in Belgien, Italien und Frankreich veröffentlicht. 2012 erscheint ein Vinyl-Album (Sans Fin) mit neuem Material auf Hafenschlamm Rekords in Hamburg. Das Duo beteiligt sich auch wieder an internationalen Compilations, die auf Vinyl, CD, Tape und als Freedownload in Belgien, den USA, Brasilien und Spanien erscheinen. Seit 2012 spielen NOSTALGIE ÉTERNELLE auch wieder Konzerte. Einige kleine Touren haben sie in den letzten Jahren durch Deutschland, die Niederlande, Belgien und die Schweiz geführt Wieder auf Hafenschlamm Rekords erscheint nun im September 2015 ein weiteres Vinyl-Album (Magie Fragile) mit neuem Material. Einige der Songs sind bereits liveerprobt." [label info] www.hafenschlammrekords.de	2015	€16.00
NOVA, JACQUELINE	Creacion de la Tierra - Ecos palpitantes de Jacqueline Nova: Musica electroacustica e instrumental (1964-1974)	do-LP	"Jacqueline Nova (Ghent, Belgium, 1935 - Bogotá, Colombia, 1975), a representative figure of Colombian avant-garde music, developed important and radical work within the field of electronic and instrumental music, as well as in interdisciplinary forms. This album, Creación de la Tierra - Ecos palpitantes de Jacqueline Nova: Música electroacústica e instrumental (1964-1974) ("Creation of the Earth - Throbbing Echoes of Jacqueline Nova: Electroacoustic and Instrumental Music (1964-1974)")¸ under the curatorship and research of the Colombian composer Ana María Romano G., recovers Nova's most important electroacoustic works: "Creación de la tierra (Creation of the Earth)" (1972), "Oposición-Fusión (Opposition-Fusion)" (1968) and "Resonancias 1 (Resonances 1)" (1968-69), as well as the music for the film Camilo el cura guerrillero (Camilo the Guerrilla Priest) (1974), composed during her stay at the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) , of the Torcuato Di Tella Institute, in Buenos Aires, as well as in the Study of Phonology of the University of Buenos Aires. The compilation also includes the instrumental works "Omaggio a Catullus" (1972-1974), "Transiciones (Transitions)" (1964-1965), and "Asuimetrías (Asymmetries)" (1967), in which she explores randomness, timbre possibilities or the encounter between acoustic and electronic media. The interest in experimenting with the human voice, and interdisciplinary work involving visual arts, were some of the aspects that have defined Jacqueline Nova's work. Ana María Romano has written: "Nova lived in an environment hostile to change, to debate and discussion, hostile to her being an autonomous and lesbian woman. She undertook feats that make her a pioneer, even though she did not set out to be taken as one, but only as a result of the commitment, dedication and passion of a creator with her society. Jacqueline Nova died in Bogotá of bone cancer. Her tragic and early death not only cut short a career in full creative force, but also directly affected the development of electroacoustic music in the country. After her death there was a great silence -- close to 15 years -- in musical creation with electronic means. Nova challenged a conservative milieu and survived alone, working in a field thought to be exclusively masculine. But it was a woman who strengthened the use of technology in Colombian music. A risky bet that sadly represented a high cost: Nova was relegated during her lifetime, but her noises managed to shake and question the comfort zones of the Colombian musical establishment." Includes a booklet with extensive information written by Ana María Romano G.; edition of 300." https://buhrecords.bandcamp.com/album/creaci-n-de-la-tierra-ecos-palpitantes-de-jacqueline-nova-1964-1974 "Continuing their incredible dedication to the historic sounds of the 20th Century Latin American musical avant-garde, Buh Records returns with one of their most important releases to date, "Creation of the Earth - Throbbing Echoes of Jacqueline Nova: Electroacoustic and Instrumental Music (1964-1974)", the first ever collection dedicated to the pioneering work of the Columbian composer Jacqueline Nova. Spanning the final decade of Nova's life, not only does this stunning double LP overflow with astounding acoustic, electroacoustic, and electronic works that entirely upend the Eurocentric historic experimental music, but the album doubles as a crucial illumination of the feminist and queer struggle for liberation through sound in Latin America during this period. Absolutely astounding on every level and impossible to recommend enough, it's the sort of revelation that only comes around once in the rarest of times. Running continuously since the mid 2000s, in recent years the Lima based imprint, Buh Records - run by Luis Alvarado - has issued an astounding array of little heard Latin American experimental music onto the world stage, offering particular focus to work - contemporary and historic - from Peru. In recent years, they’ve been increasingly casting their gaze further afield, offering glimpses of the broader Latin American context experimentalism with stellar releases by Mesias Maiguashca, Walter Smetak, Oksana Linde, and a number of others. Their latest, “Creation of the Earth: Throbbing Echoes of Jacqueline Nova: Electroacoustic and Instrumental Music (1964-1974)” belongs to this shift. The first-ever release entirely dedicated to the pioneering Columbian electronic composer, Jacqueline Nova, it lifts the shadows of time to reveal an astounding artist whose work has remained almost entirely unobtainable since her untimely death in 1975. Visionary and truly remarkable, the historical importance of this stunning double LP - issued in a very limited edition of 300 copies, complete with extensive liner notes by Ana María Romano - can't be understated. Once again, Buh has upended the perceptions of avant-garde happening during the 20th Century and replaced it with something far more diverse, vibrant, and alive. "The history of avant-garde, experimental, and electronic music from Latin America has always been incredibly difficult to access, largely due to the effects of conservative, authoritarian governments that game to power in many countries in the region during the mid 20th Century, attacking progressive art-forms and limiting the mobility of the rich contexts of sounds that emerged within their borders. Despite the opposition that these artists faced, a remarkable scene of experimental music thrived - often cross pollinating - throughout Latin American during the second half of the 20th Century, a happening that Buh Records has been making greats strides toward illuminating for more than a decade. It would be hard to find a better example of this than their latest release, dedicated to the work of the Columbian composer Jacqueline Nova. Born in 1935, Jacqueline Nova began playing the piano at a young age, eventually taking her studies to the National Music Conservatory in 1958. In 1963 she shifted her focus toward composing, and in 1967 became the first woman to obtain a diploma in composition at the Conservatory, following which she won a scholarship to study at one of the most noted electronic and electroacoustic studios in Latin American, Centro Latinoamericano de Altos Estudios Musicales (CLAEM), in Buenos Aires, Argentina. From this point forward, she almost entirely dedicated her efforts to electroacoustic composition, until her death in 1975. Nova’s time at CLAEM set her apart from most of her Columbian peers, allowing her the space and time to reach a high level of technical refinement that, combined with her compositional talents, placed her as one of the leading figures in Colombian and Latin American electroacoustic music during that moment. This became even more the case following her return to Argentina in Guggenheim scholarship. Nova returned to Buenos Aires, with the support of a Guggenheim fellowship to research and develop a body of work that integrated ways of transforming the human voice through electronic processes. “Creation of the Earth”, spanning two full LPs that comprise seven important works by Nova, is effectively a career spanning window into the composer’s remarkable inner world, covering the years between 1964 and 1974. Over its length, we hear the evolution of one of Columbia and Latin American’s most important avant-garde composers, from early efforts like “Transiciones” - a stunning work of complex harmonics and distances for solo piano - and “Asimetrías” - an equally striking, spacious work for flute and percussion - that give a glimpse of her purely acoustic beginnings in the avant-garde, and the sublime talent that laid the foundation for her subsequent works. Beginning with “Resonancias 1”, composed across 1968 and 1969 between Buenos Aires and Bogotá, we encounter Nova beginning to incorporate electronic processes; her piano and other acoustic instrumentation becoming interwoven with electronic sounds, in a work that is built on seven structures with timbre indications, leaving a great deal of openness for each player to make decision and determine its outcome. The remaining three works gathered on “Creation of the Earth” are unquestionably the most radical and forward thinking, witnessing Nova reaching the full extent of her powers as a composer. The first of these, “Creación de la tierra”, composed in 1972, draws upon her research into the transformative potential of electronic process on the human voice. Composed solely from vocal material drawn from songs on the creation of the earth of the U'wa ethnic group in Boyacá, Colombia, the work culminates as an immersive ritual of astounding scope, rendering the source material almost unrecognizable through heavy processing that transforms it into writhing ambiences of texture and tone. This is followed by “Omaggio a Catullus”, composed over the two years between 1972 and 1974, which takes an entirely different approach to these queries. Incorporating a vast range of acoustic instruments, vocalizations, and electronic processes, it appears as a sonic gesture of deep urgency, entirely of its moment and yet somehow out of time. The final work of the collection, “Montaje electroacústico a partir de materiales de la música original de la película Camilo el cura guerrillero”, was created in 1974 toward the end of her life. As the title suggests, it is an electroacoustic montage from music materials created for the film “Camilo the Guerrilla Priest”. A likely indication of Nova’s politics - Camilo Torres Restrepo, the subject of the film, having been a Marxist-Leninist, priest who fought for progressive reform in Columbia - the work is a stunning gesture of avant-garde sonority, swirling into abstract forms. As the liner notes to “Creation of the Earth” state, “Nova lived in an environment hostile to change, to debate and discussion, hostile to her being an autonomous and lesbian woman. She undertook feats that make her a pioneer, even though she did not set out to be taken as one, but only as a result of the commitment, dedication and passion of a creator with her society.” One can only imagine what effect she might have had if her life hadn’t been cut tragically short at the age of 40 in 1975 by bone cancer. Perhaps even more tragically, her death ushered in a period of silence in Columbian electronic music that would last well over a decade, perhaps proving how alone, ahead of her time, and important she was. For this reason and the astounding quality of the work, it is impossible to overstate the importance of Buh’s release of “Creation of the Earth: Throbbing Echoes of Jacqueline Nova: Electroacoustic and Instrumental Music (1964-1974)”, the first ever collection solely dedicated to her remarkable body of work. It’s a truly stunning and revelatory listen, bringing a crucial, lost piece in the history of Latin Avant-garde music into the light for the first time. Issued as a beautiful double LP, which includes fantastic exploratory liner notes, we can’t recommend this one enough. Ten out ten and beyond. Grab it before it’s gone." [SOUNDOHM]	2022	€34.00
NOVAK, YANN	The Voice of Theseus	CD	From Yann Novak In Greek mythology, the legend of Theseus describes how the king-founder of ancient Athens rescues the children of his city from King Minos’ minotaur on the island of Crete. In commemoration, Athenians began a pilgrimage to honor his victory, taking the ship of Theseus and sailing it from Athens to Delos. It was with this tradition that a philosophical paradox about the historic ship was raised: As the ship was repaired, piece by piece, until it was no longer composed of any original parts, at what point could the ship no longer be considered the same entity? In recent years, I’ve become interested in exploring the perceptual differences I experience. While some of these differences—partial color blindness and dyslexia—have been with me my entire life, tinnitus caused by hearing damage is a relatively new change to how I experience the world. It is these sensory challenges which have shaped my artistic practice by creating what I call a perceptual insecurity—an uncertainty of how accurately I discern the world around me. The Voice of Theseus is my attempt to explore the obstacles I face in processing external sensory information. If I have trouble perceiving reds and greens, if I have trouble hearing certain frequencies, if I don’t interpret written language in a standard way, how closely can I experience reality in the way that others experience it? The album asks the listener to question how their unique means of perception and interpretation might differ from that of others. For The Voice of Theseus, I asked two of my favorite vocalists to assist with this experiment. Both Dorian Wood and G.Brenner recorded vocals for me to manipulate throughout the album. If their original audio is Theseus’s ship, the changes I make to their voices are like the Athenians replacing each of the original vessel’s pieces. And so, how far can these vocals be pushed while still remaining attached to the vocalists’ identities? Where lies the separation between the source materials and the objects they’re used to create? The myth of Theseus’ ship allowed me to tease at the nuances of how reality can be observed, interpreted, and altered in an indeterminate number of ways; it can be dismantled and rebuilt, many times over. And yet, because of my internal circumstances, a perceptual insecurity remains. As flexible as the true nature of an object or moment may be, inaccuracy looms. There’s no real way to know how great the disparity is between my observational experiences and another’s, and no clear limit of how many pieces of our shared reality can be altered—before it stops being just that. https://yannnovak.bandcamp.com/album/the-voice-of-theseus-2	2023	€16.00
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.	Extropy Ground Zero	CD	"In Extropy Ground Zero, Kazuyuki Kishino displays an intriguing approach towards the genre of experimental noise. Deviating from his usual genre style, he unleashes new material of percussive blast beats which take dominance in the 2 tracks (one studio and one live) contained within. The juxtaposition of electronic percussive noise tempo against layers of interweaving swooshes and electronic bleeps provide an interesting ambience of sound, which strongly reflect KK Null’s unique creative process in noise experimentation." https://4ibrecords.com "KK Null is a legend in the noise/power electronics scene. Moreover, he is a master of chaos creation. We have for you, his latest work courtesy of 4ib Records, Extropy Ground Zero. From 4ib Records: “Kazuyuki Kishino displays an intriguing approach towards the genre of experimental noise. Deviating from his usual genre style, he unleashes new material of percussive blast beats which take dominance in the 2 tracks (one studio and one live) contained within. The juxtaposition of electronic percussive noise tempo against layers of interweaving swooshes and electronic bleeps provide an interesting ambience of sound” Track 1, “Extropy Ground Zero” starts off with some rapid, distorted conic bullets. What follows is absolute madness and chaos. There are so many things going on and so many dimensions and dynamics, it’s ridiculous…but in a good way. Trust me on that. After the rapid distorted cyber-strikes and a series of what sound like computer glitches, we then find ourselves behind a wall of harsh noise and again, those distorted rapid percussive beats. KK then mixes this with some upper-frequency harshness. Then after a short, dark ambient break… utter bloody chaos erupts; the sonic equivalent of breaking glass and fierce storms; the pinnacle of all that I just mentioned combined. That then tapers off like rain at the end of the storm and the storm begins again just before 9:00. Very destructive, uncomfortable cyber-noise madness. Great stuff and really unique in terms of noise artistry. I’ve always been a huge fan of noise albums that were recorded live. They just add other dimensions in terms of experimentation/improvisation for the artist and sonic dynamics vast vs. claustrophobic for the listener. Track 2, “Tokyo Ground Zero” is live. If you thought track 1 was maddening, you haven’t heard anything yet. Ok, I’ll step out on a limb and say it. It’s tracks like “Tokyo Ground Zero” that make Merzbow look like a drone artist. Now, please don’t get me wrong, I love Masami’s work and no one can deny his place in noise as a true pioneer..no one. But KK Null is really pushing some boundaries here, like serious goose bump-inducing chaos and sonic bloody anarchy. Super-speed distorted cyber-blast beats, glitches and blips, multi-dimensional harsh noise walls and shards and a whole other pile of chaos – shifting, speeding, slowing abruptly and uncomfortably. I think I even heard some buried samples and discordant piano strikes. It’s really very challenging to describe. It’s like a category 9 hurricane with so many things in the path of its destruction-lifting and dropping, tossing and smashing. Not many noise tracks give me chills but this one sure did. Really… you’ll just have to hear it. If this track indicates the direction KK is going, he really nailed a cornerstone on this one. I really can’t even find the words other than that. I think we’re going to interview KK soon. We’ll have to find out how the hell he pulled that track off live. I can’t imaging being in that venue." [Noise Beneath the Snow]	2017	€13.00
NURSE WITH WOUND	Rat Tapes One: An Accumulation of Discarded Musical Vermin 1983-2006	CD	Ratten-Tapes? 18 Stücke, alle unbetitelt, aus den letzten über 20 Jahren, keinesfalls ratten-schlechtes Material, im Gegenteil, auffallend oft rhythmisch ausgeprägt (sogar break-beatig 1 x ), natürlich immer an der Pforte zu einem surrealistischen Traumreich, wo Bedrohung und Humoreske zwei Seiten derselben Medaille sind. Ansonsten kann einem hier so ziemlich alles passieren, und diverse Sounds von bekannten Releases tauchen wieder auf... Stimmenexperimente, Tierlaute, Sinustöne, unbeschreibbare Geräusche noch und nöcher.... “With 18 untitled tracks, there’s no shortage of the mutant voices and clanks from the darkness that I’ve come to expect. However, I was most surprised by the amount of rhythmic material found here, especially on the second half of the disc. “Track 10” could very well be a backing track left over from the Rock and Roll Sessions. Strangely enough, “Track 12” is a techno song with little of the Nurse With Wound signature other than some operatic elements and the oblique, gaping maw of an ending. It’s actually not a bad example of that type of music, perhaps aided by the element of surprise. “Track 14” actually has lyrics as a growling voice riffs on television news over a big beat and atmospherics. “Track 16” starts with frogs and insects in what could be the foley track of a film before drums and an explosion tear it open into a primal kraut romp with guitars and buried vocals. There aren’t a whole lot of tracks with obvious forebears, although the bell sounds from Thunder Perfect Mind recur on “Track 4,” “Track 6,” “Track 11,” and perhaps “Track 15.” Also from that album is the jackhammer drill briefly reworked as “Track 13.” The disc concludes with a spoken word collage of musicians’ names, many of which pass too quickly to differentiate, and then ends with the statement, “All of these bands are complete shit,” followed by a scream. Considering that many of those named are well-respected in underground circles, it’s an amusing send-up and perhaps serves as a companion anti-statement to the band’s infamous list of greats from Chance Meeting. Although a few of the longer songs grow a little dull in the context of other shorter, fragmentary tracks, the album is still generously entertaining with many unique entries to the Nurse With Wound canon.” [Brainwashed / Matthew Amundson] "An accumulation of discarded musical vermin 1983 - 2006." With Mr. Stapleton returning to publishing through his United Dairies imprint, he has collected various studio outtakes from over the years and compiled them into this exceptional body of NWW ephemera. Immediately, Nurse fans will recognize vastly mangled variations of "Black Is The Colour Of My True Love's Hair" from She And Me Fall Together Into Free Death, "Cold" from Thunder Perfect Mind, and "Rock 'N Roll Station" from any number of those sessions. Stapleton has long recycled themes in a kaleidoscope of distortions, permutations, and hallucinations, and hearing such favorites all over again, brings a smile to us all.” [Helen Scarsdale]	2006	€13.00
O YUKI CONJUGATE	OYC25	CD + DVD	https://oyukiconjugate.bandcamp.com/album/oyc-25 "O Yuki Conjugate: 25 Years of Willful Obscurity Soleilmoon Recordings announce the release of “OYC25”, a CD & DVD celebrating a quarter century of UK ambient pioneers O Yuki Conjugate. In October 1982 the youthful O Yuki Conjugate played their first gig at the now-defunct Newshouse pub in Nottingham, England to seven people and a dog. Three incarnations, seven albums and 25 years later all members past and present got together in a West London studio to record an album in an afternoon as a way of marking this unlikely anniversary. The result- lovingly remixed by producer Rob Jenkins- is OYC25, five tracks of post-industrial, fourth world-ish, dirty ambience. OYC25 finds the band in fine form, with an abundance of dub-like bass, micro processed rhythms and plangent pads. The package includes a full length DVD of live recordings and rare footage that offer a unique insight into the band’s history, together with a complete alternate mix of the album. The whole thing comes in a gatefold sleeve beautifully designed by Fitzroy&Finn and includes a specially commissioned essay on the band by Dr Philip Shaw, Senior Lecturer in English at Leicester University. NOTE: The DVD is a region-free double-sided disc with NTSC on one side and PAL on the other. It is fully compatible with all DVD players worldwide. Find O Yuki Conjugate on the web at www.oyukiconjugate.com." [label info] www.soleilmoon.com "A while ago I had to move everything from one side to the room to the other to put a new floor in. Then then everything back. The first thing I did was re-connect the CD player and when I more or less blindly took the first CD from a pile, which I thought would be nice to play when dragging around piles of CDs and it turns out to be 'Sunchemical', a CDEP by O Yuki Conjugate. I liked it so much that I had it on repeat for a while that afternoon and even stuck it to my ipod. I am hardly surprised that this band exists twenty-five years when recording 'OYC25' in 2007 (I presume), as I already seen a note about a box set of works from the past. O Yuki Conjugate's releases over those years have not been many but they had truly a great sound of their own. An excellent combination of ambient music along the lines of Brian Eno and Jon Hassell, ethnic music percussion, a bit of industrial music and later on techno/house. The members were all active in various other bands such as A Small Good Thing and Sons Of Silence, and still get together every now and then to record. For this recording all members from the past and the present came together to record an album during an afternoon. This album was then mixed by Rob Jenkins into a very fine piece of music. The improvised nature of the music is all gone and replaced by a great mixture of slow percussive moods, ambient tapestries of synthesizer sounds, flutes and flowing guitars, feeding through a bunch of sound effects, and a bit of weirdness to prevent it from becoming a new age cliche. O Yuki Conjugate are still, after twenty-five years, masters of the genre. And as a bonus (?) there is also a DVD inside this package with archive material. We see O Yuki Conjugate on tour in 1993-1994 (like a home video tourist movie actually with excerpts from concerts and interviews), a great concert from 2007 of OYC as a trio and a video about the recording of the 'OYC25' album, which looks great too. An alternative mix really, and a fine interaction. In the extra (extra bonus?) section more live stuff, but then from 1982 (without film of course), a strange short comic like thing plus another alternative mix of 'OYC25' - which of course is a bit much if you first heard the CD, then saw the live recording of it, but just one day you might grab this and want to check it out - just like any good bonus on a DVD, I guess. A project loaded with just great music, and some funny background images. Just the sort of way a jubilee should be done." [FdW, Vital Weekly]	2009	€20.00
	1983 Unearthed	LP	EARLY WORKS OF CHARMING INSIGNIFICANCE' Previously unreleased, these tracks are the missing link between the band's Untitled 10" and Scene In Mirage LP. A shadow album to their debut, it shows the inner workings of a group of Nottingham 19 year olds finding thier sound, embracing electronica but moving towards ambient. At times naive but always charming. This excavation is based on a very deep dive into the various cassettes and master tapes of their archive. While OYC had thought they'd documented their early years sufficiently with the Ambiguism box set, it soon became obvious the task was incomplete. They reassessed many unreleased tracks they had previously thought insignificant and of no value, and were surprised to discover that wasn’t the case. 1983 Unearthed can be seen as a forerunner to Scene in Mirage, sharing the same format of two opposed and contrasting sides. The U side (tracks 1-6) is compiled from unreleased beat-driven cassettes, while the Y side (tracks 7-10) is primarily from the ambient soundtrack to an early unreleased version of their Peripheral Vision video. Despite the radically different approaches, this record shows that 1983 was a defining year for the band as they strove to find their sound. Side U Source: stereo cassettes Instrumentation: SH09, TR606, guitar, bass, radio & found sounds, clarinet, bugle, WEM Copicat, syndrum, BOSS flanger, phaser & auto-wah. Recorded at The End Room, Babbington, Notts. Side Y Source: 4 track cassette & quarter inch studio masters. Instrumnetation: MS20, Powertran DDL, marimba, flute, location & found recordings. Recorded at Complex Studio, Leeds. Tracks Y2, Y3 & Y4 originally made for the video 'Peripheral Vision' (1983) A FINAL IMAGE ARCHIVE RELEASE. All tracks by Elliott/Horberry/Horberry/Hulme Except 8 & 9 by Hulme/Orpheus https://oyukiconjugate.bandcamp.com/album/1983-unearthed-3	2025	€22.50
OESTERGAARDS	Rötterna	MC	Oestergaards makes music with a shimmer of mystery darker than Dragon Gate’s history. A dystopian world of sound with essences of Hälsinglands rural society and the desire to get away from the traditional trodden musical paths. Some hear references with dark ambient guru Lustmords early works, others see references to the film world, but it is clear that Oestergaards feel at home in the dark sound chamber.Oestergaards (born 1977) based in Älvkarleby with a background as festival organizer in Hälsingland and the front figure in traditional Americana band breaks his story and focuses on the compilation of electronic music. The debut album “Roots” is released on Gävle-based Lamour. Photos by Marias of Sweden Mastered by Joakim Westlund Cassette edition of 60 www.lamour.se/2018/03/08/oestergaards-rotterna/	2018	€7.00
ONRUST	Tagore \| Luthuli	12inch	"Onrust is Dutch for unrest, turmoil, agitation, disquiet. Wendy Mulder, the sole member of ONRUST has been succesfully exploring the wondrous world of analogue synths, drum machines, strange pedals and cable spaghetti for a while now. She describes her music as spherical electronic industrial but that just doesn't do her work justice. Think of a hypnotic yet minimal and old-school sounding mixture of Orphx, Esplendor Geometrico and Pan Sonic instead, combining cold industrial beats with a distinct feminine sublety and attention for detail. Tagore/Luthuli is her first vinyl release, after having released the 3"cdr Nelson/Marquez (Usain Bolt Records) and a split tape with Belgian droner Monnik (Wool-E Tapes/Consouling Sounds) and having been featured on 2 compilations." [label info] www.silkentofu.org	2015	€16.00
ORATORY OF DIVINE LOVE	Meditatio	CD	"...Meditatio is a circle in the world, pointing us through to something ineluctable, indubitable, something which empirical scepticism must pre-suppose in order to grumpily dismiss. It is hard to explain this CD in words because it transcends them into experience so marvellously. The sounds ebb and flow like tides with the moon to carry us into different valences and intensities of emotion, space and presence. The whole CD feels like a prelude or an aftermath, all at once, a sustained moment drawn out for almost an hour like a tantric orgasm (though of course less pyrotechnic!). That I find myself resorting to outlandish metaphysical analogies to try to explain this release can be taken as a sign that it is worth your purchasing and meditating on. This is ambient music which truly captures the powerful consciousness-transforming potential of this genre of music. Recommended, recommended, recommended, recommended." [Henry Lauer, Heathen Harvest] "One of the children of John Gore (aka 'kirchenkampf'), The Oratory Of Divine Love presents here their third CD: a fifty-plus minute track of ambient electronic drone that, with gradual progression, features melodies and voices filtering in and out throughout the sound. Though a generally contemplative recording, the piece is quite engaging and will elicit the attention of all who enjoy experimental and drone musics. Previous recordings under this name have been issued by EE Tapes and Waystyx. Housed in a custom printed color wallet. Edition of 500 copies." [label info] http://discs.diophantine.net	2008	€12.00
ORD	Withered Bones	CD	ORD is another artist from Russia to appear in the Zoharum catalog. Behind the project is Alexey Shipilov, the owner of the label Status Prod. The musician can boast of quite a lot of phonographic achievements, which undoubtedly consolidated his position on the Russian experimental scene, with time going beyond its borders. The material on "Withered Bones", the album released in Zoharum, is the result of several sessions recorded between autumn and winter 2020 at the "Yunost" Music Center and mixed in the summer of 2021 in the studio by Andrey Volkov. We are dealing here with ritual music with a deep meditative influence, based on traditional acoustic instruments (singing bowls, flutes, tubular bells, caratals, tambourines and other percussion instruments) with the support of field recordings, samples and effects. Through its own music, graphics and live performances, ORD demonstrates his bond to the Buddhist ritual tradition and shamanic practices that preceded it, which gives a certain color and can be an asset. However, it can undoubtedly be successful in the mind of the recipient who is not too familiar with Buddhist meditation practices. It is worth reaching for this album to explore new areas of music. CD released in an edition of 300. https://zoharum.bandcamp.com/album/withered-bones	2022	€12.00
ORGANUM ELECTRONICS	Organum Electronics	CD	In the birth of the universe Time stands still amidst a wild and untamable energy Radiant light bathes and purifies solid stone pillars Both ancient and modern Wild vibrations touch our most innermost core and perception Organum Electronics exists in the clear moment of the present But its mysterious compositions lay hidden in a timeless past Modulating oscillations mirror our most fundamental sense of being As though a living and breathing entity would Communicating with a life-force and language we have all but forgotten sirenrecords.blogspot.com/2019/11/organum-electronics-siren-29.html "David Jackman’s music, both as Organum and under his given name, is typically characterized by repetition, brevity and a deadpan aloofness. He’s made plenty of extremely short (sometimes one-sided) 7” singles, albums containing multiple slight variations on a single piece, and albums of compositional (if not sonic) minimalism. It’s Jackman’s typical move to provide very little information beyond a word, or sometimes an image. Lately, he’s been predisposed to not even providing an image; just as few words as possible on a white background, nothing more. Naturally, he does not seem to do interviews and has no web presence. As listeners, we’re left to apprehend the music as itself. No guidance into his hermetic world. I find it refreshing. Whatever your experience of an Organum album is, that’s all you get. Thankfully, each emission is thought- provoking enough to get lost in and monolithic enough to encourage both passive and active engagement. In the case of the flatly titled Electronics”, the music is as evocative and singular as anything Jackman has produced. The three 15-minute untitled pieces are monoliths of surging drone bathed in mammoth reverberation. The title says everything you need to know and nothing at all. Same with the cover art, merely the title and name in a black print cross pattern on white background. The design is nearly (or perhaps exactly?) identical to Jackman’s relatively more active and mellow “Herbstsonne” album; is there an implied relationship between the two? I’ve given both albums some deep listen and I cannot tell what the relationship could be. And so again, the sound is all one gets. “Electronics” is dense and huge; a roiling swamp of electric din that would appeal to fans of Jackman’s early collaborations with The New Blockaders (“Salute” and “Wrack”), though this is more atmospheric than aggressive. It’s a slow boil of fierce control, not a chaotic attack. Few actual events happen, and there isn’t much difference between the three tracks… it’s almost as if Jackman set some sounds in motion, then stepped back and allowed the pieces to generate themselves. It’s relentless and heavy, uniform in mood across all 45 minutes. No build-up, no denouement, just a steady mysterious churn to get lost inside of." [HS, Vital Weekly]	2019	€14.00
	Stilness	CD	New 2020 release and second under the "Organum Electronics“ moniker. - - - - - - - - - - - - - - - - - - - - A constant flow of waves Cold, light and flourescent Crystallise empty feelings The howling echoes of a fox Somewhere in a vast open plain An asteroid collides with the others Flickers in the ember hollow remain Rust slowly nurtures the machine gun Scarred for its life The passage to the centre of the light Phosphorescent, the dunes seem alight The future has passed The past is the presen ############ In the birth of the universe Time stands still amidst a wild and untamable energy Radiant light bathes and purifies solid stone pillars Both ancient and modern Wild vibrations touch our most innermost core and perception Organum Electronics exists in the clear moment of the present But its mysterious compositions lay hidden in a timeless past Modulating oscillations mirror our most fundamental sense of being As though a living and breathing entity would Communicating with a life-force and language we have all but forgotten sirenrecords.blogspot.com	2020	€14.00
ORIGAMI ARKTIKA	At Royspytten	7inch	Neue Single der Norweger, hier beschreiten sie sehr subtil dark-folkige Wege.. The same Origami Arktika dreamteam line up as the last single on killer – at Snippen. This time the Norwegian folk music undercurrents are even more pronounced, including their very own version of a Jørund Telnes song (Norwegian folk music performer). Since last time the band has released several CDs - >brook< - a spilt CD with Lull and a live CD from Poland. This single is the first material to arrive from their latest session and hopefully the rest of this material sees the light of day. Origami Arktika sounds like nothing else on earth, a bit folk music, a bit drone rock, a bit outlandish as a freeform arctic storm. Personnel are Tore H. Bøe, Kai S. Mikalsen, Bjarne Larsen, Rune Flaten and Kjell Ø. Braaten. Current activities include Salvatore, several Origami fractions, Kobi, Ka, Sketch, Palace of Pleasure and a lot more. Beautiful colour cover courtesy of Jarle Hrafn Grindhaug.45 rpm, edition of 300 where 100 are on dark lilac vinyl” [press-release]	2002	€6.00
ORPHX	Archive 1993-1994	do-LP	Mannequin Records present an archival collection from the genesis of Orphx sound. Inspired by early industrial music and new waves of noise from Japan and Europe, the compilation is gathering together some of the best material from their first two cassette releases along with previously unreleased tracks recovered from the original 4 track tapes. www.mannequinrecords.com	2017	€21.50
ORTMANN, ANDY	Psychoacoustic Electronics	3 x LP	Picking up where 'Pataphysical Electronics' left off, 'Psychoacoustic Electronics' goes beyond the realms of Electroacoustics and Musique Concrète, straight into the eye of Psychoacoustics itself. Over the span of three LPs (clocking in at 122 minutes and 44 seconds), Ortmann presents twelve compositions exemplifying the phenomenological aspects of Psychoacoustic Electronics. Experience temporal masking effects and missing fundamental demonstrations ! Endure subjective duration and cognitive binaural exercises !! Keep an open mind, which will bend and melt from the skeuomorphic illustrations !!! *Optimal playback system will be able to reproduce a frequency range of 16Hz-22kHz, with front, rear and sub-woofer speaker Recorded and constructed by Andy Ortmann 2019-2023. Art & design by Ortmann. Mastered at Solid State Electronics Laboratory, Chicago IL by Andy Ortmann, Jan.2023. EVP recordings provided by Michael Esposito on 'Paranormal Underground' This track appeared on Michael's fantastic 'Pandemic Response Division' compilation in 2020, via his Spectral Electric imprint. The version presented here has been drastically reworked. 'Torso' is a collaboration with Bryan Lewis Saunders for his epic 'Stream of Unconscious' series. Vocals on '3 Scenes in 457 Seconds' by Louise Bock. Image enhancement by Hali Palombo. Inner gatefold panoramic X-ray of Andy Ortmann by unknown lab technician. https://nihilistrecordings.bandcamp.com/album/psychoacoustic-electronics	2023	€48.50
ORTMANN, ANDY / BEN VIDA	Non-Musical Electronic Music	LP	Ortmann and Vida have not shared a piece of vinyl since the first Nihilist release (Pound of Flesh). Now 16 years later the two are presenting new electronic compositions using a variety of analog synthesizers. Vida has played in several projects over the years including; Town & Country, Joan of Arc, Pillow, Birdshow. https://nihilistrecordings.bandcamp.com/album/andy-ortmann-ben-vida-non-musical-electronic-music-nihil-72 Synthesizer [EMU Modular System, Arp 2600, EML Modular System, Korg MS-20, Roland SH-5, Multivox MXD-5, Univox Reverb] – Andy Ortmann (tracks: A1.1 to A1.5) Synthesizer [Modular Synthesizer], Computer – Ben Vida (tracks: B1, B2)	2011	€20.00
OSSASERPIA	Mvsic for Solve et Coagvla	CD & book	"Vladimir Igoshin (Ossaserpia) has created Opus alchymicum, spectacular account of the »work« of the musickal alchemists who developed a symbolic kind of psychochemistry, aimed at producing the gold of mystical illumination through celestial musick. See theories by Robert Fludd (Robertus Fluctibus) and Rosicrucian theories of the monochord. Very unique drone chamber musick with some strange industrial elements. Vladimir Igoshin is known for his contributions to HCD compilations such as Lust From The Underworld and/or AL: 100th Anniversary. Special art-work for an oversized hard-bound book (A5) designed by fantastic Madeline von Foerster! Special limited edition consists of 500 hand-numbered copies in hand-made box covered with rustish top-notch embossed Quilt 120g paper. The oversized embossed hard-bound book (A5) printed on Gmund Kaschmir cream 170g and embossed CD sleeve-jacket again on Quilt 120g paper. Very rare print for all fans of occult & alchemy! Special limited box on request only!" label notes] "Genre: Dark Ambient / Drone / Neo-Classical (Chamber) / Industrial. In today’s climate where record labels seem intent on cheaply mass produced releases to make a few quick bucks it comes as a relief to find a record label that actually cares about the presentation to match the music they release. Stepping into the, highly deserved, limelight is the Czech HORUS CyclicDaemon record label founded by Martin Mrskos. All their releases, well the ones I’ve been lucky enough to track down, have been impeccable in every respect. What went before though has been overshadowed by this latest release by the artist Vladimir Igoshin recording as Ossaserpia. I doubt many labels would have the balls to put out a recording housed in an actual hard bound book, A5 sized, in quality 120g paper and beautifully illustrated by the artwork of Madeline von Foerster. My eyes still can’t take it all in. I’m not by any means up on Art by any stretch of the imagination but I knows what I like and I like what I see set before me. The illustrations saying more than any amount of words can possibly describe. Which they need to as there are no words to accompany the pictures. A wise decision as it leaves the listener to use their own creative imaginations to make of it what they will as they listen to the music. For this book is best used in conjunction with the recording. Which I suspect was the way it was meant to be. Separated both are superb stand alone products. Together they open up undiscovered realms that feeds the senses. The touch, smell and sights of the book complimented by the aural grandeur that Vladimir has composed. Based on the theories of Robert Fludd (Robertus Fluctibus), 1574-1637, a Kentish Anglican alchemist, mathematician, astronomer, cosmologist who wrote thirteen published works in his lifetime and the Rosicrucian theories of the monochord. Please Google these for I have not the time, nor the intellect required, to go into great detail here, the music expands on the theory that alchemists developed a symbolic kind of chemistry aimed at producing the gold of mystical illumination through celestial music. Clear as muck then. The concept may well be shrouded in unintelligible mystery to a Neanderthal knuckle scraper like myself but even I could see what the artist has tried to envision through his music. Featuring, what I can only call, a Medieval vibe mixed in with modern Industrial noise and drone sensibilities the twelve tracks are a treat for the ears. Though you will need to give it a couple of spins to really get inside every nuance that Vladimir has created. From the off perceptions are challenged by the dirge drones and assorted muted ‘noise’ effects that spread like wildfire from the speakers. The bass tones are heavy duty and tinted with a dark apparel. Move past this introduction and the speckles of Neo-Classical / Chamber music begins to shine forth and suddenly the music takes the semblance of form as Vladimir throws all manner of different black musical combinations into the cauldron that bubbles with an intensity you never realised possible. You are treated to a music born of fire and brimstone from an age past brought to life in the present day. As your eyes scan and feast on the pictures of storm clouds, dragons and entwined couples the music conjures them in the minds eye. At its heart the music is surprisingly downbeat and steeped in dark oppressive moods where tranquillity appears smashed to a pulp. For all the unsettling swings the music takes, and it takes a lot, it ends on a note of triumph. A glimpse of fortitude winning against all odds. Unlike many recordings that have tried to re-create the whole ‘magical’ dark ambient experience ‘Mvsic For Solve Et Coagvla’ is the only one I’ve encountered that has actually got under the skin of its subject matter. I’ll not pretend that it is by any means an easy recording to get into and many of you may be put off by the way Vladimir has tackled the subject in such an uncompromising way. This might have been the Achilles heal for a lesser experienced musician but Vladimir’s music is created in such a way that through repeated plays you become more accustomed to the sounds until finally the clouds break and the full visionary aspects opens up before your ears. If there was such a thing as a perfect 10 for both presentation and music working in harmony and tandem with each other then ‘Mvsic For Solve Et Coagvla’ would be it. I tell you now that it will be one of the most sought after recordings for music lovers and collectors alike this year. With only 500 numbered copies you’ll need to act fast…or live to regret it." [Alan Milne / Heathen Harvest] label-website: www.horus.cz	2006	€26.00
OTZEPENEVSHIYE (Оцепеневшие)	Razryv Svyazi (Disconnection)	do-CD	"At last! The first major solo release from Otzepenevshiye in 11 years of the band's existence! The project was shaped in 2006 by Evgeniy Voronovskiy (Cisfinitum), Dmitriy Zubov (Hypnoz, Zuboff Sex Shop) and Ivan Napreenko (Sal Solaris, Θ16), but after some time transformed into a duo of Ivan and Arnold_pR (Reutoff, Myrrman). Otzepenevshiye have recorded many compositions published on compilations on various occasions by such labels as Heliophagia, Ewers Tonkunst, Old Europa Cafe, etc. The only full-length album "For a Knife" was created in collaboration with the band Vir' (2013, Zhelezobeton Distribution Division): zhbd.bandcamp.com/album/for-a-knife And only now many scattered pieces, like cold drops of condensate, have accomplished their cycle and gathered in two dazzingly freezing snowflakes. Powerful and catchy guitar riffs, relentlessly sharp industrial rhythmics, minimalistic pads and authentic field recordings – these are the lattice points of the sound of Otzepenevshiye. The need to use understandable terms makes us turn to such tags as industrial doom metal, drone-doom or doomgaze, but anyway we can't avoid the word "doom" here. Yes, this music has darkness inside, there's suffering, there's a feel of real experience, but also a clear conscious gaze towards the other side of the rubicon. Otzepenevshiye know how to get to the very depths and see the blackness that contains the infinite cosmic absolute. Apart from solo recordings, the second disc features tracks created in collaboration with Circle Of Unexisted and Vir' and remakes of compositions by Banda Chetyryokh and Thergothon. The material of this album was released in small cassette editions by NEN Records, including several bonus tracks. The track-list of this double-CD edition was specially adjusted by the musicians for the sake of maximum immersion." https://zhelezobeton.bandcamp.com/album/--2	2017	€15.00
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
PACIFIC 231	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 & BARDOSENETICCUBE	The Traditions of Changes	CD	"PACIFIC 231 is the brainchild of French multimedia artist Pierre Jolivet, currently residing in Dublin, Ireland. While Pacific 231 has its roots in the 1980’s industrial noise underground, Pierre Jolivet has since then consistently sought out and found new sounds and new compositional themes, venturing into unfamiliar aesthetics but always maintaining the rare quality of a steady evolutionary path. BARDOSENETICCUBE was formed by Russian artist Igor Potsukaylo in 1998. In his work, surrealism is key: “pure psychic automatism willing to express the real functioning of the reflection orally, written or in any other form. Dictation of mind without any control from the intellect, outside of any aesthetic of moral considerations.” (André Breton) One of Russia’s leading experimental drone acts, Bardoseneticcube has a quite extensive discography, having released on labels such as Drone Records, Aquarellist and Monochrome Vision. This collaborative composition consists of 6 movements, leading the listener through a utopian sonic maelstrom in a modern re-interpretation of some sections of ‘New Atlantis’ (Francis Bacon, 1624-27). Psychedelica, field recordings and abstract electronics create a ‘New Language’ with a slippering affect from quietness and by dint of colliding utter chaos. NOTE: Preferably listened to in total for coherence and surreal storytelling projection. Limited to 300 copies Packaged in a 6-panel A5 folder with soft-touch finishing and UV spot varnish." [label info] www.silkentofu.org "Wenn zwei Musiker einen völlig konträren Ansatz verfolgen, kann eine Kollaboration zu ungewöhnlichen Ergebnissen führen oder grandios scheitern. Nur eines ist sie niemals: vorhersehbar. Igor Potsukaylo alias Bardoseneticcube ist nach eigener Einschätzung der geborene Surrealist, der sich von seinen Ideen und Assoziationen eher treiben lässt, vergleichbar einem Schreiber der ecriture automatique, der seiner Feder und den Worten freien Lauf lässt. Pierre Jolivet alias Pacific 231 ist Komponist, der dem Soundmaterial begegnet wie ein Bildhauer seinem Steinblock, wenn er schon längst die Idee des künftigen Werks vor Augen hat. Einer fürs kreative Chaos also und ein anderer, um ebendies in eine verdauliche Form zu bringen. „The Traditions of Changes“ beginnt mit diesem reizvollen Knack- und Frickelsound, die auch der versierteste Noisefan zunächst an einen Defekt denken lässt, zumal das erste der vier Stücke auch noch sehr leise anklingt und Hochfrequentes enthält. Interessant, wie ein dünner Hochtöner diesem minimalistichen Szenario Struktur gibt. Bis zum Ende des ausgiebigen Auftaktes und zum Übergang in etwas heterogeneres Material, wäre der unkonzentrierte Gelegenheitshörer längst in Tiefschlaf verfallen, denn es braucht einen gewissen Grad an Involviertheit, um in den chaotisch vor sich hin mäandernden Soundfetzen aller Coleur, die sich in alle Richtungen im Raum verteilen und gelegentlich in menschliches Geschnatter münden, die durchaus vorhandenen Kompositionsmuster zu erkennen. Im Verlauf erweist sich das auf zahlreichen Feldaufnahmen basierende Soundpanorama allerdings als ausgesprochen vielschichtig und reich an Überraschungen und Variationen. Laut Eigenangabe ist „The Traditions of Changes“ von einem Klassiker der utopischen Literatur, nämlich Francis Bacons „New Atlantis“ inspiriert und von der Idee, eine neue Sprache zu erfinden. Nun ist die Idee, die verbale Sprache durch Sound zu ersetzen, nicht neu und hat die Menschen immer wieder beflügelt. Was die beiden Musiker hier absolvieren ist jedoch weniger eine solche Sprache selbst, als der Versuch eine solche zu entwickeln – ein work in progress mit einem noch offenen Ende, dass durch surreale Komik und originelle Soundideen überzeugt." [Uwe Schneider / African Paper] africanpaper.com/2015/05/16/pacific-231-bardoseneticcube-the-traditions-of-changes/ "It seems that Pacific 231 has been around forever, but maybe there was a hiatus for some time. I remember Pierre Jolivet from France, but living in Dublin for quite some time now, as an active participant in the eighties underground cassette scene, and on lots of compilations with his own, not always unique brand of industrial noise, but back in Vital Weekly 888 I got the updated Pacific 231 sound, which I enjoyed very much: minimal electronics, psychedelic and intense. Here he has a collaboration with Igor Potsukaylo, who works as Bardoseneticcube, a name we have seen before a few times; he is a man of atmospherics, drones and the louder edges (outer edges?) of ambient. Jolivet supplied the 'field recordings and analog structures', while Potsukaylo takes credit for 'electronic construction'. Francis Bacon’s “New Atlantis” inspires the music, or as they call 'an utopian sonic maelstrom'; a maelstrom it surely is. No sound effects have been spared in this work. Everything and everyone, or every possible level, there seems to be something happening. You get distracted, follow the loops, but then on a different level something else seem to be happening. A lot of it stays in the same place, yet a lot of it seems to be moving all the time. Yes, that is confusing, but then such is the nature of this music: very confusing, but pleasant at the same time. Music that is one large head trip for you, providing of course you are open to such buzzing activities. I can easily imagine or even agree if someone would say: but, look; now this is all way too much. If you don't let this in, you might easily be annoyed by the mass attack of sound. So, open your mind, and flow the waves, the ever-cascading waves of this massive music, then you'll be in for onehellofa trip to the backside of the moon. That, or maybe a rollercoaster to New Atlantis." [FdW/Vital Weekly]	2014	€12.00
PACIONE, ADAM	Any Way, Shape, or Form	4 x CD BOX	Adam Pacione's finely crafted, deeply affecting drone work has found its place in the upper echelon of modern ambient artistry. Once heard, the gorgeous fluidity of his music is instantly recognizable. Now, an absolutely crucial addition to Pacione's relatively slim oeuvre is here, offering more than four hours of aural color and visual sound from a master of the medium. "Any Way, Shape, or Form," a stunning 4CD box set, compiles all the material from Pacione’s "Still Life" series of 3" CDRs, originally offered via monthly subscription throughout 2009 and now long out of print. The late night ambient/drone sessions in this set were pulled from recordings made from 1999-2009, many of which originally served as soundtracks to Pacione’s photography exhibitions in galleries throughout Texas. These recordings have been meticulously remastered and two previously unreleased tracks from this period have been added, resulting in an absolute must-have for aficionados of haunting, textural, electronic music. Pacione’s work largely centers around early Portastudio tape loop experiments, synthesizers, samples, and processed field recordings that gradually decompress to form a hypnotic serenade of becalmed tones. After years of experimentation, his first releases appeared in 2004, leading up to his proper debut album, "Sisyphus," a year later. By this time, Pacione's name was becoming synonymous with lush, atmospheric sonances of the highest caliber. His reputation strengthened even more with his next full-length, 2007's masterful "From Stills to Motion," which fully delivered on the promise of his earlier efforts. Since then, Pacione has stayed active with performances and recordings (see 2020's excellent digital-only "Mâché"). His physical output has been sparse over the last decade or so, however, and copies of the earlier releases are now quite scarce. "Any Way, Shape, or Form" then is particularly essential in making this vital section of Pacione's discography widely available for the first time. The sixteen tracks included here are mostly long-form pieces: contemplative soundscapes evolving at a deliberate pace. There is an inherent spaciousness in these works; sounds are free to move and breathe as they shift between tension and tranquility. These extended audial ruminations allow Pacione to examine and subtly emphasize the details of each arrangement. And these details have been brought into sharp focus by the rigorous mastering job executed by renowned sound artist Alex Keller: a drifting haze sharply underscored by a biting frost. In addition to the peerless audio in this set is a 20-page booklet reproducing all of Pacione's photography from the original CDRs as well as several previously unpublished images. These truly are the visual equivalents of his recordings: otherworldly snapshots of a stylized vision of nature, neither artificial nor entirely organic but a harmonious amalgamation. These rich photographs are somehow both crisply intricate and dreamily impressionistic: the ideal accompaniment for Pacione's evocative sound, perfectly rounding out his world-building. This beautiful artefact is simply a rare pleasure for the senses. And a welcome reintroduction to Adam Pacione's singular aesthetic. A treasure not to be missed. All tracks by Adam Pacione, 1999-2009 Recorded at Nightmare Castle, Fort Worth, Texas Remastered by Alex Keller, 2021, Austin, Texas 35mm, 120, and Liquid Light photography by Adam M. Pacione, 1989-1999 Layout by Colin Sheffield Box set includes: ⋅ Four compact discs, each in its own full-color sleeve with flooded black interiors ⋅ Full-color heavy duty box with spot UV printing and flooded black interior ⋅ 20-page full-color booklet featuring liner notes, recording history, and a wealth of Pacione's gorgeous photography ⋅ More than four hours of haunting ambient experiments https://adam-pacione.bandcamp.com/album/any-way-shape-or-form	2021	€38.00
PAIN JERK	Neurotten	LP	Kohei Gomi began experimenting with home recording in the 1980s and got so lost in extreme sonics under the Pain Jerk moniker that his output inevitably spilled out into the wider world. By the mid-90s, he was one of the most prolific and influential noise units operating out of Japan, hurling maelstroms of chaotic chunder and deranged grime at anyone who could handle the extremes. Pain Jerk became one of the leading figures in the "dynamic" style of Japanese noise or Japanoise and is also the owner of the noise tape label AMP that during the 90s releases about fifty cassettes of his amazing noise project. Among his works released in his most prolific period, Neurotten stands out without a doubt, reaching cult status and instantly becoming a classic of the genre. Recorded in 1996 and published the same year on the legendary Slaughter Productions by Marco Corbelli aka Atrax Morgue, in only 80 hand numbered copies in a special A5 tin-foil sleeve with translucent insert and instead some using a red cardboard insert accompanied by a small curved iron rod, similar to a dentist's tool and now it has become a worship object for the most avid collectors. The assault here is very high-end heavy: relentlessly aggressive. The sound severs and bleeds more than it beats and bludgeons. Side A is divided into two tracks, Gushcore and Teen-Wreckage, of incredible beauty. Nothing compares to the sounds emitted by vinyl grooves composed with a mysterious configuration of constantly flowing noise - always recorded live without overdubs. Devastating, unfriendly harsh noise: the hardest rock that is pierced by the sharpest diamond! With only one track on side B, which takes 23 minutes, we encounter one of most iconic compositions from his wide discography: Disembowel. Hearing impaired volumes that duel, bouncing sound structures displacing the ego and generating many difficulties in brain processing. There’re a lot of rips and chaos, pulsating pulses of recycled transient sounds and some loops, muffled high tones that twist into spastic shapes capable of breaking the faint speaker cones. https://urashima.bandcamp.com/album/neurotten	2021	€21.50
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
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
	Memoire Magnetique Vol. 3	LP	NEVER BEFORE RELEASED Unreleased rarities from Bernard Parmegiani’s personal archives. « Mémoire Magnétique, vol.3 » spanning 1967-1971, revelatory collection of short and secret music by electronic music pioneer Bernard Parmegiani. Remastered high-resolution audio transferred directly from the original master tapes. Exclusive liner notes and pictures. Transversales is very glad to announce the release of « Mémoire Magnétique, vol.3 » spanning 1967-1971, revelatory collection of short and secret music by electronic music pioneer Bernard Parmegiani. The third 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. 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. (P) 2025 Transversales Disques ® sous licence exclusive de Claude-Anne Parmegiani L'ARAIGNELEPHANT (1967) Musique pour le film de Piotr Kamler NARCISSUS ECHO (1971) Musique pour un film d'animation de Peter Foldès SADIQUEMENT VOTRE I (1968) Musique pour une émission TV de Michel Wichard"Agrippe-le Agrippine !" SABLES (1970) Musique composée pour le film de Lucien Clergues LA VILLE EN HAUT DE LA COLLINE I (1968) Musique pour le film de Jacques Vernier JE, TU, ELLES (1969) Musique pour un film de Peter Foldès LABYRINTHE (1970) Musique pour le film de Piotr Kamler	2025	€29.00
PARMERUD, AKE	Growl	CD	"Composer Åke Parmerud is from Göteborg, which is also the home of underground labels such as Fang Bomb, Release The Bats, and Beläten, names on which we can always rely to provide solid blasts of depressive post-industrial noise and drone music. Parmerud isn’t exactly cut from the same cloth, being as how he’s a prize-winning and classically-trained electroacoustic maestro, but there are moments of tasty darkness on his Growl (empreintes DIGITALes IMED 15132) collection which appeal to a macabre chap like myself. La vie mécanique, for instance, is a pretty effective critique of modern industrialisation, or at least an observation on it, and takes the hoary old dystopian cliché of “modern man becoming machine-like” and dusts it down for an update that involves samples of machinery blended with Techno music. In this lively composition of clattering beats and metal, it’s far from clear where the factory machines leave off and the dancefloor begins; it’s intending to convey something about the body being broken down into smaller units, much like the cogs of a machine being taken apart. Parmerud also makes a commentary on the contemporary use of machines (laptops, presumably) for making music. I wish he’d be a little less equivocal about it, both in his notes and his music, but it’s a nifty statement. Maybe serious composers shouldn’t dabble with Techno. However, if you think men of Parmerud’s generation should leave the kids’ music alone, you’ll be even more appalled by the idea of Growl itself, where he drily observes “metal music is big in Sweden” from his lofty position, and borrows some ideas from his youngest son who plays in a metal band. This might be Aron Parmerud who plays his “axe” for Marionette, a Death Metal band who made a couple of albums for Listenable Records. What the composer has done here is zero-in on the throat-shredding vocals that characterise a lot of the music in this genre, and through arranging samples of voices shrieking “Hell Is Us! Die We Must!”, has built a virtual “growlers choir”. With the dark techno backing, electronic effects, and gloomy ambient tones, this works surprisingly well, even if it sounds too “expensive” and well-produced for a genuine metal album and has far too many interesting dynamics. He also misses the claustrophobia and genuine sense of doom. But even so Parmerud turns in a strong piece of work, and in any case he wasn’t setting out to produce a metal album. What else are the “young people” interested in these days? Vinyl records, of course! So listen in to 2011’s Grooves if you want to hear what Parmerud can do when sampling the black stuff. The source material for this was the vinyl collection of his friend Kai Hanekken; in fact the composition seems to have been a by-product of a digitisation project requested by said Hanekken, who urged the composer to pick up the gauntlet and create a composition. He gave in. What gets sampled are run-out grooves and vinyl “noise”, i.e. crackles and clicks and such; Parmerud seems to have been only too aware that doing this was already something of a well-worn cliché, but again he liked the challenge and wanted to see if he could invert it and bring new life into the idea. Although best heard at high volumes and played back through a multi-channel system, Grooves still succeeds on your home CD player and delivers a suffocating density which is clearly one of this composer’s trademarks. Continuity is severely disrupted by the multiple edits, and the speed with which the layers of abstract noise pile up is incredibly alarming. You’ll feel like you’re trapped on an enormous spinning black disc of death. Also here: 2014’s Electric Birds derived from birdsong samples (yet another instance where Parmerud had promised himself he would never make a piece like this), and Transmissions II, the most recent composition. It derives from a multi-media work where, if seen live, a singing choir are able to manipulate sound signals in real time. Some fascinating complex electronic layers result, and it sounds a lot more contemporary than some of the formal music that often gets released on this label, and is every bit as convincing as any given Mego release from the last few years. Sometimes proper composers make a ninny of themselves when they try and get “with it”, but Åke Parmerud has nothing to be ashamed of here." [The Sound Projector]	2015	€14.50
PBK	Warfare State / Appeal	do-MC	"All sounds collected and assembled by PBK in 1988-1990. Extra tracks: "CNT Oct 1910" (1989 - first appeared on Tape Iz Flesh; Thu Second Cumming) "Sanctuary" (1990 - first appeared on The Electronic Cottage International Compilation Cassette Series: Volume One) Edition of 100 numbered copies. Double side box comes packaged inside an aluminum foil slipcover." [label info] http://impulsystetoskopu.pl	2011	€14.00
PETIT, PHILIPPE	Henry: The Iron Man	CD	"One lost lemonish night sleepwalking on a lost country road I dreamt that Shinya Tsukamoto was working on a blurred remake of "Eraserhead", and I was to soundtrack the grotesque mutation of Henry into an "Iron Man". I decided to manipulate and take advantage of the vinyl material to fondle crackles and released noises, to process textures and their resonances into vertiginous travellings of sound ; conjuring up flashes of disturbing black & white grainy sounds, behind-the-scenes close-ups, rapid nightmarish stop-motion effects. I embarked on a visceral musical voyage, an intricate and imaginative soundtrack gathering both organic and sonic elements and giving life to a noisy magma where unexpected clicks stumbled over interferences, where digital accidents happened and drones and acoustic resonances filled the spaces in time. The music sprang on me and got caught in my eye. A few years ago BiP_HOp had started a series called "Reciprocess", thus to celebrate 10 years since the inception of the label + my 25 years of activism/DJing I composed a 70+ minute soundtrack, cut it into pieces which were sent to friends to add their spices to. The Wire magazine liked the idea and agreed to give it away with their issue # 301, in March 2009. AIDAN BAKER & Philippe Petit CHAPTER 24 & Philippe Petit COSEY FANNI TUTTI & Philippe Petit SIMON FISHER TURNER & Philippe Petit KLANGWART & Philippe Petit DOUGLAS BENFORD & Philippe Petit MARKOVO & Philippe Petit BELA EMERSON (feat. vocals from RANDALL FRAZIER) & Philippe Petit KUMO & Philippe Petit EUGENE S. ROBINSON & Philippe Petit SEVERIN 24 (feat. vocals from KATHY COMPTON) & Philippe Petit JASON FORREST & Philippe Petit LYDIA LUNCH & Philippe Petit JEAN-HERVÃï¿½ PERON (art-Errorist/Faust) & Philippe Petit STRINGS OF CONSCIOUSNESS (Hervé Vincenti & Philippe Petit) SYBARITE & Philippe Petit JESU & Philippe Petit dDAMAGE & Philippe Petit Born in Marseille, South of France, where I started Djing, animating radio shows and editing zines in the 80s. In the 90s I contributed articles (under the pseudonym Candy Apple Grey and Filth Simpson ) for such magazines as Ruta 66 (Spain), Merlin’s Music Box (Greece), Maximum R&R (USA), What Wave, Cryptic Tymes (Canada), and French-written Taktik, Rage, Rocksound, Best, 491, Abus Dangereux, and many many more that no one will remember of… In those days, I had some fun and interviews w/ such bands as Nirvana, Fugazi, L7, Neurosis, Fuzztones, Babes In Toyland, Mudhoney, Pixies, Cynics, Dum Dum Boys, Alice Donut, Brood, Grotus, Fleshtones, Buzzcocks, Nick Cave, Sting Rays, Poison Idea, Jon Spencer, Soft Machine, Lydia Lunch, No Means No, Godflesh, Steve Albini, Gallon Drunk, Melvins, New Bomb Turks, and many other “noisy-rock” luminaries. In 1991, I started Kinetic Vibes Music, a Garage Punk zine and label releasing music by: Willie Loco Alexander, Pleasure Fuckers, Dead Moon, Bevis Frond, Lust-o-Rama, Ultra 5, Overcoat, Cryptones, Devil Dogs, La Secta, Dirteez, Tommyknockers and some other… Still available the mythical compilation “Electric Carnival” gathering 23 bands from 10 countries. In 1993 I founded the experimental label Pandemonium Rdz. Working with the likes of Guapo, Zeni Geva, Ground Zero, Condense, Cows, Headcleaner, Drive Blind, Double Nelson, Alboth!, Melt Banana, God Is My Co-Pilot, Samiam, Burning Heads, Cerberus Shoal, Flying Luttenbachers, Unsane, Bästard, Kepone, Ron Anderson, Ruins, Hint, Andy's Car Crash, Spaceheads… That is well documented there and many releases are still in print: www.pandemoniumrecords.com 41 records later, I needed to rejuvenate and started a new label: BiP_HOp was physically born in 2000 and will document avant electro for the century to come... A webzine, a radio show, organizing live events, and above all a label documenting the state of electronic art and sound design, unconventional sound adventures, modern ambient, contemporary alliances between acoustica vs. digitalia... Musics challenging the ears and the mind. www.bip-hop.com In 2000 Philippe Petit became Dj/ip@bip-hop.com chosing to use my e-mail address to keep contact with the listeners… Under this moniker I have been invited to play festivals and some of the best venues in Europe, Northern america, and even recently Mexico. According to me a DJ is not only an instrument for dancing but as a living musical library I should also take the audience to a new cultural trip / discovery. I want to entertain listeners and to open new "doors of perception", to create a virtual world to enable them to forget about their own existence for a short while. Sometimes I feel an urge not to be solo onstage which led me to start the duo Ear_Thrillerz. ; the now defunct group Deviationists ; and most actively these days the international collective : Strings Of Consciousness. www.stringsofconsciousness.info Today I still animate a radio show for Radio Grenouille which is the biggest non-commercial local radio www.grenouille888.org/dyn/ I still write in Noise Magazine. A bi-monthly mag, printing 25 000 which can be found in newstand all around France and is the best one dealing with Rock, indie rock, metal, post rock, punk, stoner doom, industrial, experimental, prog, Noisy music. Also a website (3000-3500 unique visitors/day) http://www.noisemag.net/ " [label info] www.blrrecords.com	2009	€10.00
PHELIOS	Obsidian Forest	CD	https://loki-found.bandcamp.com/album/obsidian-forest With his latest release, Martin Stürtzer, the mastermind behind Phelios, continues to carve out a unique space in the dark ambient genre. He blends expansive soundscapes with slowly evolving tribal rhythms to create a truly immersive experience. Obsidian Forest captures the essence of deep, shadowy woods where ancient, unseen forces seem to dwell. The album feels like a ritualistic journey into nature’s darker realms, with each track evoking a vivid, sometimes haunting, landscape of sound. Phelios’ trademark monumental melodies are omnipresent throughout the album, merging with somber, swelling drones that pull listeners into a dense sonic fog. As the album progresses, these melodies evolve like distant, otherworldly chants reverberating through the trees. The layering is intricate, and the atmosphere is thick, yet there’s always a sense of space—an invitation to explore these shadowy woods further. The addition of tribal percussion is a defining feature of the album, grounding the otherwise ethereal soundscapes with a primal energy. These rhythms emerge slowly, almost as if they are the footsteps of an unseen figure moving deeper into the wilderness. Phelios seamlessly blends ancient and futuristic elements, balancing tension and tranquility to craft a meditative yet eerie soundscape. Phelios' latest work is both a sonic journey and an imaginative exploration of nature’s darker side — a plunge into the heart of deep woods, where every echo and shadow holds an untold story. CD comes in 6-panel digipack Tracklist: The Void Unbroken Forest Throne Pillars of Night The Serpent Ancient Dominion Stargazer Voices of Dawn LOKI 75	2024	€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
PLOTKIN, JAMES & PAAL NILSSEN-LOVE	Death Rattle	CD	" “Death Rattle” is the noise of two forces of nature in collision. Like a pair of clashing typhoons, Philadelphia based avant guitarist James Plotkin and Norwegian free jazz drummer Paal Nilssen-Love generate chaos, disturbance and a terrifying beauty in their first ever collaborative recording. Free jazz and metal-edged rock never chimed so exhilaratingly together before. ‘Paal’s precision and constant invention/reinvention is mind-blowing, only matched by its intensity,’ James enthuses. ‘There’s a very fluid feel to what he’s doing despite the ferocity. Instead of trying to match the chaos, I opted to build a more solid foundation of repetition and melody for him to launch from. I really appreciated the role reversal of drummer and guitarist!’ James Plotkin’s distinctively extreme, aggressive guitar sound has been a constant presence in underground music since the late 1980s, when he founded the metal/industrial band OLD. As a solo artist and as a member of outfits such as Scorn, Khanate, Phantomsmasher, Khlyst and most recently Jodis, he has plotted a nomadic trail through new metal, dark ambient, industrial, noise, grindcore and drone rock. Sought out by Michael Gira, John Zorn, Ikue Mori, Franz Treichler, Francisco López and many more, he has also remixed a wide range of artists from KK Null and Sunn O))) to Pelican, Earth, Nadja and Neu!. ‘I've wanted to work with Paal for the better part of a decade,’ comments James. ‘Stephen O'Malley had played one of Scorch Trio’s discs in the van during a Khanate tour and I could hardly believe it was only one drummer at work.’ Paal Nilssen-Love is one of the most intense drummers working on the planet right now. He grew up in Stavanger, west Norway, where his parents ran the city’s thriving jazz club. In theory he’s now based in Oslo, but there’s a huge global demand for his percussive threshing machine. He’s often travelling on a relentless round of musical projects and festival appearances – notably with Mats Gustafsson in The Thing, his Chicago trio with Ken Vandermark and Ab Baars, the Hairy Bones group with Peter Brötzmann and Toshinori Kondo, a trio with Massimo Pupillo and noise artist Lasse Marhaug, plus duos with Peter Brötzmann, Terrie Ex, John Butcher and others." [label info] www.runegrammofon.com	2013	€15.00
	Death Rattle	LP & CD	" “Death Rattle” is the noise of two forces of nature in collision. Like a pair of clashing typhoons, Philadelphia based avant guitarist James Plotkin and Norwegian free jazz drummer Paal Nilssen-Love generate chaos, disturbance and a terrifying beauty in their first ever collaborative recording. Free jazz and metal-edged rock never chimed so exhilaratingly together before. ‘Paal’s precision and constant invention/reinvention is mind-blowing, only matched by its intensity,’ James enthuses. ‘There’s a very fluid feel to what he’s doing despite the ferocity. Instead of trying to match the chaos, I opted to build a more solid foundation of repetition and melody for him to launch from. I really appreciated the role reversal of drummer and guitarist!’ James Plotkin’s distinctively extreme, aggressive guitar sound has been a constant presence in underground music since the late 1980s, when he founded the metal/industrial band OLD. As a solo artist and as a member of outfits such as Scorn, Khanate, Phantomsmasher, Khlyst and most recently Jodis, he has plotted a nomadic trail through new metal, dark ambient, industrial, noise, grindcore and drone rock. Sought out by Michael Gira, John Zorn, Ikue Mori, Franz Treichler, Francisco López and many more, he has also remixed a wide range of artists from KK Null and Sunn O))) to Pelican, Earth, Nadja and Neu!. ‘I've wanted to work with Paal for the better part of a decade,’ comments James. ‘Stephen O'Malley had played one of Scorch Trio’s discs in the van during a Khanate tour and I could hardly believe it was only one drummer at work.’ Paal Nilssen-Love is one of the most intense drummers working on the planet right now. He grew up in Stavanger, west Norway, where his parents ran the city’s thriving jazz club. In theory he’s now based in Oslo, but there’s a huge global demand for his percussive threshing machine. He’s often travelling on a relentless round of musical projects and festival appearances – notably with Mats Gustafsson in The Thing, his Chicago trio with Ken Vandermark and Ab Baars, the Hairy Bones group with Peter Brötzmann and Toshinori Kondo, a trio with Massimo Pupillo and noise artist Lasse Marhaug, plus duos with Peter Brötzmann, Terrie Ex, John Butcher and others." [label info] www.runegrammofon.com	2013	€22.50
POLLYPRAHA	Jule	mCD-R	"the first track we heard from POLLYPRAHA was on the compilation the japanese artist YUI ONODERA put out in 2006 on his own CRITICAL PATH label. months later, we were offered this "jule" suite, three tracks between metallic strings sounds and processed field recordings, showing POLLYPRAHA's contemporary music influence (steve reich or gyorgi ligeti for instance)." [label info] www.taalem.com	2009	€5.00
POST SCRIPTVM	Variola Vera	LP	LE300 comes with printed innersleeve Post Scriptvm enters its third decade of marginal existence with a new full-length album of surrealist industrial—eight inexplicably obscure analog sound sculptures, created using antiquated electronics and obsolescent techniques, juxtaposing dark ambient, power electronics and electroacoustic music. Titled after the outbreak of smallpox in the 1970s socialist Yugoslavia, unintentionally brought in by the pilgrims returning from a quest for divine illumination, Variola Vera is the soundtrack to the somatic and the metaphysical epidemics steering the human enterprise towards its termination. 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. https://tescogermany.bandcamp.com	2019	€20.00
POTTER, COLIN & PHIL MOULDYCLIFF	Grey Skies on Asphalt	CD	"Edition of 300 numbered copies. Colin Potter is sitting in a room, different than the one you are in now, and he is piloting that room to the crushing depths of inner space with fellow sound artist Phil Mouldycliff. The wizard will see you now. There methods seems so innocent at the outset with the simple layering of a street scene over the sounds of intermission spill-off (or whatever), but the quiet, ambient din of crowd soon becomes a decaying continuo beneath a soft filigree of high-lonesome guitar (?). Then bells and all sorts of micro manipulations follow, building to gelatinous crescendo and subsequent diminuendo. There is a sort of oceanic, Sinking of the Titanic texture coughing up from the underneath, and a deliciously Nursey dynamic in the way tiny rings of feedback propagate out form sonic pebbles thrown in the drink. And, of course, fantastic little discoveries are made with each new pass. This may be what it sounds like when noise goes through the digestive tract. Who knew it would be so damn beautiful?" [label info] www.blrrecords.com	2010	€13.00
POTTER, COLIN & THE HAFLER TRIO	A pressed on Sandwich	CD	Erste Zusammenarbeit der beiden Urgesteine britischer Experimental-Drones / Elektronik, ein one-tracker von ca. 53 Minuten Länge. POTTER bearbeitet die H30-Sounds, das sind organisch-elektronische Oberton-Klangstrahlen, die sich glitzernd & oszillierend ins Ätherische winden, ruhig & klar & zur Versenkung einladend.... "CD is packed in special paper wallet & released as the limited edition of 1010 copies. This nutritious fare was prepared by Colin Potter at IC Studio, Preston, UK in 2005, using the finest Icelandic ingredients supplied by The Hafler Trio." Colin Potter explains: "I attended The Hafler Trio performance of 'How To Slice a Loaf of Bread' in Preston and was very impressed on many different levels. During a discussion with Andrew McKenzie after the event, he suggested that we might try a joint project. Shortly afterwards he sent me some of the original source material from the performance. It was my intention to preserve the overall shape & sense of the material, but at the same time move it to another (sonic)..” [label info] “Do any of these two artists need really an introduction? I don't think so. Both are big shots in the world of experimental music. Early 2003, shortly after the re-discovery of The Hafler Trio, the trio did a performance in Preston called 'How To Slice A Loaf Of Bread'. The performance was attended by Colin Potter, who lives and works in the same city. Afterwards it was suggested that the two should work together, but McKenzie being Iceland and Potter in Preston made a tete-a-tete not easy. Andrew McKenzie mailed Colin Potter the original source materials for the concert, which Potter happily reworked into 'A Pressed On Sandwich'. The original performance was also released (see Vital Weekly 404), so there is something to compare. Both The Hafler Trio and Colin Potter are masters of drone music, but there are some subtle differences. The Hafler Trio seem overall more monochrome in approach, with so it seems for the listener who doesn't know any better, whereas Potter seems to be using more sound effects to create the soundscapes that he does, maybe less organic and more electronic. As said, the differences are quite subtle here, and there is certainly no hierarchy, both are masters of the genre. Potter's mix is perhaps a bit more dense and obviously more concise (The Hafler Trio release spans three CDs), but it moves as gentle and dark as the original. Great collaboration.” [FdW / Vital Weekly] "Fucking brilliant. Yeah, you should expect that these two high caliber sound sculptors would manage something great; and they do not disappoint. As for the obligatory introductions, Colin Potter may be best known from his ongoing contributions to Nurse With Wound over the past two decades, but has been privy to some of the finest in British dronescaping thanks to his work in Ora and Monos. The Hafler Trio is the creation of Andrew McKenzie, a sound research project which has been investigating the impact of sound upon the body, mind, and spirit through the lens of a Byzantine gnosticism. A couple years back, Potter had the good fortune of witnessing the Hafler Trio's How To Slice A Loaf Of Bread performance in Preston, England in 2003; after the show, Potter and McKenzie struck up a conversation, whence McKenzie suggested that the two collaborate. Shortly thereafter, McKenzie sent Potter a collection of the source material from that very performance as the foundation for their collaboration. Potter stated his intentions clearly, that he wanted to preserve the shape of the material while pushing it into another space. It's an understatement to say that Potter merely achieved his intention; as A Pressed On Sandwich ranks as one of the best things that he's worked on, on par with his work with Steven Stapleton on the existential void of Nurse With Wound's Salt Marie Celeste. Yeah, it's that good! Of course, McKenzie ultimately stretched out his own material of monumental dronings over a whopping six discs on the twin set of triple cds also entitled How To Slice A Loaf Of Bread (all of which are long out of print); so Potter's redux is a bit easier to digest, but certainly no less an album! You'll encounter the drone supreme here on A Pressed On Sandwich with electrified tonal vibrations, undulating phase patterns, and oceanic gasps of sublime expanses. The album starts off with a very cold, shivering feel but eventually transitions into a dynamic interplay of tones that simultaneously capturing the solemnness of church organ droning (with all of the overtones of holy symbolism) and the unnerving purity of feedback (with all of the allusions of technology on the brink of collapse). We mentioned it before, and we'll mentioned it again: fucking brilliant." [Aquarius Records]	2006	€15.00
PROTAGONIST	Songs of Experience	CD	"in 1794, william blake published ‘songs of experience’ as an addendum to ‘songs of innocence’, to complete the picture of ‘the two contrary states of the human soul’ - the state in question here being the constriction of the human spirit, the suffocation of creativity by the force to conform. after magnus sundström aka the protagonist had released his debut ‘à rebours’ in 1998, the sky seemed the only limit for this musical entity. but, to much disappointment within the industrial scene, for the next seven years only a couple of compilation appearances would be heard from the protagonist. then, in 2005 two cds came out via cold meat industry: the aptly titled ‘interim’ ep and the album ‘songs of experience’ (which was actually not entirely a new album, but in parts consisted of reworked versions of the aforementioned compilation tracks and a couple of tracks from the previous ep). the music on ‘songs of experience’ resolved all doubts: the protagonist is a devoted artist, putting quality over quantity, and the result had been well worth waiting! as if no period of inactivity had ever discontinued the creative flow, the protagonist reassumed the path of the debut: orchestral splendour, rigid drumming, dramatic string works and an increased presence of haunting, eerie atmospheres, pushing the album towards the darker edges of the neo-classical spectrum. vocal deliveries are rather sparse and restricted to short spoken parts this time around, but feature prolific guests again: tomas petterson of ordo rosarius equlibrio lent his unmistakeable voice to the protagonist’s most wellknown track, ‘strife’, a truly bombastic marching tune. jonathan grieve of contrastate can also be heard on one track, the heart-shattering ‘sick rose’. among all the opulence, romantic leanings all over, though the whole composition takes a decidedly bleak direction. the adapted literature features not only blake, but also baudelaire (here’s the symbolist theme again) and no other than the master himself, mr. william shakespeare. all in all, music and content combine into one impressive libertine’s manifesto, proclaiming the power of free thought and the mistrust of authorities! for this well-timed re-release, raubbau gathers together not only the original album, but also the exclusive tracks from the ‘interim’ ep, thus presenting the entire bundle of cmi-released protagonist tracks. until today, the protagonist stands out unique among neo-classical artists for the sheer brilliance of composition and the authenticity of his preoccupations - he is really serious about seriousness. history has been revealed, let beauty unfold!" [label info] www.raubbau.org	2012	€6.00
PSEUDO CODE	Europa	CD	"PSEUDOCODE (1979-1982) were a coherent unit of 3 individuals (Xavier S., Guy Marc Hinant and Alain Neffe), non-musicians even, combining emotions with electronic experiments, mostly improvised. They called it 'potlatch music' and were only trying to express themselves through sound rather than pleasing an audience. Within just a couple of years they released a fine body of work on vinyl and cassette (Insane Music, Pseudo Records, Sandwich Records) and international network compilations (Datenverarbeitung, Ding Dong, Korm Plastics, Grafika Airlines, Third Mind, Trax,....) and were even noticed by fellow experimentalists such as Harold Budd or Stephen Mallinder (Cabaret Voltaire). They could have been bigger than.... Unfortunately the story didn't last for too much longer and everyone moved on with his life before any breakthrough of some sort.... Buy with confidence: these classic tracks between hope and despair deserve a second life within a renewed 'Europa', now much worse off than 30 years ago...." [label info] www.eetapes.be	2010	€13.00
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
QUATTRO BRAVO EBALLIEROS	1995-2005	CD	REUTOFF zeigen hier ihre verborgene, humorvolle Pop- & drogenschwangere Seite: die verschiedenen Stücke ihres Seitenprojekts QUATTRO BRAVO EBALLIEROS wurden inspiriert von solch bewusstseinsverändernden Praktiken und Substanzen wie Schlafentzug, Vodka, Bier, Absinth, etc.. sie klingen wie eine weirde russische Version von NOVY SVET oder DDAA, oder frühe 80erJahre Homerecording-Projekte....obskurer Gesang, südländische Melancholie, sehr unterhaltsam und definitiv zur Regression einlandend! Credits in russisch & englisch. “First official CD from this Reutoff side-project known for their brilliant track on "Tutti A Casa - a tribute to Ain Soph" compilation. This is a special compilation to celebrate 10 years of QBE existence. Formed back in 1995, long before Reutoff started, this weird urban-folk/apocalyptic-chanson project with a touch of psychodelia and russian alcoholic madness have recorded more than a dozen albums for private use which are now waiting to see the daylight. Each album is a documentary of a night alcohol fuelled session. The 22 best tracks from those albums chosen by the fans have been included in this compilation, 4 of them have been remixed and rearranged especially for this release. The music reminds of Novy Svet, Mushroom Patience, late Ain Soph and sometimes even NWW, but it has more tragic russian feel and weirdness inside. This compilation could be considered as a herald for the complete album releases on Steinklang and Indiestate which are planned for 2006. The first edition of "1995-2005" is limited to 300 copies in a special package printed silver on black.” [label nfo]	2005	€10.00
RADIGUE, ELIANE	Feedback Works 1969-1970	LP	Feedback Works 1969-1970 However mesmerizing they may be, the works of Éliane Radigue which could be found on record were quite rare when I met her in 1998: “Trilogie de la Mort”, “Biogenesis”, impressive pieces composed on the ARP 2500 synthesizer between 1970 and 1990. There was also the very rare double 7" “Σ=a=b=a+b”, edited by the author and then brought out by the Yvon Lambert Gallery in 1969, which seemed to unveil a turbulent side of the composer’s youth. This work was intended to be presented as a sonic environment and had been composed with nothing but feedback effects on magnetic tape… a relatively crude piece compared with those for synthesizer, difficult for me to relate to. I hastily concluded that Éliane had dabbled with feedback for its hot-tempered quality, a bit like her colleagues Robert Ashley or Alvin Lucier, before passing on to something calmer (in her case, the rounded and peaceable harmonics of the synthesizer)… my mistake. “Σ=a=b=a+b” was but a small part of the group of works based on feedback, just one of the more rough nuances from that so-rich period. When I visited her in her Paris apartment for the first time, what made an impression on me were the immense shelves taking up the entire entryway, filled from floor to ceiling with tapes. All those sounds… the whole life story of an electronic composer. Immediately I became overcome with curiosity as to the beauties hidden within those boxes, no way not to find treasures within. I did not know anything as yet. Éliane lives in an eternal present, one could almost say. I had never met someone who at her age was not busy digging around in their past. She, on the other hand, simply considered that she always had “her whole life in front of her”. Éliane, always inhabited by music, usually lives with a new project in mind. Even if not at all stingy in responding to questions about her rich past, one would not say that she tried to evoque times gone by. I quickly proposed to convert her magnetic tapes to digital. Not only to create an archive but also and especially to search out all the details, the secrets of this unique body of work. For years all I got were polite but firm refusals. She wanted to convince me that there was nothing but never-ending dust, and babbling, risky if not primitive… Things only changed suddenly after a return from Chicago in 2002 for the release of “L'Île re-sonante”. Delighted with the experience, she described the evening of the concert. She had been overwhelmed by the presence of very young people who came up for a signature on the boxset of “Adnos” trilogy (realised between 1974 and 1982 and published in 2002 by Table of the Elements. This time when I said that these works of the past were in effect full of passion and so it might be the time to put in order the archive, she said laconically, but with enthusiasm: “Oh, alright! But you do it, you know where everything is”. The big job could begin; I was enchanted and am still. I expected to find other works on the rough side, like “Σ=a=b=a+b”, but with surprise quite another thing came forth. The digital versions were all done in Lyon, at Lionel Marchetti’s. His interest in and knowledge of Éliane’s music, along with his detailed work, made for a most enjoyable activity. I recall the silence in the studio when we uncovered works surely never listened to after their first public performance, not to say ever presented... Sounds older than I was, for sure. Certain of these works had something of the traumatic about them: my goodness, she made these magnificent sounds with only three pieces of string! Thus were the works of the feedback period of Éliane Radigue revealed, as we gradually got them digitized, extending over five years approximately: “Omnht” with its broad tectonic vibrations, the celestial voices of “Usral”, the dense silences of “Jouet électronique”, “Stress Osaka” massive chant, the horizon moving in “Vice-versa, etc.”, the magnetic bewitchments of “Opus 17”… each one brought its load of surprises and burst a well filled time bubble. So did we rewind the thread of her biography, discovering obvious connections even in the texture of the sounds themselves, which joined that period to the synthesizer one. There is nothing anecdotal in the feedback period of Éliane Radigue. A good dozen pieces were composed between 1967 and 1970 in which most of the characteristic originality of her works had their beginnings. It is moreover continually amazing that she could build such formidably organic sonic edifices with the primitive machines which were hers: three tape recorders, a mixing board, an amplifier, two loudspeakers and a microphone. A home studio certainly primitive, but there were not any home studios to speak of in the sixties, the cost of materials being too high. To compose electronic music, or “concrete” or “experimental” (what distinctions!) you had to have access to an institutional studio (At the time usually located in the large radio studios, or certain universities). Indeed, a large part of Éliane’s possessions came from Pierre Henry. She met him at the “Studio d'Essai” of the R.T.F. in the middle of the 50s, after having met Pierre Schaeffer almost by chance (if such a chance does exist) who invited her to learn the techniques of musique concrète. In fact, from 1955 to 1957 she learned all about these techniques there, “in the shadow of the masters” she says. Éliane emphasizes that she could be there as a “quiet little mouse”, because she cast no shadow on the masters of the place. She learned, as she says, that she was only there as a student. During the 50s no avant-garde musician could imagine a woman seriously competing with them… Jokes erupted: “At least when Éliane comes to the studio it smells good!” etc. Nevertheless Pierre Henry liked one of Éliane’s montages and wanted to use it in a piece he was working on, “L'Occident est Bleu” (1957). From 1957 to 1967 she no longer had access to a studio. During these ten years she will be travelling, taking care of her family, and composing a few graphic scores which will never be published, or even played: “Asymptote Versatile” in 1960, or yet “Chess Game” (based on a chess match between Marcel Duchamp and her then husband, Arman). She was biding her time. She was to once again assist Pierre Henry from 1967 to 1969, and there she made her first tape compositions. During the last stage of mixing “L'Apocalypse de Jean”, in 1968, Pierre Henry brought to her some of the materials which would become her studio, so that she could continue working on some parts of the “Apocalypse” he asked her to work on, while he continued working at Studio Apsome. These things remained in Éliane’s house and she bought what was lacking to work autonomously: one more tape recorder, a microphone, and then, in 1971, the ARP 2500 synthesizer. Even if these first compositions date from the end of the 60s it seems evident the entire creative process in Éliane Radigue’s work had begun in the Studio d’Essai in 1955. What I always find striking when I listen to the first piece “Jouet électronique” (realized in 1967 at the Apsome Studio and published in 2010 by Alga Marghen) is the maturity and expressive force in this short composition. There is already a tension and poetry proper to her own. Similarly, “Jouet électronique” seems to contain the germ of all which is to come. Or at least it opens all the paths which she will follow indefatigably. It is as if her musical work in some way contained a martial arts discipline on which she meditated for 10 years before striking the first blow, with an impressive precision… Right away her music separates from the explorations of musique concrète, from any academism, or whatever style then in vogue. Her adventure is intuitively going towards flux, towards contemplative stasis. A music of continuous sounds, of apparently simple structures, which permits the revelations and expansion of rich acoustic phenomena. One could say that in one sense it is the very texture of the sounds which leads the form in her compositions. At the same time this approach favors an intense sensuality in the listening. The fluidity of form in Éliane Radigue’s music has more to do with certain world music traditions, composed of drones, resonances, pulsations (although I cannot be sure that this was really the inspiration). A music in which time is suspended, but not stopped, rather unfolding with an intoxicating slowness, engendering fascination rather than boredom. Between 1969 and 1970 Éliane Radigue gave up measured durations and composed works which flirted with eternity: “Usral” (1969), “Labyrinthe Sonore” (1970). and “Omnht” (1970). They are generally made of several tape loops of clearly different duration read simultaneously. In this arrangement, simple and ingenious (close to the usage of Steve Reich in his youthful pieces), the fixed sounds go slowly out of synch, in a play of perpetual mutation. From this appears a sonic landscape whose temporality, as well as its materiality, could be described by these verses by Paul Verlaine: “…who, each time, is never quite the same, nor completely another…” The terms “Sound Art” and “Sound Installation” are in vogue at this moment. There was nothing like it at the time. A way of describing this new approach had to be developed. So she presented her works under the description “Propos Sonores” (Sonic propositions) or sometimes “Music without End”. These works were unveiled to the public both in the places consecrated to music as well as museums and galleries (Yvon Lambert, Lara Vincy, etc.). Nothing surprising in the fact that these “Music without End” at times, like a halo of the infinite, accompanied works of such visual artists as Marc Halpern or Tania Mouraud. For all that, without minimizing the interest of these collaborations, it seems important to add that the sounds she used have in themselves a completely “plastic” quality. This is the context in which Éliane composed “Omnht” in 1970 for one of the architectonic spaces of the visual artist Tania Mouraud, “One More Night”, presented at the Gallery of the Rive Gauche in Paris. With Jean Heuzé, one of Pierre Henry’s co-workers who helped out on this project, Éliane had the idea of screwing the speakers into the partitions so that they would be invisible with respect to the immaculate exhibition space. Due to this the sounds could vibrate within walls which become resonant surfaces. This description caused me to “leap up to the ceiling” because it is a technique that I used myself in my sound installation work… only twenty years later. I quickly felt it necessary to present this piece anew. In 2006, thanks to an active competition by the Consortium Art Center and the association “Cumulus” in Dijon (organizers of the contemporary music festival “Why Note”), it was possible to do a version among the old industrial buildings of “L'Usine”. Large plaster partitions were already in place and formed an ideal group of surfaces for the installation of loudspeakers. Resounding in these grand rooms, “Omnht” seemed to shake the entire building, thus creating a sonic architecture of time and space… A vast edifice of vibrations, built like a mirror of frequencies in which were reflected our inner worlds. It was admirable to see how much this work had resisted time; the fascinated reception by the public left no doubt as to its poetic force. After this public presentation I set up a stereophonic synthesis of that installation in my studio, by combining the original sounds with those taken at “L'Usine”. I felt a lively need to hear those magnificent sounds again. I realized moreover that the sonorities of “Omnht” survived the reduction quite well, and I found once more with happiness the unique intensity of this spatial composition. Some time later, Éliane offered me one of the 10 copies of “Vice-versa, etc.”: a small handmade box, signed and numbered, realized as a multiple on the occasion of a show at Lara Vincy’s gallery in 1970, which contained a reel of magnetic tape and the instructions for use. It indicates that all playback speeds are possible, forwards or backwards, as well as any combination of two channels, on several recorders, “ad libitum”… A present which touched me profoundly. I took up the game and rapidly made mixings following the indications to the letter, respecting the composition methods of Éliane Radigue. Need I say that to work with such lovely sounds was a real pleasure? Then I decided to do the same with all her sound installation works: slices of time from those sonic environments dedicated to space and infinity. There are so few spaces devoted to Sound Art, so the occasions for presenting such work to the public are rare. It seems evident to me that if we waited for that to happen very few people would have access to that part of Éliane’s work. Fundamentally, these stereophonic syntheses should have been made and published a long time ago because this compilation offers a simple way into the home of this passionate time. Therefore, I proposed that we listen to them together, because of course the idea should seem legitimate to her. Knowing her to be extremely critical towards her past work, and ready to renounce certain aspects of it, I confess to being a bit anxious as to her reaction. Neither did I know how she would react to my taking the initiative in making such syntheses. Contrary to my apprehensions we passed a marvelous day. Éliane had forgotten practically everything of the sonic textures she made then, and discovered evident links with the sounds she realized later on with the synthesizer. In her compositional work Éliane Radigue developed her own characteristic “footprint”: an art of imperceptible transition from one kind of movement to another. It is very difficult to know at what moment things change, because they are continually changing without one’s really being aware of it… a little like a natural phenomenon in perpetual mutation. This is doubtless one of the magical constituents of her music and it engenders the loss of any temporal reference point. If you look over the whole from her first compositions to the most recent ones for acoustic instruments, passing through the imposing electronic period, it seems evident that this way of gentle transition is a characteristic of her entire work. Not only within the compositions but also from one composition to another. We do not confront a collection of isolated experiences but rather embark on a patient and minute exploration of a vast poetic territory. At the end of the day it was clear to her, just as it had been for me, that these syntheses had to be complied and published. This certainly does not replace the necessity of in-situ presentations; all of the music of Éliane Radigue is destined to vibrate spatiously and this is all-the-more so for the installations. And in any case, this collection gives a good overview of the intense beauty of these “Propos Sonores” composed so long ago with such reduced means. By her original approach, Éliane Radigue held herself, as she still does, outside the dogmas of her epoch and therefore had to sometimes face some lack of understanding. Intuition is however her force, and she has known how to continue until today composing in full independence of spirit; her aesthetic gives forth a body of work unique in its genre, honorably recognized and appreciated today. We are among the many who see her as a pioneer capable of revealing a precious territory of sounds, one that she seems alone to occupy. To us to enjoy this publication of the first remarkable steps of a figure who holds the music of our time in her spell. Emmanuel Holterbach https://elianeradigue.bandcamp.com/album/feedback-works-1969-1970	2022	€24.50
RAISON D'ETRE	Anima Caelum	do-CD	Alive and apocalyptic; unique live moments spanning from 2014 to 2017 compiled into a heavenly exposure with gloomy trails and path towards darkness. Anima Caelum contains both complete live sets and selection of tracks from live recordings by raison d'être, from performances stretching from the world tours of 2014 - 2015 to the very unique moment at the once-in-a-lifetime event Cold Meat Industry 30 years Anniversary Live in 2017 performing one track from each of his Cold Meat Industry studio albums. This is apocalyptic music that can bring life to heaven! Originally released on Old Europa Cafe as a double MC in 2018, now revised and remastered for digital format (CD / download) with optimum sound quality. The download version of the album also includes the remaining tracks from the Anima Caelum 2MC release as bonus. credits released April 30, 2019 Track 1 - 10 recorded live at Cold Meat Industry 30 years Anniversary Live, at Klubben, Stockholm, Sweden, 2017-11-04, with edits and overdubs to correct problems. Track 11 recorded live at Bolkow Castle Party, Bolkow, Poland, 2015-07-18. Track 12 - 13 recorded live at Cleveland Radio show, Levelland, US, 2014-10-23. Track 14 - 20 recorded live at Jerusalem, Israel, 2015-05-09. Track 21 recorded live at Montreal, Canada, 2014-10-15. Track 22 recorded live at Poznan, Poland, 2014-03-29. Track 23 recorded live at Miami, US, 2014-10-30. Bonus tracks: Track 24 recorded live at Belveders Ultra-Drive, Pittsburgh, US, 2014-10-21. Track 25 recorded live at Schlagstrom Festival, Berlin, Germany, 2014-08-03. Track 26 - 27 recorded live at Bolkow Castle Party, Bolkow, Poland, 2015-07-18. Track 28 recorded live at Cold Meat Industry 30 years Anniversary Live, at Klubben, Stockholm, Sweden, 2017-11-04. All music by Peter Andersson 1991-2017. Recorded live 2014-2017. K-14 level mastering. 2CD release by Old Europa Cafe, OECD300. Digital release by Yantra Atmospheres, YA-2019-94. https://raisondetre.bandcamp.com/album/anima-caelum-2 "By way of background context, Anima Caelum was first issued in a limited edition of 99 copies on double cassette in 2018 (also on Old Europa Café). Now it has been reissued with slightly revised content on double CD in a less limited edition. With the tagline on the cover stating ‘alive 2014-2017’ it is a not too subtle clue enough that it is a collection of live tracks and not new recordings. So for me, the pinnacle aspect is the full recording of the special set which was performed at the Cold Meat Industry 30th anniversary show in Stockholm November, 2017, which I was lucky enough to attend and witness in person. My review of that festival noted the following with regard to the raison d’être set featured on this set: ‘Having seen raison d’être three times before, I expected it to be decent show, but was completely blown away by the impact of this set, based on the sheer intensity of volume. Also with sole member Peter Andersson playing a special set consisting of one track from all of his CMI albums, it was a veritable hit parade of the tracks from each album with the greatest emotional impacts. Again, with the focus being on the projected visual backdrop, it functioned to further amplify the mood of the sacral and the damned, based around various moving images of religious decay and sorrowful mourning. For me personally raison d’être’s set was the most moving of the entire festival, where the pairing of tracks Inner Depths Of Sadness (from the Within The Depths Of Silence And Phormations album), and Reflecting In Shadows (from the In Sadness, Silence And Solitude album) hit home hard to show just how important the music of raison d’être has been to me over the years (as an example of this, I was so taken by In Sadness, Silence And Solitude when first hearing it in 1997 that it spurred me on to immediately write my first music review, which in turn led to me creating Spectrum Magazine shortly after). In being far beyond a ‘mere’ dark ambient set, the volume absolutely elevated the impact and presence of the set to the next level and was one of my personal standouts of the entire festival’. The above impression pretty much sums up my thoughts on the entirety of the content featured across the two CD’s. Perhaps this is a release more the avid and obsessive fan than the casual listener, but even so, it is an excellent collection of the full and complete Stockholm set coupled with live tracks from various performances. Likewise the live version deviate enough from the original to provide both detailed and nuanced interest. Another very enjoyable album from this unfaltering dark ambient behemoth, and exquisitely presented in a deluxe 6 panel digipack." [Noise Receptor]	2019	€18.00
	Within the Depths of Silence and Phormations	do-LP	First time on vinyl. Double vinyl re-issue of the third full-length album of raison d'être that was first released in 1995. “Within the Depths of Silence and Phormations” takes the listener deep below the world of the ordinary into the catacombs of the subconscious, the worlds lying within us so few ever live to explore. This is music meant to stimulate the mind, to inspire one in their explorations of self and solitude. Layers of ethereal atmospheres and the collage of choirs, strings, bells and occasional voices slowly bleed together to create music for society whose spirituality has been rendered impotent. Soaking in this world, one is left with the impression of overwhelming sadness and profound desolation. This is the sound of all hope nullified. In 2013 the original album was restored, re-recorded and re-mixed to attain a more modern standard of sound quality. Now this redux version has been put to vinyl, containing the track list of the original album with an added selection of five compilation tracks from the era. all carefully mastered according to the K-14 level standard for highest possible sound quality. Co-released with Old Europa Cafe. Standard edition of 300 copies in matt laminated Gatefold Sleeve, on black vinyl. 13 tracks. Running time 83:29 Special edition of 200 copies in matt laminated Gatefold Sleeve, on opaque silver vinyl. 13 tracks. Running time 83:29 https://cycliclaw.bandcamp.com/album/within-the-depths-of-silence-and-phormation	2020	€28.50
RAPOON	To West and Blue	CD	"Not a reissue, not a compilation, but something complete new. "To West and Blue" is 50th Rapoon album and 5th Rapoon release on Zoharum label. And this one will become a staple in our CD players for long time. 7 long, slowly evolving tracks appealing to your subconscious side. An album that is definitely not to everyone's tastes. This one gradually grows on you until you are captivated by its haunting beauty. But there is an underlying uneasiness in it. A sort of clash between reality and a ghost world or a world that is long-gone. With choral voices hidden beneath layers of treated sounds, "To West and Blue" is a stand-out album among Rapoon numerous releases. Robin Storey talks about this album: These pieces are about the area grew up in in the UK. A peninsula of land which stuck out into the Solway Firth. Surrounded by the sea when the tide was in and surrounded by endless mudflats when the tide was out. When the water covered the ground the line between the sea and the sky was almost non-existent. A diaphanous boundary. The sea came in from the West where the huge skies hung without end in a vault of blue. The 7 tracks presented on "To West and Blue" were mastered by Maciej Bartkowiak. The cover is based on photos by Robin Storey and the design was handled by Maciej Mehring. The whole production process was overseen by Michał Porwet. The CD is housed in gatefold sleeve in the vein of Japanese-style vinyl replica and is strictly limited to 500 copies." [label info] www.zoharum.com	2013	€13.00
	Ghosts from a Machine	3 x CD	The compilation “Ghost From A Machine’ has been initially issued by the record label Vinyl-On-Demand. It contains alternative versions of the pieces, which were created while early albums of Rapoon, mainly "Raising Earthly Spirits", "Fallen Gods", "Vernal Crossing", "Easterly 6 Or 7", were in the making. All those pieces were put together by Robin Storey and Frank Mayer and created an entirely new album, released on 3 vinyl records. For 10 years since the premiere, that release has become a rare collector’s item and surely a delight for a refined collector. The new edition, prepared together by the author and Zoharum Records, is visually and sonically referring to the first issue, creating a sort of a replica, available for the first time on 3CDs. Issued as an 8panel digipak the volume is limited to only 500 copies. https://zoharum.bandcamp.com/album/ghosts-from-a-machine	2020	€20.00
RATS WITH WINGS	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
RAUMERKUNDUNG	Flug 4-5-6	mCDR	RAUMERKUNDUNG ist das langjährige Projekt von Lutz Pruditsch (TARKATAK, TRÜMMER), und Robert Steinberger (Labelboss von DISASTER AREA), bisher sind sie nur durch live-Auftritte aufgefallen. FLUG 4-5-6 verbindet analoge soft-Schwingungen mit untergründigen Drones, field recordings und wall of sound-Gitarrren zu einer dunkel-psychedelischen Irrfahrt.. “ raumerkundung is lutz "tarkatak" pruditsch (guitar, sampler, tapes, contact microphones) and robert steinberger (guitar, metal, radio, contact microphones). existing since 1990, the duo has only released one tape on the trümmer kassetten label and contributed to some compilation tapes. they have played live on many occasions with, amongst others, illusion of safety, stillupstyppa or kapotte muziek. this 3" is their first "digital" release. "raumerkundung is an offshoot project of tarkatak ambient-droners concerned with trying to materialize the radiance of a specific space or location, offering an aural environmental reading of it... they are essentially a live exploring unit using two guitars and various effect devices, applying the spirit of art-installations... and as such, their recordings remain sparse till now... the three pieces of the this 3" start with a short soft fluid quasi dub phase that quickly gets disembodied to become a patch of fragile emanations, wall breathings, and air susurrations... like a cloud of glimmering particles... of a very volatile nature, the sounds expand and seem to reveal more along their inherent decaying process... filigree echoes, underlying organic interferences and undercurrents blend symbiotically leading us in a perceptual exchange with the outside, while we step in..." (chalkdc/mystery sea)	2003	€5.00
RE-DRUM / EMERGE/ SVART I / LEFTERNA	split	MC	Re-Drum I EMERGE / Svart1 I Lefterna - Split recycled C90 cassette in clear jewel case, limited edition 50 copies emerge.bandcamp.com/album/split-20 Grubenwehr Freiburg / attenuation circuit ° GFAC 1001 ° 2022 grubenwehrfreiburg.bandcamp.com ° attenuationcircuit.de A EMERGE - empty seat Re-Drum I EMERGE - Einfarbiger Dom (live @ DOM, Moskva, 14.09.18) Re-Drum - Zum Verlust der Muttersprache dedicated to Dmitry Vasilyev track 1 & 3 previously released on Monochrome Visions by Korm Digitaal in 2018 re-dr-um.bandcamp.com immerge.bandcamp.com B Svart1 I Lefterna 1 - 4 Svart1 (Raimondo Gaviano) Lefterna (Boban Ristevski) svart1.bandcamp.com bobanristevski.bandcamp.com credits released May 29, 2022 https://grubenwehrfreiburg.bandcamp.com/album/split With this album, the labels attenuation circuit, run by EMERGE, and Grubenwehr Freiburg, run by Grodock, launch a second series of co-releases. The split tapes in the GFAC series, all using recycled tapes, are aimed at pairing new or lesser known artists with already more widely connected practitioners in the experimental underground scene. The first tape in the new series emphasises the collaborative spirit on another level as well, because each side features collaborations by two different artists, so four artists in total are heard on one tape. On side A, it's label head EMERGE and Re-Drum. Touring the Crimea and Russia in 2018, EMERGE was present when concert organiser and head of the Monochrome Vision label Dmitry 'Dima' Vasilyev died. The shock and grief over this loss is present in the titles and music of the solo tracks by EMERGE and Re-Drum ('Zum Verlust der Muttersprache' is a German catchphrase referring to getting heavily drunk, 'up to the point of losing one's mother tongue'), which were already released on the Dima tribute compilation 'Monochrome Visions' in 2018, and their collaborative live performance at Moscow's DOM which concluded the tour became a memorial concert for Dima. (The German title 'Einfarbiger Dom' translates as 'Monochrome Dome'.) The fact that such a tour would now be impossible due to the war only adds to the sense of grief and loss conveyed by the Re-Drum/EMERGE side of the tape. Yet the collaborative release itself by a Russian and a 'Western' artist, at this time, is a gesture of hope that personal and cultural relations will prevail. As for side B, Svart1 is Raimondo Gaviano, who works in the fields of ambient, dark ambient, industrial, techno, live-performances and visuals. In the duo with Lefterna, the project name adopted by the extremely prolific collaborator Boban Ristevski, Svart1 enters into a long-form dialogue. By composing one four-part piece for the whole duration of the tape side, they offer an interesting contrast to side A which is made up of shorter pieces which, in themselves, are more fragmented, interspersed with alienating samples and found sounds. File under: musique concrète, dark ambient	2022	€8.00
REUTOFF	Deprivatio	CD	Ganze fünf Jahre nach "Gute Nacht, Berlin" endlich das neue Album der Moskauer Ambient Industrial / Elektronik Band, die es wie wenig andere verstehen eine wirklich hoffnungslose Atmosphäre zwischen Misantrophie und trister Melancholie aufzubauen... "... Reutov ist eine von Moskaus kleinen Satellitenstädten, die haupt-sächlich aus Industrieanlagen besteht. Ihr wird von den Band-mitgliedern, die alle in der Nähe leben, eine ganz besondere Atmosphäre zugeschrieben, die man beim Hören der Musik als trübe Industriemelancholie zwischen Zerfall und Science Fiction begreifen könnte; eine Stimmung, wie sie in Deutschland manche alte Häfen oder Güterbahnhöfe ausstrahlen. Ein Faible für den Klang der deutschen Sprache, das sich auch in vielen deutschen Songtiteln ausdrückt, hat aus dem 'v' am Ende der Stadt das doppelte 'f' für den Bandnamen werden lassen. Wie immer ist auch dieses REUTOFF-Album eine Antwort auf die Frage, wozu eigentlich Dark Ambient erfunden wurde. Die fantastisch-düstere Stimmung erwächst stets aus der Musik der Russen selbst, und nicht – wie bei vielen Genrekollegen – aus den großen Worten, die begleitend zur Musik gemacht werden. Aber – endlich eine Veränderung – "Deprivatio" ist nicht mehr so durchweg archaisch wie noch die ersten Arbeiten, es ist ebenfalls nicht mehr so homogen industriell wie die beiden letzten Alben "Unseen Rituals" (2002) und "Gute Nacht, Berlin!" (2003). Die neue CD ist die bislang dynamischste, abwechslungsreichste, aufregendste und futuristischste Veröffentlichung von REUTOFF. Hypnotisch ist der Beginn. Zum Dauerloop eines Kindersummens gibt eine rauchige, weibliche Sprechstimme auf Englisch Anweisungen, was zu tun ist: "Stellen Sie Sich vor, Sie sitzen in einem riesigen Theater mit schwarzen Sitzen und können nur eine einzige Sache sehen..." So düster und geheimnisvoll die ersten Sounds, so beruhigend sind die Worte. Später passt sich die Musik an und entspannt sich Richtung Downbeat, garniert mit verhuschten Männerstimmen und noisigen Geräuschen. Der Opener bereitet die futuristische Atmosphäre, die das ganze Album durchzieht. Noch häufiger im Verlauf der knapp 73 Minuten kommt sich der Hörer vor, als würde er durch einen von STANISLAW LEM entworfenen Park lebender Maschinen wandern. Auch das intelligente Songwriting – wenn man bei einem zehnminütigen Dark Ambient-Track davon überhaupt sprechen kann – offenbart sich gleich zu Beginn. Überraschungen wie eine eingeflochtene und beinahe folkige Akustikgitarre sowie versteckte und vertrackte Melodien und Rhythmen machen aus einem langen auch einen sehr abwechslungs-reichen Soundteppich. Es folgt ein eher klassisches Dark Ambient/Noise-Stück, dessen Drones in Verwandtschaft zu SAL SOLARIS gleißen und schimmern wie Sonnen im Weltall. Großes Kino, im wahrsten Sinn des Wortes, denn REUTOFF-Alben werden immer gerne mit der Stimmung von Filmmusiken oder Filmen – unter anderem "Stalker" von TARKOWSKIJ – verglichen. Und selten traf dieser Vergleich so zu wie bei "Deprivatio", auch bedingt durch die technisch hervorragende, satte Produktion. "American Whores" geht dann wieder einen gänzlich anderen Weg. Die Collage bringt zu einem Bass, der auch MASSIVE ATTACK oder MOBY alle Ehre machen würde, ganz unterschiedliche Samples zusammen. Musik der 1920er-Jahre, fast eine Minute lang solo. Dazu verdichten sich die Trainerin eines Fitnesskurses und ein Kirchenprediger mit Chor – in Kombination mit dem Namen des Songs – zu einer infernalischen Amerikakritik. Nie wirken solche Samples belanglos, sie unterstützen bei REUTOFF immer die Atmosphäre des Tracks. Auch der einzige deutsch betitelte Song, "In Die Leere Gehen", ist eines der Highlights: Hier ein strahlendes Universum mit synthetischen Engelschören, dort düstere Gewittercluster, die glauben machen, dass sich die Hölle öffnet – fehlt nur noch ein Sample von Luzifer persönlich. "Sun Of Sleepless" ist mit seinen knallenden und knirschenden Beats eine weitere Empfehlung für die Macher des nächsten Endzeit-Streifens; mit laut wehenden Fahnen geht die Welt unter. Und zum Abspann verglüht "25-th Hour" wie die letzte Moll-Hoffnung eines im futuristischen Kerker eingesperrten VANGELIS. Für so viele Höhepunkte übersieht man gerne die wenigen schwächeren Momente, etwa die Mischung aus Ethno und Dark Ambient mit piepsigen Loops menschlicher Geräusche ("Nemesis"). Alles an "Deprivatio" atmet russische "Metropolis"-Atmosphäre. Das Individuum zwischen Experiment, größenwahnsinniger Industrie, Verlassenheit und Zerfall. Damit ist die neue REUTOFF-Veröffentlichung längst nicht mehr nur ein Stimmungsbericht aus Reutov, sondern ein Abbild des neuen, modernen Russlands. Genreuntypische Experimente, die gekonnte Verknüpfung diverser Samples und Abwechslung in Tempo und Klangbild sorgen dafür, dass "Deprivatio" eines der besten und ausdrucksstärksten Dark Ambient-Alben der vergangenen Jahre ist. Es macht außerdem sehr neugierig auf die angekündigten Kollaborationen im Herbst." [Michael We. für nonpop.de] "Finally, since five years after their 2003 “Gute Nacht Berlin” on Albin Julius HauRuck!, here is the long-awaited full-length solo CD from this most well-known Russian industrial project worldwide. “Deprivatio” is a sad story of a person surrender to the enemy environment, it’s about idle struggle with time and fatigue, about constant withering of passions and imminent vitality deprivation. Being maybe the most hopeless and sad work for the band, this album is paradoxically their most rhythmic and dynamic. There are more noisy drum loops and electro sounds here than martial drum patterns and old school noise, but their unique deep and profound melodic main themes are still remain as the basement for the brilliant new tracks of despair and downfall. The ascetic b&w artwork was done by Murad Ibatullin known for the recent “Iznutri” compilation. The release comes as a jewel box with 6 panel booklet, the first 100 copies come with 33x21 two sided poster." [label info]	2008	€12.00
REVELL, GRAEME	The Insect Musicians / Necropolis, Amphibians & Reptiles	CD + BOOK	GRAEME REVELL might be known as the mastermind behind the seminal Industrial project SPK. Or for the many sound-tracks released for the movie industry, for films such as: Body of Evidence / Boxing Helena / The Crow / Street Fighter / From Dusk till Down / The Craft / the Negotiator / Red Planet / Collateral Damage / High Crimes / Sin City / and many, many others.... - THE INSECT MUSICIANS album is important for severeal reasons: § "The Insect Musicians" propably is the first album created with computer only, it was released back in 1986! § Years before Matmos, Lopez or Autechre, Revell created microtonal music - not only using samples of micro-sounds (here are sound of insects), but also experimenting with nature of sound itself. § Newst technology is mixed with nature, all material comes from the natural environment. Insects plays, but Revell rearanges it to some kind of weirdo symphony. An incredible album to be listened very carefully for capture the many different sound-shades. Probably best result is listening on good headphones. - NECROPOLIS, AMPHIBIANS & REPTILES: this used to be a compilation involving also NURSE WITH WOUND and DÉFICIT DES ANNÉES ANTÉRIEURES dedicated to ADOLF WÖLFLI. ADOLF WÖLFLI was born in Bern. He was abused both physically and sexually as a child, and was orphaned at the age of 10. He often attempted to perform sexual acts on young girls – often getting away unpunished [citation needed]. Eventually, he was caught in the act and institutionalized for his doings. After being freed, he was re-arrested for a similar offense and in 1895 was admitted to the Waldau Clinic, a psychiatric hospital in Bern where he spent the rest of his adult life. He was very disturbed and sometimes violent on admission, he suffered from psychosis, which led to intense hallucination. At some point after his admission Wölfli began to draw, incredible drowings! His first surviving works (a series of 50 pencil drawings) are dated from between 1904 and 1906. Special CD-Digipak + 40 Pages' Booklet + Slipcase Tracklist: § The Insect Musicians 1. Nocturne (On An Oriental Theme) 2. The Sleeping Sickness 3. Melancholia 4. La Danse Des Ténèbres (Dance Of Shadows) 5. Variation On The 'Sakura' (Japanese Traditional) 6. Nature Morte (Still Life) 7. Balinese Twilights 8. Phobia (An Australian Theme) 9. Invaders Of The Heart 10. Et Spiritus Sanctus § Necropolis, Amphibians & Reptiles 11. Necropolis, Amphibians & Reptiles 4:13 12. Countess Saladine 2:31 13. Chimpnags-Apes Of The Union Canada: America 4:38 14. Allgebrah 2:41 15. Ebony Tower In The Orient. Water Fanfaare No.1 3:50 16. The Bälli 2:19	2020	€18.00
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 + SRMEIXNER	Just like a Flower when Winter begins	CD	"Recorded by RLW (Ralf Wehowsky of P16.D4) and srmeixner (Stephen Meixner of Contrastate) between 2010 and 2013. The first emanation of the project came up with two versions of one mutual piece (Sunglasses by rlw, Wishing by srm). The core structural elements of the release can be seen in srm's meditation on sentiment (old hearts) and rlw's textased pieces (Prach-tjunge, Alle, Definition). More instrumentally based are Gummidorf (srm) and Spaßbremse rlw). Beyond this a signment both artists have touched all pieces in various ways, as indicated indirectly by the following pandects & interpolations: RLW (Dec 2010) 'Some weeks ago I did a horrible dj-set for a 75th birthday celebration, including Heino and other German schlager cruelties. it was so terrible ! maybe I'll go back to the pieces i used for this event some day. This stuff is awful enough to make another use of it. SRM (Jan 2011): I have been thinking about your description of German schlager cruelties and how horrible it was and awful enough to do something with. Maybe there is a possible project there?" [label info] www.monotyperecords.com " "Wie eine Blume am Winterbeginn / Und so wie ein Feuer im eisigen Wind / Wie eine Puppe, die keiner mehr mag /FÃ¼hl ich mich an manchem Tag" (meaning "Just like a flower when winter begins / And just like a fire in an icy wind / Just like a doll that nobody wants anymore / That's how I feel on some days"), said the first strophe of the song "Ein bisschen Frieden" ("A little bit of Peace") by which Nicole Seibert, better known as Nicole, won Eurovision Song Contest 1982, rised UK single chart up and became quite famous due to a number of translated versions. This buttery and somewhat controversial (just check lyrics) song became the emblem and the title of this lampoon of pop hit songs - mainly German schlager, but there are also quotes and samples from other traditions together with some German musical atrocities which could have been exported by immigrants, such as the sample of Italian song "Mamma" by Claudio Villa in the disturbingly funny "Old Hearts Rejuvenated" - by Ralf Wehowsky aka RLW, member of the forerunning collective P16.D4, and Stephen "srmeixner" Meixner of Contrastate. Their humorous collage which turned a set of samples from a number of gutted pop hits, plunderphonics, industrial-like sonorities, electroacoustics and vocals which sound like radiophonic captions into a sort of creepy show, whose core elements are srm's meditiation on sentiment ("Old Hearts Rejuvenated"), which are somehow closer to his "permutative distorsions", and rlw's textual pieces ("Definition (Konsumation)", the disquieting swarm of "Alle (Everyone)" - it's really funny the list of names of German pop stars, where the female speaker turns into a devilish one -, the initial "Blumen fur den Prachtjungen") as well as some instrumental forays ("Gummidorf", "Spassbremse") or post-industrial unnerving activated sludges ("Wishing To Be Entartained", "The Man with the Sunglasses"). I could imagine that what you're going to listen on "Just Like A Flower When Winter Begins" if you woefully end up in a German schlager with drunken cockscomb, nazi loggers, twinkly blond milks and a lot of cholesterol while you were searching for a loo in order to sober up after a pitiless barman put an acid pill into your glass of milk." [CHAIN D.L.K.)	2013	€13.00
RODEN, STEVE	A Thousand Breathing Forms	6 x CD BOX	A Thousand Breathing Forms, the second boxset of Steve Roden archive works released by Sonoris, is a selection of unreleased or hard-to-locate works from 2003 to 2008, a very prolific and creative period for the Californian artist. The boxset is centered on his hard-to-describe loop based sound works that are uniquely his own, such as Stars Of Ice (2008), A Christmas Play For Joseph Cornell (2007), but also includes the conceptual "One Hour As The Bumps Of Surfaces" and some more musical or instrumental works. So Delicate And Strangely Made, the title of one of his very first records (2003), could still be the right description of his sound work, rooted in visual arts and architecture, mixing conceptual rigor, and experimentation, without neglecting musicality. Most of Roden's sound works tend towards using a singular source -- such as objects, architectural spaces, field recordings, or texts. Mastered by Giuseppe Ielasi; Edition of 500. Steve Roden on the collection: "Stars Of Ice was inspired by a Chinese 7" record salvaged from a thrift store. 'Stills For Guru Dutt' came out of my love of discovering my favorite Bollywood director, and the En/Of (2004) record used the sound of the great Indian playback singer Mohammed Rafi. '22 Letters And The Resonance Of A Three Pointed Star' was inspired by an early 1960's building for the Olivetti design firm in Ivrea Italy, where the original installation was placed within the lobby where it was 'modulated' by the space. A Christmas Play For Joseph Cornell was of course, inspired by the work of Joseph Cornell, but also George Brecht's water yam scores. The banjo used in 'Banjoharmonium' was found at the flea market (my home from home), and the harmonium was a gift from my friend Damon. . . . 'To These 4 Horizons' was, again with collaborating with architecture, making recordings in the rain on the site of Le Corbusier's Ronchamp after getting lost for hours while trying to find our way through torrential rains (that you can hear on one of these tracks). 'Sleep/Walk/Drive' was a collaboration, also something important to keep one honest. The last track, so tiny, was a cover version of the oldest recorded sound we know, and the story of that not only generated this track, but a sound and video installation." $31.59 UPC: 769791966437 ELECTRONIC 1.01. Stars Of Ice (2008, New Plastic Music) Stills For Guru Dutt (2004, unreleased) 1.02. I 1.03. II 1.04. III 1.05. IV 1.06. V 1.07. VI 1.08. VII 1.09. VIII In Flows And Spuns (2004, En/Of) 2.01. Into The Sun 2.02. Soft Walking 2.03. Out Of The Sun 2.04. Still Burning 2.05. 22 Letters And The Resonance Of A Three Pointed Star (2006, compilation track from Eco E Narciso. Presenze Sonore) 3.01. One Hour As The Bumps Of Surfaces (2003, unreleased radio broadcast) 4.01. Calmem (2008, unreleased) 4.02. For You The Sunrise (2008, unreleased) 4.03. Banjoharmonium (2006, unreleased) 5.01. A Christmas Play For Joseph Cornell (2007, New Plastic Music) 5.02. Thomas Sat Down And Looked At The Sea (2004 compilation track from Noli Me Legere ...To Maurice Blanchot) 5.03. Vester Fields (2007, Volume Projects) 6.01. Winter Is Herd Or Heard (2007, unreleased) 6.02. To These 4 Horizons (2008, unreleased) Sleep/Walk/Drive (2003, unreleased) 6.03. Sleep 6.04. Walk 6.05. Drive 6.06. Aucla Irde Lalu Ne (2008, compilation track from Au Clair De La Lune) 3" CD 01. A Slow Moving Boat	2017	€40.00
ROSENQVIST, DAG & RUTGER ZUYDERVELT	Vintermusik	CD	"One album, seven tracks, two people. Who are they? Dag Rosenqvist is a Swedish musician releasing solo music under his own name/previously Jasper TX moniker, and Rutger Zuydervelt is prolific Dutch sound artist familiar to most as Machinefabriek, already known to Zoharum followers via ”Dubbeltjes” compilation of his rarities. And what is ”Vintermusik”? Actually, it is another rarity being reissued. The tracks from this album date back to 2006 and are one of the early tracks commited by both Dag & Rutger. They did not meet at the time of the recordings, they used the Internet to exchange files. And so 50 minutes of music was created. It is contemplative music full of shimmering guitar drones, delicate piano melodies and bits of field recordings. They sound cold, yet warm at the same time. So the time for releasing this music is just right – it is a little bit of winter music for the end of the summer. The original version ”Vintermusik” came out on a CDR limited to just 200 copies. Due to a popular demand we decided to re-release it. It has not dated in the least bit, it is as fresh as on the day of its release. As a special bonus, another rare gem was added, that is ”Feberdröm” coming from a 3” CDR. It gives you the full picture of those early ventures into duo collaboration between Dag and Rutger. ”Vintermusik” is released in a 3-panel ecopak in a strictly limited edition of 300 copies." [label info] www.zoharum.com "With some recognition (to avoid the word fame), Rutger Zuydervelt, also known as Machinefabriek, can always lean back and grab an oldie but goodie (and sold-out-ie) from the shelf and have it re-released. This is what happens here: The first six pieces were released in January 2007 on a CDR by the musicians themselves and probably didn't make it to these pages, and 'Feberdröm (Koortsdroom)' was released in December 2007 as a 3"CDR and reviewed in Vital Weekly 609. All of this now compiled on 'Vintermusik', a proper CD version of all the work by Dag Rosenqvist (sometimes also known as Jasper TX) and Rutger Zuydervelt. It's after all these years still not possible to tell who did what on these recordings, as for instruments and mixes that is. The original 3"CDR is placed at the end of this release back then I wrote: "... it's a great work. High static crackles, a mid-range bed of warm drones and a bass that rumbles somewhere below. Much along the recent works of Machinefabriek, and a sound that brought him his fame so far. Maybe there is a risk of repeating, but no doubt the fans will take that for granted. Nice one." The other five pieces follow a similar schematic, I think: lots of drone like sounds, generated by guitars and loop devices (and who knows what else from the electronics department) and all of this creating a solid hour of the finest dark ambient. Nothing new, but what did you expect from a re-issue? Fine quality, through out all of this." (FdW/Vital WEekly]	2014	€12.00
ROSS, LESLIE	Drop By Drop, Suddenly	do-CD	"The first CD starts with the shortest seed pieces that play primarily with the timbral and microtonal differences highlighted between tone-holes, forming a layered, pseudo-multitrack effect while playing with only one fingering, single note or multiphonic. They range from the more strictly tonal or modal pitch-centered to the thicker atonal and dissonant collection of frequencies found in some multiphonics. Pieces progress to longer complex ones by the second CD, some of which have as minimal material as the shorter ones, but make more extensive use of live multitrack recordings and frequency filters to further bring out changes in frequencies or accentuate beatings inherent in specific multiphonics. The electronics used were created explicitly for each composition using the computer-based program MAX/MSP. Save for the unconventional 15 microphones of the “prepared bassoon”, these recordings include pieces with no sound processing whatsoever, as well as pieces that do involve sound processing and multi-tracking. Importantly, however, any processing (timed entrances of microphones, overdubbing, looping, spectrum filtering, pitch shifting...) is made in real time, not post-recording. All recordings are single-take recordings where four speaker channels along with room microphones have been mixed down to stereo. Key clicks occasionally get picked up in a loop recording to return sometimes processed, sometimes not later; in circular breathing a multiphonic might drop out a moment before sounding again –what might sound like clicks or occasional drop outs on some of the recordings are not overlooked mastering faults but the result of this live processing and playing as would be experienced in performance. With a formal background in classical music and early performance practice Leslie Ross took a plunge into the free improv scene of downtown NYC in the mid 80’s and has immersed herself in experimental music ever since. Her connected, parallel, work as baroque bassoon builder also opened up into explorations of invented instruments and sound installations at the same time. She has presented solo programs, both acoustic and electro-acoustic with laptops or electronics throughout Europe and the US over the past three decades. In the mid 2000’s she returned her music focus to a detailed exploration, analysis and understanding of bassoon multiphonics, the details of which she has made freely available on her website. It is through this exploration of multiphonics and the subtle changes made when playing with resonance keys that she was brought to the multiple-mic project of this CD." [label info] https://xirecords.bandcamp.com/album/drop-by-drop-suddenly "In my desperately insufficient erudition, the sum of “bassoon” and “woman” gave “Lindsay Cooper” as the most likely result until three days ago, when – while rummaging across the piles of promos received in 2018 – I retrieved this 2-CD set by Leslie Ross. Haven’t been listening to anything alternative since. More than the trademark biography-in-pills used by the official specialists to fill half of a writeup, let me urge you to check this article to understand the kind of creative individual we’re dealing with. An instrument builder, inventor and skilled player who lives surrounded by canaries and cats, and produces valhallas of tones, microtones and illusory tones from a single source. What’s not to like? A resort for brains who don’t content themselves with shabby explanations, Drop By Drop, Suddenly comprises tracks of length varying from 5’13” to 27’37”. An attentive look at the program reveals that the pieces are ordered from shortest to longest, as if Ross wished to take the hand of the listeners to gradually immerse them into oceanic clusters to reach mental emptiness. We also noticed that the harshness deriving from certain pitch contiguities tends to decline (not always!) with the temporal extension. What Ross is telling us – perhaps without realizing – is that every apparent strain can be alleviated or, at the very least, considered under different perspectives with the acquisition of fundamental psychoacoustic data. Especially when lulled by such a concentration of upper partials, occasionally suggesting fragments of near-immobile melody (“Closed Circuit, A Pastoral”) or simply lifting us from the chair (“Water”). Amazingly, everything heard occurs in real time. Even when veritable legions of bassoons (and relative key clicks, and whatever else one can hear, including the aforementioned birds) are perceived in the stereo field. It’s all born from an expert positioning of the microphones – Ross amplifies the unthinkable, besides the “normal” – and loops, natural or less: what do we know, poor guitarists deprived of the chance of circular breathing? The aim of the composer – subjecting the audience to a feeling close to the vibrational totality experienced by the performer – is achieved in full. Equally notable is the cross of inner stability and disregard of corporeal issues generated by the superimpositions; but we’re on Phill Niblock’s label, therefore we were expecting it, in a way. And so, another case of droning wonderment. However – trust this madman – that’s just the beginning of an utterly enriching voyage. Sometimes being a canary implies receiving incredible rewards." [Touching Extremes]	2018	€17.50
ROSTAMI, ARIA & DANIEL BLOMQUIST	Wandering Eye	CD	"Aria Rostami and Daniel Blomquist's debut album "Wandering Eye" was recorded over the span of a year and a half. "Dome A" and "Dome B" were recorded inside of a planetarium dome to no audience and it was the second time Rostami and Blomquist played together. "Ridge A" is the latest song recorded and it was performed live in Blomquist's basement. These live tracks use source material ranging from samples from the internet, to live field recordings, to synthesizers. "Dome C" and "Dome F" were compiled by sending material back and forth over and over again and then rearranged into coherent songs. These studio recordings mostly consist of processed piano originally recorded by Rostami. "Ridge B" originated as a cover of the Persian pop song "Do Panjereh" by Googoosh that Rostami had created but was manipulated and distorted in the process of sending the material back and forth. The song titles come from a paper published by Saunders et al. titled "Where is the best site on Earth?" which highlights the best places to observe space from the Antarctic Plateau. Antarctica is the coldest, driest and calmest place on earth. The astronomical sights there yield images of the heavens that are sharper and have more clarity than any other sight on earth. It is a gateway to observe other worlds. Aria Rostami and Daniel Blomquist are from San Francisco, CA. Rostami and Blomquist's work occurs at two stages, the gathering/preparation of source material and the live performance. Primarily, Rostami and Blomquist's source material focuses on, digital information and the exchange of that information, repetition and decay, and non-involvement or surrendering aspects of creative control. Some of the piano recordings were created by answering a simple questionnaire Rostami made that uses letters, colors, numbers, major verse minor, and picking between flat, natural and sharp to create a framework for a composition. After the framework is created, Rostami creates a song on the piano, records and sends it to Blomquist who in turn manipulates it. In some cases, Rostami recorded the material using the audio recording option for the app Viber. Rostami used Viber to communicate with a friend who was visiting Iran. Since he had asked her to fill out the survey through the app, he also recorded the material through the low quality recording interface. Sometimes this material is thrown back and forth and sometimes it's processed only once or barely touched. The recording is then turned into a loop and recorded to tape. This system was developed to surrender control and allow the origin of the composition to come from somewhere else much like field recordings or sampling does (two other ways Rostami and Blomquist gather source material.).Time, entropy, and decay are central factors in Rostami and Blomquist's work. For live performances Blomquist works with samples gathered and manipulated digitally and then dubbed to analog tape, reconstituting the quality and predictability of the digital source material. By using loops, Blomquist can take a short audio clip and concentrate on processing it live and allow for improvised changes to that recording over long periods of time. Rostami adds in an extra layer of drones, fuzz, melodic ambience and crescendos with his synthesizer. Their compositions explore dynamic relations between digital and analog sound creating quiet transitions and soaring peaks." https://glacialmovements.bandcamp.com/album/wandering-eye	2016	€15.00
RRILL BELL	Ballad of the External Life	LP	"Ballad of the External Life", Rrill Bell's debut LP for Elevator Bath, takes its inspiration from the Hugo von Hofmannsthal poem of the same title (“Ballade des äußeren Lebens” in the original German), and features hybrid treatments of tuned percussion source material, swarm-like passages of next-level (cassette) tape manipulation, immersive micro-sound environments, delicate drone, embedded field recordings (ad-hoc dictaphone installations captured in various outdoor settings) and stolen moments from family events both heavy and casual. Born and raised in the US-American Rust Belt, and a resident of Germany for over two decades after an extended interim period of youthful wanderlust, the composer explains: "'Ballade des äußeren Lebens' was the first poem I managed to read in German in my early years here. I translated it roughly into English when I was first learning German. That last line, 'like heavy honey from the hollow comb' ('wie schwerer Honig aus den hohlen Waben') has haunted me for over twenty years. Just one of those things that hits you in the gut. Life, love, multiplicity of meaning from emptiness. 'Makeup on empty space', as Anne Waldman so aptly put it. I guess I was always waiting for the right moment to build a record around it, waiting for the music to mature in order to do it justice. I tried to capture the themes, imagery and movement of the poem in an open way. I don’t know what Hugo would say! He was really young when he wrote it and I connected with it at about the same age." The hours of obsessive experimentation with raw sound that Rrill Bell has dubbed to countless compact cassette tapes over the course of nearly two decades serve as the underlying otherworld behind the contingent worldly manifestations of his performances, installations, and recorded artifacts. On stage, his freeform, improvised sets combine chance practices and new skillz in a deep, essentially duo-like dialogue with the tightly-wound material as continually re-examined from different angles. Using a custom-made kit composed of cast-off relics of the Tape Age (foremost among them his trusty modified Fostex analogue multi-tracker) and surrounded by piles of said cassettes, he assembles complex abstract emotive tone poems on the fly, one re-contextualised fragment at a time, drawing from the formative inspirations of radical scratch culture, Cagean thought, Ornette's harmolodics, musique concrete, and various other strains of free music practice. Over the past decade, his work has also expanded to include various hybrid approaches to location recording, augmented reality, composition, and audio narrative. The material heard on "Ballad of the External Life" has frequently undergone many multiple stages of increasing abstraction during the composition process. For instance, a fragmentary passage may consist in part of a field recording that became the object of home dubbing experimentation, a recording of which was then used in an ad hoc installation in nature along with other materials, the results of which were then dubbed onto tape again and taken up in the exigency of the moment on stage as material to be further abstracted or re-examined through tape "scratching" and manipulation, before finally being incorporated as one element in a complex audio assemblage. Rrill Bell likens this approach to a composting process, or a tilling and re-tilling, a continuous re-embedding of times and spaces within other times and spaces, until the combined layers form a sort of existential chorus, a vivid sound morphology of living memory. It is also worth noting that the music of Rrill Bell often exhibits a preoccupation with melodic lines and novel techniques for generating them that is fairly uncommon in free improvised electronic music today. Rrill Bell's work has previously been released by the Gertrude Tapes, Weird Forest, and Denovali labels, among others. Clear vinyl LP with gorgeous, full-color, matte-finish jackets and poly-lined inner sleeves. Mastered for vinyl by James Plotkin. https://rrill-bell.bandcamp.com/album/ballad-of-the-external-life	2021	€20.00
RUCHALSKI, EDWARD	Refined localities part one	mCD-R	Nr. 16 in der feinen Taalem-Reihe mit betörenden field-recording drones eines Newcomers.. “ Edward Ruchalski is an American soundartist who had some releases on Humbug before and also contributed to some Phonography.org compilations, together with people like Toy Bizarre, Eric La Casa or MNortham."Refined Localities Part One" is a 20min long track using field recordings and samples of string and percussion motor instruments Edward builds himself. You could compare this piece to some tracks of his previous CDR "Moveable Sites", maybe more focused on the droney side, like "a densely layered cake of droning sounds, carefully layered upon each other" as Frans de Waard wrote about "Moveable Sites" in Vital Weekly...” [press release]	2004	€5.00
S.Q.E. (SMOOTH QUALITY EXCREMENT)	Plastic Perpendicular Crevice	CD-R	12 tracks, almost 76 minutes. All live-material except one track. Very melancholic / isolationistic stuff, but also a cosmic-chaos otherworld appears, and great pure mysterious sound-scapes with hallucinative percussion, eerie dronescapes that suck you in - maybe forever... everything can happen after you entered this excremental world! SMOOTH QUALITY EXCREMENT for these recordings were: URE THRALL, PAUL LOCASTA, THE FRUITLESS HAND (the project is now continued as S.Q.E. by The Fruitless Hand alone.... compiled & mastered by URE THRALL 2006 "The NEWEST material from Ure Thrall, The Fruitless Hand and even our old pal Paul Locasta. Features special personal outtakes and cut-ups!" [label info]	2006	€10.00
SALA	En-trance	CD	Zweites Album dieses Projekts auf AUTARKEIA, dem litauischen Label. Wilder und perkussiver als „Shcut ente..“, werden hier schamanistische Tänze & Ekstasen aufgeführt, alles handgespielt und ungeordnet, Blasinstrumente, beschwörende Vocals & Geschrei.... im gleichen Geiste wie Z’EV, 23SKIDOO, alte PSYCHIC TV, aber auch VIBRACATHEDRAL ORCHESTRA oder wilde MAEROR TRI oder rituelle HYBRYDS kommen einem in den Sinn... und wieder duftet die CD nach MANDELN. “En-trance” was recorded, but still wasn’t released by the magic-practising artists almost a decade ago. This album compiles two lasting live-recorded tracks. Ritual pulsing, archaic sound of wind instruments, deep-dark “ambient” and surrealistic, unexpected music bends immersing the audience to the swirl of phantasmagoric moods. There are some movies classified as of the “noir” stylistics, the main feature of which is highly forcible and strong atmosphere. If the records also have the classification of the “noir”, “En-trance” could be considered one of the most emphatic works of this style. Emotions generated by the “En-trance” music could be compared with the psychedelic atmosphere of the first albums of NWW, Hybryds. Interesting record and mystic ritual having sustained the challenge of social disregard during the years. Album's tracks listing: 1. neophile gets ex-sited 2. and now s-he starts laughing Album lasts for 40 min. 36 sec. It’s packed in a nontypical black plastic DVD case. Limited edition 500 copies. CD is covered with special lackuer which smells like an almond.“ [label info] www.autarkeia.org	2005	€12.00
SASAJIMA, HIROKI	Bells	CD-R	"Bells is an Evening Record. The deep of its sound travel us toward a landscape and a situation directly. It is a record that supposes an experience on listening, a compromise with hearing. Images float, changing in a record with a beautiful narrative. The trip, the steps and tension appears clearly in this process that means to listen to this record. It is an unique track of long haul. It is not a fleeting record. It is a record-experience. I have the chance to make listen to Bells to my pupils of twelve years old, as an exercise of writing. And this is one of the very beautiful results: “It presents a picture of me walking with Hiroki headwind in a field close to nothing. Like night, also appears to be near a route by traffic noise. In a moment it looks like rain and another seems to pass a train. The noise is constant. The combination of constant andsound recordings is perfect. I think Hiroki Sasajima walks through puddles. It was a very good piece of work why is good at drawing on white paper. Evening Bell is the perfect title.Hiroki I imagine abandoning any idea where he is recording all the sounds you hear. This is very good to use your imagination. With this work Art you can imagine many things.” " [Bernardo Durand] www.ahoraeterno.com.ar	2011	€12.00
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
	Meteora	CD	Hailing from the Los Angeles underground of the 1980s, Savage Republic forged an astonishing reputation for themselves as art-punk and industrial pioneers with their legendary performances. Their brand of ritualistically tribal exhibitions blurred the boundaries of Post-Punk and Industrial music. Their music incorporates minimialist bass rumbles, exotic and/or militaristic drumming, Arabic melodies, alternate tunings, primal chants and even a bit of surf guitar. Savage Republic released four full length albums in the 1980s, plus several live records and compilation tracks. 1989 everything went quiet as the republic scattered to pursue other interests and their labels and distributors folded. After reuniting in 2002 for a brief U.S. tour supporting the boxed-set reissue of their five studio albums by Mobilization Records, several of the members began sharing ideas for new songs, reviving the band officially in 2005. In 2006/2007 Savage Republic added drum professor Alan Waddington (the Unforgiven) to the line-up and released "1938" on Neurot Recordings, the band's first studio recording in 18 years. The limited edition "Siam" EP was also released on Neurot Recordings featuring alternate mixes of some of the "1938" material. With their first full-length album in seven years, Savage Republic return with some of their best work yet! Self-recorded in a secret cavernous location, their mix of tribal textures, political anthems and Morricone-esque surf instrumentals once again transport the listener to faraway lands at turns both sinister and beautiful. One of many highlights of "Meteora" is the pandemic inspired piece "Unprecedented"written by Wire's Graham Lewis that is sure to become a staple in their set list. This longest-lasting lineup of Thom Fuhrmann, Ethan Port, Alan Waddington and Kerry Dowling have infused all the power of their legendary live performances into a cinematic sonic dreamscape. "Very few artists can stand as being actually unique. Artists who make sound that fills the holes in your soul that nothing else touch. Savage Republic is one these very few. As a founding member of Neurosis I can say that we are very aware and vigilant of all things that happen around us. There is no tolerance for disruption in our ritual. For the last 13 years we have played one band and one band only for our preshow music, Savage Republic is the soundtrack that sets the tone for whats to come and what existed before." - Scott Kelly / Neurosis https://savagerepublic.bandcamp.com/album/meteora	2021	€14.00
	Tragic Figures (40th Anniversary Edition)	do-LP	Savage Republic: Tragic Figures (Expanded 40th Anniversary Edition) (Red Vinyl Edition) 2LP-Set Regular Version Welcome to the world’s first (and only) post-punk-industrial-trance-psychedelic-surf album! The fact that it took us so many adjectives to describe Tragic Figures lets you know just how unique of an album it is. Sure, there are echoes of other artists, like krautrock legends Can, post-punkers Public Image Limited (Savage Republic opened for PiL on their 1982 West Coast dates), avant-garde guitar players like Glenn Branca and Rhys Chatham, scrap metal industrialists Einstürzende Neubauten, and Bay Area sludgecore nihilists Flipper—but really, this unlikely product of (mostly) UCLA undergrads sounds like no other record before or since. And only adding to Tragic Figures’ mystique are its graphics, which displayed band co-founder Bruce Licher’s trademark letterpress printing and featured a UPI photo of rebels getting executed in Kurdistan, the ghostly images sharing space with a red lettering that gave the album’s title in script that roughly translated “tragic figures” into Arabic (which, in turn, had the unexpected effect of drawing more Iranian and Middle Eastern people to their shows)! Tragic Figures wasn’t just a bold musical statement; it was an objet d’art in its own right. For its 40th anniversary edition, we at Real Gone Music worked with Bruce Licher to preserve and expand on the magical, talismanic quality of the initial release. The original album has been remastered from the original tapes by Mike Milchner at Sonic Vision, while both the CD and LP editions both boast an extra disc of largely unreleased rehearsal recordings taped in the bowels of UCLA parking garages, where the band used to practice to take advantage of the extended reverb afforded by all the concrete surfaces (imagine being an unwitting undergrad happening upon this unearthly din coming out of nowhere)! Richie Unterberger’s liner notes feature interviews with band members Licher, Philip Drucker, and Jeff Long, and the LP comes with the original cover graphics expanded into a gatefold jacket pressed in heavyweight “chipboard” paper stock. Finally, the LP pressing is in red vinyl limited to 2000 copies. Clear your calendar and set aside a couple of hours to listen to Tragic Figures…you won’t end up where you started. Disc One Side One 1. When All Else Fails… 2. Attempted Coup: Madagascar 3. The Ivory Coast 4. Next to Nothing 5. Exodus Disc One Side Two 1. Machinery 2. Zulu Zulu 3. Real Men 4. Flesh That Walks 5. Kill the Fascists! 6. Procession Disc Two Side One 1. Attempted Coup: Madagascar 2. When All Else Fails 3. Kill the Fascists! 4. Real Men 5. The Vampire Bites 6. Next to Nothing Weirdness 7. Thee Three Preserves Disc Two Side Two 1. Sliding into Arabia 2. As It Was Written 3. Procession (Into the Light) 4. Exodus https://realgonemusic.com/products/savage-republic-tragic-figures-expanded-2-lp "Die erste legendäre LP von 1982 der damals als "Art-Punk" gehandelten kalifornischen Band, die auch politisch radikale Wege ging, ihren eigenen "Staat" gründete und mit eigenem Label & Druckerei versuchte so unabhängig wie möglich zu bleiben... TRAGIC FIGURES vereint auf unnachahmliche Weise aggressiven Industrial-"Rock" und politische Agitation (so z.B. im Stück "Kill the Fascists"), sehr perkussiv & tribal und oft mit Metall- oder Schrottschlagzeug und gebrüllten Vocals, aber auch eine psychedelisch-trancig "ethnische" Note ist hier bereits vorzufinden... was sich später zu ihrem unnachahmlichen oriental angehauchten Wüsten-Rock entwickelte..." [Drone Rec. 2002]	2022	€55.50
	Tragic Figures (40th Anniversary Edition)	do-CD	Welcome to the world’s first (and only) post-punk-industrial-trance-psychedelic-surf album! The fact that it took us so many adjectives to describe Tragic Figures lets you know just how unique of an album it is. Sure, there are echoes of other artists, like krautrock legends Can, post-punkers Public Image Limited (Savage Republic opened for PiL on their 1982 West Coast dates), avant-garde guitar players like Glenn Branca and Rhys Chatham, scrap metal industrialists Einstürzende Neubauten, and Bay Area sludgecore nihilists Flipper—but really, this unlikely product of (mostly) UCLA undergrads sounds like no other record before or since. And only adding to Tragic Figures’ mystique are its graphics, which displayed band co-founder Bruce Licher’s trademark letterpress printing and featured a UPI photo of rebels getting executed in Kurdistan, the ghostly images sharing space with a red lettering that gave the album’s title in script that roughly translated “tragic figures” into Arabic (which, in turn, had the unexpected effect of drawing more Iranian and Middle Eastern people to their shows)! Tragic Figures wasn’t just a bold musical statement; it was an objet d’art in its own right. For its 40th anniversary edition, we at Real Gone Music worked with Bruce Licher to preserve and expand on the magical, talismanic quality of the initial release. The original album has been remastered from the original tapes by Mike Milchner at Sonic Vision, while both the CD and LP editions both boast an extra disc of largely unreleased rehearsal recordings taped in the bowels of UCLA parking garages, where the band used to practice to take advantage of the extended reverb afforded by all the concrete surfaces (imagine being an unwitting undergrad happening upon this unearthly din coming out of nowhere)! Richie Unterberger’s liner notes feature interviews with band members Licher, Philip Drucker, and Jeff Long, and the LP comes with the original cover graphics expanded into a gatefold jacket pressed in heavyweight “chipboard” paper stock. Finally, the LP pressing is in red vinyl limited to 2000 copies. Clear your calendar and set aside a couple of hours to listen to Tragic Figures…you won’t end up where you started.	2022	€30.00
	Live in Wroclaw January 7, 2023	do-LP + 8	"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
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
SCOTT, SIMON (SIMON SCOTT)	Navigare	LP	"This is the debut full-length release by the UK's Simon Scott. Scott has had a notable musical past: in the early '90s he was the drummer for the renowned shoegaze band Slowdive. Upon leaving Slowdive, he formed the more electronic-based group Televise. He also set up his own label, Kesh Recordings, and has so far released titles by the likes of Hannu, Sebastian Roux, Aus and Mark Templeton. More recently, Scott has been involved in several diverse projects, including his work as a member of Seavault (with Antony Ryan from Isan), and collaborations with Machinefabriek, Jasper TX and Emmanuele Errante. With Navigare, there are shades of Scott's previous output and musical interests, but as a whole, the album marks a bold new direction. Navigare opens with "Introduction Of Cambridge," a shimmering wall of sound, its ethereal tones and slow-burning drones gradually drawing closer and closer, creating gorgeous uplifting melodies and textures. The processed guitar combined with gentle swathes of interference and underlying rhythms echoes the processes of Chain Reaction's productions as much as it does the screeching, arcing feedback lines of Kevin Shield's guitar work. Navigare shares an affinity with the melodic content of Fennesz's work, the dark beauty of Tim Hecker's sound, and houses elements of the restraint found in Andrew Chalk's drone compositions. What really devastates here is Scott's ability to merge ambient passages with such memorable melodic cycles, taking the simplest of ideas and building on them, generating murky hooks and submerged "riffs." Scott explores textures using a variety of instruments including sitar, violin, cello, and flute, merging them with excerpts from field recordings; it all sounds so effortless. The looping rhythms and slow guitars rise and grow, at times approaching something oppressive; select pieces such as "Flood Inn" house an underlying weight, comparable to Justin K. Broderick's Jesu and Final projects. Perhaps the hazy drums, bass and guitar drift of "The ACC" presents the most recognizable of stylistic qualities from Scott's back catalog; a groove that recalls the Souvlaki-era sound in all its glory, re-imagined in a new, darker and more expansive form. Additionally, a guest appearance from label mate Jasper TX, a vocal contribution from Moskitoo, and a track co-written with Rafael Anton Irisarri, adds even more depth to Scott's already ambitious vision." [label info] www.myspace.com/o3o3o "Ah, Miasmah! After the likes of Elegi, Jacazek, and Kreng, we're pretty much automatically interested in any new release on Norway's Miasmah label. Like this one. Add in some bits of trivia, like that Scott was once the drummer for shoegazers Slowdive, and that this disc features a guest cameo from another Miasmah artist we love, Jasper TX, and we're already pretty intrigued. We also weren't at all surprised, but certainly pleased, by the gentle swells of ambient sonics that seep sleepily from the speakers when one hits play. The first two tracks, "Introduction Of Cambridge" and "Under Crumbling Skies", are blissfully replete with quiet hum and shimmering textures, forming into and out of drifting diaphanous melodies, blurry and melancholic. Some sparse, slowed down drum skitter adds a touch of Bohren to the proceedings in the first track, while the second employs a glorious chorus of angelic drones, that graces one's ears again and again throughout the disc. Then, suddenly upping the volume, the third track "Flood Inn" seemingly enters into a subterranean realm full of soft fuzzy distortion. Quasi-industrially rhythmic, with a distant tolling bell heard amidst the crackle, this is ambience of the heavier (but not harsh) variety, almost like something from a Nadja or Jesu album. Having given warning of a more sinister side, the disc continues on, with seven tracks more, being a beautiful blend of dreaminess, drone and distortion. There are almost pop songs hidden here, with buried rhythms and barely-there vocals (in one instance contributed by 12K's Sanae Yamasaki, aka Moskitoo), electronic treatments rendering the sound sources (guitar, sitar, violin, cello, flute, field recordings, voice, ???) all one lush, hushed, beautifully bleary, gorgeous warm bath of song-like drone... It's a moodier, shoegazier take on Pop Ambient perhaps, certainly something that fans of Tim Hecker, Fennesz, Final, Jasper TX, and of course those other Miasmah wonders should check out!" [Aquarius Records]	2009	€18.00
	Insomni	CD	"Couldn't sleep arose to forage for sound. The hum of the fridge encouraged further investigation of hidden, domestic sounds; the fish tank, dvd player, a broken laptop Dawn and morning light allowed more sound and the guitar, in its case, beckoned From darkness to light Guitars: Guild 12 string D-125 & Vintage Guild 6 string GF-25. Mics: Induction coil pick up & Hydrophones. Buddha Machine pre-recorded and mixed, then re-recorded at Holme Fen Posts using mobile speakers. Recording device: Edirol r-09. Radio: static between stations. Software: Max MSP (self-programmed), Supercollider & Logic Pro. Simon Scott (b. 1971) is a British multi-instrumentalist who is currently based in Cambridge, UK. Insomni is his fourth album and his debut for Ash International and is published by Touch. His music is a fusion of digital signal manipulation combined with an aesthetic of compositional collaboration with environmental sounds and organic acoustic textures. He is inspired by his interests in sound ecology, music technology, the natural world, illustration, photography, composition and sonic art. Below Sea Level, originally presented live in quadraphonic sound, was released on Touchline in March 2015, after 12k originally released the album in 2012 as an 80-page journal and seven track CD. It explores the aesthetics of active listening, sound ecology and the subjective distinction of compositional materials and sound timbres. Critically applauded for creating juxtapositions of analogue and digital timbres, the man-made and natural world sounds, captured in his local sunken landscape of The Fens in East Anglia, create a fusion of digital signal manipulation combined with organic acoustic textures. Since the late 1990's Scott's solo work has been featured in a variety of international films, sonic art exhibitions, dance productions, television productions and digital multi-media projects. He has toured worldwide since 1988 and he is the drummer for UK band Slowdive, who worked with Brian Eno on 1993 'Souvlaki' album. His track 'Für Betty' was included on the German label Kompakt's 'Pop Ambient' (2014) compilation series and his solo music has also been previously released on recording labels 12k, Morr Music, Miasmah, Sonic Pieces and Ghostly International. Scott is also a freelance composer and sound recordist for film and television and recently appeared on the BBC program 'Springwatch Unsprung' recording aquatic wildlife and discussing his work with presenter Chris Packham. He has taught Music Technology and sound recording in Cambridgeshire and lectured at Cambridge University. In 2008 he established the KESH recording label, releasing global artists audio and visual projects and he has also collaborated on various projects with Taylor Deupree, Nils Frahm, Machinefabriek, The Sight Below, Isan and James Blackshaw." [label info] "There are people who know Simon Scott as member of the renown shoegazer band, Slowdive. I have, unfortunately, never got into their music during their reign (even now I can see Rafael Anton Irisarri glaring down at me for this comment). I have, however, come upon Simon Scott's music back in 2009, where, for the first time since his playing drums for Slowdive, he has ventured out to release a solo album. Since then, Scott's music appeared on many of my favorite labels, such as Miasmah, Low Point, Slaapwel, and even 12k. Scott also runs and releases on his very own imprint, Kesh Recordings. His latest full length, Insomni, lands courtesy of Ash International, a long running outlet for Mike Harding, who is already busy with curating releases for Touch. Insomni opens up with a slowly rising guitar strum slash drone slash noise, perfect as a soundtrack for my early morning walk, as I step out towards a lethargic and barely visible sun. The volume ascents with the climbing star, and soon envelopes every cell of my body. Gentle ambient soundscapes are intermixed with growling distortion, and it is this cocktail of dynamically opposing sonic vibrations that awakens my neurons, and a smile creeps in. The thunder eventually dissolves into a field recording of chirping birds, and Scott's guitar chords tell their story. Those awakened in the midst of night will recognize this texture of insomnia, mixed with fleeting thoughts within an empty chalice of a mind, and distant sounds of the universe unfolding on its own... all on its own... Couldn't sleep... arose to forage for sound. The hum of the fridge encouraged further investigation of hidden, domestic sounds; the fish tank, dvd player, a broken laptop... Dawn and morning light allowed more sound and the guitar, in its case, beckoned... From darkness to light… -Scott Insomni pursues its tale through a set of repetitious passages, shimmering light and lo-fi fabric. These are accented with environmental sounds (including the pickup of a cellular electromagnetic interference), wrapping this reverse lullaby into an organic aural pillow of music to wake up to. My favorite moment on the album enters with Scott playing his acoustic guitar (the press release credits a Guild 12-string D-125 and Vintage Guild six-string GF-25) - this is where Scott's talent as a multi-instrumentalist truly shines - it feels like Simon Scott is all this music, all these sounds, all this one. This is a beautiful record to add to your collection, and if you buy directly from the label you will receive two bonus tracks not available anywhere else. Highly recommended for fans of Rafael Anton Irisarri, William Basinski, Lawrence English and Christian Fennesz." [headphone commute]	2015	€15.00
SEMPERVIRENS	Dirge of the dying Year	CD-R	"Few individuals have mastered the art of soundscaping to a similar degree to the Estonian ambient artist Margus Mets, aka Sempervirens. His, largely unreleased, output of 6 full length albums and numerous other uncompiled material has been an exemplary effort to create soundworlds where boundaries are only set by the imagination of the artist, and where field recordings, deep drones, distant transmissions of some classical music broadcast, or even acoustic guitar breakdowns are found under precise multi-layering , flowing seemlessly as if they were never separate in the first place. "Dirge Of The Dying Year" uncovers eight realms filled with unfettered beauty and pure thought, eight worlds stretching out as the eight fatal directions of the compass, all engulfed under an insatiable fog. Somewhere between Biosphere's "Substrata", Northaunt's "Barren Land" and the early recordings of Brian Eno, "Dirge..." is the last and most mature recording of the Sempervirens catalogue, and a promise to far greater things in the future." [label info] www.newagedawn.co.uk	2008	€8.00
SERRIES, DIRK	Microphonics XXI-XXV	do-10inch & CD	"with the conclusion of other remaining projects and collaborations, there’s no focus other than dirk serries’ ongoing exploration of minimalism. four years in the making and undoubtly fuelled by his 2009 debut and previous mainstays vidnaObmana and fear falls burning, this second microphonics studio album is a heartbreaking symphony of echoing themes, wailing overtones and beautiful desolation. microphonics xxi-xxv, subtitled ‘mounting among the waves, there’s a light in vein. the burden of hope across thousands of rivers’ does hint towards an emotional statement, one that boldly goes beyond what previously achieved. microphonics xxi-xxv will be out on march 16, as a limited edition double 10inch in a numbered gatefold sleeve (150 copies on white vinyl, 300 copies on black vinyl), complete with a cd copy of the album, and a cd in a deluxe mini album gatefold sleeve." [label info] www.tonefloat.com "At the end of 2008 microphonics I - V saw the daylight. Time has come for Dirk Serries to play music under his own name and say good-bye to his alter-egos vidnaObmana and Fear Falls Burning. The design of that album was minimalist in structure. Quiet guitar patterns built up and flowed away and a calm, meditative ambient atmosphere with adventurous harmony was created. Five live albums and a 10 " were released at Tonefloat. Meanwhile appeared the last album of Fear Falls Burning, what can be called a stunning album, which led to an acoustic aftershock of an era ended. For more than four years later arrived the second studio album by the musical project microphonics, microphonics XXI - XXV with the subtitles Mounting among the waves, There's a light in vein, The burden of hope and Across thousands of rivers, which are the titles of the four tracks on the album. Elements of Fear Falls Burning, vidnaObmana and of course microphonics can be found in the compositions. The sound of the guitar is dirtier, unpolished, seeking feedback and underneath the many layers of repeating sounds in which Serries is a master. The discrepancy between the heavy bass lines, distorted guitars, layered chords and delicate strumming seek each other, collide and blend together. Cheerfulness is hard to find in this album. It is true quest in which somewhere hope flickers. In this way the album ends with open chords and a rolling drone. The album is a pleasant surprise twist in the microphonics project, in which the ambient atmosphere reigned supreme. The double 10?is coming out with a book of city photography of Martina Verhoeven, the partner Dirk Serries. She plays bass in 3 Seconds or Air (a side project of Dirk Serries) and is responsible for the cover photography of Serries. The photography of the book, I haven?t view it yet, but given the pictures I've seen her before, it will be aesthetically pleasing and appropriate to the album. Often there is a desolate atmosphere in carefully composed black and white photos. Tonefloat knows to release another wonderful compilation of image and sound, which is a delight for the eyes and ears."(JKH/Vital Weekly]	2013	€27.50
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
SIGHTINGS	Terribly Well	LP	"The noise rock parade that defies definition, set out on a mission of pure volume worship that is the post-decade pilgrimage of NY-based Sightings. After eight instinctive albums, the Sightings guys show no mercy with endless annihilation of their newest material on Terribly Well. All parts destruction measured against their abrasive songwriting. Jagged, collapsing rhythm based mayhem, guitars that can be mistaken for a freight train being ripped for scrap metal, only to be held together with panic stricken bass patterns that keep their voice from the edge of insanity. An accessible album for the unacceptable; their finest record to date. Each song saws through the humanity, taking no hostages with this hectic industrial rock masterpiece. Edition of 500." [label info] www.daisrecords.com	2013	€20.00
SIL MUIR (ANDREA MARUTTI / ANDREA FERRARIS)	same	CD	"Diophantine Discs is pleased to announce the release of a new CD... Sil Muir - Sil Muir. Italy's Sil Muir presents to us here their first full-length work. It is a beautiful, yet melancholy, hour-long recording carrying us along that sleepless journey from dusk 'til dawn. Powerful and gentle drones shudder and shimmer through these four dense and amazing tracks. Sil Muir is the collaboration between Andrea Marutti (Amon, Never Known, Afe Records) and Andrea "Ics" Ferraris (Ur, Airchamber3, Ulna). Their only previous appearances are a lengthy compilation track on Transf.Order and a collaboration with Horchata on taâlem. Housed in a custom printed color wallet. Edition of 500 copies." [label info] http://discs.diophantine.net "A mighty fine disc of dark drones, ambient and a totally isolated feel." [FdW / Vital Weekly]	2009	€12.00
SILENCE & STRENGTH	Das Haus zur letzten Latern. A Tribute to Gustav Meyrink	CD	"Das ganze Sein ist flammend Leid". Exzellenter esoterischer dark ambient mit gewissen folkigen Elementen aus Israel, mit einem Tribut an GUSTAV MEYRINK (Verfasser von DER GOLEM und DER ENGEL VOM WESTLICHEN FENSTER). Dreizehn Stücke mit hinunterziehender Sog-Wirkung, unheimlich & entrückt. Grundlage bilden Synth-Drones & flächige Gitarren, aber auch diverse Instrumente kommen gekonnt zum Einsatz. Vokales Material erscheint als rückwärtiges Geflüster & Gewisper, subtile Ethno-Perkussion taucht auf, und irritierende Geräuscheffekte verbreiten eine klaustrophobische Stimmung. Dazu kommen v.a. zum Ende hin einige Überraschungen, z.B. ekstatische Klezmer Folk Stück mit Gesang... die gespenstische Atmosphäre der Bücher wurde hier hervorragend herausgearbeitet, das ganze sehr professionell produziert, kein Klang sitzt hier an der falschen Stelle.. für dark ambient & Soundtrack-Hörer ein echte Entdeckung !! Kommt wie immer bei HORUS aufwendig verpackt, im Kunstpapier-A5 Umschlag & mit 2 Booklets ! "Silence & Strength is a project created by a talented Israeli musician Stephan Friedman. Interfusing noise, drone, glitch and experimental dark ambient he creates soundscapes in a highly structured and ritualistic way. Secret musical spaces of Silence & Strength will enchant those who feel that there is too little sounds around them and who want to know them all. Silence & Strength joined HORUS CyclicDaemon in 2004 on "100th Anniversary of Liber AL" compilation with the track "Secret Name". Since then Stephan has been working on a special album to be published at HORUS CyclicDaemon. The album will be a tribute to the works of an extraordinary writer Gustav Meyrink. Gustav Meyrink has long attracted readers for his masterful stories, examining the supernatural, the macabre, the spiritual, and the occult. With complex and ambitious novels, such as "The Golem", "The Green Face", "The Angel of the West Window", and "The White Dominican" Meyrink intertwines past and present, dreams and visions, myth and reality in a world of the occult, culminating in the transmutation of physical reality into a higher spiritual existence." [label info] "The sound is great and it is composed by hundreds of different layers that keep the listener's attention always awake. With a crisp production this album is a great "movie for your ears"..." [Chain DLK] www.horus.cz	2009	€15.00
SILVERMAN	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
SINKE DUS	Modus Vivendi	CD	Sweden's enigmatic musician Marcus Lönebrink returns after a long hiatus with his follow-up to the highly acclaimed album "Akrasia" (Cyclic law 2007). "Modus Vivendi" continues his introspective sonic pilgrimage into the vast terrain residing in the intermissions between failure and salvation. Contemplation of stasis as a way of life leads into a paradox: beneath the dormant surface of fossilised and frozen inner landscapes, underlying movement continues to stir. Relying on the inner compass to navigate, the attentive explorer discovers that the black veil of stagnation is in fact a perception that may be lifted, offering a glimpse of truth and strengthening the will to forge on. Paired with exquisitely detailed artworks by Viktor Kvant and featuring a collaboration track with Pär Boström of Kammarheit, Lönebrink's vision comes to life, and Modus Vivendi serves as an enduring reminder that stagnancy may not always be what it seems. Edition of 300 copies in 6 panel Digipak. 7 Tracks. Running Time 48:51 https://cycliclaw.bandcamp.com/album/modus-vivendi	2024	€14.00
SKARE	Solstice City	CD	Fünfte Veröffentlichung auf dem Label welches sich den "eisigen Landschaften" verschrieben hat. SKARE ist ein schwedisches Trio mit MATHIAS JOSEFSON (besser bekannt als MOLJEBKA PVLSE), die ihre Dronescapes unter dem Gesichtspunkt des Kreislaufs der Aggregatzustände von Wasser (zu Gas & Eis & Schnee) erstellt haben. Dementsprechende field recordings werden verarbeitet, leichter Instrumenteneinsatz (Piano) sticht hervor, aber auch der Schnittpunkt von Natur & Stadtleben gerät in den Fokus... die narrative Komponente wirkt sich aber nie störend auf die "deep drones" aus, sondern wurde geschickt verwebt... für Fans von THOMAS KÖNER, TOY BIZARRE, MICHAEL NORTHAM, etc.. "Skare is the collaboration of Mathias Josefson (Moljebka Pvlse), Fredrik Olofsson and Per Åhlund. The members of Skare are all fascinated by the circulation of water, snow and ice. The metamorphosis from gas to floating liquid to snow to solid ice through freezing, the light reflecting from the snow and filtered through the ice as a prisma and - most of all - the sound of this ever ongoing circle. Skare's first album, Solstice City, is an interpretation of a journey through a shifting landscape where the city meets nature. Departing from a distant and foreign shore, the traveller embarks a ship, uncertain of his destination. This prelude, introduced vividly in "To the other shore", releases this pilgrim to further explore yet unchartered territories. Leaving all man-made conventions, the second track "Through Wind and Broken Ice" takes us where the city imitates nature. Finally, a factory appears in the whiteout; a place where angels are manufactured as presented in the final track "The Snow Angel Factory"...The vehicles used by Skare on this journey are field recordings, found sounds and treated and manipulated instruments." [label info] www.glacialmovements.com	2009	€13.00
SKULL DEFEKTS	Blood Spirits and Drums are singing	CD	"Blood Spirits & Drums Are Singing is The Skull Defekts first record recorded in a professional studio. It is also their first one for the avant rock sound, previous releases included heavy sound experimenting, doom variations and electronic noise stuff. It is all about the rhythm. The circle, repetition. The sound. The noise. Sweat. Funk. Sex. The Skull Defekts sound is a beast going for your brain, feet and the place in between. Beware. The Skull Defekts was formed by Henrik Rylander and Joachim Nordwall in early 2005 when Nordwall's band Kid Commando decided to end their eight-year carreer as knights of the sweatiest avant rock existing. Rylander had been experimenting with feedback for a few years after the death of the infamous Swedish garage rock outfit Union Carbide Productions where he was the pulse, rhythm and founding member. Quickly they teamed up with legend Jean-Louis Huhta who's been a key character in the Swedish underground music scene since the mid 80's, and the quartet was complete when Daniel FagerstrÃ¶m joined after Eric Olofsson left the band after the recording of Blood Spirits & Drums Are Singing. Inspired by bands like Section 25, Lungfish, PiL, 23 Skiddoo, Arthur Russel, Cabaret Voltaire, A Certain Ratio, Brain Bombs, dub, noise, funk, and tribal ritual drumming ' The Skull Defekts are kings of their own sound. And my god. The sound." [label info] www.conspiracyrecords.com	2007	€13.00
SKULLFLOWER	Kino IV: Black Sun Rising	CD	"Rounds up the first three 7" releases on Shock, Majora and Forced Exposure, the bonus track from The Portable Altamont (1991) compilation, plus six previously-unreleased tracks, including three from the Xaman sessions. A disc of total rock! Finally available, after almost two years of driving Dirter & Shock to the brink of insanity -- a massive 4CD retrospective of Skullflower's early works from 1986-1990, featuring all the material previously released on Broken Flag, Shock, Majora and Forced Exposure, plus around two hours of previously-unheard music -- 14 tracks spread across the series. And this is not "out-take" dross used to fill up CDs, this is essential early Skullflower providing further insight into their uniquely twisted musical world. All material has been digitally mastered by Richard Whittaker at FX, and each CD comes in a deluxe gatefold card cover and inner sleeve with newly-unearthed artwork by Matthew. Booklets feature extensive notes and previously-unseen flyers, posters and photos." [label info] www.dirter.co.uk "This long in the works reissue campaign has had aQ staff and aQ customer Skullflower nerds freaking the fuck out. Four, count, em FOUR reissued rarities! On the last list, we reviewed reissues of both Skullflower's very first 12"ep Birthdeath, and their first proper full length Form Destroyer, both absolute psychedelic noise rock crushers. But that was only the beginning. Since most Skullflower fans were already super familiar with those records anyway, it was more a chance to revisit, as well as preach the gospel of early Skullflower to the uninitiated. But it's the other two reissues that might be the most thrilling. Elsewhere on this week's list, you'll find a review of Xaman, Skullflower's 1990 second album, one that due to a manufacturing defect found most copies eventually rendered unplayable, and thus essentially unheard for decades. And then there's this one, a singles comp, hopefully the first of many, gathering up three different singles, originally released on Majora, Forced Exposure and Shock, and the crazy thing is, even the Skullflower freeks here, had only ever actually heard ONE of em! So that alone made this totally essential. But in addition to those singles, there are also SIX previously unreleased tracks, as well as Skullflower's three contributions to The Portable Altamont compilation (which also featured such noisy luminaries as Coil, Current 93, Nurse With Wound, and Drunks With Guns), all of which add up to some of the filthiest, noisiest, most pummeling, tranced out, knuckle dragging, psychedelic krautrock-style dirgery you've every heard. Cuz really, for all the skree and crunch, all the noisy churn and caveman pummel, most early Skullflower jams are stretched out hypnorock sprawls, albeit constructed from crumbling superdistorted bass, wild tangles of angular melody and shards of noise guitar skree, and some surprisingly motorik drum bashing... The only one of the three reissues that's sort of new, begins with the weird choice of starting not with any of the previously released 7" tracks, but instead, a double shot of unreleased rarities, the opener "Night Tripper" as good as anything SF was doing at the time, squalls of feedback, thick, blown out riffage, damaged drumming, yowled, buried in the mix vox, super murky and hypnotic, which leads right into "Kasso's Blues", which is loping and lumbering, a sort of detuned atonal main riff, and some garbled vox wrapped around tribal beats make it sound like some super obscure, super wasted Butthole Surfers jam. The aforementioned single, the only one we HAD heard, is the "Rift / Avalanche" single on Majora, and it's some of our favorite Skullflower, smoldering, brooding, dirgey, but sorta dreamy, a locked minimal rhythm, buried vocals, and then long arced tones, super mesmerizing and so epic, the 'flipside' though is a wild nois drenched heavy psych freakout that looks forward to groups like Rusted Shut. The Forced Exposure single delivers one part noisy Dead C style plod rock freakout, and one part billowing psychedelic space out, while the Shock single is super swaggery and dirgey, the recording muted and murky, total cave like rehearsal style sound, but it suits them, the second half getting downright rocking. After that, there's the awesomely titled "Bo Diddley's Shitpump" , which might be the most bloozy of the bunch, as is hinted at by the title, but it's more like Pussy Galore style blues, tangled up with some Swans and some Hawkwind, and with a hint of mutated AmRep style bash and howl. "Against Everything (A Guide To Canine Foreskin Retraction)" sounds like a Crash Worship record on Shock, wild dense tribal drumming, wreathed in a cloud of flanged shimmer, wah wah splatter and spidery tendrils of tangled guitar melody, and girded by some strange industrial whirring buried in the mix. "March Of The Lemmings" is all garage blooz swagger, with echo drenched vocals and a thick chugging main riff, even some bleating horns, everything dubbed to high heaven, and then wrapped in a spider web of noise guitar skree, and finally closer "The Punk Rock Song" is about as punky OR poppy as SF get, but they manage to fuck it all up and douse it in just enough noise to keep it interesting... Holy shit, so much amazing, twisted, noisy sonic genius. As far as we're concerned all four of these Skullflower reissues should have /could have been Records Of The Week, but forced to pick one, t had to be Black Sun Rising. But seriously, who are we fooling, you NEED all four!!! Nice packaging too, mini gatefolds, printed inner sleeves, and a booklet with reproductions of the original 7" covers." [Aquarius Records]	2013	€15.00
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
SLOAN, JASON	Deluge	CD	If we have any StillStream fanatics here chances are you might remember this performance, which originally streamed live on the Sadayatana show back in 2011. Although then presented without title, Jason intended for this piece to capture the aftermath of our world after having suffered through a grand deluge. gterma are very happy to bring back to life again this emotional recording. Jason has also kindly composed for us a brand new epilogue which now closes the album. Comes in jewel case with 16-page booklet. gterma021to040.blogspot.com/p/gterma039-jason-sloan-deluge.html "Jason Sloan is a US-based new media & sound artist, electronic musician, composer whose sonic creations explores immateriality and its connection in memory, systems and the virtual world. “Deluge” contains his performance, which was originally streamed live on Stillstream’s Sadayatana program August 2011, which intended to capture the aftermath of our world after having suffered through a grand deluge. For the cd-release, the 60-minute dark-ambient recording though has been extended by a brand new epilogue which now closes the album. The continuous live-set is an inner world ambient affair drifting into ethereal lands as it smoothly changes shape and reveals intrinsic motion along the way. Headphones are essential to discover the many fine details and hypnotic realm embedded in the carefully molded, overtly minimalist atmospherics, which all received the balanced, delicate and refined mastering touch of Anders Peterson. The epilogue is a soft and warm soundscape wandering, opening up melancholic farscapes as it drifts and evolves onward. All in all, “Deluge” makes an impressive and imaginary ambient listen. Recommended. Website: www.jasonsloan.com" [Sonic Immersion] "In the case of “Deluge” by Jason Sloan we’re dealing with a recording of a live performance on StillStream Radio on the 5th of August 2011. From what I read in the booklet, the broadcast was transmitted in a non-legal (let’s not beat about the bush, just pirate) way in Baltimore and the surrounding area. Guerilla ambient – I like it. For many years, Jason Sloan has been bouncing on the edges of the ambient scene releasing several albums, most of them in his own label SloBor Media. Perhaps his contact with gterma will cause that he’ll reach this fifty or hundred people more – as for a minimalist ambient it’s quite much anyway, and the material contained on “Deluge” or rather “Live On Sadayatana – Deluge” indicates that the musician definitely deserves it. “Blue Star” is a long, slowly developing set of drones, bathed in soft sound haze. Torn from the impression of space-time and drifting aimlessly in the night sky. Although I may be wrong with this “space” term as it has a specific American taste. In my mind’s eye I see strange lights flashing in the sky over the Arizona desert, and in the back of my head the name of Steve Roach begins to form. At the beginning and at the end (not only in this piece) there are some pieces of radio transmission somewhere in the background, which further enhances the sense of non-existence and emptiness, where past, present and future meet. “ElevenEleven” continues this minimalist journey, where it ‘s difficult to talk about a destination. Although it seems like the music has taken a bit darker direction. As if somewhere in the distance a vortex of unknown provenance appears, absorbing everything it encounters on its way, no matter whether it is a material being or not. Oh, this music fits to my taste, oh it fits. Teetering on the verge of dark ambient but not throwing itself into the dark void, so that I should have advised Jason to send the music to Cyclic Law or Malignant. Low drones can be found in “The Fifth World”, but at the same time there is more contrast between them and the fetching synth melodies, so I have the impression that this track has the richest sound in the whole CD. “Deluge” is somehow the closest to “The Fifth World”; it’s added to extend the album’s length, but it is not a bad track, on the contrary. It sounds a bit better than the other ones, but not different enough that the album can’t be treated as a homogeneous journey into the unknown. As always in gterma releases, the booklet contains several atmospheric photographs, which in my opinion this time not entirely correspond to the images projected by my mind. But in fact this is a little thing that cannot affect my overall positive opinion. I would take such trips more often." [Santa Sangre]	2014	€13.00
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
SOUND_00 + LEFTERNA	Elementals: Collabs 2	CD	After a series of collaborative publications on multiple experimental labels, the duo of Toni Dimitrov (Sound_00) & Boban Ristevski (Lefterna) finds its 'Elementals: Collabs 2' conceptual release on Winter-Light. 'Elementals: Collabs 2' is an ambient/experimental release of deep drone contemplations and ambient exploration, good for deep meditative and learning sessions. 'Elementals' gathers together selected collaborative works from the artists Sound_00 + Lefterna. All tracks have previously been released separately on compilations from the labels Fall Into Void, Post Global Recordings, HNM Recordings, AOsmosis and Crna Zemlja. For this release on our Winter-Light label, the tracks have been completely remastered by Cruel Sound Works, adding a richer, more distinctive warm feel to each piece. Glass mastered CD comes in a 4-panel full colour digi pack. 7 tracks with a total running time of 77:23 mins. winter-light.bandcamp.com/album/elementals- collabs-2 "Quite some years ago, Sound_00, the musical project of Toni Dimitrov was an active force in the world of net labels and CDRs (this was before cassettes became hip again), but he disappeared for a while, for reasons I don’t know but I see his name popping up again and here he has seven pieces recorded in collaboration with Boban Ristevski, also known as Lefterna, and who, also many moons ago, wrote reviews for this rag. Apparently they have been working together for some time now, and released their work on compilations on such imprints as all Into Void, Post Global Recordings, HNM Recordings, AOsmosis and Crna Zemlja. Not that I heard any of these. This collection sees these pieces re-mastered by Cruel Sound Works, “adding a richer, more distinctive warm feel to each piece”. These are quite lengthy pieces of music, somewhere between seven and fifteen minutes, dealing with field recordings, processed and otherwise, and to which a bunch of electronics are added. There is a strong love for field recordings that contain a lot of water, rain, running taps or river streams; that sort of thing. By way of processing and adding effects and electronics it comes out as a deep wash of atmospheric drone music. I can’t say if these are now warmer than before, but they sound pretty much all right to these ears. There is the dash of reverb, set to a cavernous setting to suggest that spooky touch, which is something that you can find on all these releases, by this label, and in general with this kind of music. This is music that one should undergo and feel, rather than rationalize about. Like many of the other isolationist musicians it seems less about composing and more about letting sounds wander freely inside a bunch of sound effects but it becomes a very nice work indeed." [FdW/Vital Weekly]	2017	€13.00
SPARHAWK, ALAN	Solo Guitar	CD	Solo-Album des LOW-Frontmanns! Und er hat definitiv den "Drone-Blues", einiges erinnert an RAFAEL TORAL, es gibt reine schillernde drone-fields, die aber immer wieder unterbrochen werden von einsam-bluesigen Notes oder Solos, aber auch von heftigeren Ausbrüchen..... "Alan Sparhawk is best known for his work in his minimalist-pop band Low & his angst-ridden-blues band The Black-Eyed Snakes. His solo guitar-work follows sounds hinted at on songs like "Do You Know How To Waltz" or the Songs for a Dead Pilot version of "Will the Night". Reverb driven ambient guitar experiments like other Silber artists Remora, Aarktica, & Mike VanPortfleet." [label info]	2006	€12.00
SPHERICAL DISRUPTED	25 (Past)	do-CD	Back in 1995, the first Spherical Disrupted tape release "Zerschellt, zersplittert" was published. 25 years later it is the best occasion to celebrate this long time span and that will happen with the new release "25" involving a lot of invited guests. The initial box release was sold pretty fast. The included CDs are now available separately. The double CD "25 (Past)" with new versions, compilation appearances and remixes for other projects (Bloody Dead And Sexy, Experimentum Crucis, Yipotash, The Trial, KiEw, Mimetic Dancing, The_Empath, Xabec, Mandelbrot, Still Patient?) from those 25 years. Most of these tracks are available on CD for the first time or are either unpublished or long out of stock. (auphcd035.2) https://audiophob.bandcamp.com/album/25-past	2021	€13.00
SPK (S.P.K.)	Despair (digitally extracted)	DVD	"After being hidden in time for more than 20 years this industrial milestone of the infamous 1st generation got renovated extended and digitally overworked. A true statement and monument for the outstanding band S.P.K. who gathered together under so many names like: SoliPsiK, Selektiv Pornography Kontrol, Sozialistisches Patienten Kollektiv, System Planning Korporation just to name a few. Twin Vision, Cat TV and Tesco Germany proudly bring you a band about nothing could be said, the only group in industrial musics history that stands on the same level as Throbbing Gristle, for some even above. Influence to so many followers. The project ideal is to express the content of various psycho - pathalogical conditions, especially schizophrenia, manic - depressive psychosis, mental retardation and paranoia. Information Overload supersedes normal, rational thought structures, forcing deviation into less restrictive mental procedures of so-called 'mental illness'. SPK is trying to be a voice for those individuals condemned to the slow decay of mental hospitals and chemical / electro / surgical therapy, without fetishising them into blatant entertainment product. 'SONIC FOR MANICS' aims to be a vehicle for sharing mental experiences through sound. This DVD compiles material that marked the genesis of the group . The members at that time were known as Operator, Ne(H)il and Tone Generator. Like rare live moments of the bands, energetic performances covering music from “Leichenschrei” to “Information Overload”, Live rehearsal footage from “ Auto Dafe”, slide shows, documentary and a filmed interview with Tone Generator aka Domink Guerin founding member and man behind Twin Vision." [label info]	2007	€18.00
STAHLWERK 9 / SAL SOLARIS	split	10"	Die ANGRIFF 10” Industrial – Reihe geht munter weiter, diesmal nicht rein russisch besetzt, sondern mit dem deutschen Projekt STAHLWERK9 auf einer Seite und den guten dark ambientern SAL SOLARIS auf der Flipside.. thematisch geht es hier um das russische Raumfahrtprogramm und entsprechend fallen die Beiträge aus: exzellenter Elektronik-Ambient von STAHLWERK9; dunkel-harmonische, sehr filmische Spaceflächen und mächtigere Drone-Monolithen von SAL SOLARIS, inkl. Teile von russischer Propagandamusik (ausser „GAGARIN“ können wir leider nichts verstehen). Atmosphärisch stimmig und etwas obskur. Kommt im Postercover. “This split release is dedicated to soviet space program. Most delicate, subtle and wonderful tracks both bands ever did. Haunting mysterious atmosphere of the unknown fills the heart of the listener with a sense of a strange sadness and slight anxiety. Dark ambient with melodic background and some noise elements. Not to be missed! Sal Solaris is known for their Hau Ruck! CD, Der Angriff 10" in Prometheus series and Heilige Feuer I compilation appearance, Stahlwerk 9 have released now sold-out CD on Achtung Baby! as well as numerous vinyl releases, on Eternal Soul, Steinklang and Neuropa to name a few. A2-sized poster cover printed on stylish beige paper, limited edition of 370 copies. 4 tracks, total time - 28 min.” [label press release]	2004	€10.00
STELZER, HOWARD / BRENDAN MURRAY	Commit	LP	the third production from the stelzer/murray project hits a sweet spot of slippery, industrial occultation that harkens back to an almost forgotten period of music from the late \'80s and early \'90s. think cranioclast, arcane device, phauss, small cruel party, organum, and pretty much everything from the quiet artworks label. exquisitely composed and overtly nocturnal without ever falling into the tropes of dark ambient and with plenty of gestures, signals, and threats that allude to any number of allegorically inclined processes (i.e. tape manipulation, time-delay accumulation, electro-acoustic minimalism, etc.). the howard stelzer half of this project has penned the following to provide context about commit: \"i’d like to tell you about commit, the third album by stelzer/murray. really, i would. but i don’t think what i have to say would be terribly illuminating. in fact, i’d love it if someone could tell me about what the heck it is we do. what i mean is this: over the past several years, brendan murray and i have had plenty of conversations about our music and have come to the conclusion that we don’t know much about it. we don’t even recall making a lot of it. we’ve listened back to our first album, connector (which was released by helen scarsdale in 2017), and it struck us as very good and also almost entirely unfamiliar. same with the next album, commuter (published by humanhood in 2019). we cannot deny that stelzer/murray wrote, recorded and produced both albums… we have vague recollections of sculpting the component pieces into their final forms… but the writing/recording process remains utterly enfogged. how can that be? perhaps both brendan and i compose our music while we are asleep. maybe the band exists only when both members are in some psychogenic fugue state. some months later, we become aware that stelzer/murray music has been made… by us? apparently so! we’ve remarked to each other that when we listen back to our albums, it seems as if the music is both ours and not ours at the same time… as if we (maybe) weren’t involved in making it. i assume that we were, but cannot explain how or why any of the stuff exists. i’m okay with that. during an interview several years ago, brendan and i were asked to describe the stelzer/murray compositional process. to our shock and delight, we realized that we couldn’t quite say what it was. we weren’t being intentionally evasive; we just didn’t know. turns out, it never occurred to us to talk about our music while we were making it. isn’t that wonderful? or is dissociation of this magnitude just unnerving? can it be both? this new album exists under a similar subconsciously-imposed shroud. i\'m not privy to much more inside information about commit than anybody else is. was there a mood we were aiming for? a conceptual through-line across these songs? maybe! it\'s certainly possible! if you notice anything, please send a note with a self-addressed stamped envelope to us (c/o helen scarsdale) and we’ll respond if we think you’re on the right track. whatever your guess, we’ll assume that you’re correct since you know just as much about stelzer/murray as we do. there’s one other possibility: stelzer/murray music turns out the way it does because its creators work in ways that are both deeply intense, intuitive and intimate. we don’t discuss an album’s architecture because as soon as the initial sounds appear, we both somehow know where they’re headed. we don’t need to articulate conceptual approach or thematic connection because those things are already baked into our interactions over the past 24 years. i don’t mean to imply that commit is without structure or cohesion or attention to detail... only that those qualities are apparent to us at the same moment that they’re apparent to everybody else. we\'re comfortable working this way. now, look: this is supposed to be a press release, so i\'d better get to the elements that such a document requires. typically, such a thing would contain some eloquent verbiage to inspire interest in the product. i’ve spoken to the creators of this lp to glean inside information and was offered a sheepish shrug in return. and besides, even if i had the ability to spill some language that sets this music into some clever conceptual frame that might get you to pull out your wallet, i wouldn’t want to. some loaded adjectives could have the effect of coloring your perception beforehand. once you put the record on, any suggestions of imagery or atmosphere would only lead to preconceptions that would either be affirmed (yes, this album sounds exactly like i thought it would! hooray for me!) or refuted (i expected one thing and got something slightly different and so now i am disappointed). sorry, but i don’t see the point. here’s what i can say for sure: commit is, in both my and the band\'s estimation, a great record and stelzer/murray is a really good band. i can refer to them in the third person because i genuinely have no recollection of my supposed role in the creation of any of their records. you may point out that the sequence of seven letters to the left of the slash resembles my own last name. i’ll chalk that up to coincidence. stelzer/murray may as well be people i’ve never met. once commit comes out, i\'m a fan like anyone else. i’ll just sit back and enjoy the damn thing. playing it at a high volume seems like a good idea.\" h. stelzer somewhere in massachusetts winter 2022 https://helenscarsdale.bandcamp.com/album/commit	2022	€23.50
STOREY, ROBIN (RAPOON)	On the Borderline / A Dark Telling	BOOK + CD	https://rapoon.bandcamp.com/merch/on-the-borderline "On the Borderline is two books in one: It's an autobiography by Robin Storey, the musician best known as Rapoon. And it's a comprehensive survey of his parallel career as a visual artist. Rounding out the package is compact disc containing all-new recordings, attached inside the front cover. Robin Storey's autobiography starts with a unvarnished review of his early years growing up in a hardscrabble village near the Scottish border, in the far north of England. He was often cold and hungry, dressed in second-hand clothes, foraging for wild mushrooms, or turnips and carrots pilfered from fields near his home, where he shared meals with his parents and four siblings. His introduction to art preceded his experiments in music, both of which are examined in detail. He covers his days playing football, attending art school, meeting girls, dabbling in improvisational music, working as a graphic artist, living in a variety of precarious situations, and eventually finding himself making music as a co-founder of Zoviet France. Gigs around England and Europe followed, along with marriage, fatherhood, and a more settled existence. The majority of the book is given over to a comprehensive review of Robin Storey's output as a visual artist. His paintings regularly appear on the jackets of his albums, but only a fraction of his work has been widely published, and the second portion of On the Borderline is filled with page after page of rarely seen paintings and charcoal drawings. The images are grouped chronologically, allowing readers to appreciate the progress and evolution of his artistic style. There are more than 100 pages of color and black-and-white images, starting in the 1970s and carrying forward into 2020s. It's an enchanting collection of sensuously drawn charcoal nudes, abstract or impressionist patterns evoking primordial landscapes, alien voyagers, and vibrating hallucinations usually visible only to ancient shamans. On the Borderline is a hardcover book with 176 pages, most printed in color. Limited edition of 400 copies. A new compact disc recording A Dark Telling is mounted inside the cover." https://www.soleilmoon.com/shop/robin-storey-on-the-borderline/ BOOK EXCERPT I was born on the edge of nowhere in the far north of England, close to the Scottish border, in January 1955. This was the exact middle of the decade and only ten years after the end of the Second World War. Reminders of the conflict were everywhere. Almost every village had an airfield nearby and almost every farm had a chicken coop made from the nose cone of a C-47 Dakota aircraft. Either the military sold off a lot of spare parts after the war or the farmers helped themselves to whatever was left lying around. In Newton Arlosh, the village where I grew up, there were about a dozen surnames. Fairishs, Grahams, Bells, Armstrongs, Stampers and Wilsons, all these names belonged to the clans of the old Border reivers. These outlaws stole and plundered across the border throughout the late 13th century and during the next 400 years. Brothers, cousins, uncles, they all owned the farms around the village, and for many, the old rivalries and feuds lingered. Douglas nose cones were not the only item that people in our area appropriated. Folks purloined anything that might be useful and put those items to work in other ways. Some gateposts may once have been part of a stone circle, many of the goodly shaped stones in their houses came from the goodly shaped stones of the Roman Wall, and so on. History was coerced into useful objects, so although it sometimes seemed like it, history didn’t actually stand still in this place. We were the only Storeys in the village. We were part of a clan in those old days, but most of our kin now lived far to the east at the other end of the wall. I live in the east now too, in Newcastle, by the North Sea coast. The sea on the west coast is not like the one on the east coast. The sea on the east coast flows down from the Arctic and is generally freezing cold, whilst the sea on the west flows upward from the Gulf of Mexico and is much warmer. The western sea where I grew up was absent for most of the time and then twice a day, the tide would flow in across the vast marshlands and mudflats of the Solway Firth, and what had been earth would be covered by seawater with treacherous undercurrents and sinking sands. Many people drowned here, caught by the swiftness of the rising water. "Asmus Tietchens once told me we must write our own histories, as nobody would do it. That might not be entirely true, but some do so; every man is a volume. The interesting question is how to approach your story. What do we think makes a great story, and what do we leave out? I’ve said it before, and here again, I love reading. Biographies and autobiographies are top of the list of my interests, and I am not ashamed to say that I read all books from all members of Kiss and The Police, and Phil Collins seemed more likeable after reading his memoir. I also read the one from Bruce Dickinson, the Iron Maiden man and here’s what I mean by ‘what’s interesting and what’s not’. Dickinson is also a commercial airline pilot, which could have been more interesting, especially when it was hush-hush espionage. Closer to home is ‘On The Borderline’ by Robin Storey, also known as Rapoon. Before that, he was a member of Zoviet France, a band dear to my heart. It is a book I was looking forward to reading a lot. Partly because of knowing more about the earliest days of Zoviet France, which, in the 1980s, was a mystical band, not unlike The Residents, why he left and to know more about Rapoon, next to whatever else he does daily, assuming he’s not full time occupied with his music. And last but not least, something about the business. The book is in two parts. The first half is his story, early years, Zoviet France time, going solo, memories about touring (good and bad), and so on. The second half is Storey’s paintings, five sections, one per decade. Some of this is what we know from the artwork of his records, the sort of tribalist, mythical caveman painting, but also, surprisingly, some non-abstract sketches and paintings, portraits and such like. I do not know the quality; I have no expertise in that area. I enjoy what I see but I always liked his cover artwork, which is highly personal. In the autobiographical part, Storey delivers partially delivers the goods. There is an extensive first section, say the first 20 pages of densely printed A4 pages, which is all about his youth, growing up in a small village in the North of England, getting to know strange music, getting into drugs, doing music, painting, girls and just when I thought this was all good and well, but now tell me about Zoviet France, because that’s what I like to know. When that started, I was delighted, and while not (luckily perhaps) the kind of story in which every record is talked about, it was an exciting read. Also, Storey created some material that was deemed to be rhythmic but attracted the attention of Death Ov Vinyl Entertainment, which became his first solo release as Rapoon. The explanation of where the name comes from is later, in a lengthy chapter consisting of shorter bits of life at home. As for playing music, Rapoon never brings in the amount of money to support a wife and two kids. There is also a day job, and he talks about his career within an AV company and with children later on, which also brought him some trouble, all explained in the section about daily life. The tour stories are of more interest (depending, of course, on what you want to know) as they cover things that more people experienced – my thinking here is a few musicians are reading Vital Weekly; comparing notes is always funny. Storey only tells us a little about dealing with labels, rip-offs (maybe there were none) or such things. On several occasions, he says, “I don’t know”, or “I am not sure”, which is a pity: we like to know! Throughout a fine book; some of it I didn’t need to know, some was very interesting. Storey’s style is not always to the point, but he doesn’t meander too much, which is good, obviously, along with the hardcover book (as said, A4 or so sized, thick paper; imagine a Vinyl On Demand book, which looks great, but isn’t easy to read) comes a Rapoon CD, and knowing more about technology (and here too, he is relatively concise; no endless lists of software, hardware, or all too technical), this is something to hear with different ears. I know Storey took offence in the past when I wrote his work sounded the same (and he quite rightly takes offence when people ask him if he recorded another ten CDs before lunch; I know I would), but there is certainly a signature sound that undoubtedly makes Rapoon instant recognisable. The shorter loop approach, using various delays, creates this tangled web of voices, sounds, and patterns with that overtly minimalist percussive feel, adding that tribal flavour and connecting with the cover artwork. I haven’t heard all his work, so it’s not for me to say where this fits the overall Rapoon history. That’s not what this book is about; there is no descriptive list of his output. In terms of having a bit of ‘our’ history, this is a great book." [FdW/ Vital Weekly]	2024	€95.00
STROM NOIR	Mal'ovane Kvety & Xeroxove Motyle	CD	This year Emil Mat'ko celebrates 10 years of an artistic activity under the moniker Strom Noir. For this occasion we have prepared a special release which is both a new album and a compilation. "Maľované Kvety & Xeroxové Motýle" contains two unpublished Strom Noir materials, originally recorded with the intention of releasing them on cassettes. The first session contains recordings from the years 2015-2016 and these are excellent drone compositions, close to the recordings of "Glaciology". The second session contains compositions from 2011, giving the atmosphere and the character of the early Strom Noir recordings. Raw electronic structures are enriched by the reconstructed acoustic guitars. Both materials provide an excellent insight into the work of Strom Noir. The album is released in a 3-panel ecopak in a strictly limited edition of 300 copies. The cover is designed by Maciej Mehring based on the concept by Michał Porwet and photos by Praetorian. The album is mastered by Emil Mat'ko. The whole production process is overseen by Michał Porwet. www.zoharum.com	2017	€13.00
	Mountains become Machines	CD	"Having previously featured on our recent DCD compilation "...that first season", Strom Noir returns to our label with his first full length album release on Winter-Light - 'Mountains Become Machines'. Emil Maťko, the man behind Strom Noir, hails from Bratislava, Slovakia. Since 2008, Emil has released around 15 albums to date on a variety of different formats, as well as a number of singles and also contributed to several compilation albums. His music can possibly be best described as guitar and loop based ambient, with a melancholic feel to it. Strom Noir builds up intricate layers of sound using mostly only electric and acoustic guitars, effected through pedals. The artist himself describes the thoughts and processes behind the recording of ‘Mountains Become Machines‘..... ‘The beginning of the recording process is dated back to the second half of 2013, that time with the intention to come up with the full-length release consisting of more “stand-alone” tracks built significantly on acoustic guitar, in most cases, heavily transmuted. As I used to set the recorder always in a way that it recorded associated sounds from the recording room as well, recordings are more complex and have some accidental/random aspects; on the other hand, the overall feeling is a little bit lo-fi. That’s the process how the tracks, I would label as the core of the album, were basically recorded – the beginning of spring, mountains become machines, sám na vrchole hory (alone on the mountain top), where late the birds sang and čistota (purity). Back then, I was thinking to interconnect these tracks with short guitar drones, some kinds of interludes, however, as you can hear, they (all corals are yours, hollow and black water rising) became regular tracks over time. So as the result, mountains become machines has a little bit of everything. The more stand-alone tracks are backed by the abstract ones, pictures full of sunshine are followed by dark images and calm parts are accompanied with distorted pieces.’ " www.winter-light.nl	2018	€13.00
STROM, ANNA PAULINE	Trans-Millenia Music	do-LP	Otherworldly and anomalous, hushed and hallucinatory, Pauline Anna Strom’s unique style of inner space music reaches across time to futures and pasts far from our own. Trans-Millenia Music compiles 80 minutes of Strom’s most evocative work, composed and recorded between 1982 and 1988 across seven albums released in minimal vinyl and cassette editions. Strom’s heightened sensitivity to sound and spirited sensibility with the pioneering synthesizer tools of her trade elevates this music beyond the catch-all containers of New Age and ambient music into a realm of its own. rvng.bandcamp.com/album/trans-millenia-music	2017	€28.00
SUDDEN INFANT	My Life's a Gunshot	4 x LP	"Top shelf all the way - we're all amateurs when he hits the stage!" - Ron Lessard / RRRecords " Limited edition of 500 Paintings by Joke Lanz Essay by G.X. Jupitter-Larsen Mastered by Rashad Becker Design by Bill Kouligas Compiled & selected by Joke Lanz & Ed Benndorf These two double LP's combine 49 rare and unreleased tracks as well as some of Sudden Infant's most essential and radical work from the last twenty years. Beautifully housed in two fold-out double LP's with original cover paintings by Joke Lanz and an exclusive 4-page essay by GX Jupitter-Larsen. No CD or download releases planned. "Born in Switzerland, now based in Berlin, Joke Lanz (aka Sudden Infant) is one of the most prolific and profound artists working in the border zones where performance and body art meet improvisation and Noise. In his Sudden Infant guise, Lanz creates a unique blend of physical sound poetry and epileptic noise bursts, using contact microphones, loops, tapes, etc. The result is an extreme form of musique concrète that juxtaposes spasmodic gibbering with a battery of disorienting electronics." - The Wire Recent selected activities: Artist residencies in Berlin (1999) and London (2004) Composition assignment by Pro Helvetia - Arts Council of Switzerland (2006) Lectures and workshops at: Musicacademy Lucerne Switzerland 2003/05 University of Stellenbosch South Africa 2008 University of Music and Performing Arts Vienna Austria 2009 Noise for kids workshops and presentation at: Avanto Festival Helsinki Finland 2005 Henie Onstad Art Center Oslo Norway 2009 Several compositions for Contemporary Dance, Films, Radioplays and Soundinstallations Innumerable releases on international labels e.g. Schimpfluch, Entr'acte, RRR, Tochnit Aleph, Blossoming Noise, SSSM, Artware, Klanggalerie, MSBR, Some Bizarre, iDeal." [full label info] "Joke Lanz Is Back! - Mit einem großen Knall, viel Krawall und Krach stürzt diese 8-seitige und Vinyl-Only-Mammut-Werkschau von SUDDEN INFANT auf einen ein. Er schlägt mehr als einmal einen unvorhersehbaren Haken und läßt den Hörer eigentlich immer erwartungsvoll zurück auf das was denn da als nächstes kommen wird. Natürlich könnte man sich die Titelliste zur Hand nehmen, aber das bedeutet man verdirbt sich seinen eigenen Spaß. Es tun sich tausend von Eindrücken auf. Man wird förmlich von der Schwere des Vinyls und der Intensität der Darbietung in diese, seine Welt hinabgezogen. Verschiedenste Spielarten der freien Muzak werden in unterschiedlichster Charakteristik und Aufnahmemedien zum Verzerr angeboten. Manches wird den einen oder anderen stören, was wiederum andere in Entzückung versetzt. Vom Erzeuger selber wurde an dieser Zusammenstellung bis zum Ende gefeilt, gearbeite und gestaltet. Diese Liebe zum Detail ist umwerfend, gnadenlos und vollgestopft mit naiver Spielfreude und entwaffnender Offenheit. Ein Essay zu SUDDEN INFANT vom G.X. Jupitter-Larsen höchstpersönlich rundet diese außergewöhnliche und beispielhafte Veröffentlichung ab. Essentiell für alle, die das Wort "Industrial" auch weiterhin gedenken im richtigen Kontext in den Mund zu nehmen! Zubeißen! (10)" [Carsten Vollmer, ELEKTRISCHE ZONE]	2010	€49.00
SUN OF THE SEVENTH SISTER	Farben Raum	CD	Das totale Freak-Orchester aus Australien, bis zu 25 Mitspieler! Diese Aufnahme stammt vom Februar 2007, ein vielschichtiges Impro-Chaos, welches aber recht gemächlich und "slow" bis düster daher kommt (und teils mit deutschen (!) Sprechgesang in FAUSTischer Manier. Für Freunde von NIHILIST SPASM BAND, BORBETOMAGUS, AMM,... auf dem RATS WITH WINGS-Label! "Following on from their 2007 New Zealand tour triple lathe cut LP, and 6 cassette boxset on Breakdance The Dawn, comes Farben Raum, the debut CD by Sun of the Seventh Sister. This floating line-up, mushroom fuelled free-psych woolly mammoth often consists of a phalanx of between 10 and 25 players: multiple drummers, multiple electrified chordophones, horns, vocals, oscillators etc. Imagine half a dozen freak-folk ensembles congealing into a psychedelic din of Borbetomag-ian proportions. On this occasion SSS comprised members of xNoBBQx, UnAustralians, Arse Lunch, Cock Up Shitting Whore, Rats With Wings, Stasis Duo and others. The CD consists of 3 immense tracks, taken from a 3 hour straight session, lovingly recorded by the Pulled Out mobile unit, with mastering analysis for Heard Worse Records by DJ Beefcurtains." [label notes] "Sun of the seventh sister is a collective of artists-musicians from Australia and New Zealand ranging in number from 10-25 players. Their rack of instruments is pretty immense including multiple drummers, electrified chordophones, horns, vocals, oscillators, electric guitars and pretty much everything they can put their hands on. This hord of nomad musicians reminds me of the nomadic artists of the middle-ages with everything that this brings to mind, the madness, the immersion into music, the ecstatic ceremonies. This is not just a free-jam as you might imagine or a free-folk cult (chic). This is a gigantic psychedelic beast that roars and screams and calms and bursts and back to the start featuring members of xNoBBQx, UnAustralians, Arse Lunch, Cock Up Shitting Whore, Rats With Wings, Stasis Duo (featured in our own deconstructive music triple cd compilation) and others. This cd on heard worse records includes 3 long length nameless of course tracks and a total run time of almost 80 minutes of bodily absorbed orchestrated pray and prophecy or what you might imagine that it should sound like. Ranging from free form improvisation to ecstatic jazz and ecstatic folk this is not a record but an experience I wish I could have lived live. It worth every single second, especially the third track that is unbelievably intense!" [Random E-Zine]	2007	€13.00
SUNKEN	Eye Electric Organ, Brain Electric Nerve	CD	"eep in the swirling depths of the ocean a terrible yet wondrous beast stirs slow but sure amidst great forests of sea algae. Taking on the form of a pair of conjoined drown-ed sailors it sets forth upon the currents determined to loose its apocalyptic vision upon the earth via droning sea shanty and great humming hymn. Sunken is the duo of sunken sailors Stefan Neville (Pumice) and Antony Milton (Nether Dawn/A.M etc). Using a range of organs, sonar gear, live tapeloops, vocals and an unhealthy amount of submarine reverb they create a glorious droning pop noise. 'Eye Electric Organ, Brain Electric Nerve' follows on from their acclaimed self titled debut (also on PseudoArcana) and various compilation appearances. You can read reviews and hear a sample from the album." [label / website info] www.pseudoarcana.com	2008	€13.00
SUNN O)))	Sunn O))) [Oxblood Vinyl]	do-LP	For nearly 30 years, SUNN O))) – Stephen O’Malley and Greg Anderson – have pushed the boundaries of heavy music, straddling the worlds of the avant-garde and rock to forge a style instantly recognisable as their own. Now, SUNN O))) return with their first album of new material since 2019’s acclaimed Pyroclasts. Their tenth album – their debut for new label Sub Pop – demonstrates the duo’s mastery of time and space, light and dark, and their willingness to evolve their unmistakable sound into bold new forms. The eponymously titled SUNN O))) was tracked at Bear Creek Studios, Woodinville, Washington with Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair). This location would prove crucial to the recording process. “The vast tracking room had big windows looking out on trees,” says O’Malley. “We could go hiking and be out in the woods, spend time outdoors. That became a big part of it.” “It was very inviting and very comfortable there,” adds Anderson. “There was no stress, no worry about the timeline or anything like that. We just let ourselves go, and let the music come out.” SUNN O))) have long welcomed collaborators into their self-contained world, including such esteemed fellow travellers as Hungarian vocal explorer Attila Csihar, Icelandic composer Hildur Guðnadóttir, Seattle-based multi-instrumentalist Steve Moore, Texan polymath Mark Deutrom, Silkworm co-founder Tim Midyett and legendary singer-songwriter Scott Walker. For the new album, however, O’Malley and Anderson explore the still-fertile, primal territory of the duo format. “On this album for the first time all of the instrumentation was performed by Greg and I,” says O’Malley. “All of the records have our leadership and direction, of course, but this time around, it was almost like this crucible of ideas that was really at the core of what we’ve been doing.” Recording exclusively as a duo should not be interpreted as SUNN O))) limiting or restricting themselves. To the contrary, it has opened up new possibilities for their music. “What’s been happening with our performances over the last couple years with the two of us and no other collaborators or players has been really fresh and exciting,” says Anderson. “There’s been a lot of development. A lot of that was unexpected. And a lot of things that happened in the studio were really exciting and different from what we had been playing live, as well.” The six compositions on SUNN O))) are expansive and panoramic yet finely detailed, reflecting the arboreal setting in which they were recorded. Opener “XXANN” enters with howling feedback before crunching into what might at first seem familiar territory – until one registers the sound of water trickling beneath. “Mindrolling” likewise incorporates field recordings, as does “Glory Black”, which in addition introduces piano, by turns sonorous and delicate, into the mix, lending the already formidable piece a hushed, solemn feel. The Newcastle-forged originators of black metal get a shout out in the title of “Does Anyone Hear Like Venom?” which seems to position Cronos, Mantas and Abaddon as deep listeners, attuned to their Tyneside surroundings in much the same way as SUNN O))) are to the forest enfolding Bear Creek Studios. Throughout the album, the interplay between O’Malley and Anderson attains fresh heights of telepathic intensity as they shape a music that itself breathes the bracing, earthy air of the Pacific Northwest. “It’s always developing,” says Anderson. “That’s a constant, and that’s what sustains my interest and passion. There’s a movement that’s happening, whether it’s forward, backwards, to the side, whatever. That’s what makes playing in this group, at least for me, different and unique and special.” In October 2025 SUNN O))) released the first fruit of a new deal with celebrated US label Sub Pop in the form of a maxi 12” featuring “Eternity’s Pillars”, “Raise The Chalice” and “Reverential” – three monumental tracks from the same sessions that produced the new album. The alliance with Sub Pop makes perfect sense, as Anderson explains. “We decided that we should approach Sub Pop, after I’d had some great conversations with Jonathan Poneman,” he says. “So I called him up and before I could get the words out of my mouth, he said, ‘We’d love to do it. Tell me what you guys need.’ He was really excited and supportive.” SUNN O))) are no strangers to striking cover art – as illustrated by their collaborations with Joanne Ratcliffe for Black One, Richard Serra for Monoliths & Dimensions, Angela LaFont Bolliger for Kannon and Samantha Keely Smith for Life Metal and Pyroclasts. For SUNN O))) they have been granted permission by the estate of the late American artist Mark Rothko to reproduce two of his paintings on the album’s sleeve. “Over a few years, I developed a correspondence with Christopher Rothko via the Rothko Foundation’s Henry Mandell,” explains O’Malley. “It’s such an honour to be in the proximity of art on that scale, which has moved me personally so much for decades. Standing in front of a Rothko painting you can experience landscapes, worlds and environments subjectively in the abstraction.” Liner notes for the album are provided by award-winning British writer Robert Macfarlane, famed for his works concerning landscape and the multifaceted relationship between humanity and nature. Macfarlane negotiates the peaks and valleys of the SUNN O))) sound in a poetic, philosophical manner that will be familiar to readers of Mountains Of The Mind: A History Of A Fascination (2003), The Wild Places (2007), Underland: A Deep Time Journey (2019) or Is A River Alive? (2025). “I’ve been very interested in Robert’s writing for a long time,” says O’Malley. “He was very up for engaging with this project. And what he ended up turning in was mind-blowing. It’s part of the creative process, framing our music in a certain way, visually and with language, before presenting it to the world.” SUNN O))) also worked with French artist Elodie Lesourd, whose illustration work is featured on the inner LP sleeves and accompanying album merch. All of which adds up to a fully immersive experience, uniting sound, word and visual into something that is undeniably, completely SUNN O))). Joseph Stannard, January 2026 https://www.subpop.com/artists/sunn_o Seit fast 30 Jahren erweitern SUNN O))) - Stephen O'Malley und Greg Anderson - die Grenzen der Heavy-Musik und verbinden die Welten der Avantgarde und des Rock, um einen Stil zu schaffen, der sofort als ihr eigener erkennbar ist. Jetzt melden sich SUNN O))) mit ihrem ersten Album mit neuem Material seit dem gefeierten Pyroclasts aus dem Jahr 2019 zurück. Ihr zehntes Album - ihr Debüt bei Sub Pop - zeigt, wie gut das Duo mit Zeit und Raum, Licht und Dunkelheit umgehen kann und dass sie bereit sind, ihren unverwechselbaren Sound zu neuen, mutigen Formen weiterzuentwickeln. Das gleichnamige Album ,SUNN O)))" wurde in den Bear Creek Studios in Woodinville, Washington, mit Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair) aufgenommen. Dieser Ort erwies sich als entscheidend für den Aufnahmeprozess. ,Der riesige Aufnahmeraum hatte große Fenster mit Blick auf Bäume", sagt O'Malley. ,Wir konnten wandern gehen und draußen im Wald sein, Zeit im Freien verbringen. Das war ein wichtiger Teil davon." SUNN O))) haben schon lange Mitwirkende in ihre eigenständige Welt aufgenommen: In früheren Werken waren Attila Csihar (Mayhem), die Komponistin Hildur Gudnadóttir, der Multi-Instrumentalist Steve Moore, der Universalgelehrte Mark Deutrom, Tim Midyett von Silkworm und der legendäre Singer-Songwriter Scott Walker zu hören. Auf diesem Album haben O'Malley und Anderson jedoch neue Möglichkeiten im ursprünglichen Format des Duos entdeckt und alle Instrumente selbst gespielt. ,Was in den letzten Jahren mit unseren Auftritten zu zweit und ohne weitere Mitwirkende passiert ist, war wirklich neu und aufregend", sagt Anderson. Die Kompositionen auf SUNN O))) sind weitläufig und panoramisch, aber dennoch detailreich und spiegeln die baumreiche Umgebung wider, in der sie aufgenommen wurden. Inmitten von heulendem Feedback und eisigem Knirschen findet man überraschend zarte Momente: eine Feldaufnahme von plätscherndem Wasser im Hintergrund, Klavierzwischenspiele, die eine gedämpfte, feierliche Stimmung erzeugen. Dabei erreicht das Duo neue Höhen telepathischer Intensität, während es Musik formt, die die belebende, erdige Luft des pazifischen Nordwestens atmet. Visuell wird das Album von zwei Gemälden des verstorbenen amerikanischen Künstlers Mark Rothko eingerahmt. Die Liner Notes stammen vom preisgekrönten britischen Schriftsteller Robert Macfarlane, der für seine Werke über Landschaft und die Beziehung zwischen Mensch und Natur bekannt ist. Durch die Arbeit der Band, Macfarlane und Rothko verbinden sich Klang, Wort und Bild zu einem umfassenden Erlebnis, das unbestreitbar ganz und gar SUNN O))) ist.	2026	€32.50
	Sunn O)))	CD	Seit fast 30 Jahren erweitern SUNN O))) - Stephen O'Malley und Greg Anderson - die Grenzen der Heavy-Musik und verbinden die Welten der Avantgarde und des Rock, um einen Stil zu schaffen, der sofort als ihr eigener erkennbar ist. Jetzt melden sich SUNN O))) mit ihrem ersten Album mit neuem Material seit dem gefeierten Pyroclasts aus dem Jahr 2019 zurück. Ihr zehntes Album - ihr Debüt bei Sub Pop - zeigt, wie gut das Duo mit Zeit und Raum, Licht und Dunkelheit umgehen kann und dass sie bereit sind, ihren unverwechselbaren Sound zu neuen, mutigen Formen weiterzuentwickeln. Das gleichnamige Album ,SUNN O)))" wurde in den Bear Creek Studios in Woodinville, Washington, mit Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair) aufgenommen. Dieser Ort erwies sich als entscheidend für den Aufnahmeprozess. ,Der riesige Aufnahmeraum hatte große Fenster mit Blick auf Bäume", sagt O'Malley. ,Wir konnten wandern gehen und draußen im Wald sein, Zeit im Freien verbringen. Das war ein wichtiger Teil davon." SUNN O))) haben schon lange Mitwirkende in ihre eigenständige Welt aufgenommen: In früheren Werken waren Attila Csihar (Mayhem), die Komponistin Hildur Gudnadóttir, der Multi-Instrumentalist Steve Moore, der Universalgelehrte Mark Deutrom, Tim Midyett von Silkworm und der legendäre Singer-Songwriter Scott Walker zu hören. Auf diesem Album haben O'Malley und Anderson jedoch neue Möglichkeiten im ursprünglichen Format des Duos entdeckt und alle Instrumente selbst gespielt. ,Was in den letzten Jahren mit unseren Auftritten zu zweit und ohne weitere Mitwirkende passiert ist, war wirklich neu und aufregend", sagt Anderson. Die Kompositionen auf SUNN O))) sind weitläufig und panoramisch, aber dennoch detailreich und spiegeln die baumreiche Umgebung wider, in der sie aufgenommen wurden. Inmitten von heulendem Feedback und eisigem Knirschen findet man überraschend zarte Momente: eine Feldaufnahme von plätscherndem Wasser im Hintergrund, Klavierzwischenspiele, die eine gedämpfte, feierliche Stimmung erzeugen. Dabei erreicht das Duo neue Höhen telepathischer Intensität, während es Musik formt, die die belebende, erdige Luft des pazifischen Nordwestens atmet. Visuell wird das Album von zwei Gemälden des verstorbenen amerikanischen Künstlers Mark Rothko eingerahmt. Die Liner Notes stammen vom preisgekrönten britischen Schriftsteller Robert Macfarlane, der für seine Werke über Landschaft und die Beziehung zwischen Mensch und Natur bekannt ist. Durch die Arbeit der Band, Macfarlane und Rothko verbinden sich Klang, Wort und Bild zu einem umfassenden Erlebnis, das unbestreitbar ganz und gar SUNN O))) ist. For nearly 30 years, SUNN O))) – Stephen O’Malley and Greg Anderson – have pushed the boundaries of heavy music, straddling the worlds of the avant-garde and rock to forge a style instantly recognisable as their own. Now, SUNN O))) return with their first album of new material since 2019’s acclaimed Pyroclasts. Their tenth album – their debut for new label Sub Pop – demonstrates the duo’s mastery of time and space, light and dark, and their willingness to evolve their unmistakable sound into bold new forms. The eponymously titled SUNN O))) was tracked at Bear Creek Studios, Woodinville, Washington with Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair). This location would prove crucial to the recording process. “The vast tracking room had big windows looking out on trees,” says O’Malley. “We could go hiking and be out in the woods, spend time outdoors. That became a big part of it.” “It was very inviting and very comfortable there,” adds Anderson. “There was no stress, no worry about the timeline or anything like that. We just let ourselves go, and let the music come out.” SUNN O))) have long welcomed collaborators into their self-contained world, including such esteemed fellow travellers as Hungarian vocal explorer Attila Csihar, Icelandic composer Hildur Guðnadóttir, Seattle-based multi-instrumentalist Steve Moore, Texan polymath Mark Deutrom, Silkworm co-founder Tim Midyett and legendary singer-songwriter Scott Walker. For the new album, however, O’Malley and Anderson explore the still-fertile, primal territory of the duo format. “On this album for the first time all of the instrumentation was performed by Greg and I,” says O’Malley. “All of the records have our leadership and direction, of course, but this time around, it was almost like this crucible of ideas that was really at the core of what we’ve been doing.” Recording exclusively as a duo should not be interpreted as SUNN O))) limiting or restricting themselves. To the contrary, it has opened up new possibilities for their music. “What’s been happening with our performances over the last couple years with the two of us and no other collaborators or players has been really fresh and exciting,” says Anderson. “There’s been a lot of development. A lot of that was unexpected. And a lot of things that happened in the studio were really exciting and different from what we had been playing live, as well.” The six compositions on SUNN O))) are expansive and panoramic yet finely detailed, reflecting the arboreal setting in which they were recorded. Opener “XXANN” enters with howling feedback before crunching into what might at first seem familiar territory – until one registers the sound of water trickling beneath. “Mindrolling” likewise incorporates field recordings, as does “Glory Black”, which in addition introduces piano, by turns sonorous and delicate, into the mix, lending the already formidable piece a hushed, solemn feel. The Newcastle-forged originators of black metal get a shout out in the title of “Does Anyone Hear Like Venom?” which seems to position Cronos, Mantas and Abaddon as deep listeners, attuned to their Tyneside surroundings in much the same way as SUNN O))) are to the forest enfolding Bear Creek Studios. Throughout the album, the interplay between O’Malley and Anderson attains fresh heights of telepathic intensity as they shape a music that itself breathes the bracing, earthy air of the Pacific Northwest. “It’s always developing,” says Anderson. “That’s a constant, and that’s what sustains my interest and passion. There’s a movement that’s happening, whether it’s forward, backwards, to the side, whatever. That’s what makes playing in this group, at least for me, different and unique and special.” In October 2025 SUNN O))) released the first fruit of a new deal with celebrated US label Sub Pop in the form of a maxi 12” featuring “Eternity’s Pillars”, “Raise The Chalice” and “Reverential” – three monumental tracks from the same sessions that produced the new album. The alliance with Sub Pop makes perfect sense, as Anderson explains. “We decided that we should approach Sub Pop, after I’d had some great conversations with Jonathan Poneman,” he says. “So I called him up and before I could get the words out of my mouth, he said, ‘We’d love to do it. Tell me what you guys need.’ He was really excited and supportive.” SUNN O))) are no strangers to striking cover art – as illustrated by their collaborations with Joanne Ratcliffe for Black One, Richard Serra for Monoliths & Dimensions, Angela LaFont Bolliger for Kannon and Samantha Keely Smith for Life Metal and Pyroclasts. For SUNN O))) they have been granted permission by the estate of the late American artist Mark Rothko to reproduce two of his paintings on the album’s sleeve. “Over a few years, I developed a correspondence with Christopher Rothko via the Rothko Foundation’s Henry Mandell,” explains O’Malley. “It’s such an honour to be in the proximity of art on that scale, which has moved me personally so much for decades. Standing in front of a Rothko painting you can experience landscapes, worlds and environments subjectively in the abstraction.” Liner notes for the album are provided by award-winning British writer Robert Macfarlane, famed for his works concerning landscape and the multifaceted relationship between humanity and nature. Macfarlane negotiates the peaks and valleys of the SUNN O))) sound in a poetic, philosophical manner that will be familiar to readers of Mountains Of The Mind: A History Of A Fascination (2003), The Wild Places (2007), Underland: A Deep Time Journey (2019) or Is A River Alive? (2025). “I’ve been very interested in Robert’s writing for a long time,” says O’Malley. “He was very up for engaging with this project. And what he ended up turning in was mind-blowing. It’s part of the creative process, framing our music in a certain way, visually and with language, before presenting it to the world.” SUNN O))) also worked with French artist Elodie Lesourd, whose illustration work is featured on the inner LP sleeves and accompanying album merch. All of which adds up to a fully immersive experience, uniting sound, word and visual into something that is undeniably, completely SUNN O))). Joseph Stannard, January 2026 https://www.subpop.com/artists/sunn_o	2026	€15.00
SUNN O))) & ULVER	Terrestrials	CD	"Oslo, Norway, August 10th, 2008. Following their 200th gig, playing before 2000 people at the Oya festival, SUNN O))) teamed up with Norwegian legends ULVER at their Oslo studio, Crystal Canyon. They recorded three "live in improvisation" pieces, starting that evening and ending at dawn, as Northern sunlight seeped in through the windows. 'We were sitting in the console room, early in the morning, listening to the takes. Someone said, ah, sunrise over Crystal Canyon,' as if the night had been a dark one. We all laughed and Greg proposed it as a title. In that setting it sounded perfect. The boys had mentioned wanting the music to orient towards the light, like some lost pilgrim stretching before the sun. We kept that mental picture for the processing.' - Kristoffer Rygg That take became the album's opening piece, "Let there be light," which builds up from silence and darkness and proceeds - ceremoniously, coruscating - O'Malley and O'Sullivan creating the backdrop for Rygg's Basso Profondo chants. The music unfolds over eight minutes before reaching a crescendo of bass and brass, introducing both Anderson and ULVER as we know them. The Sunn has risen. "Western horn" accelerates on a single and austere note of sustained bass and low end, evolving gradually into a haunted soundscape. Crying violins, clusters of Fender Rhodes, guitar pickups, and metal plate drones are gradually layered beneath Anderson's augmented bass feedback. "Eternal return" introduces Rygg singing a lyric evoking ancient Greece, Egypt and the Biblical lands. The song is palindromic, echoing the lyric, beginning and ending with the same bass line and musical pattern, though the guitars are ultimately reversed as the song implodes upon itself. "Terrestrials" is three movements which are fluid like the flow of magma beneath the Earth's crust, sonically uninhibited, unpredictably cosmic, haunting and stirring yet simultaneously ceremonious and beautiful." [label info] www.southernlord.com "Naheliegendes wird vermieden, statt dessen eine zähfließende Düsternis mit fast fragiler Aura: das Sunn o))) & Ulver Kollaborationsalbum “Terrestrials” schickt die Hörer (nicht nur) mit dem Opener “Let There Be Light” und seinen verlangsamten Mariachi-Trompeten fast ein bisschen in die Irre, lässt dieselben zumindest lange im Unklaren, welche Richtung das Stück wirklich einschlagen will… Als “ewiges” Intro hinter verwaschenen Staubwolken der Wüste? Ein Akustik-Drone? Erst das letzte Viertel, wenn “Let There Be Light” schon fast zu ersterben scheint, bringt die Auflösung: wenn sich typisch Sunn o))) artige Harmoniebögen zu manifestieren beginnen und die weiterhin präsenten Bläser mit einem deutlichen Maß an Schwerkraft versehen. Das dann folgende, düstere (und düsterere) “Western Horn”, im Kern eine windende Schichtung von sich reibenden, spröden Gitarren, dabei nach außen so etwas wie die musikalische Umsetzung eines langsam aufkommenden (oder abflauenden) Sandsturms, versenkt die Hörer nach “Let There Be Light” wie unvermittelt in eine ebenso unwirkliche wie unwirtliche, auch ohne ebensolche Soundästhetik zerrende, schwarze Welt. Die, ganz nebenbei, ein weiteres Mal beweist, dass “Heavy” eben auch ganz anders gehen kann.Und dann die größte Überraschung: “Eternal Return”, in den allerersten Tönen noch wie eine direkte Fortsetzung von “Western Horn” klingend, durch die hier stärkere Präsenz eines E-Pianos und ganz besonders die Art der Harmonien aber letztlich in eine ganz andere Richtung weisend: wie eine Art geisterhafter Widerhall, eine eigene Interpretation der Stimmung von oder eben gleich eine Kollaboration mit Bohren & Der Club Of Gore… zumindest rund 6 Minuten lang, bevor das Stück einen völligen Twist macht, Gesang über tragenden Synthstreichern, als Break. Und zurück fällt in die Düsternis des Beginns. In der musikalischen Schattierung so vielfältig wie “Monoliths And Dimensions”, möglicherweise. Und eine Elegie in schwarzer Akustik, sicherlich. Insgesamt betrachtet." [N, Blackmag]	2014	€13.00
SUPERSILENT	8	CD	"Inzwischen sind wir bei Supersilent 8 (RCD 2067), Dazwischen liegt ein beständig sich verändernder Klangfluss von harschem Free Noise (1-3) über Electrojazz (4) zu ambienten Soundscapes (5 & 6). 8 entstand, wie schon die Rune-Grammofon-Klassiker 1-3, Luggumt oder Raus Aus Stavanger, im Athletic-Sound-Studio in Halden. Alles ist improvisiert, aus 5 Stunden wurden 66 Minuten ausgewählt und von 1 bis 8 durchnummeriert, es gibt keine Overdubs. Abstraktion, oder nennen wir es besser Absolutheit, und Kollektivität sind Trumpf. Als Klangquellen dienen Audio Virus & Gitarre, Keyboards & Synthesizers, Drums, Trumpet, Voice & Electronics. Neologismen wie FutuRhythMachine (K. Eshun) oder SonicFriction (T. Berne) sind notwendig, um der Nowness von Supersilents Trips halbwegs gerecht zu werden. Mit Supersilent unterwegs sein, heißt Niemandsland durchstreifen. Das Neuland hat gemeinsame musikalische Grenzen allenfalls mit Ektroland und Neuseeland. Fremdartig monotone, oder krumme Sun-Ra-Takte (8.3!), raues, rockfernes Gitarrengedröhn, Gebrabbel und Singsang, als ob der Geist von Leif Elggren unter einem Bett hervor kröche (8.5). Der Hall einer Possible-Worlds- Trompete von weit draußen, der Hauch einer ‚Flöte‘, immer wieder ‚psychedelische‘ und ‚spaceige‘ Raumzeitverformungen durch Keyboards und Electronics. 8 ist wie eine Prellung, die schillernd aufblüht, gleichzeitig zeitlupig und gerafft auf eine Stunde, vielleicht weil der Bluterguss einen ganzen Raumquadranten verfärbt. Manchmal bleibt nur ein Zwitschern und aleatorisches Zucken wie von einschlagendem Sternenstaub, dazu Kopfstimmengesang (8.6). Plötzlich ein Freerock-Blitzgewitter, ein donnerndes, schneidendes Inferno (8.7)! Mit einem finalen Gerumpel. Als Epilog dann wieder Getröpfel. Und enigmatische Spaceharmonik. Die pure Alienpoesie." [Bad Alchemy] "Helge Sten, Ståle Storløkken, Arve Henriksen and Jarle Vespestad celebrate 10 years as a groundbreaking quartet with their first studio album in almost 5 years. Their music lives in a no-man's-land between the genres, somewhere between rock, electronica, jazz and modern composition. Yes, we say composition because when listening it´s not far fetched to think it could have been, although everything here is improvised, as it has always been with Supersilent. With ”8” they have yet again re-invented themselves, exploring more abstract and mysterious pathways and ending up even further away from traditional categories. The album is produced by Deathprod and mastered by US mastering guru Bob Katz." [press release] ".... Another excellent, original Supersilent effort, with the use/abuse of vocals opening up some new dimensions to their sound. Parts of Supersilent 8 give us the idea we're listening to some sort of really strange field recording, the documentation of the fracturing of an iceberg, the swarmings of bugs, or the language of birds or bats, when in fact this is a very human-activated, machine- mediated, far-from-natural audio document. Of course at other times on this album that fact is quite evident! Indeed, Supersilent 8 also is the closest these "death-jazzers" have come to making rock album, especially when the super distorted, hazy murk of psychedelic howling almost garage-rock-improv pummel of track 7 is taken into account." [Aquarius Records] www.runegrammofon.com	2007	€15.50
SVARTE GREINER	Penpals forever (and ever)	CD	"The first side (first two tracks) were originally issued on the Penpals Forever cassette on Digitalis in 2008, limited to 180 copies. Both tracks have been completely remastered. The remaining pieces are all new and exclusive to this release. Svarte Greiner is the nom de plume of Deaf Center's Erik K. Skodvin. Hailing from Norway, his solo efforts are always stripped bare, white-knuckle sojourns through dark, haunted ambient sonic corridors. Penpals Forever (And Ever) is the imaginary tale of a long dead Baroque painter and his telekinetic correspondence with a flightless bird. It feels archaic; experimental death marches circa 1622. Like Guercino's Et in Arcadia ego, once the end is realized, there's nowhere left to go. It's beyond our experience and sometimes you never recover from the shock. Despite its rather cheery title, Penpals Forever (And Ever) is another step toward the abyss. Musically sparse, Svarte Greiner finds new channels connecting desolate landscapes through ethereal nightmares. It is music best served cold. Chattering, looping guitar lines that feel like muscle being separated from bone slowly build into aching piles of aural dissonance. It's painful to a point. Recorded voices speak a language you can't understand underneath ominous, echoing single notes. Distant metal fragments scrape the dirt from detuned strings while a nefarious feathered minstrel bows dying instruments in the background. No hope left, death is just around the corner. As it ever was, Svarte Greiner is again weaving something deliciously sinister. This is music that is uncomfortably bare. Within its blood-stained confines, there is nowhere to hide. Skodvin's tangled, gnarled tale goes back and forth into infinity until it becomes clear that the flightless bird in question lives inside your skull. Drowning slowly into one's own twisted mind, Penpals is the soundtrack of loss; the procession of fears gradually becoming so overbearing that you can't escape your own demons." [label info] www.digitalisindustries.com	2010	€15.00
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
SWIEZYNSKI, MATTHEW	The one who modifies Time and Light	CD	CD with handmade packaging in an edition of 200. Sleeves feature a black monochrome craquelure abstraction, a number of these are available in a box with specially made art-work and a bonus CDr (edition of 11). First in a series focusing on sound and music in cinema, dwelling on field recordings, follies and harmony initially used to augment picture, now isolated and modified as a lover's response to the experience of film. The recordings are highly memory-annihilated edits of a mediation on the work of Satyajit Ray's Apu trilogy, created initially for Patrick Mcginley's Framework Radio. A further reworking of this music began in the logic editing system, where a slow-duplication was instituted in order to create a more stereo-rich listening experience. Soon discovered was a plethora of glitching errors. These glitching dreams were then augmented and purified in the tradition of John Cage. In addition to these "chance procedures", a touch of immobility, abstractions and layerings was added underneath to release the music further from its maker. After all this nonsense, the mix was found to be a pleasantly disorienting experience. This work is dedicated to my love Chi and our puppy Leviathan. Leviathan gave me these words of inspiration which one can find in Paradise Lost Massacré : "Infinite Vale. Through the vast and scornful deep, tossing fiery waves of dire hope, what sea-beast Leviathan that piloted the ocean storm, and burned lakes contrary to his own dark designs, he doth obscure mercy and continues on his dusky air. Praise Leviathan: the one who modifies Time and Light to drive us hence." credits released April 23, 2018 Artwork and design by Mount Analogue Sleeve image by M. Świeżyński Mastering by Stephan Mathieu https://ingentingkollektiva.bandcamp.com/album/the-one-who-modifies-time-and-light	2018	€13.00
SYBARITE	Dolourous Echo	7inch	Dass BRAINWASHED auch immer ein Faible für gut gemachte Popmusik hatten, beweist diese Single von SYBARITE mit zwei warmen, weich melancholischen, harmonisch-fliessenden aber interessant gestalteten Elektro-Pop / IDM - Stücken.... “Two instrumental songs from Brooklyn-based multi-instrumentalist Xian Hawkins. As Sybarite, he's released full-length albums on labels like Temporary Residence and 4AD and has had a number of singles and compilation tracks from labels all over the world. He is currently working on his second full-length album for 4AD. It's upbeat, amazingly well crafted and never wears out its welcome. www.brainwashed.com/sybarite blue vinyl !” [press release]	2005	€6.00
SYLVESTER ANFANG	II	CD	"Verdammte Hippies! "Sylvester Anfang II" ist der authentischste, von Drogen zerfressendste, prallste, von gotteslästerlichem Hedonismus durchzogene Ausflug in die Zeit von Analogus Rex, den ich jemals gehört habe. Die Flamen spielen einen verqualmten Hippie-Jam, der sich gewaschen hat, oder eben nicht. Voller okkulter Mystik, ohne Plan, ohne Ziel. Krautrockjamsessions auf Acid während einem satanischen Ritus im Haus von Charles Manson. Gitarrengewaber, hypnotische Percussion, wummernder Bass, orientalische Harmonien, obskure Teufelsgesänge, altmodische Synthesizer, ein heißes Covergirl. Und der verrückte, dreckige Gesang von Clay Ruby alias BURIAL HEX im Hintergrund ist beim Zweiteiler "The Devil Always Shits in the Same Graves" sogar richtig furchteinflößend. Irgendwie sind SYLVESTER ANFANG geil, irgendwie nicht nachvollziehbar. Ich glaube, im LSD-Rausch ist dies die ultimative Musik, herrlich unterproduziert, ohne Songs im eigentlichen Sinne, von ein paar Wahnsinnigen, die trashige Horrorfilme ein wenig zu ernst nehmen. Diese Verbindung von POPOL VUH und AMON DUUL ist allerdings ziemlich mutig, das Ganze auf eine Länge von fast siebzig Minuten auszudehnen, geradezu wahnwitzig. Vor allem laut aufgedreht und bei vollem Bewusstsein entfaltet "Sylvester Anfang II" ungeahnte Faszination, hauptsächlich bei Althippies und Typen, die letztes Wochenende auf einer harten Pilzmischung hängen geblieben sind." [Vampster] "All things must evolve, and given time even the unicellular organisms dwelling in ocean's deepest fathoms may shift form and take to the skies. In celebration of the mysteries of evolution, Aurora Borealis proudly presents SYLVESTER ANFANG II. In the time since the release of Kosmies Slachtafval, Silvester Anfang have grown into SYLVESTER ANFANG II, a more psychedelic beast, a more tangible creature in some ways, but one that defies and confounds standard classification. Taking their cue from Krautrock communes of yore, the Flemish troubadours have expanded both ranks and minds and now present this giant new opus for general consumption. With cultish numbers swollen with new blood in the guise of Stef Anus (Kiss the Anus of a Black Cat), Father Sloow (Sloow Tapes pontiff), Bram (Ignatz) and Clay Ruby (Davenport, Burial Hex ), the sound is much fuller and more reminiscent of Krautish dope jams then ever before. Ruby's vocal additions create a whole new universe for the band, rather like if Dr. John had been born in a plague pit in Flanders, and the resulting tracks "The Devil Always Shits in the Same Graves" parts 1 & 2 are masterful examples of Flemish voodoo boogie. The new material is more hypnotic than before, and the band are sure to add new members to their fan cult as they slink across Europe like a fog in the coming months. Sure to upset parents and upstanding citizens with their occult themes and liberal Europeanstyle artwork, SYLVESTER ANFANG II reach new levels of consciousness with their mantras of goat worship and the orthodoxy of denial that states "Only analogue is real". Dust off your robes, sharpen the sacrificial blade, order in some Trappist beers... Tune in, turn on, evolve." [label info] www.aurora-b.com	2009	€13.00
SYNAPSIS	Materia	CD	Zoharum opens new serie IYHHH-CDs in limited edition 444 pieces. The main idea of this serie is to show interesting, remarkable music projects, which usually have their debut by this release.But we also wish to remind You about rare, unavailable materials of these projects, which have been existed on the music scene from longer time and their side-projects etc. We can say that the main purpose is to protect this wonderful, original music from the oblivion, but also to recall and refresh it to new audience and collectors.. Albums signed as IYHHH are released on CDs, packed in uncoventional ecopack in format similar to occasional card with added post card. Each part of the serie will be the same design but different cover and catalogue number. "Second part of serie IYHHH. Zoharum presents new project of Dawid Chrapla (Nojens / Antibiotix) and Andrzej Turziak (:Wulgata: , Multipoint Injector). The album shows compilation of various styles: industrial, dark ambient and noise Limited edition to 444 pcs" [label info] www.zoharum.com	2010	€12.00
SZCZEPANIK, NICHOLAS	The Chiasmus	CD	"Nicholas' debut CD is much more than an impeccably constructed piece of abstract drone music: The Chiasmus undulates between waves of quiet melancholy and overwhelming beauty, with small slices of pointillistic noise. an album where the emotional response is always the central focus rather then pure aesthetic concerns, the nuances of The Chiasmus are only revealed upon multiple listens; by then, the listener is completely tuned into the world it presents. packaged in a jewel with a 16 pages booklet of art by Avery McArthy." [label info] "... We mostly know him as the owner of Sentient Recognition Archive label, who produce some professionally packed CDRs of the moody, textured drone music around. I think this is the first time I hear his music. Its hardly a surprise that he creates such music himself. Drone music with a big D. Szczepanik seems to be drawing inspiration from all over the place. Through calm and atmospheres, he isn't too shy about breaking away from that and offer a louder end of his excursions. Things buzz and drone and sometimes bite your ear. Think a louder Organum meeting the softest Machinefabriek. The softer moments are the best, I think, but the louder bits (a minority here) provide a great counter point. Maybe a bit long, but very nice." [FdW / Vital Weekly] "A split release between bad ass French microlabel Basses Frequencies, and Szczepanik's own Sentient Recognition Archive label, The Chiasmus is Szczepanik's latest collection of dronology, and the first proper cd we've had (quite possible his first proper cd release entirely). We've long been fans, being the dronelords and ladies we are around these parts, and past Szczepanik joints have demonstrated a mastery of the drone, creating surprisingly lush and lustrous expanses of low end minimalism. On The Chiasmus, Szczepanik continues to move ever deeper, ever darker, five long tracks, each a different variation of drone, drifting from minimal black shift, to near Pop Ambient bliss. Record opener is cavernous, epic, Teutonic and slow shifting, peppered at the beginning with bits of glitch and hiss, the song soon settles into an uneasy sprawl, ominous and dangerously grim, but still somehow warm and expansive and enveloping. The second track shifts gears completely, unfurling a gauzy bit of chordal shimmer, all warm and sun dappled and delicate and gauzy, gentle tranquil melodies played out over minutes instead of seconds, a little Eno for sure, as the song drifts and flutters and hovers dreamily in midair. The final three tracks hover somewhere in between, deep moaning post industrial whirs laid over dense metallic buzz, the two layers slowly seeping into one another like some blackened sonic spill, deep bell like tones ring out, their tones frozen in time and stretched out into softly undulating sheets of sound, slightly reflective and iridescent and kaleidoscopic, glimmering and glistening underneath some alien black sun, and finally, a loooooooong stretch of grinding muted buzz, spreading out in slow motion, it's black shimmer infused with streaks of melody, as if some strange black seas was slowly growing warmer and coming to life before our ears. Fantastic, gorgeous stuff. Essential listening for the drone obsessed..." [Aquarius Records review] www.bassesfrequences.org	2009	€12.00
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
TAINNOS	Kierto	mCD-R	tainnos is a finnish sound artist previously known under the no Xivic alias. as no Xivic, he's had a couple of cds, a 7" on drone records and also a 3"cd-r on taâlem ("i do blame you" in 2004, still available!). tainnos first proposed this track for our "homework - year 2" compilation last year but we've thought it was too good not to be released on its own. "kierto" (circulation) is an audio journey through the evolution of life on this planet. from nothingness to beasts of the wild. from early humans to civilizations controlled by artificial intelligence. everything that has a beginning, has an ending. in the end there are only swarms of flies left and the circle of life and death starts again. expect dark soundscapes at their very best... reviews: vital weekly 1150 Henkka Kyllönen is the man behind Tainnos. Before he was known as Xivic and sometimes as No Xivic (see Vital Weekly 426 and 609). As Tainnos he does something new and I guess a bit more refined. 'Kierto' means, apparently, 'circulation' and it is about the evolution of life on our planet, starting with a few bangs (big or small, I leave that to you) and then evolves into a fine piece of drone music, growing from dark to light and towards the end, of course I should add, it is all a bit darker again, with that slow bang on a repeat mission. Maybe the big bang will ultimately tear us to pieces? Is that the message? Maybe it is, maybe it isn't; perhaps it is about something else all together... at one point I thought to recognize a swarm of human voices singing over the swamp, into the mist of time; a trip in magical world? Whatever it is, it sounds wonderful. (FdW) https://taalem.bandcamp.com/album/kierto-alm-124	2018	€5.00
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
TANAKH	Villa Claustrophobia	CD	Zeitlos schöne Songkonstrukte auf dieser Debut-CD eines 5-köpfigen Projekts aus Richmond USA. Folk- und kammermusikalische Einflüsse, aber auch orientalisch anmutende Gesänge und Sounds machen dies zu einem der besten songorientierten Alben der letzten Zeit für mich .. Anklänge an z.B. CONSTELLATION-Projekte, OPION SOMNIUM, MUSIQUE CONCRETE ENSEMBLE, LABRADFORD..... [BarakaH, 2003] "Tanakh is a layering of sound and structure that combines songwriting sensibility and improvisational abstractions that are as thick and rich as they are minimalist. These two seemingly opposed forms fluidly combine to forge dark sweet lulling gypsy melodies dug from Middle Eastern sands that have been knuckled across Appalachian washboards that shadow the city in which they live. Villa Claustrophobia marks the debut of this new project and features an all-star ensemble including Mic Turner (Dirty Three), Jessica Billey (Lofty Pillars), David Lowery (Cracker), Ned Oldham (Palace) and Nirmal Bajekal (Ravi Shankar's band) amongst others. Between them they bring vocals, violin, viola, cello, bass, percussion, electric and acoustic guitars, flugel horn, trumpet, clarinet, and various ethnic and home made instruments to the recording." [press release]	2003	€13.00
TANKRED, KENT	There is Nothing to Attain	do-CD	Kent Tankred (b.1947) is one of the true hidden masters of Swedish electro-acoustic and experimental music. Tankred studied at Elektronmusikstudion in Stockholm in the early 70s and he has released a sparse catalogue of fine works, mainly for his and Leif Elggren’s Firework Edition Records as well as Ash International. In 1995 he put out the extremely strong album ”Ordinary Things” on Fylkingen Records. ”THERE IS NOTHING TO ATTAIN” is his first albums since the 2010 CDr with the same title. - iDEAL. * Music is not like people. Nonetheless most music tries to pretend it is human, imitating their movements, feelings, attributes, even opinions. Kent’s music doesn’t pretend to be anything. One quickly forgets there could be a human behind it, even though it may have arisen from some profound game, a concentration on some discovery, combination, principle. The music is naked, or rather unclothed, inhuman, at the first encounter reminding you of everything you would prefer to avoid: leaf-blowers, neighbours drilling the wall, machinery grinding, a screwdriver stripping the thread with a careless move, electric warning signals, all on top of each other. A recent radio programme was discussing whether the phrase “human error” should be replaced by the less recriminatory “human contribution”. Meanwhile a submarine has sunk into an ocean chasm and the 53 aboard who might still be alive will run out of oxygen before they can be reached. A struggle between man and machine. But here there is no struggle, the machine is likened to any other natural phenomenon. It just is, does what it does, or doesn’t, in its own time which is neither fast nor slow since it doesn’t have to be compared with anything, has no purpose, no significance, is neither good nor evil. A god like Einstein’s, indistinguishable from nature in its entirety. A galaxy does not rotate in order to be beautiful or strong. A fan does not make something flap about randomly in order to trace a certain pattern. In the starkly dystopic early science-fiction film On the Beach (1959) a Morse signal is detected from a region where all life should have been eradicated by the atomic winter. An expedition is sent to resolve the mystery. In a completely lifeless industrial zone they find that someone, before the radiation wiped them out, had hung a coke bottle on a string from a roller blind balanced so that the random flapping of the blind caused the bottle to press the telegraph key, producing a haphazard stream of code which inevitably from time to time formed meaningful words and phrases. I am hard put to explain what it is than can suddenly make the music so entertaining, so jocular in the midst of this objective, mundane mangling. Yet one does get reminded at some point that someone is behind all this, has discovered or molded, has chosen this; perhaps not a joke but pure serendipity. Just as things originate so must they vanish, by one decision or another – a handbrake, a puncture, a flying catch. The process “concludes”, or purports to, as when someone suddenly wakes you from a dream which you forget immediately but retain the echo of a feeling. Or you are surprised by your parents opening the door when you’re in the middle of a game where you can’t remember whether what you’re doing is supposed to be secret or not. And so the cauldron or the ventilation pipes spill out a bus garage, a swarm of drones, or those flying bicycles Leonardo had a mind to make. Johannes Bergmark. https://idealrecordings.bandcamp.com/album/there-is-nothing-to-attain	2021	€17.50
TAPE DEKAY (BJ NILSEN)	Decadimento Del Nastro - Decadenza Di Tutto	CD	“Decadimento Del Nastro - Decadenza Di Tutto” is the first album by Tape Dekay, BJ Nilsen’s (Hazard, Morthound) analogue musique concrete / noise project whose first and only appearances date decades back: 1999 on the Cold Meat Industry sampler ‘Estheticks Of Cruelty’ with ‘Försökspersonerna’ track and ‘Jonestown Revisited’ track from a 2009 cassette compilation ‘White Nights’ released by Private Edition. The conceptual content of the current CD has been created with the Automatic Music Control System developed by ONKYO and the Elettrocardiograf by Officine Galileo informed by psychotronic distress, thought insertion, electronic harassment and the Frey effect. These 7 recordings reveal harsh and fragmented soundscapes tainted by disembodied voices, squelch and hyper charged feedback. Co-released with Narcolepsia and limited to 300 copies in an uncoated Digipak.	2019	€13.00
TARKATAK	I II III IIII	CD	Die 4 Titel auf / // /// //// sind in ihrem Ursprung auf Reisen entstanden, an unterschiedlichen Orten oder auf dem Weg. Dann weitergeführt in unterschiedlichen Situationen an diesem festen Ort hier bis sie eine endgültige Form angenommen haben, die sich aber erst nach vielen Stimmungsschwankungen gefunden hat. Ein manchmal langer Weg dessen Resultat nur aus der Stimmung entscheidet, die die Musik in diesem Moment entgegenbringt. Tarkatak Ende 1981 war der Anfang: Punk und die Kassettenszene machten alles möglich. Unter dem Namen „Der Pilz“ erschienen die Geräusch-Collagen aus selbst geschnittenen Tonband-Loops und Kassetten-Overdubs. Das Harsche blieb bei „Der Pilz“, das Ruhige wurde zu „Tarkatak“, mit der ersten Kassette „slow“ (1999). Die Quellen und Wege blieben gleich (hören, sammeln, schneiden, unkenntlich machen), das Medium wurde Digital, obwohl es oft noch immer nach Kassette rauscht. Und immer wieder geht es tief in das dunkle, zähe Unbekannte – um sich dann vom Klang irgendwo erfüllt und umschlossen zu verlieren. Neben zwei Kassetten, einer LP, div. 7“s bei Drone Rec. (z.T.Features mit Klangwart und Deep), CD/Rs (u. a. zusammen mit Anemone Tube und Florian Filsinger) und ein bisschen Digitales, gab es Konzerte oder Live-Kollaborationen mit Troum, A Thousand Vows, Melt Banana, Christina Kubisch, Kapotte Muziek, EA 80 etc." https://aufabwegen.bandcamp.com/album/i-ii-iii-iiii "You could think that is a label that hands me two new CDs, and one of these is new work by Asmus Tietchens, that would be the one first to hear. But a new CD by Tarkatak! Hold on. I can't remember I last heard or reviewed his music. I have known the musical project from Lutz Pruditsch since he started it in 1992. Before that, he had a cruder, industrial act, Der Pilz. As Tarkatak, he plunges into the world of ambient and industrial. 'I II III IIII" is his first release since the 2007 release 'Mormor' (not reviewed). There are four long pieces on this CD: ' I', 'II', etc. The pieces are from 2011, 2012, 2015 and 2017/2021. I have no idea what kind of instruments Tarkatak uses; only the piano is recognizable in 'IIII'. Otherwise, I think he uses electronics, effects, guitars, synthesizers and such. There is a robust drone approach in these pieces, of slowed-down tapes and rusty sounds, slowly evolving. With pieces between thirteen and twenty minutes, there is enough time to let them grow and develop naturally. This works best in the longest of the four pieces, 'II'. Tones arrive from nowhere, make a few slow and majestic moves and then disappear, replaced by new ones. The resulting music is dark, atmospheric and ambient. It ticks all the right boxes for me; I have been a fan since the early days, even when I am ashamed to say I haven't played many in recent years. Oddly enough, the one that didn't work well for me was 'IIII', with the piano sounds. Whereas the other was akin to amorphous clouds, the musical element of the piano, slightly unorganized, banging out slow tones against a drone background, became after a while a bit boring. But a good hour of great music has passed by then, so nothing to complain about. Let's hope we don't wait another fifteen years for the next album." [FdW / Vital Weekly] " „I II III IIII“ ist das erste neue Album von Tarkatak seit dem 2007 erschienen Album „Mormor“ auf Genesungswerk. Ende 2021 erschien ein starker Track auf einer Compilation. Die hier enthaltenen Aufnahmen entstanden zwischen den Jahren 2011 und 2021, geremixed wurden sie im Frühjahr 2021. Lutz Pruditsch, dessen Werk in den 80ern/90ern als Der Pilz stark von der Industrial Culture beeinflusst war und der das kleine Label Trümmer Kassetten betrieb, macht als Tarkatak eine ziemlich variantenreiche Musik, die sich im Drone verorten lässt. Konzipiert während des Reisens und Unterwegsseins, bekommt man vier lange Tracks, die sich fortwährend entwickeln: So kommen auf “I” im Laufe der 16 Minuten zu dem in der Ferne anschwellenden Drone immer weitere Elemente hinzu, die sich nach und nach verdichten. Das ist eine sich langsam entwickelnde, aus zahlreichen Schichten bestehende Musik: Zwischendurch wird man an eine Sirene erinnert, Dissonanzen tauchen auf, es pulsiert, brummt und irritiert (und das ist durchaus positiv zu verstehen). “II” wirkt anfangs von der Stimmung wesentlich positiver, weniger dunkel. Man kann sich diesen weitgehend sehr melodischen Track zur Untermalung eines Sonnenaufgangs vorstellen. In der Ferne erklingen Pianotöne, die verhallen, im Rauschen gerade noch erahnbar sind. Dann glaubt man, Wellen schlügen gegen das Ufer, dann setzen dunkle, unheilschwangere Drones ein, um dann am Ende doch hoffnungsvoll zu enden. “III” ist wesentlich reduzierter, beginnt fast unhörbar, dann kommen seltsam-melodische Passagen dazu. Dem Track haftet ein Moment des Mysteriösen an, bevor der Rest Schweigen ist. Der das Album abschließende Track “IIII” beginnt dunkel, tastend, dann kommen Klavierpassagen dazu, die wesentlich dominanter als zuvor sind. Diese vier langen, organisch wirkenden Tracks loten aus, was der Drone alles kann. Sehr schöne, auf 200 Exemplare limitierte Veröffentlichung mit einem zum Poster ausfaltbaren Siebdruckcover." [MG / African Paper] "An edition of 200 copies only in silk-screened hand numbered poster-cover sounds nice and lovely but is in fact a bit unhandy, the poster folds out to more of the organic structure in bronze / brown / black. Thankfully a regular booklet is included here so at least some basic infos can be gained from the artwork. Tarkatak is actually no new name to me, it's a project by Lutz Prueditsch (who was active as Der Pilz, run his experimental tape label Trümmer Cassetten and later Dachstuhl a.o. activities) I've listened to in awe years ago already when his album 'Mormor' appeared on the much missed Genesungswerk label, in a cardboard box with a CD on felt. Ambient drones for the thinking man or something like that I wrote back then. At least back then he gave the tracks some titles but for this collection, recorded between 2011 and 2021 and finally mastered in 2021 even those have left and the tracks are titled as the release, just four numbered sections. Well, freedom of speech, association or of thought or both this is. The most recognizable instrument used here in small doses is a piano, spreading a few melodic highlights throughout these organic drones, built from field recordings and found but altered sounds and voices. Reworked over and over again the continuos movement and the flow hardly ever stops until everything is dissolving. The mood is shifting from brooding to wallowing in various stages of post-romantisicm not completely unlike contemporaries Troum (f.e. with 'Mare Morphosis'). Maybe also reflection of a period of travels and changes in the artists life. A pleasure to listen to. Dreamy Movements in a deep wakefulness sleep." [CHAIN D.L.K.]	2022	€13.00
TAZARTES, GHEDALIA	5 Rimbaud 1 Verlaine	10inch	"Vinyl reissue of this great tribute to the poetry of Rimbaud and Verlaine made by our favorite French sorcerer, who exceptionally abandones his typical imaginary language to reinterpret six small poems in his own way, jumping from one musical genre to the other and happily letting them crunch together in a childish, enthusiastic play. Recorded in Paris in his flatelier around the same time he recorded the wonderful Hystérie Off Music and previously available in an almost unnoticed mini CD edition published by the French label Jardin au Fou, it's now available in a remastered vinyl version - with an excellent 45 rpm cut made by SST in Frankfurt. Pressing info: 350 copies on black."	2016	€16.50
	Diasporas	LP	Originally recorded in 1977, following a limited release in 1979, Ghedalia Tazartes debut album, Diasporas, introduced listeners to the surreal, mysterious and truly unclassifiable statement of Tazartes and his out-of-time place in the French avant-garde canon. Born in Paris in 1947 to Judaeo-Spanish parents of Greek descent, Tazartes spent his early career as an autodidact utilizing his knowledge of repetition and collage, coupled with his Ladino linguistic heritage, to create some of the most unique recordings of the late 20th century. Interest in the works of Tazartes truly sparked when artist Steve Stapleton included his follow up album, Tazartes' Transports, in his famed "Nurse With Wound List," thus adding endless curiosity to the folklore behind Tazartes and his mystical entree. From the onset of Diasporas, looping incantations seemingly pile up at the behest of Tazartes. In almost a prayer-like decree, Tazartes chants to the gods in an undefined whail that is both haunting and spiritually divine. Tazartes unique use of tape loops to capture the disappearing traditions of his family's past creates an atmospheric texture that unexpectedly complements his cut-up, manipulated vocal experiments. While contemporaries within the French avant-garde maneuvered academic theory and rigid tradition, Diasporas strays away from these boundaries, working in Tazartes' invented practice of 'impromuz', a method in which he endlessly records for hours and edits only the moments that display any sense of spontaneous enlightenment. Further emboldening the obtuse nature of Diasporas are the seemingly random recitation of poet Stephane Mallarme and the traditional 'Parisian-style' piano accompaniment of experimental composer Michel Chion. Since its initial release over 40 years ago, both Dais Records and Alga Marghen have released reissues of Diasporas in various formats, all of which quickly fell out of print. Dais Records presents an official reissue, newly remastered by Josh Bonati, utilizing the original artwork of Diasporas in its sole album form, for the first time in over four decades. https://ghedalia-tazartes.bandcamp.com/album/diasporas	2020	€22.50
TESENDALO	V.A. Tapes 2	CD-R	The second part of rare material compiles 7 tracks which are all out of print now as far as we know – amongst it we find the PATHOLOGICAL RESONANCE MC from Anomalous Records or the PRAYER OF MANKIND from SSSM...	2003	€10.00
TEST DEPARTMENT / TEST DEPT.	Industrial Overture. Studio & Live Recordings 1982-1985	4 x CD BOX	Formed in London in the early 1980s, Test Dept are regarded as one of the pioneering forces of ‘industrial music’, recognised for their groundbreaking sound and powerful performances that pushed the boundaries of music, art and protest while exploring political and social issues. Centred around the founding duo of Paul Jamrozy and Gray Cunnington since resurfacing in the mid-2010s, the group recently signed to the Artoffact label and plan to issue a series of carefully curated box sets along with a brand new album targeted for 2026. The first of the catalogue sets is scheduled for release on 5th December, with ‘Industrial Overture. Studio & Live Recordings 1982-1985’ consisting of 40 tracks across 4 CDs and also available digitally. It includes a first ever reissue of the group’s 1983 cassette-only debut album ‘Strength Of Metal In Motion’, the classic ‘Ecstasy Under Duress’ and ‘Atonal & Hamburg’ albums (both unavailable for over three decades), plus a disc of hitherto unreleased studio recordings that incorporate two sessions recorded for the John Peel show on BBC Radio 1. In total, 26 tracks are new to CD and digital formats, of which 12 have never been previously available at all. All contents have been compiled by Test Dept and are newly remastered by Paul Lavigne (Kontrast Mastering). Housed in a 5-panel ecopak designed by Paul Jamrozy and Stefan Alt (Ant-Zen), the set also includes a 24 page booklet featuring a specially commissioned essay by Test Dept expert Alexei Monroe, as well as period photographs. This profile is managed by the guys at Artoffact Records. If you order from here your email will be added to their mailing list, but that's what you always wanted, right? An absolutely gorgeous, beautiful package! 42 Test Dept tracks collected on four CDs, housed in a spectacular ecopak set, with art by the legendary s.alt. A must have! https://testdept.bandcamp.com/album/industrial-overture	2025	€38.00
TESTCARD	#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 FORCE DIMENSION	Early Recordings 1985-89	4 x LP BOX	4 Lp Box w. Shirt & Booklet. Black vinyl ltd. 400. The Force Dimension was formed in the mid 80's by René Van Dijck and Tycho de Groot. After some demos and appearances on compilations, the band signed a contract with the Belgian label KK Records. Their self-titled debut was released in 1989 curiously on two different versions, one produced by Luc Van Acker (Revolting Cocks) and the other co-produced by Dirk Ivens (Klinik, Dive). The duo continued developing a very unique sound mixing EBM, industrial and different electronic influences. 4 Lp Box w. Shirt & Booklet The FORCE DIMENSION. Early Recordings 1985-1989 LP0.5 (=1) Lp2 (all Tracks recorded 1985/1986) A1. Radial 4:01 A2. Asylum Iso-sweet 3:20 (solar) A3. Enter My Playroom 4:07 A4. Square Feeling 2:26 A5. Babybubblebathroom 9:21 A6. Weeping Robot 4:38 B1. Arctic Aparatus (correct version). 4:59 B2. Dadahaha 6:16 B3. Walking Against The Wall 4:56 B4. Cathedrals of SM 2:34 B5. Suffocating Syndrome (grey version) 2:07 B6. Karton Im Regal 3:44 LP1 (=2) (all Tracks recorded 1985/1986) A1 Iceplanet Asterioid 5:20 (1985/86) A2 Destruction 4:59 (1985/86) A3 Burning Sticks down at the Castle 4:22 (1985/86) A4 Enterprice Mister Spock Disco 5:36 (1985/86) A5 Pi 3 5:10 (1985/86) A6 Pi 3 outro 0:19 (1985/86) A7 Toys of Witchcraft 4:00 (1985/86) B1 Dogmah Nepal 3:14 (1985/86) B2 Mental Psi 5:03 (1985/86) B3 Suffocating Syndrome 3:35 (1985/86) B4 SDI 5:08 (1985/86) B5 Rayons im Lokal 2:55 (1985/86) B6 Tarot 8:05 (1985/86) LP2 (=3) Lp2 (all Tracks recorded 1985/1986) A1 Excitement 4.27 A2 Excitement Outro0.15 A3 Blow Out 4.26 A4 Spelonkologgio 3:15 A5 Attenzione prego 6:12 A6 offerz to buddha 2:13 A7 Calls from the Islands in Between 5:56 A8 Calls from the Islands in Between outro 0:16 B1 two times dead 5:59 B2 fire 3:44 B3 War of Ghosts 7:09 B4 Inside myself 4:23 B5 Cold Cave of Death Part 1 0:49 B6 Cold Cave of Death Part 2 & 3 2:55 Lp4 (=3) (all Tracks recorded 1986-1989) A1 Dust (Remix). 5:34 (1989) A2 Carcinome (Fabforce 7inch Version) 3:28 (1988) A3 Excitement 3:01 (1987) A4 Attentione Prego! 3:37 (1987) A5 Green Hall 4:51 (1986) A6 Sequence your Body 2:28 (1988) A7 So-Dom (Fabforce 7inch Version) 4:35 (1988) B1 Julius Caesar 6:33 (1987) B2 Superballen 3:01 (1986) B3 Arctic Apparatus 2:08 (1986) B4 Giant „Ghost“ Steps 4:41 (1986) B5 Cradle Song 2:34 (1988) B6 Hangar V1 2:36 (1987) B7 Gabrielle 4:10 (1987) B8 Fiebertanz 4:07 (1987)	2023	€95.00
THE RITA	Queen Sheets	do-LP	"Some time ago a colleague emailed me and informed me that an artist made a short video of herself knitting to THE RITA’s ‘Thousands of Dead Gods.’ I watched the short video and thought it was interesting, but then also noticed that the woman had a link included on her ‘Instagram’ account for her sculptural works. I had a look at her work and was instantly taken by the sheer immensity and power of her structures, all exemplary of long hours of labour and provocative patterns behind the materials. The most notable structure for me was the piece ‘Untitled Form (Barrier)’ which was made up of timber, bricks, mortar and a semi-dynamic use of the material chiffon to hold bricks in a hanging fashion. The semi-opaque, stretching quality behind the white chiffon with height of almost 8 feet instantly brought to mind the focus of my past recordings that delved into the world of nylon and stocking fetishism, eventually contemplating the semi-opaque salmon pink qualities behind the tights used by classical ballerinas and the expanded practice and tradition therein. Looking at an imposing 8’4 x 8′ structure like Megan Miller’s ‘Untitled Form (Barrier)’ and it’s materials made me think that any sound made by the structure’s movement of bricks against each other piled in a virtual sling of moving chiffon would be perfect for textural, abrasive sound source. After some discussion with Megan, it was decided that a new structure would be built for a collaboration with THE RITA that embraced not themes of fetishism, but expanded utilitarian themes around the use of nylon; the stockings, tights and nylon that women wore to work, what our mother’s wore for warmth, comfort, and most importantly the virtual make-up of the fabric, the inherent qualities it featured. Her eventual new outdoor sculpture was entitled ‘Queen Sheets’ and also made use of brick and mortar, expanding over a flat area with semi-opaque chiffon stretching over the whole of the area, covering it. ‘Untitled Form (Barrier)’ was also erected again in the same outdoor area, and this time the labor intensive building process of both sculptures was recorded for eventual processing by THE RITA. Sam McKinlay ‘’An exquisite and entirely feminine material, much can be said of nylon. It moves like us and with us, stretches like us and with us, and, although extremely delicate and easily torn, the fiber is strong enough to make me wonder if it could support bricks. Pantyhose become our second skin, our birth-skin held in its softness. The sound of its softness is remarkable – the sound of second skin of birth – skin and the light sweet between.’’ – In a letter to Sam from Megan on March 31th , 2014 – (in response to the Rita’s ‘’Ballet Feet Positions’’) Both records are impressive, inspired and near perfect examples of Mr. McKinlay brutal sonic talents. This is easily one of the highlights of this year noise releases and a high point in the Rita discography. A must have item for HNW/Noise fans; but also a great entry point into the genre to see how one of the masters of the form performs. Double Lp has been pressed on 140 gr black vinyl with black label and black inner sleeve and comes in a deluxe silver silkscreen on black cardboard sleeve, limited to 199 copies w/insert in luxury 160 gr ivory paper, plus four color photographs. All package in a clear plastic sleeve to protect double Lp, cover and inserts from dirt, shelf wear and damage." [label info]	2021	€26.00
THE THRESHOLD HOUSEBOYS CHOIR	Amulet (lim. orange vinyl)	3 x LP	The music released as Amulet (or The Amulet Edition) is Peter "Sleazy" Christopherson's semi-secret testament. Originally available in exceedingly limited quantities at live shows and via direct mail-order in 2008 as a hand-assembled 4 miniCDR set housed in a circular Thai Amulet case and never properly distributed, the material finally receives the wider re-release on vinyl and CD it so richly deserves. Only the second and sadly already the final release in his post-Coil solo guise as The Threshold Houseboys Choir "Amulet" sees Christopherson in a more playful mood than ever, don't be fooled by reviews calling this suite of songs "incomplete" or "working stage", these are rough little diamonds, often imbued with a bittersweet melancholy joy, unsurprisingly reminiscent of some of the final Coil offerings, but additionally steeped in exotica, inspired by his new East Asian home and the ghostly voices of his digitally generated choir ("a vocalist that wouldn't crash", as he would say). At times these tracks sound like a warmer, less analytically complex counterpart to the work he created simultaneously with CoH's Ivan Pavlov in the celebrated Soisong project. Bonus tracks feature rare earlier THBC compilation tracks and a few previously unreleased exclusive sketches. Let's be perfectly clear though, "Amulet" is not some half-finished cutting-room floor left-overs, it's a genuine but very little heard fully fledged album released by Christopherson with some of the tracks performed live on his last ever tour, the unforgettable intimate Evenings with Uncle Sleaz. The Infinite Fog edition, presented as a 3LP in a triple heavy Gatefold sleeve and a 2CD Digipak, both including a poster of Peter Christopherson in his infamous Cruella Deville coat has been respectfully and expertly remastered by grammy-nominated Jessica Thompson. Artwork by Oleg Galay overseen and with additional guidance from "our man in Thailand" Peter Jenx. https://infinitefog.bandcamp.com/album/amulet	2024	€65.00
	Amulet	do-CD	The music released as Amulet (or The Amulet Edition) is Peter "Sleazy" Christopherson's semi-secret testament. Originally available in exceedingly limited quantities at live shows and via direct mail-order in 2008 as a hand-assembled 4 miniCDR set housed in a circular Thai Amulet case and never properly distributed, the material finally receives the wider re-release on vinyl and CD it so richly deserves. Only the second and sadly already the final release in his post-Coil solo guise as The Threshold Houseboys Choir "Amulet" sees Christopherson in a more playful mood than ever, don't be fooled by reviews calling this suite of songs "incomplete" or "working stage", these are rough little diamonds, often imbued with a bittersweet melancholy joy, unsurprisingly reminiscent of some of the final Coil offerings, but additionally steeped in exotica, inspired by his new East Asian home and the ghostly voices of his digitally generated choir ("a vocalist that wouldn't crash", as he would say). At times these tracks sound like a warmer, less analytically complex counterpart to the work he created simultaneously with CoH's Ivan Pavlov in the celebrated Soisong project. Bonus tracks feature rare earlier THBC compilation tracks and a few previously unreleased exclusive sketches. Let's be perfectly clear though, "Amulet" is not some half-finished cutting-room floor left-overs, it's a genuine but very little heard fully fledged album released by Christopherson with some of the tracks performed live on his last ever tour, the unforgettable intimate Evenings with Uncle Sleaz. The Infinite Fog edition, presented as a 3LP in a triple heavy Gatefold sleeve and a 2CD Digipak, both including a poster of Peter Christopherson in his infamous Cruella Deville coat has been respectfully and expertly remastered by grammy-nominated Jessica Thompson. Artwork by Oleg Galay overseen and with additional guidance from "our man in Thailand" Peter Jenx. https://infinitefog.bandcamp.com/album/amulet	2024	€28.00
	Amulet	3 x LP	The music released as Amulet (or The Amulet Edition) is Peter "Sleazy" Christopherson's semi-secret testament. Originally available in exceedingly limited quantities at live shows and via direct mail-order in 2008 as a hand-assembled 4 miniCDR set housed in a circular Thai Amulet case and never properly distributed, the material finally receives the wider re-release on vinyl and CD it so richly deserves. Only the second and sadly already the final release in his post-Coil solo guise as The Threshold Houseboys Choir "Amulet" sees Christopherson in a more playful mood than ever, don't be fooled by reviews calling this suite of songs "incomplete" or "working stage", these are rough little diamonds, often imbued with a bittersweet melancholy joy, unsurprisingly reminiscent of some of the final Coil offerings, but additionally steeped in exotica, inspired by his new East Asian home and the ghostly voices of his digitally generated choir ("a vocalist that wouldn't crash", as he would say). At times these tracks sound like a warmer, less analytically complex counterpart to the work he created simultaneously with CoH's Ivan Pavlov in the celebrated Soisong project. Bonus tracks feature rare earlier THBC compilation tracks and a few previously unreleased exclusive sketches. Let's be perfectly clear though, "Amulet" is not some half-finished cutting-room floor left-overs, it's a genuine but very little heard fully fledged album released by Christopherson with some of the tracks performed live on his last ever tour, the unforgettable intimate Evenings with Uncle Sleaz. The Infinite Fog edition, presented as a 3LP in a triple heavy Gatefold sleeve and a 2CD Digipak, both including a poster of Peter Christopherson in his infamous Cruella Deville coat has been respectfully and expertly remastered by grammy-nominated Jessica Thompson. Artwork by Oleg Galay overseen and with additional guidance from "our man in Thailand" Peter Jenx.	2024	€59.50
THEODOR BASTARD	Bossanova_Trip	CD	"BossaNova_Trip" is the highlight of the early experimental period of Theodor Bastard. A non-vocal electronic album recorded by Fedor Svolotch (Alexander Starostin) in 2002 several years before the formation of the band’s key line-up. 14 original utterly minimalistic tracks of the album were on the cutting edge of the avant-garde trends of that time and are worth comparing to the best glitch releases of such labels as Mego, Raster-Noton and Sonig. Aimed at the most sophisticated music lovers, "BossaNova_Trip" has completely fulfilled the ambitions of Fedor Svolotch as a skillful master of sound design and had a strong influence on the unique sound of the later well-known albums of Theodor Bastard. It was on this recording that the track "PU's_Tota" originated in its initial electronic proto-version which, in highly modified form, became the band's first major hit two years later. This reissue features a bonus track – the vocal version of "PU's_Tota", originally released on the compilation that came along with the BulDozer#2 magazine. The melody and the lyrics sung by Yana Veva, which are now so familiar to the fans of Theodor Bastard, appeared in this version for the first time. zhb.radionoise.ru/eng/zhbd-17.html * * * * * * * "BossaNova_Trip" – вершина раннего экспериментального творчества Theodor Bastard. Безвокальный электронный альбом, записанный Фёдором Сволочью (Александром Старостиным) в 2002 году за несколько лет до формирования основного состава группы. 14 оригинальных крайне минималистичных треков альбома находились на острие авангардных тенденций того времени и достойны сравнений с лучшими глитчевыми релизами лейблов Mego, Raster-Noton и Sonig. Расчитанный на самого искушенного меломана, "BossaNova_Trip" в полной мере реализовал амбиции Фёдора Сволочи как утончённого мастера саунд-дизайна, оказав сильное влияние на уникальное звучание последующих всем известных альбомов Theodor Bastard. Именно на этой записи зародился трек "PU's_Tota" в своей изначальной электронной протоверсии, который спустя два года в сильно изменённом виде стал первым самым главным хитом группы. В качестве бонус-трека на переиздании представлена вокальная версия трека "PU's_Tota", первоначально выпущенная на сборнике-приложении к журналу "БульDozer#2" – в этой версии впервые появилась так хорошо знакомая поклонникам Theodor Bastard мелодия с текстом в исполнении Яны Вевы. https://zhbd.bandcamp.com/album/bossanova-trip	2018	€13.00
THIGHPAULSANDRA	Acid & Ecstasy	do-LP	Thighpaulsandra is a veteran of many music worlds, and displays it on his kaleidoscopic multi movement tracks. With his first album in six years, Acid & Ecstasy, he whizzes through a particularly electrifying set of stylistic left turns. ‘Princess Margaret’s Mellotron’ starts off with guttural spiritual ambience before swerving into a twisted rock ‘n’ roll breakdown. A tripped out, irreverent take on the 2020s Britpop re-revival powered ultimately by a vast array of electronics and Coily industrialism, the track somehow expertly blends trickling gamelan polyrhythms, marching band brass, and murky ambience into a genre defying art rock mixture. Acid & Ecstasy" ist das neunte Soloalbum des musikalischen Provokateurs Thighpaulsandra (u.a. ex-COIL/SPIRITUALIZED/JULIAN COPE) und seine erste Veröffentlichung seit dem 2019 erschienenen Album Practical Electronics. Willkommen zu einem weiteren tiefen Tauchgang in Thighpaulsandras anzüglicher Klangwelt, welche sich keinem Genre zuordenen lässt. Ein Doppelalbum, das eine Vielzahl von immersiven Soundscapes, rauen Rockmomenten und lyrisch geschärften Balladen enthält, die wir alle von diesem unruhigen Troubadour erwarten, plus eine Menge fleischiger Überraschungen. Sieben gewichtige Tracks, die dich auf die beste Art und Weise verwirren und dich durch einen eklektischen Zirkus von unverfälschter Genialität chauffieren. Verdränge den Unglauben und kreuzigen die Neugier, du wirst nicht enttäuscht. Erhältlich auf Doppel-LP und Einzel-CD. ##################### no bandcamp, sorry ###################### "If like me you loved Thighpaulsandra‘s debut or the panoramic nature of his Golden Communion album, I’m glad to report the big-band sound is back with a vengeance on this new offering. As sprawling as it is provocative, this beast is an accomplished double helping that happily mingles menace with glitzy pop-tastics skewered in plenty of Stockhausen detours and atonal splurges. A largely song-based soiree, dashes of black humour and grandiose synth work abound, each track never starting where it finishes, its malleable betweens mood-swinging like a tree-skipping gibbon, grinning with mischievous intent. The orator’s words shine, scenic playthings perversely weaselled, poking fun at the righteous. The music, just as anarchic, obsessively delighting in blushes of prog-like excess, scooping up funky spandex grooves or taut totem riffs beset with a warble of classical delicacies, suddenly slamming you unexpectedly into a host of bent-up and crumpled trauma. Bold and marauding, it’s an entertaining ride that draws you into its theatrics askew, starfishes you back from the wreckage on a refreshed stream of consciousness piggybacking on a grinding bassline and creamy wizardry – psychedelically triggered melodics and adrenalined rushes that push intriguing holes through the fabric of its own reality. The jazzabelled tribal mantra of “The Curtain” erased into an ECM coma to comb-over a lush Spanish guitar and flourished balladry. A Julian Cope-like cadence chasing slippery abstracts and trickling diodes. The songwriting free-flow doesn’t disappoint, pillows with possibility, offset in ovalling obliques and star-clustered satellites, leaping headlong into some weirded-out Cardiacs-like operatics. In anybody else’s hands this might fall foul, flounder messily; but Thighpaulsandra’s trip marvels with the improbable, alchemises the errant with seamless ease. The debauched hilarity of “Princess Margaret’s Mellotron” (bringing to mind Double Vulgar‘s ode to her royal highness) meal-worms the ridiculous, all raspberried and choral-tapered, “Sliding down the corridors of powerrrrr” skilfully subverting with toe-tapping tautness and genre-bending fluidity. That multifaceted voice plucking charismatic to later turn despotic on “Cattle Truck”, the music souring to blunted blows disembarking into some head-nodding wrongness and a zero-gravity suspense outage of rumble-roasted layers. I can’t begin to imagine the amount of work involved creating something this complex and widescreen, but my ears are enjoying every twist and turn. As the album ends on the sticky avant-garden of “The Brown Hare Remains”, I’m reminded again of Thighpaulsandra’s genius in conjuring a rarefied atmosphere. An oddly shimmering creature of a track, stabbed in reverbed-glowing rhythmics and gong-like metallics to skitter on an aftersun of chilled poetics slivering between French and English on this dusky purple pulse. A lilting ambience that tessellates like a slo-mo of broken petals wistfully lost to the gathering silence. Acid And Ecstasy is another extravagant triumph that I’m going to be listening to for years to come. [Michael Rodham-Heaps/FREQ]	2025	€35.00
THIS IMMORTAL COIL	The dark Age of Love	CD	Noch ein COIL-Tribut Album mit Neu-Interpretationen von Klassikern der Band - aber diesmal wirklich "ganz anders": Inspiriert von seligen THIS MORTAL COIL Zeiten auf 4AD sind hier von einer illustren Scharn an "Singern & Songwritern" kammermusikalisch & folkig-instrumental geprägte Versionen entstanden, eine schöner & melancholischer als die andere... "Members of This Immortal Coil are Yaël Naim, Bonnie Prince Billy, Yann Tiersen, Matt Elliott, DAAU, Chapelier Fou, Sylvain Chauveau, Christine Ott, Oktopus, Nightwood, David Donatien & Nicolas Jorio. "On November the thirteenth 2004, Jhonn Balance passed away, He was, along with Peter Christopherson, the founding member of the band Coil. His brutal death marked the end of over twenty years of activism and musical genius. I have then decided to work on a project that would pay tribute to them. I didn't want another compilation that would pile up pieces, without any link. My wish was to transpose this unique musical mood to another one, more classical and more accessible to everyone. The whole idea was to pay tribute to the music for what was beyond it, just the way Coil underlined it: "Coil is more than music". I got my inspiration from the project This Mortal Coil, started in the eighties by the English label 4AD. Its label manager had then grouped some of its own artists together in order to play some standards of rock and pop music. Most of those who participated in this work hardly knew Coil. My purpose wasn't to go towards those artists who had a conscious connection with the music of the group, let alone musicians who claimed to be the heirs to this seminal work. My aim was to play with the discovery and take Coil's pieces towards new interpretations, rid of all influences. The respect and the admiration that I have for Coil's work led me to surround myself with talented artists also admired for their brilliant writing. I needed strong personalities who would show a maybe unconscious will to put all their soul, with great humility and maturity, in their participation. The interpretation of Bonnie Prince Billy being certainly the most poignant testimony. Each artist that was hired for this project was utterly fascinated by the depth of the repertory. They have all been motivated and glad to bring their know how and share it with the others. Members of DAAU from Anvers, the virtuoso Christine Ott, Yann Tiersen and Matt Elliott have lived productive, strong and passionate meetings, which made Yann Tiersen offer Matt Elliott to participate to his new album Dust Lane. To finish and in order to strenghten this team spirit, the whole album was mixed by Oktopus (Dälek) who knew better than anyone how to put each member of the project's contribution forward. Peter Christopherson, who since has gone back to working on his first two groups Throbbing Gristle and P.TV, has written about the titles of This Immortal Coil: "I LOVE THEM. It is the first time somebody with musical sensibility and talent has put so much time and effort into covering Coil songs. It totally passes my "hairs on the back of your neck standing up" test for the whole running time of the album. I was awe-struck." After four years spent managing this project, I could not ask for more." [full label/website info] www.icidailleurs.com	2009	€14.50
	The World ended a long Time ago (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
THISQUIETARMY + YELLOW6	Death	LP	" “DEATH” presents a lonely journey of great intensity across the desert, facing inner and external elements, fatally leading to an escape for salvation. The journey is split into three tracks: “Sand” discovers the tough, arid and suffocating desert, as attractive as it is frightening, it surrounds you completely without compromise and there is no turning back. “Furnace” describes the beginning of the blistering heat and the dusty pilgrimage; the rocky landscape is mirrored by a great loneliness in which is revealed our inner demons, ready to engage a battle without mercy against your own soul. “Salt” depicts the comatose state of being at the tail end of the journey, disoriented and dehydrated, lost within psychedelic hallucinations, physically fighting death with little of what is left of your mind. Mastered by Fear Falls Burning. 180g vinyl with free download coupon (no CD, unfortunately) 80 black / 320 gold." [label info] www.bassesfrequences.org	2010	€14.00
THU20	Live in Groningen	CD	rare live-recording of the almost legendary dutch group consisting of JOS SMOLDERS, PETER DUIMELINKS and ROEL MEELKOP; rec. 21. Augustus 2000; last copies, lim. 400, special cover with strange folding "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
THUJA	same	LP	"A brand new vinyl only full length from aQ beloved ambient improvised free rock explorers Thuja. The core group is all present, Loren Chasse, Glenn Donaldson, Steven R. Smith and Rob Reger, joined for these sessions by Thuja satellite members: Greg Bianchini, Keith Evans, Bryan DeRoo and former aQ mailorder mistress Christine Boepple. Collected from various live performances, these tracks find Thuja setting up in various venues around the Bay Area, and transforming each location, at least briefly, into a forest glade, or a darkened wood, or a fog shrouded seashore, using traditional instruments as well as sticks and stones and other found objects to conjure up ghostlike soundscapes , each track, every performance, a slow burning sprawl of humid and humming minimalism. Almost the entirety of the A side is taken up by an epic stretch of alchemical minimalism, a muted series of washed out melodies, of gentle scrapes and distant shimmers, various notes and chords expressed in long streaks, the guitar lines unfurling lazily, the band eventually coalesce into a glistening high end crescendo, suddenly reminding us of Sunroof! with their upper register ur-drone skree, but here that skree is more muted and muddied, a mournful keening, before the band elves back into a more minimal moonlit crawl. Disembodied slowed down riffs are draped over whispered whirs, while the band lurk in the shadows, letting tiny bits of light spill out, creating barely there sonic patterns, and dusty dreamlike song skeletons. The B side is even more understated, each track a brief soundscape, exploring dark dusty corners, shuffling through a blanket of dead leaves, the band barely there at all. Almost like they set up their instruments and just stood there, letting the wind and the wildlife create the sounds. When the music does materialize, and take more solid form, the guitars weave themselves into delicate little tangles, drifting over deep resonant swells, all around sounds betray the environment, but become inexorable parts of the organic sound being created, snippets of conversation, voices, footsteps, alongside subtle bits of percussive thump, warbly distant melodies, a deep dark ambience, a gorgeously subtle sound that manages to be quietly propulsive even as it seems to hover motionless. LIMITED TO 500 COPIES!!" [Aquarius Records review] label-website: www.importantrecords.com	2008	€15.50
TIBETAN RED / THE OVAL LANGUAGE / DAS SYNTHETISCHE MISCHGEWEBE	The Breath of the Hydra	CD	A three way collaboration between the Germany based THE OVAL LANGUAGE, the Catalan TIBETAN RED and DAS SYNTHETISCHE MISCHGEWEBE living in Rennes, France. In an on and off exchange since end of 2016, a continuous exchange of audio material, ideas and suggestions. Salvador Francesch and Guido Hübner meet again after long years at the occasion of a concert of the latter one at the LEM festival in Barcelona. Since then working together became evident as was the choice of including Klaus-Peter John with whom several collaborations had already seen the light of day through the years, most notably the homage to the late Carlfriedrich Claus ‘sprechzimmern’ with RLW as well as a 2x CD collection of collaborations on the notorious Monochrome Vison label in Moscow. The association of their different sound worlds and even more specifically their extremely particular fashions of creating them was meant to merge and melt in a whole able to blur clear distinctions with only an occasional sneaking out of a head and a hissing tongue amongst many that takes the scent and direction respectively in the brooding heat that forges shape and carves direction. TIBETAN RED Salvador Francesch is a catalan-canadian painter, sculptor and sound explorer who lives in La Garrotxa, Girona. He has released 5 CDs in his Tibetan Red project. His work pursues experimentation with sounds that seek to convey some aspects of his interest in Eastern rituals and ceremonial art. THE OVAL LANGUAGE Klaus-Peter John is from Leipzig, the project started as a trio in the early 80’s working to turn into his solo project with sound, noise works in open spaces, photography, installations and land-art informed projects in which mainly the voice is put center stage. DAS SYNTHETISCHE MISCHGEWEBE started in the early 80’s in Berlin with cassette production and performative concerts, exhibitions and installations to which a D.I.Y. approach of a lot of customized equipment became inherent accompanying an interest in several areas of science and technology. Moved to Barcelona then France, producing many recordings and performance works. https://emerge.bandcamp.com/album/the-breath-of-the-hydra "The Breath of the Hydra (ACU 1029), da weißt man ja, es sind drei Köpfe. So auch hier: TIBETAN RED + THE OVAL LANGUAGE + DAS SYNTHETISCHE MISCHGEWEBE. Ersterer, Salvador Francesch in La Garrotxa in den katalonischen Pyrenäen, hat dem mit Todo entretenimiento es una anticipación del infierno auch das Motto vorangestellt. Der Dichter José Bergamin soll das gesagt haben, als Vorstand der Alianza de Intelectuales Antifascistas der kulturelle Kopf der Spanischen Republik, der Picasso den Auftrag zu "Guernica" gegeben hat. Francesch teilt mit Bergamins Rechtfertigung des 'Roten Terrors' allemal die Vorliebe für Rot und offenbar auch die Vorfreude auf die Hölle. Blödsinn, natürlich die Abneigung gegen Amusement. Er ist mit seinem Debut 1985 auf Freedom in a Vacuum nicht ganz so lange dabei wie Guido Hübner, der ab 1981 sich der Cassette- & Soundculture einschrieb. Bei "Sprechzimmern" (2015), einer Hommage an den konkreten Lautpoeten Carlfriedrich Claus, und zehn Jahre zuvor bei 'Papillon Schizophone' war er dabei auch schon mit Peter John zusammengekommen. Der Leipziger, der in den 80ern als Sänger bei Neu Rot (!) anfing, hat sich nach "Hibernation" & "Waldkonzerte" auf Edition Telemark zuletzt mit "Hexen Hexer" gegen Denunziation und Hexenjagden positioniert, auch wenn heute dabei, anders als im Spanischen Bürgerkrieg und beim Hydraschlachten, seltener Blut fließt. Ich kann mir eine 'Melancholie des Widerstands', wie sie Hübner von László Krasznahorkai aufgegriffen hat, als das Verbindende zwischen den dreien vorstellen bei ihrem alchemistischen Procedere mit brodeligem Köcheln und Sieden, das einher geht mit kratzigen und schleifenden Impulsen und hohleren, quasi perkussiven Anmutungen, die das überwölben. Dazu vexieren zirpige, halbwegs natürliche Klänge mit einem leisen, hauchzarten 'Schreiben' mit metallischem Griffel, über das motorische, zischende, sirrend oszillierende Attacken hinweggehen und einen industrialen Dominator installieren, der impulsiv oder gedämpft rumort und infernalische Stimmen nur ahnen lässt. Der Griffel schreibt weiter in einer opaken Nichtstille und hat dabei etwas von einem Keuchen oder Röcheln an sich. Martialische Wellen mischen das auf, und zischende Ventile machen das zu einem Tauchgang in die Schinderwerkstätten der Schlotbarone. Trappeliges Toben, abgerissene Kürzel und tatsächlich der Kehle entrissene Laute verunklaren dabei die Differenz von Mensch-Maschine, Organisch-Anorganisch, Außen-Innen, Hart-Weich, Makro-Mikro. Immer wieder leise als bruitistische Audiographie aus winzigen, halb wie gehauchten Krakeln vor einer nun dröhnend bebenden Klangwand. Wenn nur das Schreien nicht wäre, das infernalische, kaum zu hören, aber doch nicht zu leugnen. Ganz in der Nähe - Folterkeller, Höllen. Die satanischen Mühlen mahlen als zerrende Tonbandspuren, weiß der Teufel, was sich hinter verschlossenen Türen alles abspielt. Scharrt da wer an Metall? Was sind das für unheimliche Heimlichkeiten?" [Bad Alchemy] "German Attenuation Circuit label run by Sascha aka EMERGE, has released a new album in which three sound artists of electronic experimental music collaborate: German artist The Oval Language, Catalan Tibetan Red and Das Synthetische Mischgewebe who lives in Rennes, France. "The Breath of the Hydra" is the result of exchanging audio files since the end of 2016. Salvador Francesch is a Catalan-Canadian painter, sculptor and sound explorer who lives in La Garrotxa, Girona. He has published five CD's with his Tibetan Red project. Klaus-Peter John aka The Oval Language is from Leipzig and works in noise, open space, photography, installations and informed land-art projects where the voice takes center stage. Guido Hübner aka Das Synthetische Mischgewebe started in the early 80's in Berlin with the production of cassettes and performance concerts, exhibitions and installations. This album consists of a single track of almost 52 minutes long which unfurls two faces. One, the sound is almost imperceptible and silence plays a relevant role. In the other, drones and noises are the background of a proposal with a strong organic character and consequently, gasping and buried voices are barely heard and spit out an indecipherable language. The clicks near the middle of the track look like whips that are followed by screams which are in the distance. All this takes place in a dark ambience that well represents the history of the Hydra." [Guillermo Escudero/LOOP] https://emerge.bandcamp.com/album/the-breath-of-the-hydra, http://www.attenuationcircuit.de/	2021	€12.00
TIDAL / CHAOS AS SHELTER / IGOR KRUTOGOLOV	Ingathering of exiles	CD	Sehr fruchtbare Zusammenarbeit des US-Minimal-Drone-Projekts TIDAL mit den apokalyptisch-sakralen CHAOS AS SHELTER und dem ebenfalls aus Israel stammenden Experimentalmusiker IGOR KRUTOGOLOW, die hier eine unheilvolle und schwermütige Atmosphäre heraufbeschwören: bedrohlich–symphonische Drones, pathetische Klagegesänge, tief-eruptive Soundschwälle, schwelende feedbacks, elektronische Sounds und akustische Instrumente oder Soundquellen... ein bedrückend intensiverTrip ins sakrale Herz der Dunkelheit, der sich hier symbolisch auf das biblisch-messianische Heilsversprechen bezieht.. „Tidal is David Brownstead, previously known for his harsh noise project 666 Volt Battery Noise. Now focusing on minimal ambient music, David has released CDs under the name Tidal on Alluvial Recordings and just recently on Manifold Records. "The Four Rivers" on Alluvial, is the first installment in what is to be a trilogy dedicated to and inspired by Mishima. "Golem And Man" on A Pyrrhic Victory/Manifold is his latest release which was released in October 2002. The second installment of the Mishima trilogy is in the works as well as other releases and collaborations. Conceived in 1999, Vadim Gusis (Chaos as Shelter) is Israel's premier solo composer of Soundscape, Neo-Folk, Ambient Drone music...He currently has three CDr releases, one 3" CDr, 2 CDs, a double CD and a 7" record in his discography. He works out of New Jerusalem Studio. Igor Krutogolov is an experimental multi-instrumentalist (including cello, piano and throat singing) based in Jaffa, Israel. He is a frequent contributor to Chaos As Shelter as well as various other projects in genres ranging from ambient to improvisation to harsh noise. His solo work has appeared on various compilations and he is currently working on upcoming solo and collaborative releases. Historically "The Ingathering of Exiles" is when, in the Messianic age, all Jewish people, including the Ten Lost Tribes, would gather from their exile around the world to Israel. The Ground Fault Recordings CD, "Ingathering of Exiles" is an idea that explores the shared heritage of the three collaborators.” [label description]	2003	€7.00
TIETCHENS, ASMUS	Monographie edited by Kai U. Jürgens	BOOK & CD	"Erweiterte Neuausgabe Der vollständig überarbeitete Band enthält teils durchgesehene, teils unveröffentlichte Beiträge von Marcel Beyer, Ditterich von Euler-Donnersperg, Kai U. Jürgens, Till Kniola, Jon Mueller, Guido Sprenger und Vidna Obmana. Asmus Tietchens ist mit insgesamt acht Aufsätzen vertreten. Die englischsprachige Diskographie wurde auf den neuesten Stand gebracht und erschließt Tietchens’ Werk mit rund 200 Einträgen. Ein aktualisiertes Interview vermittelt biographische Hintergründe. Als CD erstmals mit dabei: VERSTREUTES 2 mit 16 raren Kompilationsbeiträgen aus den Jahren 1984–1995, darunter ein unveröffentlichter Bonustrack."	2006	€39.90
	Humoresken und Vektoren	CD	"CD in full colour digipak with photos by Okko Bekker and Asmus Tietchens. Production: Okko Bekker. Recorded at Audiplex Studios Hamburg in 2012. 16 tracks of new material. 500 copies. On „Humoresken und Vektoren“ „Humoresken und Vekotren“ takes up a work that was started upon the invitation of Francisco Lopez for the spanish Störung label. The task was to deliver thirteen 2-minute original compositions for a compilation release. “Humoresken und Vektoren” recycles these miniatures from 2010 and unfolds it into eight new works having no resemblance with the original sourcings whatsoever. These eight tracks are bound together by eight short pieces entitled “Tristia” that function as bridges between the longer pieces. “Humoresken und Vektoren” is a combination of very dynamic and detailed sounds and a range of delicate layers and abstract textures. The CD features very surprising artwork unlike most recent Tietchens releases. Asmus Tietchens writes: Vier Humoresken, vier Vektoren und alle Stücke getrennt durch jeweils eine kleine Traurigkeit: Tristia, Die allerdings in gleich acht Varianten. Im 19. Jahrhundert wurden ohne Ende Humoresken komponiert. Ich habe nie begriffen, was an diesen Stücken lustig sein sollte. Im 20. Jahrhundert gab es eh nichts mehr zu lachen, also wurden auch keine Humoresken mehr komponiert. Das 21. Jahrhundert scheint zum Schreien komisch zu werden, also habe ich vier Humoresken komponiert. Wahrscheinlich wird kaum jemand heraushören, was an ihnen lustig ist. Vier Vektoren geben zwar definierte Richtungen an, aber solange die Koordinaten nicht bekannt sind, zielen sie ins Nichts. Solche Vektoren zu betrachten, ist ebenso ergiebig, wie den Bereich zwischen Null und Eins zu untersuchen. Und vielleicht sind die acht kurzen Tristia- Stücke ja die eigentlichen Humoresken? Und die Vektoren ein wenig traurig? Und die Humoresken führen nirgendwohin?" [label info] www.aufabwegen.com	2014	€13.00
TIETCHENS, ASMUS + CV LIQUIDSKY	Monoposto	CD	17th and final part in the re-release series of all early Tietchens albums between 1980-1991 Originally released on Dragnet, Dom Elchklang in 1991. This new version incl. 3 Bonus tracks and is another joint release by German labels Die Stadt and aufabwegen. Jewel case with full color artwork and poster booklet also feat. the original front and back cover. First edition of 600 copies. Track listing: 1. 'Junge Hoden' 3'01 2. 'Drangsal am Hauptbahnhof' 3'09 3. 'Der Appelbeker Kreis' 3'14 4. 'Schlotzen' 2'47 5. 'Mit dem Zombiebus ins Totenreich der Killermumien' 10'07 6. 'DDR' 4'01 7. 'Frauenhygiene' 3'12 8. 'Vergessene Jungens' 3'40 9. 'Einfach Helden' 3'09 10.'Aus heiterem Himmel'2'07 Bonus tracks: 11. 'Prinzip Hoffmann' 2'49 12. 'Schwachholz vorsetzen' 2'06 13. 'Liquidsky spricht' 0'22 Asmus Tietchens + CV Liquidsky 'MONOPOSTO' (Dragnet & Dom Elchklang, Dradomel 03) 1991 It was just before the end of the so called heroic times when CV Liquidsky and I decided to record a studio album together. Almost a bit late considering that Liquidsky had already lived and worked in Hamburg since 1979. Our ways had crossed many times and a mutual friendship developed. Actually we discussed a possible collaboration several times. Liquidsky was a graphic designer, journalist, musician and someone who really moved things in all these areas. I got to know Liquidsky's musical side as him being one half of the industrial music duo 'Cinema Verite', and at the same time through his journalistic skill's, writing excellent reports about the Hamburg and International music and cultural scenes. As a trained artist he also did record covers and posters, illustrated Fanzines and created some disturbing free works. It was no secret that his chosen artist name derived from both ,Cabaret Voltaire'(CV) and 'Liquid Sky'(Liquidsky). His real name was Andreas Hoffmann. The recordings for 'Monoposto' were made between 1988-1990. The mention of the years 1981-1990 on the cover was deliberately misleading. Our work scheme was to try and record one track per nightly session, and when ever we met in the studio we clung to this strict working method. It was our intention to avoid making a perfect studio album. Improvisation, chance, errors and spontaneous decisions were the game plan. After a track was recorded it was mixed the same night or even early the next morning, so it was finished. No softening out and no corrections were made, no matter if the raw diamonds we created started to shine or not. It was Liquidsky (the "mover") who persuaded me to accept this almost Dadaistic concept, as I'm basically someone who takes longer to create a track. He concentrated on his guitar and myself on the electrical treatments. Later a good friend of ours described the music as a mixture of apathy and ecstasy, beauty and ugliness. In fact I never worked on an album with such a melancholic note before or ever after. The cover was created by Liquidsky within a couple of hours. The word 'Monoposto' has actually no meaning. It's a Blindtest to show the actual look of a certain typography common in the analog world back then. Liquidsky was fast and he always stood on the right side. Andrea Hoffmann died on 6th of September 1998. Editorial notes: All recordings were transferred from the original tapes, but in a different order than on the LP. The title 'Mit dem Zombiebus ins Totenreich der Killermimen' on the original album is actually written incorrectly. The corrected title is 'Mit dem Zombiebus ins Totenreich der Killermumien'. The track 'Liquidsky spricht' was taken from the compilation 'Das digitale Vetrauen' (Soleilmoon, SOL 54)." [label info] diestadtmusik.de/DS120.html "Die große, 2003 begonnene 18-teilige Wiederveröffentlichungsreihe von Asmus Tietchens’ früheren Arbeiten kommt mit Nummer 17 langsam an ihr Ende; in einer erneuten Zusammenarbeit veröffentlichen Die Stadt und Auf Abwegen das mit CV Liquidsky zwischen 1988 und 1990 entstandene und ursprünglich 1991 erschienene Album „Monoposto“. In den Linernotes schreibt Tietchens, dass er Andreas Hoffmann, so der bürgerliche Name des 1998 verstorbenen Musikers, Journalisten und Graphikers, schon lange kannte, bevor sie sich endlich dazu entschlossen, ein gemeinsames Album aufzunehmen. Es sei nicht darum gegangen, ein „perfektes Studioalbum“ aufzunehmen, sondern „Improvisation, Zufälle[...], Fehler[...] und spontane[...] Entscheidungen“ hätten eine wichtige Rolle gespielt. Das führte dazu, dass die einzelnen Stücke recht schnell entstanden und noch in der gleichen Nacht gemischt wurden. Nichts weiter wurde mit den Aufnahmen gemacht. Das Zusammenspiel von Liquidskys Gitarre und der elektronischen Bearbeitung von Asmus Tietchens führt “ zu ganz unterschiedlichen Ergebnissen. Insgesamt ist „Monoposto“ allerdings ein stark von Wiederholung geprägtes Album, wie gerade der fast schon rhythmische Opener „Junge Hoden“ mit seinen immer nur leicht variierten Loops zeigt. Ähnlich konzipiert scheint „Drangsal am Hauptbahnhof“, das mit seltsamen kreischenden Passagen im Hintergrund etwas düsterer und variabler ist. „Mit dem Zombiebus ins Totenreich der Killermumien“, vielleicht der Titel eines verlorengegangen Drehbuchs von Don Swan, ist eine anfangs verrauschte, fast schon nach Ambient klingende Nummer mit dunklem Dröhnen und leichtem Pochen. Auf dem verglichen damit profan betitelten Track „DDR“ hört man Loops, Heulen und Dröhnen, seltsame Stimmen und im Hintergrund eine Hymne. “Fraueninnenhygiene” hat eine merkwürdige Westernatmosphäre, „ Auf „Einfach Helden“ glaubt man ein dissonantes Klavier zu hören und das Stück „Aus heiterem Himmel“ ist ein Cover von Neil Youngs „My my, hey hey (Out of the blue)“, das im Original die legendäre Zeile „It’s better to burn out/Than to fade away “ enthält. In Tietchens’ und Liquidskys Interpretation lässt sich das Original durchaus noch erahnen, von der Herangehensweise passt es aber gut zum Rest des Albums. Stampfende, primitive Rhythmik hört man auf den Bonustracks „Prinzip Hoffmann“ und „Schwachholz vorsetzen“ und gerade diese Tracks situieren dieses in Passagen monotone und ruppige Album durchaus an den Rändern des Industrials. (MG)	2020	€15.00
TONIUTTI, GIANCARLO	Ura itam taala' momojmuj löwajamuj cooconaja	mCD	Faszinierende Veröffentlichung von Klang-Morphologiker GIANCARLO TONIUTTI, der auf dem Gipfel eines Berges in Italien (Monte le Zuffine) ein drei Meter hohes Kreuz fand (mit einer kleinen Glocke) - Klänge dieser Objekte und die psychogeographische atmosphärische "Aura" des Ortes dienten als Grundlage für diesen wunderbar mysteriös wummernden one-tracker, der zischelnde & leiernde Blasen wirft.... this is really CRYPTIC Ambience... "This work could be seen as a process of sonic magnification. A couple of years ago I made a field-recording on a mountain top. It was meant to go on a project I had in mind. I needed a pure field-recording, almost silent. On this mountain I also found a small bell and decided to vaguely use it to generate a faint tonal presence. But in the end the recording was spoiled by the recorded presence of many tiny natural noises. The project as process: Recently I took this recording back to life, and decided to mainly work with the sounds coming from the short bell performances, trying to generate the whole sound morphology from a mesostructural derived process, through analogic treatments of these acoustic fragments. The epiphenomenal world: Somehow intended as a magnifying process of the internal structural features of the sounds from a bell and its mechanics, the work took advantage also of the fact that all these sounds were strongly embodied in the acoustic micro-activity of the natural environment. The selected sources were basically dirty, from interferences of insects and other small sounds. While magnifying and isolating the bell sounds, it was impossible (and not meant in the end) to remove these accidental environmental noises surrounding each sound particle. Thus, as they became part of the timbral quality of each single sound, they also shaped the evolutionary process of the work. This work could be seen as a process of inflow moistening (title in Hopi language) " [label info / credits] "No one will ever accuse Giancarlo Toniutti of releasing too much music into the world. It has literally been ten years since Toniutti has released any recordings outside of a very rare compilation track here or there. That said, Toniutti is an undeniably intriguing sound artist, who has deeply immersed himself into obscure forms of ethnomusicology and linguistic study, all the while keeping a finely tuned ear to the habits of vangarde composition. His earliest recordings emerged out of the Italian power electronics community of the early '80s whose most well known practitioner was Maurizio Bianchi. Like Bianchi, Toniutti put out a handful of recordings on the seminal British noise label Broken Flag. While bracing, complex, and adventurous in its crunched tape manipulations and sinister synthesis, Toniutti's work stood apart from the signature Broken Flag arc of transgressive noise, due to Toniutti's intellectual rigor. It was this rigor that brought Toniutti to pursue his collaborations with Andrew Chalk and Conrad Schnitzler, and it was probably this rigor that caused the prolonged length between recordings over the past decade. So, the 20 minute composition that Toniutti produced for Ferns impressive series of 3" discs has been granted a Hopi Indian title based on an ancient song dealing with cunnilingus and bedbugs. I'm sure that Giancarlo has a very particular reason for placing such a text alongside this warbling set of mutated field recordings; but as of yet, it remains something of a mystery. This composition does enjoy a hermetic quality, in spite of Toniutti's explanation that he derived all of the sounds from a field recording he made in Italy involving a mountain, a 10ft tall cross, a metal pylon, and a temple bell. Out of that environment and those objects, Toniutti arrives at a record that might appear somewhat meditative at first, with its constant wash of low frequencies; but upon deeper investigations into the piece, he reveals queasy, off-kilter tonalities which gently vibrate against each other, bristling with quiet textures. His is a pretty unique sound, somewhat like the early electronic work of Xenakis with the diminutive sensibilities of early Bernhard Gunter. Highly recommended!" [Aquarius]	2007	€7.00
TONIUTTI, MASSIMO	Shanghai Files - 6 (or more) Ring-Shaped Films	CD	Shanghai Files (6 or more ring-shaped films) This is a new partitura of a sound work whose origins date back to 2007. Initially conceived as an environmental piece, it consisted of six pre-recorded sequences of different lengths, each looping on its own speaker suspended from a large, centuries-old plane tree. The setting was the garden of a historic villa. The original installation was titled "6 Pellicole ad anello" (6 Ring-Shaped Films), echoing loops and growth rings alike — ideally protective sound films. In the unusual year of 2020, I dusted off those old audio files — including some alternate takes — and created a home-based quadraphonic version, which I eventually mixed down into a stereo snapshot of its ever shifting layers and shared through a month-long series of radio broadcasts. This stereo adaptation took on a different name. I pictured the sound files like sticks from the game Shanghai: held in the hand, then released — falling into a chance pattern, a circle of sound shifting with each new drop. Hence, "Shanghai Files." The new partitura began to take shape when Darren Tate asked me for a full-length work to inaugurate his newly founded label, Fungal Editions. I sent him an earlier version of what would become the main piece — he readily approved it as a fitting start to the project. That prompted me to revisit the material and expand it with two additional tracks. The composition eventually found its final form — revu et corrigé, so to speak. I actually had a second, much shorter track on hand — a sort of offshoot of S-Files. While the first leans more toward ambient, this one edges closer to the domain of radio art, with cut-ups and sonic manipulations that suggest a more radiophonic intent. At that point, space had opened up for a further development — there was a need for a 3rd chemical bath. The title speaks for itself: a slow, metamorphic wash that alters, dilates, and reconfigures a chosen cluster of the ring-shaped films. "Shanghai Files" partly draws on material from my documentary soundtrack work around 2007, when I would process sound to create specific backgrounds — or what I came to call “tints.” The voice, originally recorded for those documentaries, by contrast, was later isolated and broken down into tiny, luminous fragments that subtly come to mark the main piece. The release comes in a beautiful 6-panel Ecopack. Over the years, Darren has shared with me a number of nature photographs, which I’ve finally woven into a delicate visual montage. And our collaboration doesn’t end here… To Gualtiero Toniutti 27.4.1961 – 31.5.2023 original recordings 2007 additional recordings, “partitura”, mix 2020-2024 remastered by Colin Potter at IC Studio artwork by Massimo Toniutti based on Darren Tate’s photographs layout designed by Deison https://massimotoniutti.bandcamp.com/album/shanghai-files-6-or-more-ring-shaped-films ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Perhaps I'm mistaken, but this might be the first time I've received a CD from Darren Tate. It's not a release with his music, which, if remembered well, was on different labels, but the start of his Fungal Editions as a label. A label, so I suppose, to release his work and not that of others, so much to my surprise, it's new music by Massimo Toniutti. I always thought Massimo was the slightly unknown Toniutti, but these days it seems he does more releases than his brother Giancarlo. On this new CD, he has three pieces, of which the first is the primary one. The genesis of these pieces is in a work he already composed in 2007. That was "an environmental piece, it consisted of six pre-recorded sequences of different lengths, each looping on its speaker suspended from a large, centuries-old plane tree. The setting was the garden of a historic villa." In 2020, when we had time to revisit the past, he dusted off the sounds in his archive and composed ever-changing patterns with them. On CD, he treats these sounds like the game Shanghai; "held in the hand, then released — falling into a chance pattern, a circle of sound shifting with each new drop. Hence, "Shanghai Files." I admit I don't play many games, so I have no idea what this is. The sound sources are diverse, including spoken and murmured voices, large drones, and small sounds, all of which are digitally manipulated. Much like Steve Roden's work, these sounds overlap in numerous ways, never forming the same configuration twice. Unlike Roden's work, Toniutti's music on '41 Ring-Shaped Films', as the central piece is called, isn't as ambient and follows a slightly more cut-up feeling, moving through vastly different landscapes. 'Spillikins (Radio Edit)' is the shortest of the three pieces and a more traditional song-like composition, employing musique concrète-like cut-up techniques within a shorter time frame. Still, I would think with much of the same sound material, it would turn out to be a neat little radio play. The CD ends with 'A 3rd Chemical Bath', in which all sounds blend in a more amorphous tonal poem. It's a natural resting point of the CD, an ambient coda, and it's not that the album needs such a coda. It's not what happens before that must result in a ten-minute long-form drone piece, but it's a fine piece nonetheless. An excellent inaugural release for this label. (FdW)	2025	€15.00
TORBA	Musique Inconcrete	LP	After the quickly sold out »Ggràn« cassette, released on Fragment Factory in 2016, we are very happy to welcome back the Italian sound artist Mauro Diciocia aka Torba for his 2nd contribution to the FF label catalogue. »Musique Inconcrète« is the follow-up to »Musica Conventionale«, released earlier this year on his own Edizioni Aaltra imprint, and marks the second installment in a trilogy of related recordings, informally named »Le Musiche«. While being active in the field of contemporary sound art and noise music for more than a decade, Diciocia has produced a whole lot of mostly small run cassette releases. This LP is Torba's first and long overdue full-length album for the vinyl format. While Diciocia's latest work is far from being composed in classical terms, the concept behind the album revolves around the idea of sketch or annotation. Or better still: The inconcrète. A semi-false (or semi-correct) french word, used to undermine the consistency of the french Musique Concrète tradition in a rather light-hearted manner. During the conception of this album, MD was strongly influenced by the work »Incompiuto - The Birth of a Style« by the Italian contemporary art collective Alterazioni Video. They loudly claim that Incompiuto – the unfinished – is the only Italian art style of some significance in the past 50 years: "The term ‘incompiuto’ refers to the architectural and infrastructural works whose construction has been halted, and which can be witnessed throughout the entire Italian peninsula. They are all publicly funded, and for a variety of reasons (design errors, political decisions, inaccurate cost estimates, contractors' bankruptcies, evident disregard of building regulations, the disappearance of funds, etc.) their construction has been interrupted, leaving behind a series of ruins in reverse.” (Alterazioni Video) Far from any reference to post-architecture or mafia-political controversy, the final output of »Musique Inconcrète« is a macro cut-up of sound-screens reorganized as quasi-organic narration: Fragments of unfinished compositions, roughly assembled according to a mere aesthetic criteria. Beyond the sporadic use of oscillators and a few inserts of other people's music manipulated on ¼-inch tape, the whole LP is made out of field recordings collected in the region of Salento in southern Italy, where Diciocia is currently living. All environmental sounds were captured with common consumer electronics (walkman and mobile phones) in order to give back the domestic feeling of an abandoned opera. Speaking of geography, the first track Lapjèdr Fòr is the only exception. Intended as an introduction to the whole narration, it testifies MD's emotional and non-linear journey back from Germany, where he spent about eight years, to Southern Italy: It contains a clashing mix of recordings made in Berlin and around the seaside of Torre Lapillo. The pictures for the artwork of the album were taken by the photographer Gabriele Albergo, whose perpetual-in-progress project »Salento Death Valley - A Black Diary of the Most Beloved Italian Peninsula« aims to deconstruct the touristically idealized image of the region through the serial production of what he calls anti-postcards. Edition of 300 copies on black vinyl. https://fragmentfactory.bandcamp.com/album/musique-inconcr-te "Many of the sounds on Musique Inconcrète are thin, threadlike, fibrous, like amplified insect legs or the metallic rustle of uncut guitar strings. Usually such a description would apply to an album with much more sound processing and alteration involved in its construction, not a work that relies as heavily on mostly unmanipulated field recordings as this does, but the singular vision that audio collage maestro Mauro Diciocia (a.k.a. Torba) has adopted for Musique Inconcrète is unconcerned with “usually.” The six tracks on the LP are true sonic sketches, a structure he borrows from the Alterazioni Video collective’s tradition of Incompiuto—the incomplete. Diciocia warmly embraces a state of unfinishedness, fully content to explore acoustic settings and movements with qualities that might often be cited as weaknesses: insubstantiality, choppiness, frailty. He uses the aforementioned field recordings—most of which were captured in southern Italy—as fragile canvases for his sketches, their beautifully mundane soundscapes both contributing their own unique textures to the music as well as serving as a base for quiet interjections of buzzing static; occasional and very choice musical samples; and other oddities. The recordings themselves are often shaky and unstable, an effect that’s achieved via either subtle processing or the recording medium itself; Diciocia chose to use basic electronics like small tape recorders and mobile phones to evoke “the domestic feeling of an abandoned opera.” Such careful efforts to fully adopt an intentional lack of polish or seamlessness make Musique Inconcrète not only a fascinating and thought-provoking release but also more lush and well-realized than one could ever think possible." [Noisenotmusic] "Wenn das neue Torba-Album ein Pendant in der Welt der haptisch erfahrbaren Artefakte hat, dann ist es die Ruine – ein Phänomen, welches das Künstlerkollektiv Alterazione Video jüngst am Beispiel unvollendeter Architektur und Infrastruktur untersuchte, an verschiedenen Konstruktionen, die aus Geldmangel, wegen technischer Probleme, politischer Planänderungen und ähnlicher Gründe Fragment bleiben mussten. In der dazu entstandenen Studie wurden sie als die bedeutendsten Kunstwerke des heutigen Italiens bezeichnet. “Musique Inconcrète”, erneut eine Reihe an feinsinnigen Cut-Up-Kollagen, wurde stark von diesen Überlegungen getriggert und setzt sich aus eher spontan zusammengesetzten Komponenten zusammen, denen man ihre Fragmentiertheit anmerkt. Benannt hat Torba das Resultat allerdings nicht nach dem Unvollendeten, sondern nach dem “Inkonkreten”, was eine ganze Reihe weiterer Bedeutungsnuancen eröffnet. Im Vergleich zur One Track-CD “Musica Convenzionale”, dem ersten Teil der losen Reihe “Le Musiche”, erst recht aber zu früheren Veröffentlichungen, sind die sieben Tracks des neuen Longplayers noch ein ganzes Stück dezenter, andeutungshafter und ungreifbarer: Mikrosequenzen, deren Soundmaterial diffus an Zikaden, Straßenlärm, Sinustöne, Wind und Wasser und zwitschernde Vögel, aber auch an jazziges Basspiel erinnert, eine Viel-, wenn nicht Unzahl an per Telefon aufgezeichnetem Material, dazu Songzitate und immer wieder dezente Manipulation – all das liegt übereinander, greift ineinander und verschmilzt doch nur soweit miteinander, dass das Konstrukt einer Einheit verwehrt bleibt. Alles verbindet sich gerade so stark, dass die Konturen einzelner Klänge undeutlich und eben unkonkret werden. Man kann darin freilich eine Kritik an den Ideen der Musique Concrète, oder zumindest das Aufzeigen einer Kehrseite und eines blinden Flecks sehen, betonten die Pioniere dieser Musik doch besonders das Material in seiner wie selbstverständlich angenommenen Abgegrenztheit. Die einzig deutliche Grenze, die Torba hier zieht, ist die des immer wieder überraschenden Schlusspunktes einer Sequenz oder einer Tonspur, womit er an einige seine früheren Tape-Veröffentlichungen anknüpft. Torba ist nach wie vor ein Gelände mit vielen abrupt endenden Sackgassen. Mehr noch als in den opulenteren Stücken wird dies in den zwei minimalistischen “Intermezzi” deutlich, in denen der (teils verfremdete und im Tempo hochgeschraubte) Auftakt einer berühmten Klaviersonate durch ein Szenario verhuschter Sounds getrieben wird. Daran, dass das Motiv immer wieder nach drei Tönen de nova da capo geht, mag man sich gar nicht gewöhnen, und soll es vielleicht auch nicht. In dieser Spannung, in der die einzige klare Kontur die Evidenz des Unfertigen ist, liegt die Signifikanz und natürlich die größte Herausforderung von “Musique Inconcrète”. Hat man sich daran gewöhnt, erkennt man viel Schönheit in dem Gebräu aus Verkehrslärm, Stimmengewirr und verschwommener Jahrmarktsmusik." (U.S./African Paper)	2019	€18.00
TORTURING NURSE	Il Comunismo doveva morire	CD	"il comunismo doveva morire is Torturing Nurse's first Mind Flare Media release. Absolutely devastating, this album is one single track running almost an hour and fourteen minutes long. The band suddenly breaks in from nowhere and immediately begins an assault on your ears, suddenly switching and transitioning to a variety of different power electronics landscapes. The artwork sums it up well, a symbolic representation of a dead politicial system. The back features similar art taken from famous propaganda and manipulated, ending with more political imagery inside and a CD that rests upon a pile of skulls. Without a doubt the harshest thing these guys have ever done. This stuff is powerful and not for the faint of hearing." [label info] www.mindflaremedia.com "Why noise from Japan was spectacularly good was that noise as miss-appropriation of western music in post war Japan was where miss-appropriation of the west was paramount, removal of tradition in favor of day glo Elvis's Whiskey made from genuine Scottish grapes and school girls in tartan mini skirts." . discuss.. Or why miss-appropriation has now firmly shifted to China might be the explanation of the ability of Torturing Nurse to take over the incoherence of noise from the great masters of Japan, and that in there inconsequential screaming, noise and feedback is what they do so well, whether from design, pastiche or naivety, it doesn't matter, all is symptoms without any traces, illness without disease, psychoanalysis of sanity, this is a culture which was never part of the monotheistic religions. Judaistic calling which engendered the enlightenment and guilt, Freudian Oedipus or Marxist theory ,T.N. is a superficial image, a simulacra of the west without foundation or introversion, it has nothing to attack or demolish, so is pointless, nothing to solve or cure, the name itself silly lacking any psychosis of western introversion, those bare chested lot who miss mommy, no this is noise as noise for noise from noise and nothing else besides, and 74 minutes which is never enough. All those blokes in Texas half drunk on Budweiser with their effects pedals, guitars and toys should take a listen and weep, no not weep, too much weeping already, maybe then get washed have a shave and get a job at HMV in the local mall, or else take up the dizi, sheng, paigu, paixiao, guan, erhu, zhonghu, dahu, banhu, jinghu, gaohu, gehu, yehu, cizhonghu, diyingehu, leiqin, guqin, sanxian, yangqin, guzheng, ruan, konghou, liuqin, pipa, zhu?????" [jliat/Vital Weekly]	2010	€13.00
TOY BIZARRE	kdi dctb 039	mCD	"Der Code kdi dctb ist bei Cédric Peyronnets Fieldrecordings so obligatorisch wie in gewissen Parallelwelten das BWV oder dergl. ‚kdi dctb 039‘ speziell ist der Mittelteil einer Trilogie, die mit ’kdi dctb 151’ auf dem Split mit Dale Lloyd auf Bremsstrahlung in San Diego begann. Dass Peyronnet auf puren Naturklang (keine Synthesizer, Sampler etc.) pocht, wurde schon als bewusste Abkehr aufgefasst von der erzfranzösischen Pariser Musique- Concrète-Schule. Aber die Lauschangriffe auf die akustische Umwelt, hier nur deklariert mit ‚made in various places from 1994 to 2007‘, sind nicht weniger "typisch französisch". Oben propellert ein Flieger, unten knistern Laub und Ästchen, dazwischen ein Hüsteln, Klackern und Knurschen, ein Zwitschern, Bitzeln und Zirpen, wie ein Glas prall gefüllt mit ‚Wald & Wiese‘. Duchamp hat 1919 in einer Apothekenambulle ‚Pariser Luft‘ als Readymade-Gastgeschenk mit in die USA genommen. Peyronnet könnte entsprechend 20 Minuten ‚Heimatklang‘ verschenken, so komprimiert, dass er explosiv verpufft, dass es wie ein Percussionorchester aufrauscht und dann minutenlang nachbebt, als synästhetisches Konzentrat von ‚Natur‘, über die hinweg erneut Flugzeuge ihre Bahn ziehen" [Bad Alchemy] "kdi dctb 039 is a part of a trilogy made up of 'kdi dctb 151' (See bremsstrahlung recordings), 'kdi dctb 039' & 'kdi dctb 180' (TBR). Another piece about childhood memories composed only with field recordings made in various places visited from 1994 to 2007 : acoustic spaces, sound objects, sound auscultations, bits of soundscapes... Microphone and recorder as the primary tools. It's sometimes good to make a pause, seat and take a look at the past - then, some sound fragments may appear... our sound memory. toy.bizarre (Cédric Peyronnet / ingeos) - sometimes qualified as "rural headphone electro(acoustro)nic music" - works on field recordings, phonography, soundscapes, sound art, since 1985. He has released more than 40 works on CDs, tapes, videos, compilations...Contact : http://www.ingeos.org" [label info] "Throughout the '90s, Cedric Peyronnet would boldy announce that none of his Toy Bizarre recordings were made with synthesizers or samplers, instead with field recordings and collage techniques as his twin media. It has been speculated that this notion comes from a punk attitude against France's institutional avant-garde which evolved out of the work of Pierre Schaefer and Pierre Henri; but at the same time, Peyronnet's recordings focus on the specificity of sound locations, and the technology of samplers and synthesizers didn't have the ability to reflect the unpredictability that Peyronnet witnessed in environmental sound. While Peyronnet doesn't mentioned his aversion to technology on this 3" from Ferns, he's retained the same adventurous sensibility for dynamic edits coupled with nocturnal, slippery ambience. From the jump-start opening of crackling twigs and grasses with an airplane's Doppler-effected engine roaring in the distance, Peyronnet's 20 minute composition dissolves into elegantly fluid timbres weaving out of tactile sounds from sand, grit, gravel, and other bits of detritus. Once all of the sounds have all settled into a drift of stasis, a quick jump to another set of textures and abrasions begins with a corresponding set of sympathetic drones. Fans of Loren Chasse's field recording work, Tarab, and Steve Roden should all take note of this exceptional release." [Aquarius Records]	2007	€6.50
TRAMA AFONA	Trama afonA	CD	"Trama afonA is the sound/visual project by Lorenzo Scacchia (Roma, 1977), a vain attempt to tramaphonise (convey) what he sees in the dark and hears into silence… Apart from a few self-productions, this album constitutes the first official release, gathering tracks composed between 2005 and 2008 (presented in reverse chronological order). Tracks 1, 3 were inspired by a wonderful creature. Tracks 2, 5, 6, 7, 8, 9, 10, 12 were composed as soundtrack for various solo photo/graphic exhibitions by Trama afonA. Track 4 drew inspiration from a story by H. P. Lovecraft. Track 11 was composed for an Italian compilation. Tracks 13, 14 were the soundtrack for the former Trama afonA’s website. Trama afonA is gathering suggestions from the contemporary quotidian theatre and at the same time from the past, namely the 19th and early 20th centuries. Paying particular attention to the individual and specific human stories, rather than to History… Focusing on what happens behind the scenes, aside, beneath. Subjects and dynamics less showy, blurred, but not consequently less interesting or worth caring. Opening doors and drawers using the sole curiosity as tool, walking backwards the traces of memory, wandering amid shades and details given by mystery, decadence, abandon, romanticism… Carefully delving into psychological dynamics. Openly denouncing the social plagues, but often humbly providing just visual and sound suggestions. A brief semantic note about Trama afonA: the Italian noun trama has 3 significations, corresponding to the English plot (as a story line as well as a conspiracy) and weft (of a woven material); the adjective afona means aphonic." [label info] www.greytone.eu	2010	€13.00
TREPANERINGSRITUALEN	Algir; Eller Algir I Merkstave	LP	Trepaneringsritualen return to Cold Spring with an album-long ritual working entitled ᛉᛦ — Algir; eller Algir i Merkstave. On this record — constructed from a series of rituals designated to guide the last ceasing of ᛏᛇᚱᚫ ᚾ ∴ ᚾ ∴ ᚾ — T × R × P is manifest in its most obscure form. Sonically minimal yet devastating in emotional impact, this working lets the listener grasp the last vestiges of Nifl and Múspell, and with them as weapon and beacon traverse the Night. ᛉᛦ reveals a barren landscape where crooked paths lead onward, through soot black veils to a point of radiant light where all that is is Union & Dissolution. Dedicated to our sister, ᛏᛇᚱᚫ ᚾ ∴ ᚾ ∴ ᚾ. T × R × P channelled through the forms of ᚦᛟᚦ ᚷᛁᚷ, ᚾᛟᚺ ⩝⚭⩝, and ᛏᛇᚱᚫ ᚾ ∴ ᚾ ∴ ᚾ at the 63rd Link, 4 & Rising, and Zone Rouge December 2017 e.v. — July 2018 e.v. Mastered by Martin Bowes. Artwork by Nullvoid. ___ I tordön rister marken och i ett enda andetag rämnar alla världar. Den arma kropp som en gång med knapphet höll samman faller nu itu, och itu, och itu. Tills varje beståndsdel blir till Ingenting. Likt en vålnad utan hud och blod och anda — utan köttets förtvivlan — kastar jag mig — handlöst och av vanvett vredgad — i ditt vidunderliga gap. Här, i gudars sotsvarta skymning, där natt och dag förgås, hörs alla ord och stäv för första gången tydligt. Här tar alla vaga förnimmelser sin sanna form och stiger ur ett disigt skimmer. Här, i alla solars gyllne gryning, strålar tusen — åter tusen, pilar av det mest förblindande ljus, mot en enda punkt. Skapandet, och varandet, och blivandet löses upp där prisman splittrar ljuset. Framför mig syns vägen klar och uppenbar. Vi Vandrar Vidare V ∴ V ∴ V CD in 6-panel digipak LP - Limited first edition of 500 copies on 180g black vinyl. Printed inner sleeve with reverse board outer sleeve. Official teaser: youtu.be/8bTlXaUPpzI https://coldspring.bandcamp.com/album/algir-eller-algir-i-merkstave-csr275cd-lp	2019	€22.50
	Algir; Eller Algir I Merkstave	CD	Trepaneringsritualen return to Cold Spring with an album-long ritual working entitled ᛉᛦ — Algir; eller Algir i Merkstave. On this record — constructed from a series of rituals designated to guide the last ceasing of ᛏᛇᚱᚫ ᚾ ∴ ᚾ ∴ ᚾ — T × R × P is manifest in its most obscure form. Sonically minimal yet devastating in emotional impact, this working lets the listener grasp the last vestiges of Nifl and Múspell, and with them as weapon and beacon traverse the Night. ᛉᛦ reveals a barren landscape where crooked paths lead onward, through soot black veils to a point of radiant light where all that is is Union & Dissolution. Dedicated to our sister, ᛏᛇᚱᚫ ᚾ ∴ ᚾ ∴ ᚾ. T × R × P channelled through the forms of ᚦᛟᚦ ᚷᛁᚷ, ᚾᛟᚺ ⩝⚭⩝, and ᛏᛇᚱᚫ ᚾ ∴ ᚾ ∴ ᚾ at the 63rd Link, 4 & Rising, and Zone Rouge December 2017 e.v. — July 2018 e.v. Mastered by Martin Bowes. Artwork by Nullvoid. ___ I tordön rister marken och i ett enda andetag rämnar alla världar. Den arma kropp som en gång med knapphet höll samman faller nu itu, och itu, och itu. Tills varje beståndsdel blir till Ingenting. Likt en vålnad utan hud och blod och anda — utan köttets förtvivlan — kastar jag mig — handlöst och av vanvett vredgad — i ditt vidunderliga gap. Här, i gudars sotsvarta skymning, där natt och dag förgås, hörs alla ord och stäv för första gången tydligt. Här tar alla vaga förnimmelser sin sanna form och stiger ur ett disigt skimmer. Här, i alla solars gyllne gryning, strålar tusen — åter tusen, pilar av det mest förblindande ljus, mot en enda punkt. Skapandet, och varandet, och blivandet löses upp där prisman splittrar ljuset. Framför mig syns vägen klar och uppenbar. Vi Vandrar Vidare V ∴ V ∴ V CD in 6-panel digipak LP - Limited first edition of 500 copies on 180g black vinyl. Printed inner sleeve with reverse board outer sleeve. Official teaser: youtu.be/8bTlXaUPpzI https://coldspring.bandcamp.com/album/algir-eller-algir-i-merkstave-csr275cd-lp "After a run of strong albums framed around vocal driven, rhythmic death industrial compositions, Trepaneringsritualen ‎(TxRxP) has chosen to take an abrupt left-hand turn (onto the left hand path?) to deliver an extremely minimalist ritual dark ambient album, thus harks back to an earlier phase of the project. In fact this new instrumental album is so minimal and ritualized in style, it would not at all be out of place on the Aural Hypnox label. Compositionally this album consists of two lengthy nineteen-minute tracks, each titled with the algiz rune, but noting for the second track the algiz rune has been inverted. To glean meaning from this, in its upturned position, the algiz rune can be interpreted as a human with upraised arms to received the protection, guidance and wisdom from the Universe. But in its inverted position can be interpreted as meaning hidden dangers for the self and the need to reflect and look within as part of the process of gaining strength and connecting with higher self. Yet even with the cover image of the algiz rune formed by tree branches, based on the spartan artwork and text in Swedish, how the algiz runes should be interpreted in context of this album remains unclear. Sonically speaking the atmosphere is one of bass driven tonal depth and catacombic echo, where blackened washes of archaic drones blend with reverb drenched ritual percussive sounds, including: deep catatonic drum hits; sparse gongs; wailing horns; ritual chimes; singing bowls, low atonal piano notes etc. Yet for all of its apparent minimalism, this album is one that immediately draws you into its sinister clutches and does not loosen its grip for the entire album duration, particularly given the ample tensile sonic elements which keep interest and engagement throughout. Although cut into two separate tracks, the sound effectively plays out at an album length track as the sound between the two pieces bridges the same pace and articulates visions in the mind’s eye of a ritual ceremony being conducted in the falling twilight on the damp forest floor, while tree limbs creak and sway in response to the winds gusting through treetops far above. Also of note is the deep shuddering thud featuring at the start and end of the album album, as if sonically representing the opening and subsequent closing of a ritual cycle. Prior to the release of this album, perhaps I had assumed that TxRxP would continue to forge ahead with a song-based approach. That impression has been proven to be completed incorrect, but at the same time, ᛉᛦ – Algir; Eller Algir I Merkstave is an exceptional example of minimalist and strongly meditative ritual dark ambient music, and completely takes me back to the earliest days of when I started listening to this type of music. Recommended." [Noise Receptor]	2019	€13.00
TROUM	Ryna	CD	Wiederveröffentlichung des Debut-Albums von 1998, mit neuer Artwork von TILMANN BENNINGHAUS (Berlin). Re-release of Troum's long sold out first album from 1998 with new artwork by Tilmann Benninghaus. Digipack. "...Die acht Stuecke greifen sehr gekonnt ineinander, steigern sich von Minute zu Minute. Praesentieren sich die ersten Tracks sehr einheitlich, ambient, setzen dann leichte Rhythmusstrukturen ein, um im Finale Riurja" ihren Hoehepunkt zu finden. Alle, die sich mit auditiven Aphrodisiaka berauschen, sollten diesen Edelstein besitzen: Ein begeisterndes Noise-Ambient-Werk!" [Der Schrei] "Vielmehr versetzen sie Gitarrensaiten in harmonische Schwingungen, um damit sinnlich erfahrbar zu machen, dass Begriffe und Ideen Herrn & Damen ohne Unterleib bleiben müssen, wenn sie sich nicht entpuppen zu Flügelwesen, Tänzern und Sängern. TROUMS Dröhnwellen singen von der Einheit von Pneuma, Psyche & Soma. Eine Einheit, die ständiger Modulation ausgesetzt ist. Beispielhaft für einen Modulator steht bei TROUM der ‚Thalamus‘, der wörtlich ‚Schlafzimmer‘ genannte Teil des Zwischenhirns, der die ein- und ausgehenden informativen Erregungen des Großhirns moduliert. Muss man das wissen? Es kann zumindest nicht schaden, sich dessen bewusst zu sein, dass TROUM im Klang & Fleisch gewordenen Wort ‚Traum‘ die psycho-physischen und environmentalen Fundamente vibrieren lässt." [Rigobert Dittmann, Bad Alchemy] "...The general feel of the sounds here is reminiscent of the earth moving, tectonic plates in constant shuffle, the tracks building and then either shifting or worn away via attrition. Its as if Maeror Tri learned to fly through ingenuity, smoke and mirrors, while Troum has taken the ingenuity, smoke and mirrors and, somehow, grown wings. Amazing stuff!" [JC Smith] "I believe it was 1997 when a small posting came my way stating that Maeror Tri had dissolved. At the time, this German trio had become one of my (Jim's) favorite ensembles alongside the likes of Organum, Skullflower, and :zovietfrance:. Maeror Tri's dedication to grimly focused atmospheric music harbored all of the things that succeeded in the campaigns of industrial and ambient music; and the Maeror Tri anonymity (or at least a mysteriousness about the group that lead to such a reading of their collective persona) certainly enhanced their charm. Albums such as Emotional Engramm and Multiple Personality Disorder had achieved heavy rotation status on my stereo (and still get pulled from the shelves quite often in this day and age); so the news that Maeror Tri was no more was met with sadness. Fortunately, two thirds of the Maeror Tri ensemble had decided to continue on but under the moniker Troum. While the name of this duo was an archaic German word for dream, Troum's pursuit of unconscious symbolism through their heavily processed guitar drones still maintained the ashen darkness that Maeror Tri perpetuated, as was evident on their first CD release Ryna, which originally came out in 1998 on the Belgian label Myotis. It should be noted that Ryna is not the first Troum recording; that honor is held by a cassette called Dreaming Muzak that came housed in a tiny pil*low. Ryna quickly went out of print, along with much of the Maeror Tri back catalogue; but thankfully, Troum have repressed this early gem through their own Transgredient imprint. An album of constantly billowing black clouds, Ryna achieves the same dark ambient / dronescape signature that had marked so many great Maeror Tri / Troum releases. On occasion, cracked / decayed loops of rhythmic surging emerged from beyond the horizon of Troum's guitar suites, alluding to a Norse mythological bellow of impending doom and apocalyptic battle. While I've not done the side-by-side taste test of the two albums, the 2007 redux of Ryna appears to much louder and cleaner. Regardless, it's a pleasure to hear this record once again!" [Aquarius Records]	2006	€12.00
	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
	Dreaming Muzak	CD	" 'Dreaming Muzak' is the first full-length material of TROUM duo originally released on tape in 1998 and later re-released on a limited CDR (100 copies only) in 2005. This edition is the first one on a regular CD. The material was thoroughly remastered by Łukasz Miernik (who is also responsible for the sound of the previous MAEROR TRI reissues on Zoharum.) "Dreaming Muzak" is composed of 2 drone ambient compositions so characteristic for the TROUM style. They were created as a muzak tuning our brainwaves into the proper dreaming stadium. The following prerequisites have been accompanying the duo for many years, hence they have become their credo executed on many excellent records and gigs. It is "Dreaming Muzak" that constitutes an excellent introduction to the adventures with TROUM and their music. The cover design is based on the artwork of Wiktor Jackowski. This edition is released in a 3-panel digipak strictly limited to 350." [label info] www.zoharum.com "Dreaming Muzak was the very first release from Troum, not long after the two members of Troum had disbanded their previous project Maeror Tri in 1998. Originally released as a cassette housed in a tiny pillow in an edition numbering a scant 100 copies, then as an equally small pressing on cd-r a few years later. That said, Dreaming Muzak does what Troum and Maeror Tri have always done so very well: drone-on with gritty, psychological undercurrents. 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. A very nice document from one of our favorite drone acts." [Aquarius Records]	2014	€13.00
	AIWS	LP	"Backwards is very happy to presents the vinyl version of TROUM classic album from 2007. Re-mastered by Thomas Dimuzio. New amazing artwork by Pierre-Ives Girard. AIWS 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. One of the most emotional and profound Troum releases! Dedicated to Eternity. Edition of 400 copies. 100 on purple vinyl and 300 on black vinyl.	2017	€18.00
TUNNELS OF ĀH (TUNNELS OF AH)	The Smeared Cloth	do-CD	"The Smeared Cloth" is a double CD compilation containing the TUNNELS OF ĀH recordings from 2012-2018, which have not yet been published on any medium. The first disc is filled with compositions from the period before the debut in Cold Spring and outtakes from the sessions for "Thus Avici", the next album for the British label. The second disc contains tracks recorded during and between the sessions for "Surgical Fires" and "Charnel Transmissions". Although they were created as loose compositions, out of the concepts clearly outlined on each of the mentioned albums, they sound incredibly coherent, giving impression of being part of a concept release, this makes them a pleasure to listen to; especially when we get carried away in the world created by Stephen Ah Burroughs with the sounds characteristic of his work. Sometimes they evoke associations with ancient rituals, intensifying the impression of Egyptian darkness, the feeling of coldness and emptiness coming as if from a deep dungeon, and with them an echo. All this is a superstructure for the 21 tracks filling both discs, outlined and maintained, in a convention that allows them to be stylistically located somewhere between isolating dark ambient and death industrial, where the gloom aura and dense, mechanical structures coexist as if in symbiosis, thanks to which the balance between building the atmosphere and reflecting the true nature of the industrial collision. This release is undoubtedly a must-have for TOĀH fans, but it can also delight those who appreciate death industrial at a high level. The album's released on two CDs folded in a six-panel ecopack. Tracks 1-11 taken from "The Smeared Cloth" CD1 Tracks 12-21 taken from "The Smeared Cloth" CD2 https://zoharum.bandcamp.com/album/the-smeared-cloth-2012-2018-unearthed "In den frühen 80ern gründete Stephen R. Borroughs zusammen mit Justin Broadrick und Dave Cochrane das Trio HEAD of David, das einen der noisigsten Grundsteine dessen legte, das später Industrial Metal genannt werden sollte. Im Lauf der Jahre konzentrierte er sich mehr und mehr auf Soloprojekte, und neben Frag war dies seit etwas über zehn Jahren Tunnels of Āh, mit dem er einen Ritualkosmos von fast räudiger Abgründigkeit entstehen ließ. Dass Tunnels of Ah trotz der starken Abstraktion seiner ästhetischen Konzepte ein konsequent verfolgtes atmosphärisches Thema hat, wird bereits deutlich, wenn man die mittlerweile sechs Alben, die seit 2013 auf Cold Spring und zuletzt Hypershape erschienen sind, im Vergleich hört, denn da fallen die verbindenden Elemente sehr deutlich ins Auge. Mehr noch beeindruckt einen die musikalisches Stringenz angesichts der jüngst auf Tape und Doppel-CD erschienenen Compilation “The Smeared Cloth 2012 – 2018 Unearthed”, denn hier lassen frühe Stücke und Outtakes aus verschiedenen Albumsessions ein überraschend zusammenhängendes Bild entstehen. “The Smeared Cloth” ist nichts für Hörer, die Probleme mit Beklemmung, Dunkelheit und niederdrückender Schwere haben. Eine finstere, bedrohliche Stimmung zieht sich durch die oft kreisenden Soundgebilde, lassen durch ambiente Dröhnung, Saitenrasseln oder sirrende Streichersounds filmreife Phasen der Spannung und durch paukende und prasselnde Takte und plötzliche Schuttlawinen aufwühlende Momente entstehen, steigern sich vom subtilen Hauch eines – nur oberflächlich sanft wirkenden, in Wirklichkeit höllischen – Windes zu infernalischen Szenen von hochtönendem, schleifenden Lärm. Klangfarben von Stein und noch stärker Metall prägt das Gesamtbild, doch ist in gewissen Abständen auch immer die Illusion des Organischen spürbar, als würde das harte und kalte Material mit dürren Reiserbesen und ähnlichem traktiert. Auch die entmenschlichte menschliche Stimme ist gelegentlich zu hören, mal in Rezitation, mal als finsteres Growlen und Keifen, mal in Form eines sakralen Gesangs. Wenn man in den 20 Stücken die Kohärenz betont, sollte man hinzufügen, dass in ihnen natürlich auch Raum für Variation ist. Sollte ich einige herausragende Stücke betonen, dann wären es wahrscheinlich “Keys King At Womb Door Again”, in welchem sich ein anfangs kaum spürbares lykanthropisches Hecheln langsam zu etwas (noch) Monströse(re)m steigert – eine Entwicklung, die vielleicht etwas vorhersehbar ist, doch die urige Soundgestaltung, die durchweg an etwas Altes, seit Urzeiten Verschüttetes denken lässt, fällt weitaus stärker ins Gewicht. Ferner “Fountain of Life”, das nach gängigem Verständnis wohl eher wie das Gegenteil seines Titels klingt und an einen zerbrochenen Brunnen erinnert, dessen Wasser ein paar Erdklumpen mit sich reißt und am Ende im Schlamm versiegt. Nicht zuletzt auch der Titeltrack, dessen Spoken Word-Passage wie das Monument eines sinnlosen Aufwands vor infernalischer Kulisse am Ende von einer Schuttlawine geschluckt wird. Nach den über zwei dystopischen Stunden scheiden sich wahrscheinlich die Geister: Während die einen fürs erste genug gelitten haben, sind die anderen nun gewappnet für die regulären Alben des Projektes, und “The Smeared Cloth” gibt da tatsächlich einen großartigen Einblick in einen Kosmos, den ich allen empfehlen kann, die frühe Coil, alte Broken Flag-Releases und ausgewählte Death Industrial-Platten nebeneinander im Regal stehen haben." [African Paper] "Eager to get back into the Tunnels. Not long ago, I gave 'Deathless Mind' another spin, and I had been looking forward to some new material from Burroughs. Still.. two whole CDs, dearie me. I'm curious if I can make it through in one go. Also, it is not exactly 'new' material, but rather excerpts and unused tracks from two distinct periods: the first CD collects all discards from the Lost Corridors and Thus Avici era; the second contains material from the period between Surgical Fires and Charnel Transmissions - compiled into this 2,5-hour lasting tour de force. Me, oh my. Though branded as 'dark ambient' on Discogs, we've come to know Tunnels of Āh for industrial ambient landscapes and complex saturated loops and textures that range timbrally from (seemingly) acoustic in origin to overtly synthetic. Also, the 'loops' here should mostly be taken less literally; there are elements that seem to repeat, but for the most part, the chopped-up complexity of the textures ensures we won't have the typical 'looper' kind of experience in which repetition is often an easy way of tricking our brain into believing it is listening to something musical. On CD 1, many sounds seem to have acoustic sources, which is much more noticeable than on the more recent albums. We also seem to get a lot more vocal delivery than usual, making tracks like 'Brute World' and 'To the Pschal Victim' almost have an early Current 93 or 'ambient Test Dept kind' of ring to them. It is also completely dissimilar in many ways, e.g., production-wise, but for fans of those bands, these tracks may be the right point of entry into the Tunnels. The vocals are often mixed in quite deeply, so you won't be listening to poetry with a noisy background. With the choppy granulated ambient of 'Lost Corridors', a track that did not feature on the eponymous 2013 album, there seems to be somewhat of a 'natural' ending to the first part of the first CD. The subsequent ambient track 'Fountain Of Life' ramps the intensity again with its swirling vortex of delayed grit. Both 'Great Darkness' and 'The Cloth is Smeared' really stand out as two of the more memorable pieces. Disc 2 starts with the interesting combination of 'To the Paschal Victim' and 'Circumcision', which seem to be variations on the same bass riff/loop - though the latter track slides off into a murky bass swamp about halfway through. 'Red Distribution' and 'White Distribution' wrap this disc up in a manner that reminded me of Charnel Transmissions. There is a certain kind of dense lo-fi elegance to them, which also made me fall for that album when it first came out. I've said this before, and I'll repeat it: What I love about Tunnels Of Āh is that though it is clearly tarnished with the brush of industrial and perhaps even reminiscent of some noise - due to its complex textures, it never becomes too harsh or punishing, which given the length of most tracks may be a very deliberate choice either during mastering or in the composition process. Moreover, a wise one, since especially with a leviathan of this length, balance is a thing to aim for. Does it work as an album, though, or is this merely a release for us to be complete? Tough question. The first CD is consistent, albeit on the long side. With 77 minutes, it is about half an hour longer than any Tunnels release on average, and I definitely had to listen to the whole release in phases. That said, when it comes to textures and intensity, there seems to have been some thought put into the dynamic distribution of the tracks and though longer than usual, I would say both these discs work as stand-alone albums. Another keeper in a long line of excellent works from the Tunnels." [LdW / Vital Weekly]	2023	€17.00
TURRA, LUIGI & CHRISTOPHER MCFALL	tactile.surface	CD	" “tactile.surface” is the sound presentation of a virtual place, an imaginary environment born from the alchemy of recordings between two different but real places, far apart geographically, yet close in time and spirit. On one side, are the sounds captured in the intimacy of my living room in the small city of Schio (North of Italy), mainly those reflecting its silence, and also some caught from the windows in the early hours of morning, enhanced with some discreet short recordings of shakuhachi flutes ; On the other side, lies the open space of Kansas City urban context, and the sound/views absorbed during a long travel to Colorado by Christopher McFall. The two different sound places have been blended into a new one, rich of memory and keeping intact the physical perception of the surfaces, and their tactile, material aspects. (Luigi Turra) Almost 2 years ago, I travelled home to see my mother in Colorado. This was no simple journey as I had to drive for 12 hours from Kansas City into the western lands of Kansas & Colorado. Tactile.surface really takes me back to that particular journey, because I was listening to the tracks we were compiling for it as I drove the length of the journey. Desolate : is the only word I can think of describing Western Kansas and its snow covered expanses. there is to be found there the most abrasive wind patterns, a generalized sense of absence, and an undeniable confrontation with absolute sky (there’s only one topography here, and it’s completely flattened as the sky becomes your envelope). battered snowlines will outfit our drudgery we sweetened the deal to touch in cold January where roads give way the elemental trajectory sunlit eyes were seeding the alchemy. This work traverses many surfaces and covers so much terrain. Many of the parts were extracted from manipulated recordings that originated from treated audio tape. Many of the “broken” low-ended sounds that served as base primer for the piece came from that side of things. The more “crisp” overlay sounds are derived from Luigi’s workings. The experience of it all was much the equivalent of weaving a tapestry of surfaces which resulted in a composite abstract topography (Christopher McFall)" [label info] www.unfathomless.net	2010	€14.00
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
UN DRAME MUSICALE INSTANTANE	Rideau!	CD	"Rideau! was Un Drame Musical Instantané's second album, originally released in 1980 on the group's own GRRR label. Since its creation in 1976, featuring Jean-Jacques Birgé, Bernard Vitet and Francis Gorgé, the group has decided to promote collective musical creation, co-signing their albums, which they consider as artworks in themselves, or their live shows which they try to renew every time they play. Un Drame borrowed their sources from rock (synthetizer player Birgé and guitarist Gorgé, both authors of the album, Défense de); jazz (trumpeter Vitet who founded the first free jazz band in France, together with François Tusques, as well as Michel Portal who played with many American and European jazzmen); classical modern music; as well as movies or world news; they were the first in France to give a new impetus to live music on silent films. Birgé and Gorgé also recorded a duo album that was mentioned on the infamous Nurse With Wound list, Défense De. On Rideau, you will hear their wild mix of styles, a very original, unclassifiable, inventive music, which drifts from jazz to electronic music and contemporary music. Remastered in 2016 and with a lot of bonus tracks, amongst them the track that appeared on United Dairies' compilation album "In Fractured Silence" for the first time in its full length!" [label info] "We are talking here of the trio of Jean-Jacques Birgé, Bernard Vitet and Francis Gorgé, indeed a very unique trio. From the beginning they blended jazz, rock, electronics, new music, improvisation, sound, audio-visual into fascinating Gesamtkunstwerk. In a way that has some resemblance with the work of Alfed Harth and Heiner Goebbels, who were operating at the same time. (...) All three members already had their history in the jazz scene of France, especially Bernard Vitet who died in 2013. As a trio they would become a stabile force for many years. ‘Rideau’ is a perfect start for getting introduced to their idiosyncratic way of assembling influences. They developed their very own world, their own language. Listening after a long time once again to Rideau, the music still talks and sounds far from out-dated. The musicians play a wide variety of instruments. (...) Back then their music sounded very experimental and wild to my ears, now it strikes me this is really full-grown, open and well- balanced music by inventive musicians who had a strong musical intuition and vision." (Vital Weekly, May 2017) www.klanggalerie.com	2017	€14.50
UNDER THE SNOW	The Background Noise	LP	"Under The Snow is a project by Stefano Gentile (guitar, objects, field-recordings) and Gianluca Favaron (microphones, field-recordings, processing). Stefano Gentile is well known for his work as owner of the Silentes and Amplexus labels; he is part of Maribor (along with Maurizio Bianchi, Nimh, Andrea Marutti and Gianluca Favaron) and in the past he has collaborated with Aube and Amir Baghiri. Beyond releasing under his own name, Gianluca Favaron 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. Released after a series of works for Silentes and U-Cover, "The Background Noise" is a single-sided 12" record, built starting from acoustic guitar sounds that develop on a background of statics and digital scoriae, where the cold and aseptic electronic frequencies melt with the plucked strings, resonating in a dramatic request for help or, maybe, in the warning of an imminent danger. A welcome release in the fast-growing discography of Under The Snow, that will appeal to fans of other Italian musicians like, among the others, Gianluca Becuzzi, Fabio Orsi, Enrico Coniglio, Stefano Pilia and Giuseppe Ielasi (who took care of the mastering). "The Background Noise" is released in a limited edition of 86 copies; an additional edition of 13 copies is also available, it includes a 30x30cm reproduction of the cover picture printed on high quality professional photo-paper. Due to the restricted amount of available copies you'd better not think twice about it!" [label info] http://13.silentes.it "As Under The Snow Favaron works with Stefano Gentile, who plays acoustic guitar and treated guitar picks, and Favaron is responsible for 'programming, electronics and signal processing'. They have released a bunch of CDs (see Vital Weekly 771, 786 and 826) of their improvised playing, in which the laptop picks up the guitar sound and treats that on the spot. Following a start in which the laptop seemed to prevail, the later releases had a more fine tuned balance of straight guitar sounds and laptop processing. This one sided LP has a twenty minute piece which continues the chosen road of the previous releases and shows us more crackles, static hiss and bangs on the guitar. Maybe a bit more chaotic than before, I thought, bringing out the element of improvisation more than on the previous releases. At the same time there is also a bit more drone like sounds, closing off the LP, and taking away some of the emptiness previously found in their music. I think it's great to see them slowly develop and become more and more like an improvised working unit. The combination of live laptop processing a live guitar is perhaps not something that hasn't been done before, as noted before, but again here, this seems to work rather well." [FdW/Vital Weekly]	2013	€16.00
UR	Triadic Memories	CD-R	"Ur were born in early 2005 as a collaboration between Federico Esposito and Mauro Sciaccaluga, both active in the italian hardcore circuit. They were later joined by Andrea Ferraris, past and present member of Burning Defeat, Permanent Scar, Onefineday, Deep End and One By One. Ur made their live debut at the Afe-Party in November 2005, and since then their live-sets have become more and more frequent. Recently they also opened for Eugene Chadbourne and Wolf Eyes during their italian tours. Their music is mostly based on free improvisation and its sonorities can't easily be described without referring to the seminal work of the well-known and wildest Industrialists of the late '70s / early '80s. "Triadic Memories" is their first "official" disc and comes after the self-released "Baptism & Birthday". There is a strong dramatic feeling in their powerful sound, where everything seems to reproduce a sort of wedding between the modernity of the media and the primordial instincts of the performers. "Movement #1" is taken straight from "Baptism & Birthday", and is usually played as the opening number of their live-sets. The track begins with an high-pitched theremin sound laid on a bed of reverbered and tortured bass guitar. More percussions and distortions appear along with a looping voice as the music turns into industrial madness. "Movement #2" is a more laid down piece of music built on a continuous drone enriched with scraped metals / objects and a female voice building tension over tension. Surprisingly enough, an accordion enters the mix accompanied by more looped voices and fades out as the track ends with cymbals hits. An early version of "Movement #3" already appeared as an untitled contribution to "Breaking Down the Barriers 1995-2005, Ten Years of Afe", an on-line compilation issued by Afe in late 2005 to celebrate its tenth birthday. With this final track we return to the industrial atmospheres of "Movement #1": feedback and bass distortions overwhelm a glockenspiel as an hooter alarm becomes more disquieting loop after loop. All sort of uncomfortable noises are used, and "Movement #3" ends with the lonely sound of a breathing voice. Far away from Power Electronics and Harsh Noise, "Triadic Memories" is more a sort of psychedelic and liberatory journey reminding the best old-school Industrial music experiments." [label info]	2006	€6.00
UW HYPOTHEEKADVIES	Nature of Nurture	CD	"Ed. Of 400 numbered copies with full color insert each with an original hand drawing. Features members from former BlRR band Girlfriends and mastered by Erik Drost and Raymond Steeg (Legendary Pink Dots). According to the Explosive Ordinance Field Guide: “Uw Hypotheekadvies should be handled with great care as it is one of the most powerful EO’s, especially if detonated through speakers in the comfort of one’s own home.” As trios go, UH sound more like a thousand-tet. Imagine a heavily armoured Glenn Branca guitar army falling DOWN an UP escalator in such a way that they never reach the bottom and are forever tumbling and crashing. Now throw DNA down the same escalator and pour acid on that. UH don’t just rock; they ROCK. Like agates gone wild, their abstract explorations come delivered via sledgehammer and arrive on the plate as oddly conceived gemstones with insects trapped inside. It smells like the teen spirits of Naked City and Laddio Bolocko lurk underneath UH’s woodpile, but despite the improv flavour of UH’s pummeling, they skew away from jazz and lean in more towards prog than Zorn and Co. UH’s chaos fleshes form and even descends into subtle soundscapes in between the rat-a-tat blastpatter. A beautiful monstrosity of Nature and Nurture." [label info] www.blrrecords.com	2008	€13.00
V.A. (VARIOUS ARTISTS)	INVENTIONEN 98: 50 Jahre Musique Concrete	do-CD	Nice compilation with New Music-compositions released for the occasion of the INVENTIONEN ’98-Festival in Berlin, all based on concrete material. UNSUK CHIN, PATRICK KOSK, WERNER CEE, FRANCIS DONATO, ROBIN MINARD, WOLFGANG MITTERER, FRANCIS DHOMONT, ERIK MIKAEL KARLSSON, TREVOR WISHART. Incl. Booklet wit extensive linernotes about the composers. www.edition-rz.de	1999	€21.00
	Take a Knife and Open my Heart	LP	https://soundmiraclerecordings.bandcamp.com/album/take-a-knife-and-open-my-heart Flamenco music has been admired throughout the world for centuries. Fascinating, unique, esoteric and mysterious, alloy of fire and witchcraft. Flamenco is much more than that. It has something of Folk, something of Sacred Music, something of “Blues”: it is a unique music in the world, born of many factors and opposite and antagonistic elements, like its country of origin. And like other traditions, it‘s not just music, it‘s a way of life. This compilation also brings us echoes of that way of life and aromas of places that today seem distant galaxies. For the connoisseur, names like La Niña de los Peines, Manuel Torre, Aurelio, Carmen Amaya, El Niño Ricardo, Melchor de Marchena and others will make mouth water. As if that were not enough, underground gents such as Sarita Heredia and Pericón de Cádiz coexist side by side with these great historical names. Bearing in mind that they can never be all they are in one single disc; the selection of voices is exquisite: from the acute of Manuel Vallejo to the wounding of Angelillo or Manolo Caracol, and everything that fits in between... Fan of flamenco guitar, what are you not going to find here?: Melchor de Marchena, Niño Ricardo, Sabicas, Borrull, Manolo de Badajoz, Perico el del Lunar... First swords! And the one who approaches flamenco for the first time must let himself be carried away by the brutally honest sensation when listening for the first time to Sabicas’s guitar and Carmen Amaya’s taconeo. There is a lot to enjoy here. The present compilation shows some of the earliests examples of Flamenco music recorded; brutal and exciting music, that easily combining the known and the darkest (legends), is more accessible and attractive for the audience that is approaching for the first time. And with this “pop” spirit, let’s say, to look for a good song above all: this is a collection of Smashers and Cannon Shoots.	2018	€23.00
	Household Objects (and Sundry Massed Gadgets)	do-CD	Double CD, 32pp book, with introduction by Nick Mason (Pink Floyd). William Hayter and Barry Lamb, composers, performers and label impresarios organised this realisation of a post Dark Side Pink Floyd project, commissioning 27 new works made using only Household Objects. "I have to say that 50 years later the resurrection of this idea seems much more manageable, and the work produced on this album is in my opinion, far more interesting than anything we created. I salute all the contributors to this work and if we have encouraged, or in some ways inspired these recordings, then maybe it wasn't such a wasted effort!" – from the introduction by Nick Mason (Pink Floyd) – London, 2025 After Dark Side of the Moon, Pink Floyd were casting around for a new concept. What they came up with was to make an album using only household objects – but allowing manipulation and Musique Concrete techniques. They made a start and then abandoned the project. Now William Hayter and Barry Lamb – who brought you Miniatures 2020 – have decided to give it another go, commissioning a wide range of artists to scour their houses for sounds and organise them into compositions. Some pieces work because you can recognise the sources, others because you can't. Many participants assemble small orchestras of objects, a few stick to just one thing (water or, an egg-slicer) and always the objects are meticulously listed. Some contributors here are well known (The Residents, Steve Beresford, Mark Hewins etc.) others are not, making this also a sampler of new voices. It's informative, left-field and a bone fide curiosity and comes in a beautifully designed and illustrated package, with a 32pp booklet elucidating each track, a series of great art collages and a forward by Nick Mason. – CREDITS – Original Concept – Pink Floyd Photographic Inspiration – Hipgnosis Produced by William Hayter and Barry Lamb Compiled and Sequenced by William Hayter at Stable Sound Studios, Ware UK Mastered by Bob Drake at Studio MIDI-Pyrénées, France Artwork – Michael Leigh Design and Layout – Tim Schwartz \| OnionProductions.com Layout Assistant – William Hayter Photography – Sean Kelly Photographers Assistant – William Hayter Office, Admin and Spreadsheets – Barry Lamb https://householdobjects.bandcamp.com/album/household-objects-and-sundry-massed-gadgets	2025	€18.00
	Eavesdrop Festival 2024	MC	Benefit compilation with exclusive tracks from live performances & installations at eavesdrop festival 2024. All revenues go to charities providing medical aid and food sovereignty in Gaza. In november 2024, eavesdrop festival presented its 3rd edition of contemporary electronic music and sound art, taking place in the striking architectural setting of silent green’s Betonhalle in Berlin. ”to eavesdrop” - is invoked as a mode of listening intently, attentively and with curiosity. With its ongoing commitment to adventurous listening cultures, the festival brought together a top-notch line-up of Berlin based and international artists, who share a common practice in electronic sound composition whilst spanning a diversity of inter-related contemporary tendencies. Whether it’s multi-award winning Mariam Razaei’s exceptional turntablism, Ilpo Väisänen’s legendary DIY analogue electronics, Jasmine Guffond’s generative sound installation, Nina Garcia’s extraordinary electric guitar manipulations, Lottie Sebes’ AI voice synthesis or Rashad Becker’s idiosyncratic synthesizer explorations, to name a few, eavesdrop invited listeners to consider, from multiple perspectives, new social and technical developments in international music and sound cultures. This compilation documents those 2 nights with 9 exclusive tracks - 7 live performances and 2 stereo mixes from multi-channel installations, edited by the festival’s curator / organizer Jasmine Guffond, with a total running time of approx. 78 minutes. All revenues will go to charities providing medical aid and food sovereignty in Gaza: Medical Aid For Palestinians & Thamra. All tracks recorded live at Silent Green, Berlin on november 6th & 7th 2024 as part of eavesdrop festival, 3rd edition except Mouthpiece & Approaching Chaos which are are stereo versions of multichannel installations, exhibited during the festival. Mastering by Rashad Becker at clunk, Berlin, november 2025 Artwork by Martin Müller / dicey-studios.com Layout by kaidoh All revenues from this benefit compilation go to: Medical Aid For Palestinians / www.map.org.uk Thamra / www.thamra.org	2026	€11.50
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
VERNUSKY, MIKE	Aatma	LP	"Aatma is the re-imagining of my recent journey into Mumbai through sound, place, and moment with a Nagra SD recorder. The work was composed immediately upon my return while these things were, in a very real sense, still resonating in my mind. Part 1 is the arrival. Echoes of the shanka can be heard from a distant past across the Arabian Sea, as waves wash debris ashore and push you deep into the tumult of the city. Here you may experience the current of life and ride old trains into spectral shadows of obscure & eccentric Bollywood and devotional vinyl records from a local music boutique. Part 2 is a precarious walk across the narrow causeway leading to Haji Ali Dargah, a 600-year-old mosque only accessible at low tide. It is difficult to reach the mosque without being taken aback by the disparate forms of life unfolding on the way in, both in the sky and on foot as can be heard here. Part 3, the final section, is a departure from the hustle of the city altogether. This section delves into the droning, colorful, and percussive instruments with their richly complex and evolving timbres. It culminates in a return to daily shanty life on the beach accompanied by transistor radios blasting modern bollywood music. 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. I hope you find this journey as inspiring as it was for me." [Mike Vernusky] Music and field recordings by Mike Vernusky Mastering and additional tempura by Cory Allen Design by Noopur Choksi Photography by James David Smith Kind logistical support by Bhanuj Kappal, Damian O'Riain & Jay Kumar Singh. Special thanks to Manuella Blackburn and illapfest UK. Bollywood vinyl courtesy of Pilak Bhatt of MusicCircle. https://fernsrecordings.bandcamp.com/album/aatma	2021	€18.00
VESTIGIAL	Translucent Communion	CD	"Vestigial Announces Long-Awaited CD Reissue of Cult Dark Ambient Debut "Translucent Communion". An Ominous Classic from the Depths of Italy’s Underground Returns. Italy’s shadowy sound architect Vestigial, the artistic alias of Peppe Ferrillo, announces the long-awaited CD reissue of his 2008 dark ambient debut, "Translucent Communion". A cult favorite in Italy’s experimental music scene and long out of print, this reissue brings back the bleak meditations and apocalyptic soundscapes that first established Ferrillo as a visionary voice in ambient music. Translucent Communion carved its place in the genre with an approach that was subtle, textural, and deeply atmospheric. Unlike many of its peers, Vestigial’s debut refrained from relying on standard droning techniques or gothic theatrics. Instead, the album evoked vast, desolate landscapes, tectonic movements, boiling magma, and icy voids with restrained precision and haunting elegance. Critics praised the album’s minimalist ethos and meditative power. Now, nearly two decades later, Translucent Communion returns to physical form, presented in a new CD edition with Ferrillo’s own updated design work, bleak, elegant, and deeply interconnected with the sonic content, reinforcing his identity not only as a musician but as a complete aesthetic auteur. With a growing international appreciation for dark ambient and minimalist electronic music, this reissue offers both longtime fans and new listeners a chance to revisit (or discover) a defining work in Vestigial’s haunting catalogue, a debut that whispered of extinction, cosmic indifference, and what lingers in the silence beyond civilization. CD edition of 200 copies in 6 panel Digisleeve. 6 Tracks. Running Time 47:20 EAN: 3770033798362" https://cycliclaw.bandcamp.com/album/translucent-communion "Having developed a strong cult following with their limited CD-R, a split LP, and compilation works, Vestigial (Italy) come forth with their debut CD poised to establish themselves among the dark ambient elite. The Translucent Communion - a reflection of the hollow and imaginary archetype of our civilization, a blackened view on the humanity falling into a perfect nothingness of technocratic illusions, a refined and well designed disharmony for our next generation. 6 tracks that arise from the shadows, then spread and sweep across a barren, wind swept landscape, creating a sound so thick and texturally deep it swallows the earth like a venomous fog. Comparisons to Raison D'Etre, Lustmord and Bad Sector are reference points, but only hint at the massive potential of Vestigial. Presented in a lavishly designed 6-panel, partially varnished digipak." [original label info Cold Meat Industry]	2025	€14.00
VIBRACATHEDRAL ORCHESTRA	The queen of guess	CD	“While certainly VCO's most upbeat and percussive music, the nine tracks on this immense, visceral slab of rackety action run through a wide range of styles. "Ramshackle Sunrise" has a gamelan-like, five-note melody overlaid with a hovering drone. "The Silent Socket" rocks with "Sister Ray"-style guitar careening along side actual drums. The two 20-minute epics that bookend the record are a study in contrasts: "Your Head Shone Like A Stone" has a heavy, excited buzz, while the closing "Goodnight Stars Goodnight Air" is a gentler acoustic epilogue, gliding into the rosy future.” [press release]	2003	€14.00
	Tuning to the Rooster	CD	Die Meister des instrumentellen impro-psych-drones mit neuem Material, dass zum ersten Mal durch ein 24-Spur Mischpult gewandert sein soll (und nicht wie sonst aus simplen 2-Spur Aufnahmen besteht). Nicht nur alte Acid Heads wie JULIAN COPE halten diese in quasi-rituellen Gruppen-Performances entstandende Musik für zeitgemässes Schamanentum, mit der bewussteinsverändernde Exkursionen möglich werden.....hier trifft die Kraft des Ur-Klangs, des Ur-Drones auf archaisch-menschliche Ekstasewünsche, und das macht das VIBRA-ORCHESTRA so besonders.... "This is music as a shamanic aid, made as much for the players themselves as for the listeners. But as I'm writing from the listening perspective, I have to inform y'all that this is music to get you there. Every track sounds as though it has always just 'been there,' it's just you ain't quite tuned into its peculiar frequency until now. The 12-and-a-half minute 'Wearing Clothes of Ash' is like a piano-led 'Paradieswarts Duul-period drone-a-thon with John Cale and Terry Riley guesting on viola and keys. Following this, the sublime 'Baptism Bar Blues' is proof positive that they can rock the riot house with pure adrenaline rush when the decision is made. Indeed, this track is magnificent and should be available to the masses free or in pill form." [Julian Cope] “Vibracathedral Orchestra are one of those rare groups with a completely singular sound and a seemingly endless reserve of psych rock free drone inspiration with which to explore it. For us, they are one of the only bands who we could literally listen to forever, an everlasting endless jam, unfurling over the course of the next 50 years, each riff unfolding every month or so, each drum hit an entire day, melodies stretching for weeks and weeks. Our eyes close and we drift off to the next world while the music plays on... That's exactly how it feels listening to Tuning To The Rooster. The songs are long, and they do feel gloriously and deliriously long, but they're never quite long enough. Not for us anyway. VCO have been masters of the drone, of the slowly shifting soundscape since their inception, but much like Skullflower discovering their inner Hawkwind on recent records, VCO seem to also have rediscovered the RIFF this time around. The opening track is like an Allman Brothers track gone totally apeshit. Or maybe Skullflower jamming with the Outlaws. Or something! There's a jangly sort of Southern rock riff, over chaotic propulsive drumming, a serious jam for sure, but the whole thing is wrapped in a thick cloak of droning shimmering distorted guitar noise, a continual psychedelic freakout SO continual that it becomes a static psych rock drone, with the original riff eventually repeating mantra like until it meshes with the background drone and it all becomes a brain melting divine psychedelic jam of the highest order. Woah, everyone who freaked out over Skullflower's Exquisite Fucking Boredom needs to check this out! The second track is back to that classic VCO sound we can never get enough of. A primal primitive space jam, all drones and rumbles and whirs and shimmers, a glorious pagan ritual that makes us want to lay naked in the middle of the forest and sink into the wet leaves as our eyes sparkle with reflections of shooting stars. Drifting and dreaming... The last two tracks again focus on the riff, hypnotic and repetitive, like Steve Reich composing for Hawkwind. A glorious minimal psychedelic jam, wreathed in a haze of swirling feedback and wild melodies, minor key pianos, and all manner of swoosh and swoop. So utterly and fantastically divine!“ [Aquarius]	2005	€15.00
VIDNA OBMANA	The Trilogy	3 x CD	Dirk Serries, known for his Zoharum collaboration with Celer entitled 'Background Curtain', was operating for many years as Vidna Obmana. The first recordings under this moniker appeared in the mid-1980s. Initially in his work he penetrated very rough industrial sounds, but at the beginning of the following decade he turned to ambient music with subtle ethnic undertones. His first albums, where he successfully explored this style and which also brought him wider notoriety, were 'Passage in Beauty' (1991), 'Shadowing in Sorrow' (1992) and 'Ending Mirage' (1993), composing a trilogy in both sonic and visual sense. A few years later, they were reissued in one package by the American label Relic. This year marks the 25th anniversary of the release of the last album from these three. This is a good opportunity to bring the entire trilogy to light again, as it is considered one of Dirk Serries' outstanding achievements as Vidna Obmana. On top of that, all three albums, both in the form of a triple compilation and as single discs, have long been unavailable and reach quite high prices on auction sites. The discs received a new graphic design, their sound was also remastered by the artist himself. We can enjoy over three hours of these classic ambient sounds again. The triple album is released in an 8-panel digipak and it is strictly limited to 400 pieces. The cover is designed by Maciej Mehring based on the photographs by Martina Verhoeven. Dirk Serries himself is responsible for the mastering. The whole production process was overseen by Michał Porwet. The trilogy will be also available as a limited wooden box with an expanded content. zoharum.bandcamp.com/album/the-trilogy	2018	€20.00
	Twilight of Perception Redux: Volume One 1990 - 1998	3 x CD	After quite a numerous series of reissues of classic albums, it's time for another real treat for fans of the VIDNA OBMANA. The compilation "Twilight Of Perception Redux Volume One 1990-1998" opens a collection of rare recordings, often unreleased before or scattered on various types of samplers, small formats, which are practically impossible to obtain today. Now these tracks have been collected in one place, rearranged, remastered and provided with a proper commentary by Dirk Serries. This collection, planned for at least four parts of three-disc compilations, is both a reliable compendium and a supplement to VIDNA OBMANA extensive discography. This edition released in an eight-panel digipack with graphics designed using a photos by Martina Verhoeven. All tracks recorded and mixed between 1990 and 1995 at the Serenity Studio, Belgium. All tracks composed, arranged & played by Vidna Obmana. Vidna Obmana: Atmospheres, various fujara's, overtone flutes and percussion, dreampipe, recycling & abstract mutations, voices. Remastered for this edition by Dirk Serries, May 2024. All tracks previously unreleased, except : 1.3 – previously released on Arcana Cœlestia (Nexus One • An International Musical Explorer) (1993, Multimood Records) 1.5 – previously released on ‘Soundscape Gallery – Series One” (1997, Lektronic Soundscapes) 1.6 - previously released on ‘Fairy Tales & Myths” (1990, 3Rio Art Tapes) 1.8 - previously released on ‘From Across This Gray Land, no 3” (1992, Projekt Records) 2.1 - previously released on ‘Twilight Of Perception” (1996, Projekt Records) 2.2 - previously released on ‘Sequences No. 14” (1996, F.A.M.E) this is the original unedited version. 2.3 - previously released on ‘Objekt 5” (1992, Ladd-Frith) 2.5 - previously released on ‘Of Sound Mind” (1993, Godsend Magazine) 2.6 - previously released on ‘The Throne Of Drones” (1995, Asphodel/Sombient) 2.7 - 2.1 - previously released on ‘Twilight Of Perception” (1996, Projekt Records) 2.8 - previously released on ‘Swarm Of Drones” (1995, Asphodel/Sombient) 2.9 - previously released on ‘Michael Halcyon Presents Oscillations (The First Transmission From Halcyon Recordings)” (1998, Halcyon Recordings) 3.2 - previously released on ‘The Art Of Marginal Talent” (1997, Marginal Talent) 3.3 - previously released on ‘The Ambient Expanse” (1998, Mirage Records) this is the original version. 3.4 - previously released on ‘The Other World)” (1998, Hypnos) 3.6 - previously released on ‘Ambient Nation Volume Two” (1995, Art For Ears) https://zoharum.bandcamp.com/album/twilight-of-perception-redux-volume-one-1990-1998	2024	€21.50
VIOSAC (VIOLENCE AND THE SACRED)	Dawning Luminosity	CD	"53 minutes of peaceful, channeled, ambient drone. Layers of analogue processing culminating in Frippertronics.." [label info] www.viosac.net "Back in Vital Weekly 656 we were re-introduced to Violence And The Sacred performing as Viosac, the new name of what was once known as just Violence And The Sacred. Still I have no idea why they hold on to the addition 'Performing As Viosac', and not just simply return to the old name. 'Rusty Pile' wasn't a convincing come-back album I thought. Perhaps a bit too much of an unedited jam-session. The CD after that 'You Are PLanning To Enjoy The Apocalypse' wasn't received here. The new work 'Dawing Luminosity' is however a great work. Viosac move into a more ambient territory here, which not necessarily adds much to the world of ambient and drones, but the quality is great. Its one piece in three parts and I'm told its all analogue synthesizers and analogue processing. Very slow moves around here, this an almost perfect piece of surround sound, ambient in the very most true sense of the word. An excellent disc of some heavenly music. As said, it doesn't add much, if anything at all, to what we already know about this kind of music, but its very rare that it unfolds into such a beauty." [FdW / Vital Weekly]	2010	€13.00
VON HAUSSWOLFF, C.M. (CARL MICHAEL)	Perhaps I Arrive - music for Atatürk Airport, Istanbul	do-CD	"This double disc set includes some of the most unusual sounds you will have heard from Carl Michael von Hausswolff. The story goes like this. Von Hausswolff was chosen by the 1997 Istanbul Biennal to create a sound installation for Atatürk Airport. His classic sound combining low frequency rumblings, very monotonous oscillations and hissy non-narrative sequences was deemed too confusing for the commutors. It was feared, von Hausswolff’s sound installation might be mistaken for an alarm and would be capable of causing serious panic at the airport. Hence the original soundtrack for “Perhaps I Arrive” was neglected. This music can now be heard for the first time on disc 1. Carl Michael von Hausswolff’s response to the artistic restrictions was to produce the four tracks you hear on the second disc. These only make use of the very basic pre-set industry sounds included in the Yamaha QY22 and show a new side to the von Hausswolff sound. Very simple, post-nuclear lounge music. These four tracks you guessed it! ¬were happily used in the context of the Biennal exhibition. Art is a three-letter word (William S Burroughs)" [label info] "Nothing is for a musician more annoying than a response like: whatever you are doing, it sounds like a test tone, alarm signal, hiss or worse: I think your equipment is broken. So when Carl Micheal von Hauswolff was asked by the Istanbul Biennale to make a site specific work at their airport, he was probably very annoyed when they turned down his piece of low rumbling, because it could have caused alarm. So instead he created something else, on a Yamaha QY22, using preset sounds only - probably to annoy the organizers. Now both versions are released as part of this double CD - the rejected piece on one CD, and the accepted on the other. The rejected piece is indeed a piece of low rumbling, a bit of hiss sounds (long waves picked up from the ether I think) which may not have worked at the airport - depends of course on how things are presented - but for home listening I must say this is quite nice. Perfect Hauswolff styled hiss music. And what a difference indeed with the accepted version. Four pieces there of lounge like music, but with a more forceful rhythm underneath, so it wouldn't entirely work in lounge bar. But you can imagine people at an airport, hastily walking along Hauswolff march like beats and bittersweet keyboards with a vague trace of arab-like sounds. This is a side that we haven't heard from him before, and it's not something he should do a lot (or in fact never did again, as far as I can recall), but it's surely a curious album. " [FdW / Vital Weekly] www.aufabwegen.com	2008	€18.00
VOX POPULI!	Sucre De Pasteque	LP	Legendary French industrial pioneers Vox Populi! arrive on Dark Entries with a reissue of Sucre De Pastèque. Vox Populi! was founded in Paris in 1981 by Axel Kyrou, a multi-instrumentalist of Greek, French, and Palestinian roots. He soon recruited his future partner, Mytra, and her brother Arash Khalatbari, who were second-generation immigrants from Tehran, as well as bassist Fr6 Man (Francis Manne). Their sound was motley, combining elements of musique concrete and early industrial with horns, flutes, and traditional Persian instrumentation. Improbably prolific and ceaselessly divergent, Vox Populi! found their way onto dozens of cassette compilations during the heyday of the 1980s DIY tape music scene, including releases on era-defining labels like Insane Music, Cthulhu Records, and their own Vox Man. Sucre De Pastèque, the band’s sixth full-length release, came out in 1986 on Unlikely Records, the cult outlet of Rimarimba’s Robert Cox. Like most of Vox Populi’s output, Sucre is a scattershot endeavor, encompassing psychedelic dirges, cosmic drones, hypnotic chants, and fractured machine-funk. The mood is understatedly bleak, but Vox Populi’s genre agnosticism and curious sense of wonder prevent things from feeling oppressive or heavy-handed. The cover for Sucre DePastèque was designed by Eloise Shir-Juen Leigh, and features a collage by Vox Populi member Fr6 Man. Each copy includes an insert with photos and notes by the band. This is deeply fried material, perfectly capturing the obscurantism that characterized much of the 80s DIY cassette scene.	2025	€26.00
VROMB	Jeux de Terre	CD	Das erste VROMB – Album erschien 1993 auf Tesco und wird inzwischen zurecht als Klassiker betrachtet – irgendwo in der Grauzone zwischen dunklem ambient Industrial und rhythmisch-futuristischer Elektronik siedelte VROMB seinen ureigenen Stil an.. "until 1993, hugo girard's only appearance on record had been on a canadian compilation cd (adolphe présente), but these new ambient industrial sounds caused enthusiastic reactions in europe and canada. the first full length release was a canadian / german label collaboration: 'jeux de terre' . this cd was beautifully packaged in a 7"x10" cover and the disc was in a hand numbered paper sleeve. also included was a postcard and several large prints of nicely drawn insects - the text was in both french and english. the original 'jeux de terre' has been deleted for years. now there is the opportunity for vromb addicts to get it again. this re-release is in celebration of the ten year anniversary of vromb. the concept behind 'jeux de terre' (earth plays) was of a journey through an imaginary world of insects. insects that had not been identified yet - as you can now read in english for the first time. 'insects, go for food or discovery, warzone, life purpose at the insect dimension' as girard explains it. the sound on this disc is less beat oriented than later vromb releases, but nevertheless it is partly rhythmic. drones and basses create a hypnotic and sometimes threatening atmosphere. you might seem to hear natural, even sampled, insect sounds but there were no samplers used. just 'strictly analog and digital synthesis'. you can hear what makes vromb's music unique even on his debut. a soundtrack to a film yet completed. the ant-zen re-release contains one unreleased extra track which was intended for the original version and an 8 page booklet which includes a modified version of the original artwork." [label info]	2003	€13.50
WAKHEVITCH, IGOR	Nagual	LP	"Originally released in 1977, this was (once again) a product of the fruitful association between Wakhevitch and american dancer/choreographer Carolyn Carlson. Compiling some of the pieces specially written for Carlson's "This, that and the other" (created for the Groupe de recherche Théâtrale de l'Opéra de Paris), the album follows the otherwordly steps of it's predecessor ("Les Fous D'or") in a more calm, relaxed, almost nocturnal way. Inspired by Carlos Castaneda's writings, Nagual is another mysterious and intriguing statement of musical esoterica: a collection of twelve musical vignettes covering a whole range of styles, from majestic electronic pieces to echo-drenched concrete-like sketches via impressionistic piano compositions. A bewitching musical journey, built around Wakhevitch's keys where electronics give way to more acoustic sonorities (piano, harp) for a highly-charged magical sound. A very special record!!! Strictly limited to 500 copies. Single cover reproducing the original 1977 artwork. Includes insert with liner notes reproduction of the original Nagual insert." [label info] www.wah-wahsupersonic.com	2013	€23.00
WALDRON, M.S./ STEVEN STAPLETON / S.B. SIGMARSSON / JIM HAYNES / R.K.FAULHABER	The Sleeping Moustache	CD	Akustischer Surrealismus in Reinform auf dieser aufwendige Ketten-Collaboration, Drones und Collagiertes zu gleichen Teilen, Sprachexperimente, Geräuschaftes, Weirdes, abenteuerlich und schön! Anhören und staunen ! „... Im fünfmaligen Wechsel von gut 10-minütigen mit 2- bis 3-minütigen Tracks jonglieren die Fünf mit den elektronischen Schatten von Nähmaschinen und Regenschirmen, wuchten nackte Eselskadaver auf Konzertflügel, klingen nach der Nachtschwester und lassen sich das Schamhaar neu friesieren [...].. Auch wenn sie das Pissoir nicht neu erfindet, ist sie doch Frucht einer langen Erfahrung aquis submersus.“ [Bad Alchemy #51] “....Each with a peculiar understanding of the audio arts, these five artists came to the proverbial table and thought it a good idea to collaborate. Given the predilection for the surreal and the sidereal that each of these five employ in their many audio and visual projects, those agendas oozed from the recordings that became known as The Sleeping Moustache. An epiphany of controlled disorder, a convulsion of beauty, a cascade of thought from delirious minds, The Sleeping Moustache is an exquisite manifestation of sound poetry scattered into a tortuous collage mired in an oblique melancholy. Magnetic tones extracted from the ether, mechanical sounds smeared into a lugubrious growls, horns trumpeting straight out of John's Book of Revelation, ululations sliced into information overload that Schwitters himself would be proud of. The Sleeping Moustache presents a psychically instable landscape, where dreams and nightmares wreak havoc upon the drudgery of daily life. The closest audible territory for The Sleeping Moustache might be the psychoactive constructions of Nurse With Wound's Homotopy To Marie, although the characters in this drama happened upon an entirely different map of that terrain. The artwork for the first edition of The Sleeping Moustache features five letterpress prints from each of the artists with an edition of 1700.” [from the label description] "You know it's gotta be an amazing record when we start a review by stating "we don't know where to begin with this record" and then we blather on and on for another 500 words pretty much demonstrating that while we may not where to begin, we certainly have a lot to say. And that totally applies to The Sleeping Moustache, the latest release from the enigmatic Helen Scarsdale Agency. The most well known of these five audio contortionists is Steven Stapleton who is the brains behind Nurse With Wound, who convolutedly reconstitute Surrealism, avant-garde aesthetics, and krautrock expressivity, resulting in some of the most profoundly brilliant and disturbing records we've ever heard. Sigtryggur Berg Sigmarsson is one of the drunken pilots of Stilluppsteypa, an Icelandic project of electro-absurdity capable of magnificent minimalism. M.S. Waldron is responsible for irr. app. (ext.), (an unwieldy moniker for sure) which has produced an amazing body of post-Surrealist expressivity in recent years. When he's not manning the fron counter here at Aquarius, Jim Haynes has developed a peculiar knack for rust-inflected dronescaping, and finally R.K. Faulhaber, who is the mystery man amongst the bunch, although we've been told his unpublished works offer a byzantine array of mutilated sonic collages. The album that these five produced is a weighty proposition to say the least, with detours a plenty within this mangled concoction of delirious dronescaping punctuated with glossalaic vocalizations. Delicate plinks and plonks sprinkled across sublime, gaping tones which transition to a convulsive beauty with mechanical spasms and nightmarish creakings. Throughout The Sleeping Moustache, ghostly reminders of each of the contributors' refined aesthetics emerge as a Gordon knot of convoluted logic, unsettling shifts between horror and comedy, psychological instability, and disquieting soundscapes. If you're even remotely a fan of Nurse With Wound or irr. app. (ext.) or Stilluppsteypa, this album is not just recommended... it's absolutely required." [Aquarius Records]	2006	€14.00
WEIS, MIKE	Don't know, just Walk	LP	" “I used to think that music was my escape from reality, now I think it’s an escape into reality.” – Mike Weis, 2014. Mike Weis is probably best known for sitting behind a plethora of drums and gongs in long- running Chicago three-piece Zelienople, but his music is just as potent unaccompanied. Weis might be an obsessive collaborator (his work with Scott Tuma, Mind Over Mirrors and Kwaidan is also essential), but on his own, he is able to allow his unique percussive skills to bubble to the surface, without the intervention of conflicting egos. He began working on Don’t Know, Just Walk under particularly difficult circumstances. It was 2013, he had just been diagnosed with prostate cancer, and was gearing up for a punishing year of “man-diapers and boner pills,” that could very well have been his last. Thankfully though, the time wasn’t entirely spent holed up in a hospital bed under the watch of urologists – Weis managed to spend choice moments in the woods or on prairies with a microphone, and in the Zelienople studio (which has long been in his basement) while the family slept upstairs. These late night sessions weren’t only musical – Weis used the time to meditate, and to clear his head of the mental baggage that was clouding his view of the world. In spending time using Zen Buddhist techniques (which the title references), this allowed him to not only meditate on life (and its brevity), but also to inform his compositional and recording techniques. At this point, the music came naturally, and Weis began experimenting and recording without hindrance. Using loops of field-recordings, gongs, radios, home-made instruments, drums and traditional Korean percussion, Weis pieced together an album that is as reflective as it is mesmerizing. Solo percussion albums are rare, certainly, but Weis uses his drumming simply as the record’s backbone, allowing his ideas to flourish overhead. Don’t Know, Just Walk is a complicated record – an album about death that doesn’t dwell on the negative, and one created by a drummer that doesn’t contain a whole lot of rhythms. It’s right to expect the unexpected, and as Weis found solace in the recording process, we too can find solace in the listening. " [label info] www.typerecords.com	2014	€18.50
WENZEL, BETTINA	Mumbai Diary	CD	VOICE as Instrument of Affection Sound diaries have their seductive appeal. Unlike written memoirs, sketches, cartoons and photo journals they share a common feature with film documentaries – the temporal sound-image. Deprived of visual information (and of predominance of sight), sound-image attracts listeners’ ears, penetrates their bodies, permeates through their minds, initiating the process of imagination and articulating lived as well as imagined experiences. No escape; intrusive meanings are always present. In contrast to moving images that reduce space and vision to the surface and depth of a screen, sound-images are capable of not only extending the listeners’ universe but also making them aware of and signifying the impulses within their bodies. If combined with appropriate musical expression, as in the case of Bettina Wenzel’s Mumbai Diary, the ambition to represent the unique artistic intention in correlation with genius loci and intimacy of a place where one finds oneself in a particular moment succeeds in producing interaction. Wenzel’s abstract voice finds proper structural support in the concrete soundscapes (of urban origin) she created from the field recordings during her artist residency in Mumbai; it bodily spaces the intervals and foldings that house voice as their natural constituent. Although we do not see her, we feel that she is singing with her entire body; it is the body which paints the vocal lines and pointillistic textures onto the surface of a sound time-crystal. The resulting form was neither composed nor improvised; it was created by affection. As we know (from Bergson and Deleuze), the affection is coupled with the body that offers the internal space for the act of affection. Mumbai Diary is therefore not an itinerary, it does not provide listeners with any space-time coordinates or information from the life of its author. Rather it is a sound album, a collection of sound-images, thoroughly arranged by the memory as well as by the taste and style preferences of its compiler, composer and adapter in one person. She compiles out of the obsessive need to give a new meaning to the recorded fragments of her memory. She composes because she desires to manifest her relationships with the world and other people through a new meaning that is no longer dependent on the old codes and conventions of art communication and music making. And finally, she adapts the compiled and composed result to her instrument of affection – VOICE. It is the VOICE that brings into the memories of Mumbai, now embodied in the sound-images, the affection from outside – from the body of their originator. And the same VOICE generates later the affective response in the listeners, whose memories are not bound to the above mentioned genius loci. The VOICE becomes the guide through the unknown soundscape, thanks to the VOICE the soundscape becomes familiar to the listeners. So, what can listeners hear (and feel) during the affective sound walk Bettina Wenzel invites them to? Unconventional, extended vocal performance used as a means to define herself against a foreign culture. Pleasure of the immediate need to vocalize. Barthesian grain of the voice in full effect. Expressive voice escapades against sound patterns alienated from their original environment. Improvised vocal comment to an appropriated religious song disturbed by traffic noise. Suggestive percussive textures woven from metallic sounds and breathing noises. Unidentifiable sound objects versus clear vocal intention. Unexpected juxtapositions of ambitious onomatopoeias and indeterminist formalisms. Potential stimuli to fictive narratives… As the chronology and causal-consequent relations are no the focus of in this sound album, you can listen to its impressive sound-images-affections in random order. M.D. could stand for Mumbai Diary as well as for membra disjecta in this case. Jozef Cseres, aesthetician of arts September 2010 www.wenzelvoice.de www.wenzelvoice.de/mumbai www.facebook.com/profile.php?id=553258571 mail: bettina@wenzelvoice.de All COMPOSITIONS BY BETTINA WENZEL FIELD RECORDINGS/ VOICE/ AKAPPAIKINNARI BY BETTINA WENZEL, APRIL–SEPTEMBER 2009, MUMBAI MIXED BY BETTINA WENZEL, MAI 2010, COLOGNE MASTERED BY JOKER NIES, JULY 2010, COLOGNE PRODUCED BY BETTINA WENZEL PHOTOS/ DRAWINGS BY BETTINA WENZEL Artwork BY CHRISTA MAREK TEXT BY JOZEF CSERES © Bettina Wenzel 2010 www.gruenrekorder.de/?page_id=3722	2010	€13.00
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
	Dreams Shall Flesh (redux)	CD	https://zoharum.bandcamp.com/album/dreams-shall-flesh-redux "Dreams Shall Flesh" (redux) is the second chapter in the series of WHITE STAINS publications reissued by Zoharum. It is also the second studio album in the band's discography. As indicated by the note "redux" in the title, this edition has been enriched with bonus recordings, found in Carl Abrahamsson's private archive, which have never been published before. We are still dealing here with dark wave music with elements of gothic rock. However, unlike the compilation containing vinyl EPs, a new direction is increasingly felt here, which will be fully developed on the next albums. In these songs with a verse-chorus-verse structure typical of rock music, there is more and more space for a slightly atmospheric, slightly psychedelic aura, which is reflected in the final sound that the band achieved on this material. This is especially noticeable on the additional songs, which they perfectly complement the new version of "Dreams Shall Flesh" (redux). The material has been remastered again and has a new graphic design. Edition of 300 CDs folded in a six-panel digipack.	2024	€13.00
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
WINER, LESLIE & VON HAUSSWOLFF, C.M	1	LP	Leslie Winer is an artist and author living and working in France. Earlier releases include Witch (recorded in 1990, released in 1993), & That Dead Horse (recorded in 1994, released in 2010), Always Already (2011), and the retrospective compilation Leslie Winer &c. (WHO 003CD, 2012). She has collaborated with Jon Hassell, Bomb the Bass, Mekon, and her words and voice were heard on a track on CI by Diamond Version (Carsten Nicolai and Olaf Bender) (2014). As of 2015, she is co-editor and co-executor for the estate of beat writer Herbert Huncke. (1), by Winer and Carl Michael von Hausswolff, is Winer's first full-length original release to be recorded since 1994. CM von Hausswolff divides his time between the worlds of music and visual art. His records, which he has been releasing since 1979, have been released by such labels as Radium 226.05, Ash International, Raster-Noton, Laton, iDEAL, and Touch. He curates Freq_Out, a collaborative sound installation shown in Paris, Berlin, Stockholm, Marrakesh, and beyond, with such artists as JG Thirlwell, Finnbogi Petursson, Jana Winderen, and Christine Ödlund. He makes films with Thomas Nordanstad and music with Martin Rössel (as Gomila Park), Jean-Louis Huhta and Graham Lewis (as Ocsid), and Joachim Nordwall and Jason Lescalleet (as ENOUGH!!!). Leslie Winer and Carl Michael von Hausswolff met in 2011 in Lisbon, Portugal, via Philip Marshall, co-owner of The Tapeworm. They decided to make a vocal/electronic music collaboration just for fun, with no intentions to have it on any kind of phonogram. Time proved different! Text and vocals by Winer; music by von Hausswolff, except for "Talked to some of them," which features music by von Hausswolff and Nordanstad, from their 2009 film Electra, Texas 2008. Recorded, mixed, and treated in Vigny, France, and Stockholm, Sweden, 2012-13. ##################################### "Leslie Winer has long been an intriguing figure to me, an eighties fashion model who while in London frequented Leigh Bowery's infamous Taboo nightclub. In New York in the seventies she lived with Jean Michael Basquiat and became acquainted with the Beats in the form of William S. Burroughs and Herbert Huncke. But it is her association with musicians connected to Adam And The Ants that really gets me. She had a short lived marriage to Kevin Mooney, and was instrumental in his post Ants projects Max and Wide Boy Awake. This is her first proper album since Witch, a cult album with a turbulent history which first surfaced as a white label before its official release in 1993 on Transglobal Underground's own label. Its hazy atmosphere, spoken passages laced with samples and dub infused beats, has as many commentators pointed out laid down something of a blueprint to what became known as trip hop - something which Winer herself has reservations about. Witch featured a rich ensemble of artists including bassist Jah Wobble, filmmaker John Maybury, and various ex-Ants musicians including Mooney and Matthew Ashman, alongside Mooney's former Max/Wide Boy Awake associate John Keogh, as well as Karl Bonnie of Renegade Soundwave. Winer also featured on Sinead O'Connor\'s The Lion and the Cobra which in various formations also included Mooney, Marco Pirroni, and O'Connor\'s ex-husband John Reynolds, who also turns up on Witch. The interconnectedness between these players beggars belief and that\'s without bringing in John Gosling's Mekon whose releases feature many of the aforementioned, as well as Winer herself. But that's just the backstory. In 2010 The Tapeworm released & That Dead Horse, a collection of unreleased recordings, while 2012 saw the release of & © on The Wormhole, containing material from the aforementioned Witch with other material recorded in Miami and collaborations with Vincent Gallo and Christophe Van Huffel. Van Huffel would go on to work with Winer as Purity Supreme releasing the guitar strewn atmospherics of Always Already as a 12-inch on Ash International. It was around this point The Tapeworm's Philip Marshall brought together Leslie Winer and Swedish sound artist and composer Carl Michael von Hausswolff, who agreed to collaborate on music. The results are (1). It's easy to regard Winer's delivery as a stream of consciousness, but there's thought behind her lyrics and particularly in the emphasis found within her phrasing. Lines appear and then reappear later in another form, as she plays with reality, in a voice deeper and more lived in than the mischievous delivery of Witch. It's difficult to ascertain Winer's viewpoint in her words on (1), as they sway between the poetic and the philosophical, especially on the longer tracks found on the first side. On 'I'll Be Mother' over a discreet ringing drone, she ruminates about "the next generation" and the need for "a pharmacological method of making people love." Her husky drawl, speaks of a susceptible populace where "we are creators, yet we have also been created". "I'll Be Mother" she repeats, adopting the role of the maternal figure characterised in the ritual of making tea. Winer, as executor to the works of Herbert Huncke, has long been associated with the Beats, but it is in the following track the friendship and the education learned from William Burroughs comes to the fore. 'I'll Be Mother' may have touched upon the Control Process that Burroughs dwelt on, but 'This Discreet Organ' looks to transformative powers of interconnectedness, touching upon observation and evolutionary evidence to question "long held notions of who and what we think we are" where time, sequence, speech, language and pattern recognition play a role. This is Winer in full-on philosopher mode: "The concept of what a thing looks like takes precedence over direct observation". In measured breathless tones she reflects on human development and the need for sleep, questioning evolution, biology and gender roles when she inquires "Did women throw enough spears?" Mirroring Burroughs she asks "Who is running the show?" over Von Hausswolff's lingering drone. More than ever on 'Can I Take Your Order' her husky, hesitant delivery apes the sardonic drawl of a Burroughs reading. The text concerning culture and patriarchy is cut-up with various sections reappearing and reformed over the powerful undulating drones of von Hausswolff. While much of von Hausswolff's score is understated and subtle it is much more prevalent here - and in all the tracks on side 2 - gently swelling around Winer's fragmented oblique text entwining biographies of an aspiring writer and isolated academic. Juddering glacial tones form a frosted layer to the treated, distant and hard to discern delivery of Winer on 'Weatherman'. The closing track 'Talked To Some Of Them', additionally features and is credited to Thomas Nordanstad. It is taken from Electra, Texas 2008, the third in a series of films by CM von Hausswolff and filmmaker Thomas Nordanstad. The music is reduced to arching electronics, rising and falling behind Winer's fragmented musings, recycling text that originally surfaced on 'I'll Be Mother'. "This seems to be the final revolution", she muses, over effects resembling distant tolling bells. Last year, Leslie Winer, in a photographic session by Juergen Teller, became the face of Vivienne Westwood's 2014 campaign, and amidst all the Tapeworm associated releases it seems Leslie Winer, from her reclusive life in France, is making tentative steps back to into the public arena. Without downplaying von Hausswolff's contribution here my focus on (1) is in on Winer, her voice and the spoken word text giving form to her philosophy and current thinking. (1) won't garner the gushing words that surround Witch, recently reissued by Superior Viaduct, but (1) does show she still has much to say, and (1) is worth seeking out, especially if either artist is of interest. For more information go to Monotype Records" [Compulsion Online]	2015	€26.00
WIRE, THE	issue # 292 (June 2008)	mag	"On the cover: Evangelista (Since covering Willie Nelson's 'Red Headed Stranger,' Carla Bozulich has been shunting alt country deeper into hardcore improv territory with her new group). Features: Machinefabriek (Rutger Zuydervelt tells Chris Sharp why 3" CD-Rs are the perfect medium for his electronic streams of consciousness); Dylan van der Schyff (Vancouver's busiest drummer talks about his work with John Butcher, pianist Peggy Lee and more); Cross Platform: Anat Ben-David (Chicks On Speed's Israeli recruit interrogates pop and politics in her performance art piece, Popaganda); Invisible Jukebox: The RZA; Yoshi Wada (Inspired by La Monte Young and Pandit Pran Nath, the Japanese Fluxus artist explores the 'sympathetic resonances' of his homemade bagpipes and horns); People Like Us (Adopting the motto 'all things avant retard,' Vicki Bennett creates witty audio cut-ups and collages that slyly subvert heavily mediated images of Britain); Nihilist Spasm Band (The likes of Joe McPhee, Voice Crack and Jojo Hiroshige have all made the pilgrimage to London, Ontario to attend the Canadian noise veterans' No Music nights)." [Verlagsinfo] www.thewire.co.uk	2008	€8.75
XENAKIS, IANNIS	Hibiki Hana-Ma / Mycenae Alpha / Polytope de Cluny	LP	"Hibiki Hana-Ma" was created in 1969 for the Steel Pavilion of the Japan Iron and Steel Federation at the Expo 1970 in Osaka as musical part of a multimedia show. Even though the work does not bear the designation in its title, it can be already regarded as a Polytope: it was created for a specific architectural location, lasers and mirrors have been installed: a light choreography by the Japanese artist Keiji Usami accompanied the spectacle. This concept of synchronized laser and light choreographies -- now directed by Xenakis himself -- can soon be found in Polytope de Cluny 1972 and 1978 again in the Diatope (La Légende d'Eer). But Hibiki Hana-Ma is also a hermaphrodite in another sense: on the Japanese record release from 1970 Seiji Ozawa is credited as conductor of the Japan Philharmonic Symphony Orchestra and Kinshi Tsuruta as Biwa-soloist (a traditional Japanese string instrument). By listening one quickly realizes that the music is not orchestral or Biwa music, but only uses electronically processed recordings as source material for an electroacoustic music. Xenakis's first explicit Polytope (Polytope de Montreal 1967) was originally conceived for four orchestras, and then transferred to tape for practical and financial reasons. The first concept of a Polytope was an installation with live-orchestra-music -- as the tape version is a recording without further electroacoustic treatment, it is not included in this release. Like Hibiki Hana-Ma, Mycenae Alpha is also a special case but for another reason: it was composed for his last Polytope (Polytope de Mycènes 1978) and consists exclusively of synthetic sounds, realized with his graphic system UPIC. The result is rough and sober and marks the beginning of his last electroacoustic compositions, shifting back to purely electronic music. With Hibiki Hana-Ma and Mycenae Alpha, the first side of the record vividly demonstrates the vast musical range of the Polytopes, from recorded orchestral sounds to purely electronic parts. The synthesis of the most diverse musical materials had taken place in between, especially in compositions like Persepolis (1972) and the joyful-noisy Polytope de Cluny (1972) that is presented here on Side B. Polytope de Cluny was performed several times a day for six months in Paris and was a real multimedia event: the audience could relax on pillows on the floor of an old Roman bath in the middle of Paris and listen to Xenakis's architecture of sound and light. https://karlrecords.bandcamp.com/album/hibiki-hana-ma-mycenae-alpha-polytope-de-cluny	2022	€20.00
XQM / EMERGE / LDX#40	Session #43, recomposed	CD	original field-recordings and sounds by xqm reworked and recomposed by EMERGE and LDX#40 xqm - Session #43 \| 2018-07-05 \| Track #02 Recorded during 43rd session 05th.July 2018 at WWII shelter Koblenz-Neuendorf/Germany Manuel Schaub: Sequencer & FX Matthias Weigand: Analog Synth & FX, Recording & Mastering xqm-beats.bandcamp.com EMERGE - trover composed in the region of Kutná Hora final editing and mastering in Berlin in August 2018 emerge.wordpress.com LDX#40 - Pangea Mix Assembled in Frankfurt/Main in December 2018 kunstscheisse.net/ldx40 vimeo.com/ldx40 xqm artist-edition available here: ecocentricrecords.bandcamp.com/album/session-43-recomposed credits released November 8, 2019 VITAL WEEKLY There is a slightly confusing cover here, which tells us that the music recorded by xqm is the source material for the other two, but the booklet may seem to indicate that the order of the CD is Emerge/xqm/LDX#40, whereas it is xqm/Emerge/LDX#40. The previous time I heard music by xqm I found it rather noisy and left it to Jliat to devote a review to (Vital Weekly 1187). For no reason I expected this to be along similar lines, but here the duo went out with the sequencer, analogue synthesizer and effects to produce a twenty-one minute piece of drone music, with a fine dark undercurrent and some heavily produced white noise/hiss-like sound that over the course of the piece becomes a very fine dark ambient beast. Emerge then applies his 'usual' cut-ups techniques to it, by alienating the sound and using a collage-like approach. It means that there are all the colours of ambient industrial sound pass by, and they either have a full stop or a gradual, chameleon changeover. LDX#40, of whom I may not hear a lot before, prefer to stay in one dark ambient field with a slightly more distorted drone, without it all turning to true noise fest. There is some excellent buried tension in this piece that has some fine suspense; like a good horror movie. Even though the presentation is a bit weird, this is a very fine three-way compilation. (FdW) https://immerge.bandcamp.com/album/session-43-recomposed	2019	€12.00
YEN POX	Deliver (SOLD OUT)	7inch	this newcomer sets your mind in fire with the most alien and deepest possible spacey landscape - not from this world "LIMITED+NUMBERED FIRST EDITION OF 250 COPIES. RED VINYL, HANDMADE SILK-SCREENED COVERS THIS DUO FROM THE U.S. MAY BE KNOWN ONLY TO VERY FEW LISTENERS OF EXTREME MUSIC SO FAR. YEN POX ONLY RELEASED ONE FULL-LENGTH-TAPE IN 1994, WHICH WAS SO AWE INSPIRING THAT DRONE RECORDS DECIDED TO RELEASE A FIRST 7" AS SOON AS POSSIBLE. IN THE MEANTIME, YEN POX ALSO APPEARED ON THE OUTSTANDING CD-COMPILATION "INVISIBLE DOMAINS" (MALIGNANT RECORDS) - THE SAME LABEL THAT HAS JUST RELEASED THEIR DEBUT-CD. THE YEN POX SOUND CAN BEST BE DESCRIBED AS DEEPLY DRONING POLY-DIMENSIONAL SOUNDSCAPES, RATHER DREAMSCAPES, THAT TRANSPORT THE LISTENER THROUGH ALIEN, DARK AN SURREAL ATMOSPHERES, COMBINED WITH A KIND OF STRANGE ENERGY THAT DOESN'T LET YOU STAND STILL. THE TWO TRACKS ON THIS E.P.,'DELIVER' and 'REMOVE' SHOW YEN POX WORKING IN THE MOST DARK, GLOWING AMBIENT MOOD POSSIBLE. THIS IS STIRRING FOOD FOR YOUR BURNING SOUL! "LET ATMOSPHERE SPEAK THROUGH THESE UNIQUE POLY-DIMENSIONAL SOUND-WAVES" DRONE RECORDS DR-15/ DECEMBER 1995	1995
	Between the Horizon and the Abyss	CD	"Arriving on the scene in 1993 with their self-titled demo, Yen Pox immediately made their presence known with an ability to create monumental, light devouring soundscapes that transcended all that had come before it. Proceeding releases, including their debut CD, Blood Music, 2000’s New Dark Age, and the collaborative CD with Troum only solidified their standing and reputation. With Between the Horizon and the Abyss just being their first full length recording in over 15 years, Yen Pox will never be accused of being prolific. After all, with the two members spread out between Indiana and Washington State, creating new material doesn't exactly lend itself to convenience. But on the rare occasion that recordings do arise, it’s nothing short of masterful, reminding listeners why they’ve achieved such notoriety with such a limited discography, and why their recordings are consistently recognized as benchmarks within the dark ambient genre. Time between releases has been well spent, with the new material taking the early template and expounding upon it greatly, adding layers of industrial churn and structure to the infernal kosmische sprawl they’re so adept at creating. And yet throughout its entirety, Between the Horizon and the Abyss is remarkably polished and fluid. Within its realm, no seconds feel wasted, and every sound feels purposefully placed, even as it moves and flows in perpetual motion; strains of a distant angelic choirs fall beneath a complex array of arcing tones, liquidous, molten textures, & harrowing orchestral shimmer, with fervent masses of malevolent atmospherics billowing forth in glorious detail. While this technically falls under the banner of dark ambient, what Yen Pox has managed to create goes far beyond genre specifications and boundaries, crafting a new benchmark and adding a high water mark to an already stellar discography." [label info] www.malignantrecords.com "The year is 1995 and an extremely young label from Maryland has just begun to open its eyes to the world. Prior to this moment, its entire three-year existence had been dedicated to a ‘zine/compilation combination known as Audio Drudge, with a more official birth coming with a compilation of a different kind in 1994 that featured noise/industrial artists that ran the gamut from celebrated veterans in Illusion of Safety, Maeror Tri, and Contrastate, to what was at the time excruciatingly obscure in Söldnergeist, Vromb, and Kirchenkampf. It was an artist from the latter side of this list that was destined to give rise to one of the most important labels that post-industrial music has seen to this day—a label that, in the absence of Cold Meat Industry, has rightly taken its place at the helm as the leading name releasing the new generation of old-school industrial and dark ambient music today. That label is of course Malignant Records. And the artist? Yen Pox, the duo of Steven Hall and Michael J.V. Hensley, who tomorrow (May 5th) will be making their return after a full decade and a half of silence, save for a notable collaboration with another seminal dark ambient duo in Troum, Mnemonic Induction, and a little-known two-track 10″ on Drone Records, Universal Emptiness. This also requires one to overlook their respective solo projects in Veil of Secrecy and Blood Box, both of which have also been agonizingly slow to realize new music over the years. Yes, this is the project that began the maelstrom of high-quality releases that would make Malignant the monolith of the genre that it has become today, and that in itself should leave expectations at an absurdly high level for any curious ear. For the uninitiated, the project’s name should be enough of a hint to bring about hallucinatory visions of slow-rolling drones and desperate metallic chatter. “Yen Pox” was famously written by William S. Burroughs in Naked Lunch as being “the ash of smoked opium,” which should immediately lead one towards assumptions of the surreal brilliance held therein. Indeed, “The Awakening” arrives with a bass-end rumble that moves with enough sluggish grandeur, complex drones, and vastly cinematic space that it warrants comparisons to some of the finest names in the genre including deep audio extraordinaire Bad Sector and the aforementioned Troum. It is with this impressive track that Between the Horizon and the Abyss opens with the full force of a black hole, slowing down time and stretching it infinitely over an unimaginably monstrous mass, ripping metallic atoms apart with the pulsing black heart of the cosmos. Even “Tomorrow in Ruins” somehow leaves a similar astral impression as that of Ben Frost‘s incredible recent work with A U R O R A. There is a ritual edge present on some tracks as well, from the percussive clamoring and distant feedback howling of “Cold Summer Sun,” to the distant whispers and unnerving climaxing noise of “Grief Ritual.” However, this is only a minimal part of Yen Pox’s identity, as everything about Between the Horizon and the Abyss feels about as purely nihilistic as anything I’ve heard in recent years. The apocalyptic atmosphere present on the album is almost overwhelming at times, imparting an unforgiving amount of dread upon the listener as they float not through dreamy ethereal dimensions, but rather through the smokey black veils of what lies at the end of our journey. The intense album artwork and concise yet visionary track titles certainly don’t help one get an opposite impression though the radiant golds are an interesting and effective choice for such an atmosphere, but the music stands on its own as one of the most defining albums for dark ambient music of the past decade. Truly, at least to some degree, it sets a bar that leaves other modern releases from the genre sounding dry at best. Between the Horizon and the Abyss is one of the few releases of the past few years that has simply come as advertised. It is a triumph of the genre and is destined to be a celebrated gem. One can only imagine that it is the lack of quantity that has provided such astounding quality on Between the Horizon and the Abyss, but with this reminder that there are still new levels to achieve, we can only hope that it isn’t another 15 years of near-dormancy before another full-length surfaces." [S.L.Weatherford / Heathen Harvest] "A colossal record like this doesn't get made in a day, or even a year for that matter. It's actually been 15 years since Yen Pox has produced a new album. There was an excellent collaborative project the American industrial-ambient technicians did with the German pioneers Troum; and M.V. Hensley from Yen Pox has released a handful of albums under his moniker Blood Box. But, the last proper Yen Pox album, New Dark Age, arrived in the cold months of 2000. Not quite as slow in production as Giancarlo Toniutti, who took well over 20 years to issue a new solo album. But like Toniutti's immaculately conceived electro-acoustic wastelands, the records of Yen Pox are the stuff of epochal change, slowly revealing themselves through the dark veil between this world and another, or as the title implies between the horizon and the abyss. The scope of this work is suitably grandiose, following the template for the entire dark ambient genre that Yen Pox helped sculpt so many years ago alongside the likeminded projects Lustmord and Inade. The horror-laden drones that Yen Pox conceives are hardly static, as they spiral as if thrown from stable orbit by the all-consuming gravity of a black hole. The deep female vocal utterances are courtesy of the gothic siren Ruby Smith (aka Dark Muse) whose bellows and moans sporadically break through the dense clouds of Yen Pox' subterranean echo and reverb as the only ghosts of humanity to be found within this album. Bleak and heavy, to say the least." [Aquarius Records]	2015	€13.00
Z'EV / FRANCISCO LOPEZ	Buzzin' fly / Dormant spores	CD	Zwei lange Stücke auf dieser beeindruckenden CD, die auf gemeinsam erstellten Klangquellen beruht. Das 32 minütige "buzzin fly" von Z'EV ist ein atemberaubendes Dronescape voller aufblitzender und schneidender Sounds, bei LOPEZ wird daraus eine 40minütige Versenkungsübung, wenn mächtige Eisberg-Drones auftauchen und wieder verschwinden gerinnt die Zeit, hier tun sich furiose Welten auf ..... genius stuff !!!! "A sensational collaborative album between Z’EV, one of the forefathers of industrial music, and renowned Spanish artist Francisco Lopez, known for his releases performances and installations worldwide. Z’EV’s ‘buzzin’ fly (in loving memory of Tim Buckley)’ is a full spectrum 32 minute piece full of dynamic shifts, sonic worlds and can be described as oceanic in feel. Lopez’s ‘dormant spores’ takes 40 minutes to run it’s course, and is perhaps a more meditative piece than Z’EV’s, but no less challenging. Lopez skilfully crafts minimalist hypnotics that can be as destructive to delicate eardrums as they are captivating. Both works complement each other and form a powerful album that Lapilli and Black Rose Recordings are happy to release." [label info] "...Lopez more than Z'EV, but both are avid collectors of sound material from the world that surrounds us. Lopez is the man with the microphone, while Z'EV does that too, but he also is on the look out for material to play his percussive music on. Throughout Z'EV's career percussion music has played an important role, but the studio has had a likewise big role in his work. Using the studio (no doubt a harddisc these days) to its extreme, using as many tracks as possible to make subtle shifts and changing patterns throughout the piece. Perhaps the opposite of how Francisco Lopez: using sometimes just one or two sound sources and exploring them through radical equalization. Before he did this using a very low audible range for his music, but lately he has shifted towards audible material, but in cut-up/collage way. Here it is no different. The sound sources of both are presented in a strong collage form, in which loud/soft material, sometimes with smaller blocks of silence in between them. A very intense piece of music. In the five pieces by Z'EV things stay throughout on a more equal level, in which sounds seem to shift and phase along side each other. The whole thing, rather one piece in five blocks than five separate pieces makes a highly psychedelic pattern of sounds moving in and out of phase. Two sides of the coin called field recordings and both sides, even when so different, are equally great. Powerful, intense and illusionary. Great stuff." [Fdw / Vital Weekly] "Sadly, this is music that some would describe as “ambient”, simply because that seems to be the going term for music that doesn’t have drums or traditional style guitars. The problem with that definition is that it is considered synonymous with “nothing really happens” and there is a world of chthonic wonder to be found in the depths of the sounds herein. It’s virtually impossible that any fan of experimental or concrete music will not have happened upon the works of either Z’ev or Lopez in their travels. Each is prolific, respected and established within the community. The album is a split, rather than a collaboration (hence the divided title) with the first half, comprised of five shorter linked tracks, belongs to Z’ev, the second, a long single piece, to Lopez. The two halves are a nice match, with the almost blissful organic drift of the former leading nicely into the intense rise and fall of the latter. This release is all about the texture and progression of sound, so if you are looking for something that truly is ambient- something inoffensive that meekly fades to the background- you might want to look elsewhere. If you’d prefer to throw on headphones for something that will reveal itself more with each subsequent listen, you could do a lot worse." [KM, Adverse Effects]	2006	€13.00
ZANANA	Holding Patterns	CD	Äusserst sphärische Kompositionen mit Trombone und Gesang (und andere gesampelte Geräuschen), von diesem « electro-acoustic chamber music duo » von Kristin Norderval und Monique Buzzarte; beschwört eine kaum fassbare, intensiv hypnotisch-surrealistische Atmosphäre herauf..... auf dem PAULINE OLIVEROS-Label. „Zanana (za-NAH-nah) is an electro-acoustic chamber music duo featuring Kristin Norderval, (voice) and Monique Buzzarté (trombone) collaboratively composing and performing improvised music blending acoustic sounds, electronics and live processing. Zanana's inception dates from an all-night peace vigil concert in the fall of 2002 when Kristin invited Monique and poet Barbara Barg to join her for an evening of improvised music and spoken word. Since then Monique and Kristin have continued developing repertoire as a live processing duo, recording and performing in venues ranging from concert halls to clubs to abandoned buildings. Zanana uses improvisation as the foundation of their compositional process. While some works are free improvisations, some are structured improvisations and some are composed works with aleatoric elements, all are rooted in the expansive practices of Deep Listening. Zanana takes its name from a variant spelling of "zenana," the portion of a house in southwestern Asian countries exclusively dedicated to women. Holding Patterns is a compilation of live recordings selected from Zanana's first season of performances. Gasholder Duet is an improvised duo of unprocessed acoustic sounds recorded live inside the historic Gasholder Building in Troy, NY. Doorjam and Ghost Dog combine live processing of both the voice and trombone sampled in real-time with prerecorded soundfiles of ambient recordings made at the Gasholder Building and prerecorded and electronically processed voice soundfiles. Flags, Title X, and What a Pretty Dog were recorded live in concert in New York City. Poet Barbara Barg provides the text for Flags and joins the duo on spoken word on What a Pretty Dog in honor of Monique's dog Suki, who was accustomed to hearing this phrase regularly from strangers throughout her life.” [label description]	2005	€14.00
ZENIAL	Connection Reset by Peer	CD	"It's Zenial's first album in 6 years, and it shows his creativity in the context of live activity. It does not mean that 'Connection Reset by Peer' is a live album as such. Yes, the source material for the record was recorded live during sonic experiments and creating sound installations over the past few years. The album is not a compilation though-it's a well-weighed entity, thematically and sonically coherent. 'Connection Reset by Peer' is a result of interferences of environment sounds based to a large extent on electricity, radio feedback, electromagnetic field sounds emitted by current generators and elements of the so-called field recordings." [label info] www.zoharum.com "After six years Zenial, also known as Lukasz Szakankiewicz, returns with a release. Apparently he was occupied with playing live music in between, bringing him all of the world, even into Peru, Ecuador, Luxembourg and Kazakhstan. The four pieces on this new CD deal with works that were recorded over the past few years, live in concert or from sound installations. Zenial uses environmental sounds, but mainly those which deal with electricity, radio feedback and electromagnetic fields. Music which is entirely different than the one produced by Inner Vision Laboratory. Music that owes equal portions to musique concrete, noise and microsound, not necessarily in that order. This is where I think noise is interesting. Things buzz, crackle, hiss and form long wave sine tones, radio interceptions, stuck together in an interesting collage of sound. It reminds me of the work of Francisco Meirino with some minor differences. Zenial is through a bit louder on an overall level and is therefora little less dynamic. Also more than Meirino does, Zenial works with computer treatments and not straight with the sound material itself. Quite a loud release but one that works pretty well. For the strict lovers of noise probably too intelligent and perhaps that's why I quite enjoy it. The most curious thing is probably the inclusion of a remix by Michel Banabila, from The Netherlands. Best known for his (fourth) world music, but here he proofs he knows his way around with more abstract material, although far away, an ethnic influence can be heard. Maybe working on a new career as a remixer? It fits well here." [FdW/Vital Weekly]	2012	€12.00
	Foil Punk	CD	https://zoharum.bandcamp.com/album/foil-punk The new album by Łukasz Szałankiewicz aka ZENIAL contains a total of eight tracks, ranging from broadly understood experimental electronics, which is the result of his experience gained in numerous musical projects. You can hear here echoes of previous achievements under ZENIAL, but with the influence of music previously known from, among others, Angst’78, NOR_POL or Aabzu. The subsequent issues close with a clasp outlined by the topic, which is also a tribute to cyberpunk culture, with all its character, philosophy and formula, often drawing a dystopian, slightly post-apocalyptic vision of the future, but also engaging in a discourse on issues related to conspiracy theories arising from in a wide stream, as a reflection of the fears that consume communities in the face of the unknown. The musician does not provide answers, but invites us to a discussion about AI and the dangers lurking in the near future, in which scenarios caused by fears and ignorance are to be realized, while presenting the point of view of a person who is more aware of the futuristic model in which humans are only the mode of the great dehumanized wave of the universe. The material was recorded at the French institute Center National De Création Musicale in Reims. Music by: Łukasz Szałankiewicz Mastering by: Rafał Sądej Front cover by: Łukasz Pazera "In a world brimming with uncertainty and quickening paranoia, Lukasz Szalankiewicz - known to the realms of experimental electronic enthusiasts as Zenial - has unveiled a dystopian soundtrack for our times, one that smacks of cyberpunk echoes, metallic ghosts, and the palpable tension of a future where humanity grapples with its own obsolescence. "Foil Punk" is an album forged in the unsettling hum of machines, where each track feels like a sonic fragment from a fractured, possibly doomed, future. Recorded at the prestigious Centre National De Création Musicale in Reims, and heavily influenced by cyberpunk aesthetics and conspiracy theories, "Foil Punk" invites listeners to engage in an uneasy discourse about artificial intelligence, human fear, and the inexorable march of technological dehumanization. The album is an experience where fear is not merely a backdrop - it is the architect, the engine, and the very air we breathe. From the very first track, "Katedra 2.11" a rapid-fire flurry of glitchy, otherworldly pulses, Zenial doesn't hold back, pulling the listener into a world that is both harsh and hypnotically alluring. There's an overwhelming sense of urgency, as though the machinery of the universe is accelerating past our comprehension, leaving us in a state of perpetual catch-up. The track lasts just over four minutes, but it feels like a condensed eternity - sound unfurling like an unraveling narrative of our technological plight. "I'm Yours" follows, with its ethereal, almost romantic quality. A deceptive track, it might first sound like a reprieve from the chaos, but in typical Zenial fashion, it quickly becomes disorienting. The melody collapses into a stuttered rhythm, like a heart skipping beats, a metaphor for a world where control is a façade. Track 3, "Access granted" feels like an invitation - and a warning. Its cold, mechanical voice proclaims permission granted, but the warm rush of relief that accompanies the words soon morphs into something unsettling. The tone suggests that in the near future, our access to everything we desire will come with a price. And who is in charge of granting it? This question lingers, even after the track ends. And then comes "Deckard" - a sprawling 13-minute epic that calls to mind the towering, sterile landscapes of Ridley Scott's "Blade Runner". The track is built on low, rumbling bass and erratic, fractured rhythms that stretch across the entire piece, as though the machinery of this dystopia is malfunctioning, pushing through systems that were never meant to interact. Zenial’s knack for weaving tension from silence and noise is unmatched here, as the soundscape builds relentlessly, like a machine on the brink of overload. When you reach "Leon Kowalski, serial number N6MAC41717", the longest track of the album, you're deep in the belly of the beast. This 14-minute piece feels like an odyssey, a journey through the decaying underbelly of a world run by algorithms, surveillance, and a profound sense of human alienation. The name itself - a nod to "Blade Runner" - suggests that this track is more than just a sonic exploration; it's a tribute to the forgotten souls in a post-human landscape. Zenial’s use of sound here is almost cruel, pushing the listener into an emotional corner where the lines between synthetic and organic are no longer distinct. "Upgrade" follows with its eerily smooth synths and sharp percussion, a soundtrack to an ascension that feels as much like a surrender as it does a technological upgrade. The track flows into "Bialy Szum" - White Noise - which lingers in the air like an afterthought, like the hum of a world that's too saturated with information to ever pause for breath. The rhythm is sparse, minimalistic, as if representing the stillness before a storm of bytes and signals. Finally, "Event Horizon" closes the album with a slow, creeping dread. The title alone brings to mind the edge of a black hole - the point of no return - and as the track moves through low, vibrating drones and distant metallic rumbles, it’s impossible not to feel a sense of inevitable collapse, as though there’s no way out. Time stretches and warps, much like the concept it’s named after. Here, Zenial pulls no punches, leaving you in a state of suspended finality. What strikes you as you journey through "Foil Punk" is Zenial’s skillful weaving of sounds that both engage and alienate. He draws from his deep well of experience, particularly from projects like Angst'78, NOR_POL, and Aabzu, but here, he steps into new territory - where cold, analytical sound meets a very human, very emotional landscape of fear, anxiety, and the unknown. As much as this album is a tribute to the culture and philosophy of cyberpunk, it is also an invitation to discuss the ways in which humanity is at the mercy of the technologies we’ve birthed. But Zenial, like the best experimental musicians, provides no clear answers. Instead, he invites you into the conversation, asking you to reflect on the dangers that lurk just beneath the surface of our ever-connected world. In a world increasingly defined by machine learning and artificial intelligence, "Foil Punk" is a prophetic soundtrack for the not-so-distant future, where humanity may find itself as mere passengers on a ship piloted by algorithms. What happens when we lose control? What happens when we can no longer distinguish between human and machine? These are the questions "Foil Punk" dares us to consider, all while delivering a listening experience that is as mesmerizing as it is unnerving. It's a dark, compelling, and, at times, absurd journey - a punk manifesto for a new era, where foil hats and neon-lit streets are as real as the machines that will one day rule them." [CHAIN D.L.K., Vito Camarretta]	2025	€13.00
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