This is the first recorded collaboration between Charlemagne Palestine and Rhys Chatham. And it's precious. After the musical meeting with Tony Conrad (SR204), and with Z'ev (SR340), this new Sub Rosa sessions creates a form of trilogy. Rhys Chatham began his musical career as a piano tuner for avant-garde pioneer La Monte Young as well as harpsichord tuner for Gustav Leonhardt, Rosalyn Tureck and Glenn Gould. He soon studied under electronic music pioneer Morton Subotnick and minimalisticon La Monte Young and was a member of Young's group, The Theater of Eternal Music, during the early seventies; Chatham also played with Tony Conrad in an early version of Conrad's group, The Dream Syndicate. In 1971, while still in his teens, Chatham became the first music director at the experimental art space The Kitchen in lower Manhattan. His early works, such as Two Gongs (1971) owed a significant debt to Young and other minimalists. His concert productions included experimenters Maryanne Amacher, Robert Ashley, Philip Glass, Meredith Monk, Pauline Oliveros, Steve Reich, and early alternative rockers such as Fred Frith, Robert Fripp, Arto Lindsay, and John Lurie. He has worked closely with visual artist/musician Robert Longo, particularly in the 1980s, and on an experimental opera called XS: The Opera Opus (1984-6) with the visual artist Joseph Nechvatal. By 1977, Chatham's music was heavily influenced by punk rock, having seen an early Ramones concert. He was particularly intrigued by and influential upon the group of artists music critics would label No Wave in 1978. Members of the New York City noise rock band Band of Susans began their careers in Chatham's ensembles; they later performed a cover of Chatham's "Guitar Trio" on their 1991 album, The Word And The Flesh. (This parallels the way that members of fellow NYC noise rockers Sonic Youth began their careers in Branca's ensembles; Thurston Moore of Sonic Youth did play with Chatham as well.) Chatham began playing trumpet in 1983, and his more recent works explore improvisatory trumpet solos; these are performed by Chatham himself, employing much of the same amplification and effects that he acquired with the guitar, over synthesized dance rhythms by the composer Martin Wheeler. Charlemagne Palestine wrote intense, ritualistic music in the 1970s, intended by the composer to rub against audiences' expectations of what is beautiful and meaningful in music. A composer-performer, he always performed his own works as soloist. His earliest works were compositions for carillon and electronic drones, and he is best known for his intensely performed piano works. He also performs as a vocalist. Palestine's performance style is ritualistic; he generally surrounds himself (and his piano) with stuffed animals, smokes large numbers of kretek (Indonesian clove cigarettes) and drinks cognac."
In Autumn of 2014 Birk Gjerlufsen and Victor Kjellerup made their vinyl debut as Vanessa Amara on Posh Isolation with the sister recordings 'Both of Us' and 'King Machine.' The pair's new album, 'You're Welcome Here,' realises the immense potential of these previous efforts. Built around church organ, string quartet, tapes and synthesizers, the seven pieces that make up ‘You’re Welcome Here’ are immediately, though not forcefully, arresting. Gjerlufsen and Kjellerup's new work is denser though it posseses a greater fragility than their previous efforts, with the compositional depth and carefully executed production of 'You're Welcome Here' setting a new standard for their work under the guise of Vanessa Amara and a new standard for Scandinavian experimental composition. 'You're Welcome Here' is as intimidating as it is beautiful; an emotive rendering of Gjerlufsen and Kjellerup's musical finesse. Posh Isolation is thrilled to Present “You’re Welcome Here”.
Previous Sydney-sider, now Melbourne based artist Matthew P. Hopkins has worked as part of a number of groups over the last 10 years including Naked On The Vague, Vincent Over The Sink, Hochman & Hopkins, Four Door, and more recently Half High, and in duo mode with Tim Coster. In recent years Hopkins’ attention has become increasingly focussed on solo output that explores the realms of musique concrete, electro-acoustic composition, ambient music, sound poetry, noise, and nonsense, with releases on Penultimate Press (UK), Vittelli Records (UK), Canti Magnetici (IT), and Horizon Pages (AU). This 7″ release, ‘W’s’, his first solo single and debut on Albert’s Basement, is inviting and pleasing in parts, with just a hint of menace; a playful presage if you will. A slow moving (is it?) interlude to your day. Repetitious, slightly psychological synthesiser pings and waves suggest waiting (for who, or what?). Half whispers and bits of questions arise, but nothing coherent is voiced. Objects within reach on the desk are aimlessly shuffled, tapped, and slowly slid. Is that someone at the door? Probably not.
From Philadelphia comes a much needed, refreshing take on digital sound art composition. LXV reminds us of the glory days of the early Mego scene, injecting a raw edginess into what has become an otherwise sterile medium. Under buzzing synthesis, snippets of familiar culture and dialogue are caught and sent back into the shredding DSP tornado. At the core of it all is a human element, an ear for texture, timbre and composition that is lacking from most contemporary work in this field.
Robert Filliou (1926-1987) was a French poet, writer and artist affiliated with Nouveau réalisme and Fluxus. Filliou conceived the celebration of Art’s Birthday in 1963. He claimed that 1,000,000 years ago there was no art at all until one day, on 17 January to be precise, art was born when someone dropped a dry sponge into a bucket of water. Art’s birthday – which, by the way, happened to coincide with Filliou’s own – saw its first public celebration on 17 January 1973 in Aachen, Germany and in Paris, France. Filliou’s ‘Whispered History of Art’, now released on vinyl as Slowscan vol. 30, is a Fluxus mythology about the origin of art. The playful and humorous lecture was recorded by Ondine Fiore at the New Wilderness Studio, New York in December 1977 and is introduced by Dick Higgins. Courtesy Filliou recording: Archivio Francesco Conz. Verona.
Pure feedback loops processed through a faulty tape echo, occasionally sequenced to generate primitive rhythms. The title “Weakness” here not only refers to physical/social condition but also is reflected in sound, specifically in how signals decay. Released on Italian underground label Joy De Vivre in a limited edition of 80 copies. ::: AVAILABLE FOR PRE-ORDER. EXPECTED TO ARRIVE IN STOCK SOON :::
::: SCHEDULED TO ARRIVE IN STOCK SOON ::: AVAILABLE FOR PRE-ORDER ::: "Wax & Wane" is a limited to 100 copies cassette by Church Shuttle, the latest solo project of Detroit-based Chris Durham (Roachclip, The Bibs, All Gone label et al)."
Damien Dubrovnik / Vegas Fountain / Vinyl LP / Posh Isolation, Alter / Posh Isolation 144, ALT20
Debut LP from Mats Erlandsson, a Swedish electronic composer and musician based in Stockholm, where he also works at Elektronmusikstudion, EMS. A student of music since age 10, Erlandsson holds a masters degree in composition from the Royal College of Music in Stockholm. While mainly focused on solo electronic music he has also composed music for dance, chamber ensembles and work with live-electronics together with various collaborators. On 16 June 1963, Valentina Tereshkova was the first woman to fly in space. She spent 2 days and 22 hours alone in space, manually operating the Soviet spacecraft Vostok 6. Erlandsson's ’Valentina Tereshkova’ is a record made up of 5 pieces of electroacoustic music. It would be easy to argue that the Valentina of the Soviet space mission and the one of Erlandsson's record are different characters all together, however there is a feeling of spatiality in Erlandsson's music that one could speculate is not unlike that of being in a vessel like Vostok 6: a small room surrounded by infinite space, and maybe most importantly, a room that allows for just one person. Erlandsson is a craftsman, a quality most keenly felt in the focused structure of his drone pieces. It is reflexive, heavy-hearted music that almost cynically dissects itself for the listener; the pieces themselves apologise for their melancholia with their compositional brilliance. A Stunning debut of a new strong voice in Scandinavian electronic music.
Untitled two-tracker from Berlin's Krube, following up releases on labels such as Hrönir and Fragment Factory. A step even further into oblivion, exploring unknown territories via daunting everyday life recordings and electronic slices of nothing and everything. 200 copies. Black vinyl, white cardboard sleeve with postcard attached, stamped white labels, insert. Mastered by Viktor Ottosson. Plays at 45rpm.
Club Sound Witches is Matt Earle and Nicola Morton from Breakdance the Dawn. They mine keyboards and mixers for errors, glitches, distortion, and compression, chewing and macerating beats until something pastelike pushes out the other end. The signals are blurry and pulpous—almost gastronomic, like sound waves passing through so much digestion. By teasing out mechanical lapses, C.S.W. make something disturbingly corporeal—almost profane. This electronic palette does not so much elicit bodily movement as evoke the body’s movements.
Gerritt Wittmer embraces his narrative impulses on this short but dense tape. Each moment of “Unknowns” is surprising, combining Wittmer’s aktionistic vocal palette (hyperventilation, catatonic humming, garbled declarations) with grainy fuzz, ominous tonal washes, decisive edits, asymmetrical sound sequences, and loops that just keep looping, each iteration extended via unnerving, ever-lengthening pockets of silence. “Unknowns” melds the most stimulating tactics of both the Schimpfluch Gruppe and Francisco Meirino while sounding very little like either. Only 20 minutes long, but packed with more ideas, atmospheres, and distinctive moments than you’ll find in any six other tapes you bought this week. - Chris Sienko.
Over the past few years F.E. Denning has proven himself to be an important part of the Copenhagen scene. Born in 1987 he's been exploring his musical path through various releases since 2011, mostly on the Danish label Posh Isolation. Elements have come and gone but the works have always been rooted in the realms of ambient, drone, noise, minimal electronics and electro-acoustic music. After a few successful tapes in small editions 2014 saw F.E. Denning reaching it's ultimate form on the vinyl record 'Cities of Light' released once more by Posh Isolation. The record captured all the trademark qualities of the project. It showcased it's warm almost comforting and slightly noisy take on ambient music combined with captivating melodies that are bound to take the listener on a journey not easily forgotten. That year another very ambitious project was presented in the form of the F.E. Denning Descension Orchestra, an 11-piece orchestra from various backgrounds that perfectly translated the spirit of the project into more traditional music bringing free jazz into the range of styles. It's title being a direct reference to John Coltrane's 'Ascension' the record chose a whole other path to explore, inward a reflective of ones self. The result was a monolithic record co-released by Infinite Waves & Insula, not easily described or digested but highly captivating. Expanding on the complexity and emotiveness both these records have brought to the table F.E. Denning is now ready to present the next chapter. More focussed than ever the upcoming 'Under The Linden Tree' vinyl record on тhe тide øf тhe εnd enables one to take a step back into a secluded place, dwell on their state of being and the world around them in a much clearer way. The feeling of loneliness within a crowd that was present on 'Cities of Light' has made way for more concrete feelings of desolation. Starting of in familiar fashion one feels as if covered by a blanket of soft grainy drones. The peaceful status quo is easily disturbed as only minutes in sounds start to collapse on top of each other, closing in on the listener. Society is crumbling down and even though there is plenty of hope and courage left in our souls the end is inevitable and omni-present. Once more F.E. Denning skillfully threads the line between beauty and despair and one can never be certain of the outcome. Melancholic melodies set the tone and when the closing opus eventually fades out one is left with a feeling of acceptance, of whatever is to come.
One of two different sets, along with Two City Blues 2 (TROST 128CD), recorded on one intense night at Tokyo's Shinjuku Pit Inn. A trio of three towering figures, German free jazz legend Peter Brötzmann, Japanese avant-garde wizard Keiji Haino, and wildly versatile American composer and musician Jim O'Rourke, recorded by Yasuo Fujimura on November 23, 2010. Brötzmann: alto and tenor saxophones, tarogato, and clarinet; Haino: guitar, voice, shamisen; O'Rourke: guitar.
"This is Charles Gayle's most accessible work. Gayle's mastery of free jazz is blended with a more traditional compositional style of jazz on this disc. Touchin' on Trane is composed of five original songs, and even includes ex-Coltrane drummer Rashied Ali. As the title insists, Coltrane is the influence for the music on this disc. The influence ranges from the upbeat tempo of "Giant Steps" in "Part A," while "Part D" is reminiscent of Coltrane's "Live in Japan" performances. Gayle, bassist William Parker, and Ali don't copy Coltrane, but rather expand on his accomplishments. Without covering any songs, Touchin' on Trane is the greatest John Coltrane tribute album."-Brian Flota, All Music."
Orange County harsh crust, bright scrap metal manipulations atop crunchy and intricatly shifting layers of low-end noise electronics. “The nightmare lives on.” Released as a c40 cassette on the recently-revived Monorail Trespassing label.
"'The Spiral' is Frederikke Hoffmeiers third solo LP for Posh Isolation under her Puce Mary moniker, and follows where last year's critically acclaimed 'Persona' left off. Working more precisely than ever, 'The Spiral' binds the listener in a tight web of sharp synthesizers, hammering percussion, obscured vocals, field recordings, and blistering noise. Puce Mary manages to at once honour the history of industrial music and noise, as well as transform it. 'The Spiral' is harsh, but the aggression of the compositions never feels unnecessarily overstated. It is an album that is easy to get dragged into but brutally hard to get out of, disclosing the underhand of control as censurable nurture. 'The Spiral' goes through an extreme spectre of emotions, trying to be everything, feel everything, at once. The vestige of safety in dominance and submission is antagonised as audience and artist take turns being dealt blows. 'The Spiral' charts this instability as a perennial tonic in sound. With an already impressive discography and live career, Frederikke Hoffmeier has manifested herself as a key voice in new industrial music. 'The Spiral' is further proof that she has earned her praise"."
"IFCO follows up our highly ignored Stranded LP with an equally, if not more so, strong statement. Core members Karla Borecky and Scott Foust are joined by an all-star cast: Meara OReilly and Jessi Leigh Swenson from Stranded, as well as Frans de Waard, Graham Lambkin, and Dr. Timothy Shortell. The Island Of Taste depicts a manoeuvre in which the beauty becomes more beautiful as the desperation becomes more desperate. A stark and romantic mission to the rocks. Lavish package featuring an excellent Karla cover painting as well as a booklet presented as a set of 5 x 7 art cards with another Karla painting, band photos, and an essay of mine. Perhaps The Island Of Taste is the first LP to make explicit a certain nostalgia for itself. Along with The Shadow Rings Swill Radio trilogy (Lighthouse, Lindus, Im Some Songs), Id put IFCOs trilogy (Anti-Natural, Stranded, The Island Of Taste) up against anyones three LP run."-Swill Radio."
LR (Loke Rahbek) / The Fragility Of Happiness / Vinyl LP / Morte Creations / Morte_09
Loke Rahbek, Puce Mary / The Female Form / Vinyl LP / Posh Isolation / Posh Isolation 145
Truly beautiful new LP, "The Circle Of Days", from UK sound/drone artist Andrew Chalk on his own Faraway Press imprint. Recorded in 2003-06 and created with field recordings, keyboard/organ, guitar, bass guitar, and slide-guitar, "The Circle Of Days" includes a return for Chalk to his long-term collaboration with Daisuke Suzuki (Ghosts On Water, Lost Shadow, Siren Records et al), who features on five of the LP's 14 (relatively short) pieces. The field recordings, mostly captured from everyday home/community life, blend with beautiful fragments of minimalist keyboard/organ runs and droning string tones that reach out, rise-up, and resonate to stunning effect, conveying celestial-like imagery of, say, light from another world shimmering in the dark of our own fog-blurred night. The sounds unfold, subliminally freezing/interrupting time, before fading into voids that sometimes leave a peculiar and wondrous sense of longing. Whilst the field recordings feel grounded in the real world, the instruments' rich sounds seem like they arrived from the ether of far-away, deep inside Chalk's expansive artistic vision. A magical and captivating piece of work, just like how shooting stars grip our gaze in wonder. Released on Chalk's Faraway Press imprint in an edition of 325 copies. Pressed on super-sounding black vinyl, mastered by Denis Blackham and housed in a sleeve featuring a reproduction of a pencil sketch by the artist himself, with layout design by Jos Moers."
"New limited edition c38 cassette tape from Tom James Scott on his own Skire imprint. "The Carousel" collects a dozen deeply-affecting instrumental pieces for guitar, piano, and keyboard, recorded during the summer of 2015. The tape's beautifully presented, with an extended j-card printed on 200gsm paper and each copy housed in a hand folded and full colour 260gsm card slipcase.""
The culmination of five years of obsessive work — fits and starts of ongoing perfectionism that spawned two solo projects and two additional records. Beginning with crude and unfamiliar source materials, each sound is examined from every possible angle, then taken apart and reconstructed along with the compositional process. From 2010 forward, each phase is represented; the past three U.S. tours have given clues, and these recordings offer more of the puzzle, but you will never get everything at once. To be experienced as foreground with no distractions.
Ace and very limited CDr by Dog Lady (Mike Collino of Alien Passengers label et al), released on UK-based Chocolate Monk label.
Arv & Miljo / Svulsmen I Skyn/Essensen Av Denna Forbannade Stad / 7" Vinyl / I Dischi Del Barone / IDDB008 "
An ode to Gothenburg. Ten minutes focusing almost entirely on the sounds of seagulls and rain, with only tiny hints of the troubled A&M past. Recordings from a window, July 2015. Mastered by Giuseppe Ielasi. 200 copies. Black vinyl, white cardboard sleeve with postcard attached, stamped white labels, insert. Plays at 33rpm. (IDDB008)
Awesome new tape by Lisa Carver's Suckdog. "Super Suckdog Tape" presents three power punk rockers, all previously unreleased tracks, on a single-sided c20 cassette tape. Released on Andrew Coltrane's Hermitage Tapes label."
"First proper release for IFCO since 1997s vastly underrated Anti-Natural LP. Since 2002 IFCO has been performing and recording as a quartet with Jessi Leigh Swenson and Meara OReilly added to core members Scott Foust and Karla Borecky. Stranded is a claustrophobic, sensuous optical illusion. Beautiful. Sad. Epic. Stranded." - Swill Radio."
A selection of in-the-rough gems from the ever expanding archive of 75 Dollar BIll. Track/Side one, "Southeaster" features a collage of phased out guitar & drum jams, spectral fiddle music and percussion/horn blowouts originally assembled for our 2015 South East tour CD-r. Beginning and ending sections feature some great guitar work by old friend and collaborator, Steve Maing. Track/Side two features a side-length performance of "Like Like Laundry". Often a part of our live set whenever we can get Andrew or Cheryl to sit in with us, this is the first recording of "Like Like Laundry" (not to be confused with "Like Laundry") we've made available. Andrew (upright bass) and Cheryl (bari sax) are both in top form here, fusing with Rick's box to create shifting rhythmic pockets in the lower registers to great effect. A half hour of variations on a single rhythmic vamp. A total of nearly 70 minutes of music on this album."
“Soundtracks for Takeshi Murata” (GLEX-1302) is the debut LP/CD of Kentucky-based electronic musician Robert Beatty under his given name. Beatty has long been a presence in the experimental underground as a member of Hair Police and more recently performing and recording solo under his Three Legged Race moniker. He is also well known for his visual art, which encompasses installation, drawing, video, and album artwork design for countless artists including Oneohtrix Point Never, Real Estate, Vybz Kartel, and Peaking Lights. “Soundtracks for Takeshi Murata” collects Beatty's compositions for digital video glitch pioneer Takeshi Murata, produced between 2004-2007. Beatty's collaborative relationship with Murata has spawned some of his strongest work to date, and Glistening Examples is honored to present this music to the public for the the first time outside of screenings, museums, and galleries. Beatty has performed alongside Murata's work in New York, Chicago, Pittsburgh, and Beijing, where he performed several shows, including at the Ullens Center for Contemporary Art during the 2008 exhibition, "Stray Alchemists." The formative elements of the recent Three Legged Race full length "Persuasive Barrier" (Spectrum Spools, 2013) are apparent in the rubbery pulsations of "Escape Spirit Videoslime" and the ghostly buzzing harmonics of "Untitled (Silver)". Moving between hypnotic minimalism, dense processed atmospheres, and spacious drones, often in the same track, these pieces are the perfect corollary to Murata's fractured and viscous visuals. While the video and audio are linked in the same fluid time space, the soundtracks are presented now as stand-alone works, powerful compositions drawn from the same underlying chaos apparent in Murata's ever-shifting psychedelic environments. This is exciting electronic music that invites the listener to imagine their own videoscapes with or without having viewed Murata's work. “Soundtracks for Takeshi Murata” is published in an LP edition as well as CD format, with new artwork from Murata, design by Beatty, and digital mastering by Jason Lescalleet at Glistening Labs USA. The LP includes a download code and an 11"x17" poster. The CD includes a bonus track not found on the LP. This record is released with support from Institute 193, Lexington, KY. www.institute193.org."
Solar Music by Joe Jones, performed and recorded early morning April 1, 1984, on the Baltic Sea beach of Sierksdorf in Schleswig-Holstein, Germany. This recording was originally published as a tape by Edition Hundertmark in an edition of 15 copies and later reissued as a CD by ? Records. The original tape edition included seven photo prints and a title page which were missing from the CD and are reproduced here for the first time. Edition of 200 in gatefold PVC sleeve. Right-hand side holds the LP, left-hand side holds a plastic bag with seven A5-sized photo prints on thick cardboard and the title page. Remastered sound.
Stunning and privately-released "debut LP by Chicago-based artist Guido Gamboa. Saturday’s Notes is a multi-faceted collection of sonic studies born from a day of studious and diaristic note-taking. The music flows in idiosyncratic segments taking on a form akin to an artist’s sketchbook, constantly crossing and challenging the line between the aesthetically curious and the personally candid. Various influences are apparent as the listener is weaved in and out of hollowed concrète construction zones, beds of frayed and tangled electro-acoustics, irreverent noise chambers and catatonic lo-fi tape haunts. At times unsettlingly intense and at others laughably informal, Saturday’s Notes serves as both a rigorous fledgling artistic statement and an exhaustively introspective “note to self.” Saturday’s Notes comes in a UV gloss sleeve with full colour labels and download cards, in an edition of 200.”"
t Fever MIE 036 "Saturday Night Fever" takes the concept of the movie of the same name and stretches the night a bit later, the fever a bit higher to the point where the party ends up blending into something much more sinister and wild. What starts out as a disco drumbeat with funky guitar swagger and melodic horns, may slowly deteriorate into some sort of corroded ambient loop that eventually morphs into melodic horn samples.. Basically every track is subverting it's own gestures, carving out a narrative of interruption and stretching the disco template in directions simultaneously embracing and mocking the form.. In a way, this album is a sequel to "A Republic of Sadness", embracing the criticisms people had of that album and expanding on those flaws. The resulting album sounds like Morley's pulling out some heaping doses of the hermit boogie and Otago funk and stretching it into some sort of Basinskian disintegration loop gone Bernard Bonnier zonked mutant scene.. There are so many moves within each of the four extended tracks, that it feels like that illuminated dance floor is always slipping beneath your feet. I promise it'll be worth the effort, twinkletoes...- Pete Swanson"
"Samling" is a consistent compendium of A&M tracks recorded over 5 years (2010-2015) and previously released on compilations, now remastered and compiled together, along with 2 unreleased tracks, in a collectable format. Almost 90 minutes of pure, self-isolating, sick and powerful harsh noise, in total Gothenburg style."
Debut release for Darmstadt-based composer Hans Essel who has been active in improvised music and Grundlagenmusik (foundational music) for more than 20 years. This LP showcases his project Saitensack (string-bag) in which he develops new ways of playing the violin and viola. Comparisons could be drawn to other experimental violinists like Tony Conrad and Takehisa Kosugi but Hans Essel uses a far more stripped-down approach: The instruments are neither modified nor amplified. Strings are not pressed by fingers but rather damped. Only through bowing, they are excited to complex free vibrations, sometimes harsh and noisy, at other times reminiscent of uilleann pipes with cracking and breaking like in yodeling. Saitensack focuses on the origin of tones out of the noise, zooming into the very character of string instruments. Saitensack is pure violin. The essence of violin playing. Side A features an overtone-rich performance from 1994. Side B has a harsher 1999 recording: 24 minutes of pure violin noise bliss. Edition of 500 with printed inner sleeve featuring a Saitensack discussion transcript.
Kye is proud to announce the release of Rules Of The Universe, a fully authorized anthology of archival audio work by the renowned Dutch artist Anton Heyboer (1924-2005). Heyboer's stature in visual arts is well known and internationally celebrated, but documentation of his audio work is scant and difficult to locate. Heyboer's only previous vinyl release - 1976's ill-fated 'She And She As One' LP (EMI) introduced a music so resolutely personal and uncommercial in nature that EMI ordered the unsold bulk of the pressing withdrawn and destroyed. Further recordings of Heyboer's anomalous music eventually trickled out via a string of private press micro-edition CDs/CDRs through the Anton Heyboer Foundation in the 1990's. Released with full approval from VOF Heyboer and overseen by Lotti Heyboer, Rules Of The Universe draws from over seven hours of surviving archival tapes, restoring the cream of the CDR editions and supplementing it with a selection of previously unheard tracks. Rules Of The Universe offers a fresh reappraisal of a lesser-known - but no less important field of creativity from one of the 20th Century's most original artistic minds.Rules Of The Universe arrives in a full color high gloss gatefold sleeve, with an accompanying fold-out color poster, in an edition of 500 copies.
Henning Christiansen / Requiem Of Art Fluxorum Organum II Opus 50 / Vinyl LP / Penultimate Press / PP20
Requiem of Art Fluxorum organum II Opus 50. was first issued in 1973 by Edition Schellmann alongside ‘Schottische Symphonie’ with Joseph Beuys. With full co-operation with the Henning Christiansen estate Penultimate Press is proud to present the authoritative version of one of the late Henning Christiansen’s greatest works. In the summer of 1969 we made a collective film “The Search” on the heath in Jutland, Denmark. Henning Christiansen made on site field recordings for the individual scenes with Peter Sakse as sound master. The music was first time used during the performance at the festival Strategy: Gets Art exhibition organised by Richard Demarco at Edinburgh College of Art, on August 21,1970 with Joseph Beuys and Henning Christiansen. Henning Christiansen sampled the field recording into the organ music from “Eurasienstab”. He gave this composition subsequently the title Requiem of Art fluxorum organum II Opus 50. That means a requiem over the role of art in the 1960s. – Ursula Reuter Christiansen Møn, Denmark 10.20.2015. Requiem of Art fluxorum organum II Opus 50 comes in an edition of 700 copies on 180 gram vinyl house in a handsome spot-varnish sleeve along with the entire score as a high-gloss 4 page booklet.
Welcome to the ground-zero of music. This insane and self-titled LP is the punkest record ever made! Regler is a new, jaw-dropping side-project duo comprising Mattin (Billy Bao, Josetxo Grieta) and Anders "Drajan" Bryngelsson (Brainbombs, No Balls). Dancing on the ashes of a cultural breakdown, Mattin and Bryngelsson reach a tipping point where the dead body of rock explodes, before imploding upon itself. Mastered by Rashad Becker and released on the 8mm Records label in an edition of just 200 copies."
Red Brut is the solo moniker of Ma Verbiesen, who also plays drums in primitive no-wave trio Sweat Tongue and handles the vocals and synth work in electronics duo JSCA. As Red Brut she creates live audio collages with pre-recorded, crudely edited tapes. Underneath the noise and hiss of degraded flea market cassettes, you may recognise the sounds of a Korg MS10, small keyboards, ethnic instruments and other (domestic) objects. Not so much structured chaos, but more chaotic structures. The end results are equally sinister as playful naive.
An edited and remastered issue of a tape by the IFCO quartet – Scott Foust, Karla Borecky, Jessi Swenson, & Meara O’Reilly. Rags To Riches is a live record documenting pieces from 2003 through 2005. Showcasing some top-shelf unreleased works; “The Whole World,” “Metropolis,” and “The Bitter End.” Older material is also included, a fierce version of “Artificial” from 2005’s Stranded, as well as the notorious “Cycle-19.” Additionally, there is a beautiful voice-based rendition of “Some Of Us” by IFCO comrades’ The Shadow Ring. All these pieces exhibit a contemplative and well-informed use of electronics, radio, and voice. Interlaced with spoken title announcements in French, punching typewriter passages, and bookended perfectly with audience dialogue and Mr. Ferry. Their mechanical and uncompromising aesthetic is pronounced, as Rags To Riches reminds us all why Idea Fire Company are such an important contemporary outfit. Edition of 285 copies, with color insert & essay by Scott Foust.
Curious first solo cassette from miss BLUEBALLS. Sailing on the loops of the ‘radiobalise’ and amplifying the unnavigable crumbles that are cinematographically blinded. Second hands and ugly feet on the edge of her exotic RADIOBALLS, divides both sides of this bape with an erratic composition.
"Deluxe 180 gram vinyl version on reverse board card with printed inner sleeve. Rabbit Eclipse is the second -length recording from the legendary Księżyc following on from theirfull self titled debut from 1996. The Moon never went away. The 2013 the Penultimate Press re-issue of Księżyc’s timeless debut exposed the band to a large new audience resulting in a return to live performance and the subsequent development of new material. Rabbit Eclipse was recorded in Warsaw throughout May to September 2015 within the idyllic Palladian palace Królikarnia (The Rabbit House). All original members gathered to conjure the peculiar hybrid of the ancient and the contemporary unique to the band. With more expanded forms, Rabbit Eclipse presents a rich and subtle environment of beguiling narratives hanging in suspended tension. This opens up an entire new phase in the cycle of the band where an enchanting discrete musical continuum of rich and subtle sound excursions are enveloped in a mysterious melancholia. Rabbit Eclipse is another exemplary presentation from one of Poland’s most idiosyncratic and respected outfits."
Pretty much everybody you’d ever trust in such matters has, at one time or another, stated clearly that The Girls were the best band Boston ever produced. Their 1979 “Jeffrey I Hear You” single on Pere Ubu’s Hearthan label is one of the highpoints of American art-punk by any standards you can imagine. Everyone who ever saw them play live was floored by the sheer craziness of their approach. And their songs were strange, great and uniquely their own. Mark Dagley, Daved Hild, Robin Amos and George Condo came together in dribs and drabs over the course of two years. Slowly growing in number as their material became more complex and zoned, they were a quartet by the time they packed it in at the end of the ’70s. But this album presents swabs of their earliest work. Some of it is just Mark and Daved. Then Robin joins. Then George. And you can hear and feel their palette expand and mutate. Some of the songs here are protean versions of subsequent classics. Others are the first evidence of experiments that came and went before they could even be played at gigs. And it’s all goddamn incredible. Just as Pere Ubu — a band that was The Girls’ most important booster — created entirely new sounds and approaches to their material in order to get the stuff across, so The Girls blasted through Boston’s late ’70s underground, with a fully weaponized art-punk approach that destroyed minds with regularity. Massive stuff. Enjoy. -Byron Coley, 2015
The second in a set of LP re-releases of early recordings by Sean Halpin aka Craow. On Preferable Execution By Firing Squad, we see Halpin further honing his craft and once again immersing us in complete and total darkness. Recorded completely with his jaw wired shut, these recordings show Craow in its darkest form to date. Originally released as a limited tape on Corpse Without Soul in 2011, Death Shadow Records is pleased to present these recordings to the public again. Remastered for vinyl by J Short, this release is presented in an edition of only 100 copies.
"2013 marks both the 25th anniversary of IFCO and the 30th anniversary of Swill Radio, so what better way to start the celebrations than with a brand new IFCO LP? Postcards is a reworking of a cassette originally released by No Basement Is Deep Enough in 2011. Re-ordered, remixed, remade, and remodeled Postcards presents a more charming atmosphere than Music From The Impossible Salons (Kye) stark melancholy. There is still plenty of piano and sad scenarios, but there are also flights of electronic fancy. Eight imaginary impressionistic portraits of cities we have never been to. Karla Borecky and Scott Foust. Deluxe edition. 220 g vinyl. Cover painting and artwork by Karla; booklet with highly subjective text by me. Postcards from a past that never existed. IFCO march on and on." - Swill Radio."
Latest collaborative efforts of Aaron Dilloway and Jason Lescalleet. Recorded at Tarker Mills in February 2014 then mixed and mastered at Glistening Labs, this 38 minute LP was carved deeply into 150 grams of virgin vinyl via Direct Metal Mastering at GZ Media in the Czech Republic. These records are sheathed in deluxe poly-lined inner sleeves and presented in 300gsm uncoated reverse board, beautifully adorned by Australian artist and novelist Matthew Revert.
Debut LP edition by Dutch sound and visual artist Paul Panhuysen since 1986. In terms of sound art, Paul Panhuysen is well-known for his long string installations, yet he has produced a vast amount of other sound installations using different materials and sound sources ranging from various instruments to animals such as birds. This LP contains a recording of the installation "Pendulum Change Ringing", displayed at Pand Koloniale Waren in Hasselt (Belgium) in 2012. The installation consists of twelve engraved Turkish metal platters, each mounted onto a black plastic bin, and placed in a 20 meters long row. The rim of each platter is hit by a metal pendulum operated by a tiny electromotor. Each hit causes the platter to resonate with a rich sound texture full of dissonant overtones. During the recording, the twelve pendulums are activated one after the other. The paces at which they swing differ due to their rods having different lengths. This causes interlocking rhythmic patterns to emerge that become more complex with each step and never stay the same. Hits aggregate into clusters, then thin out again. The sound is not chaotic, yet its regularity is hard to comprehend. "You might call Pendulum Change Ringing a typical Paul Panhuysen piece: it works according to a system, quite a simple one in fact, but its effect surpasses that apparent simplicity by far." (René van Peer) Edition of 300 copies. Full-color sleeve with photos of the installation and liner notes by René van Peer. Black poly-lined inner sleeve."
Karies / Parole Grätig / 7" Vinyl / Harbinger Sound, In A Car / Harbinger156, In A Car 002"
An album of incredible archival recordings by Brad Laner and Jim Goodall's 1980's noise orchestra. Featuring many other LAFMS superstars such as Rick Potts and Joseph Hammer , along with several unknown secret San Fernando Valley noise geniuses. An album's worth of epic spontaneous compositions created with tape recorders, short wave radios, cheap synths, random orchestral instruments and circuit bent gearand all unleashed in front of an unsuspecting audience. "...we opened for WALL OF VOODOO and successfully pissed off 1000 screaming New Wave assholes" Starting out back in August 1981 as Brad Laner's solo project and self-confessed "pretentious art phase". It wasn't long before he started bringing friends , most notably Jim Goodall and SpencerSavage, and other players in and over the following years DEBT OF NATURE would expandinto a much larger ensemble. It's those larger ensembles that are captured on this album with liverecordings caught throughout the bands final two years. These tracks were originally programmed with a four 7" boxset in mind, but the flow of the pieces works just as well on the 12" format here. Even though they only released a small number of cassettes throughout their lifespan, mostly on ARPH and Laner's own Party Sound Tapes label. They appeared on numerous seminal Noise and Punk crossover compilations that emitted from California's west coast on labels such as the Minutemen's New Alliance imprint, New Underground, and Trance Port. Later other work appeared on Anomalous Records.Over the five to six years they existed the band played many showsthroughout Los Angeles and up into the Bay Area. DEBT OF NATURE is the starting block for both Laner and Goodall's musical trajectory that has now spanned three decades and taken in many points along the way. Both players recently resurfaced with a reformed MEDICINE , a band they formed who released material via Creation Records and Rick Rubin's American Recordings. Prior to that they could be found alongside LAFMS mainstay Rick Potts and others in the STEAMING COILS. Laner was also a major player in FOURWAYCROSS and could be found at times in SAVAGE REPUBLIC, NERVOUS GENDER and many others.Jim Goodall would record for a number of years under the alias of D.D.DOBSON and his violent electronic works can be found on numerous experimental noise labels. He also played as a member of WHITEHOUSE during their comeback tour of the USA during 1993. Brad Laner was also a major contributor to the legendary experimental music magazine UNSOUND which will be the subject of an extensive feature in the forthcoming As Loud As Possible #2 magazine. A second DEBT OF NATURE album capturing the band's earlier years is scheduled for release on Harbinger Sound sometime too."
The Barton Workshop Plays Philip Corner / OM Entering. And Once Entered: The Barton Workshop Plays Philip Corner / Vinyl LP / Kye / kye39
Kye is proud to announce the release of 'OM Entering. and Once Enterd', the latest LP from veteran fluxus composer Philip Corner. 'OM Entering. and Once Enterd' comprises four previously unreleased recordings with the Barton Workshop, taken from performances in the Netherlands, and South Korea, between 2000-2007. "OM ENTRANCE. OM ENTERTRANCE. which one does....because the performance is a real "passage from the material to the spiritual" unless the "real" world is just as spiritual already which i like to think it is. As perhaps an everyday awareness is already to be entranced which i have been told it is, really. To the facts: musicians' coming-in already the performance of everything has to be done to get ready from unpacking to tuning and all that is done in the concentrated and exalted spirit of real music. Multiplicity moves noise to instrument possibilities with virtuosity show-offs slowing down to a perfect tuning in a quiet circle from where there is nowhere else to go but the sustaining of a quiet long tone. My old friend and colleague also great composer Jim Fulkerson is there as he has be, as he was even at the first performance way back must be almost 50 years by now joining the Creative Associates at the University of Buffalo on his initiative as likewise these performances in Holland with his group he calls The Barton Workshop and for sure he is there playing trombone too. The movement from SANG/TEH (SITUATIONS). Guard duty in a cold Korean winter. This piece was a major turning-point in my work. My life too you-could-say. "Of Ancient Times and Modern Sounds" i wrote then: a better world---much much better---than being in the American Army. The heterophonic melody-only texture learned from their "Ah Ahk" court music ("Soo Je Chun" the most beautiful music in the history of the world!) imposed on a thoroughly modern chromatic note structure. Occidental instruments absorbing the traditions of subtle sound colours so-long absent from the West. Public performance in Seoul. That must have been the Spring of 1961 just before they "shipped me out", to bring all that back home. Before that the wonderful and exceptional opportunity to "run through" some of it with the indigenous instruments of the Koog Ahk Wun (National Music Institute) thanks to the cultural open-mindedness of the classical kayageum master Byungki Hwang. And Jim has not only played the 3rd movement often, but brought if back to Korea once at the Pan Music Festival. But my long-waiting-for performance in Korea on native instruments has yet to take place. The CHOPIN PRELUDE piece is one of two, reworking passages from his D Major Prelude for piano, and a part of the "as a revelation" series which "looks into" moments from the classics which usually go by too fast. Begun with Mozart, the series has "got a lot of mileage" out of Satie, as well as including Buxtehude, Bach, Rimsky-Korsakoff, Verdi, Ives, Berlioz,, and others." (Philip Corner, 2015). 'OM Entering. and Once Enterd' arrives in a full color, high gloss Philip Corner designed sleeve, with insert, 350 copies black vinyl with a special edition of 50 copies on colored vinyl."
The legendary, rare Brötzmann album finally reissued on vinyl for the first time, with the special fold-out leporello on the front. One-time pressing of 1000. Originally released on Calig in 1969. Side A: The Peter Brötzmann Sextet: Peter Brötzmann: tenor sax; Evan Parker: tenor sax; Derek Bailey: guitar; Fred van Hove: piano; Buschi Niebergall: bass; Han Bennink: drums. Recorded at Tonstudio Bauer, Ludwigsburg, Germany, on April 18, 1969; recording engineer: Kurt Rapp. Side B: The Peter Brötzmann Quartet: Peter Brötzmann: tenor sax; Fred van Hove: piano; Buschi Niebergall: bass; Han Bennik: drums. Recorded at Rhenus Studio, Godorf, Germany, on April 24, 1969; recording engineer: Conny Plank. Cover design: P. Brötzmann.
Ben Hall's String Trio / Negatively Complicating A Procedure That Is Already Flawed / Vinyl LP / 8mm Records / 8mm060
Stunning new jams by Ben Hall's She Shells String Trio, the trio of Ben Hall (Graveyards), C. Spencer Yeh (Burning Star Core) and Mike Khoury. With two violins and incendiary drums, the trio create a series of dialogues which magically combine intensity and introspection, rhythm and silence, discipline and "fire". When imagination meets instinct, music is free. A rare gem, a gift by gifted musicians. Released on the 8mm Records label in a limited edition of 150 copies and housed in handmade covers."
"My Descent Into Capital" represents the most ambitious recording from this London-based duo to date. Even if they're taking influence from minimal synth, post-punk or early industrial sides, Circuit Breaker are unmistakably contemporary with their delivery. Forging together metallic drum machines, propulsive synth lines and stark guitar degradation into bold , simple and effective songs about isolation, discontentment and the true horror of work. This album transgresses any simple nostalgia for its musical forefathers and showcases a band with their eyes fixed firmly on the future. Any obvious reference points are contorted and stretched to the point where they are transformed into something new. After ten years of obscurity, a refusal to go away, and two well-received records on Tombed Visions, this album is their first full-length album, as-well as their first with abstract-punk imprint Harbinger Sound. Having played many shows supporting Sleaford Mods, the duo are about to embark on an extensive tour with new label mates Consumer Electronics early next year. The album was mastered by Barry Grint at Alchemy. ""
First vinyl reissue of this musique concrete classic, first released in 1963. Dutch abstract-expressionist painter Karel Appel (1921-2006), one of the founders of the avant-garde movement Cobra in 1948, logged time in the Instituut Voor Sonologie to compose music for a documentary being made on himself by cinematographer Jan Vrijman. Musique Barbare was born, released by Philips, this masterpiece of Musique Concrete is a real jewel for any record collector. Made in collaboration with the Insituut's member Frits Weiland, the result is a fantastic mix of electric organ fumblings to full-on riots of distorted kettle drum and assorted percussion-room filigree, assembled into an extremely edit-heavy suite - heavy tape-speed manipulation.
Olymphia / Music For A Dance Performance / Vinyl LP / Posh Isolation / Posh Isolation 155
Brand new solo LP by Michael Morley. After a 30-odd year history cutting electric music with the likes of Wreck Small Speakers on Expensive Stereos, The Dead C, and Gate, Morley opens a new chapture with 'Moonrise', being the first readily available document of the man in solo acoustic mode. "'Moonrise' was recorded as an experiment in my newly established recording studio to see what might happen if I played acoustic instruments only, with an ear to some early Spanish guitar music and the Persian oud. After 30 years of playing the acoustic guitar in private for no good reason, I decide to record the activity." (Michael Morley). 'Moonrise' arrives in a full color Morley designed matte stock sleeve, with complimentary inner bags, in an edition of 500 copies."
Sunburned Hand Of The Man / Mind Of A Brother / Vinyl LP / Feeding Tube Records, Manhand / FTR198, Manhand 001
Amazing archival retrieval (with extra material on the download) of the first release by long-running human zoo known as Sunburned. Forged in the heat of Kristin Anderson’s Charlestown loft, the group more or less descended straight from the corpse of Shit Spangled Banner, although they did not assume the band name until 1997 (two years after the first protean jams had started). The material on the album was recorded in 1997 & ’98, often deep in the grip of acid flashes, and it really shows. Over the course of their nearly two-decade lifetime, Sunburned has been many things, but it’s easy to forget how spacily jazzoid and proggily psyched-out their initial gushes were. The music here is wildly explorative and crazily inventive, sharing a clear affinity with fellow travelers No Neck Blues Band. Indeed, the second edition of the CDR of this album was created to be sold on a 1999 tour which was No Neck, John Fahey and Sunburned. One can only shudder at the mere thought. Anyway, this may well be one of the best Sunburned albums. It has a bizarre sweetness I never noticed in the band back then, because they always seemed like thugs underneath everything else. But you can really sense it here. And Rob Thomas’ excellent liner notes attest to the benign flow of their early visions. How nice to hear where this weird trip started. -Byron Coley, 2015
Peter Brotzmann, Jason Adasiewicz, John Edwards, Steve Noble / Mental Shake / Vinyl LP / Otoroku / ROKU010
Our tenth OTOROKU release sees a return to the group that kick-started the label - the veteran German reedsman and free jazz pioneer Peter Broetzmann with the long-running London bass/drums partnership of John Edwards and Steve Noble. After the release of '…The Worse The Better' that group went on to play a series of devastating shows in Europe and to emerge as one of Broetzmann's finest working groups. Over the same period Peter was developing a deep rapport with Jason Adasiewicz, the upstart vibraphone player from Chicago. What seems on paper like an awkward pairing reveals itself on stage and on record as a symbiotic revelation. Adasiewicz's physical attack matching Broetzmann for impact whilst the extended sustain of the vibes opens up an eerie space for some of Broetzmann's most fertile lyricism. The recording is from the last set of a two-day residency at Cafe OTO that brought these two groups together for an astonishing quartet. Adasiewicz and Noble struck up an immense partnership in rhythm. Edwards wrestled with a broken house bass and failing amplifier and still managed new levels of invention - stoking the others onwards. Broetzmann was clearly energised - I swear I saw him dancing at the side of the stage whilst exchanging a shattered reed. And for all the usual rhetoric of Free Jazz bluster and machismo, this is a meeting characterised by the joy of communal creation that makes you want to dance - even if only in your head.
Bart De Paepe / Mellow My Mind: A Sloow Tapes Discogarphy / Art Book / Sloow Tapes, Kraak / No Catalogue #
Stunning art book from Bart De Paepe, label-head of Sloow Tapes, which chronicles the label's first 10 years! "Mellow My Mind" gives an overview of all the tapes, broadsides, LP’s and booklets published so far. From Keijo's desolate avant/acid folk moves to Fursaxa's spiked organ drones with a short detour by way of Ira Cohen's Akashic Records. Fully annotated with detailed information about the tapes, promo texts, reviews and a few texts written especially for this publication by Bart De Paepe, Matthew Parry and Louise Landes Levi. Full color. A co-producton with Kraak. 300 copies."
Mars / Mars Archives Volume One: China To Mars / Vinyl LP / Feeding Tube Records, Negative Glam / FTR200, NG#6
Following the success of the two live LPs bookending Mars’ trajectory through the skies of NYC, Mark Cunningham was convinced to return to his legendary box of cassettes. Even he was surprised to discover the band’s earliest shows (done under the name China) were there, amidst a tumble of other tapes. Thus, the idea was born for a trilogy of LPs tracing Mars’ development from their first audition gig at GBGB through the shows following their Lust/Unlust EP. China to Mars is the first volume, and really displays for the first time how much the band’s earliest music was a mutated variation on some of NYC’s extant juggernauts, in particular Television and the Patti Smith Group. While their sound was clearly their own, the textures and techniques they’re using to achieve them are far less alien than they’d become. Side one was recorded at China’s audition night at CBGB in Feb. ’77, and their follow-up show in June. It’s amazing how good it sounds. And the songs are almost all unheard (apart from “Cry,” which appeared on the Anomia tape box). Even “3E” is nearly recognizable from its released version recorded the following year. The second side is from Sept. ’77, once they had started calling themselves Mars. The shuddering blocks of sound for which they are known are beginning to coalesce, and Sumner’s dark vocals are pushed to the fore. The music is stunning. You can hear the band on the very cusp of transforming itself into the group that recorded those incredible early sides. Wow, can’t wait for the next two volumes. – Byron Coley, 2015
Magisch Theater Productions / Magisch Theater Productions / Vinyl LP / Ultra Eczema / ultra eczema#119
Since the beginning of the 80's Sandy Nys (aka Maghtea) has been involved in a million of industrial, ritual ambient, noise, wave etc solo or group projects, his main thing since some decades remains HYBRYDS, though he is one of the Belgian hometaping pioneers, alongside ClubMoral and Alain Neffe of "Insane Music". Long before Hybryds, Sandy was, like every decent human being, fucking around at home with tape loops, tandy microphones, acoustics and metals, korg ms 10 synth and korg sequencers, a ton of marantz and sanyo cassette decks! which resulted in a bunch of amazing obscure cassette releases! This lp collects 2 selections from 2 Magisch Theater cassettes from 1983, the A side is a selection from a untitled cassette and the flip has a soundtrack made for a painting exhibtion by Peter Braet. The cover photo was taken by Eric Didden for a fanzine called MAD IN BELGIUM and the back photo was taken for a news paper article on hometaping, all from Sandy's archive. this record comes with 2 inserts of the original cassette sleeves, and is limited to 250 copies only! This LP collects 2 selections from 2 Magisch Theater releases from 1983. The A side is taken from an untitled cassette. The B side contains a soundtrack made for a painting exhibtion by Peter Braet, released on a cassette titled Mr.Minimummuziek & Het Magisch Theater. Comes with 2 inserts of the original cassette sleeves and a booklet containing "a short history of the 1983 Belgian underground K7 scene" and some newspaper / magazine articles. All photo's and cover art are from Sandy Nys' archive. Limited to 250 copies. Credits: Layout – Jef Cuypers. Photography [Front Cover] – Eric Didden"
"Macro was originally going to be titled Roots, because it really goes back to what I was doing 40 years ago, just more modernized technique. I had always taken small snippets of tape and records, repeated them, slowed down, modified, and layered etc, Macro was all done on the computer. I'd been thinking about how in the old days, pop songs were always between two and three minutes long. Most of my music has always been longer extended pieces. I wanted to recreate the feel of noise in the pop song format, so I specifically created an album's worth of songs, all at exactly three minutes, a concept album I suppose. Micro samples were cut, copied, pasted, and totally whacked out. As with all of my music, I have always defied anyone to identify the samples." - Robert Turman. Limited Edition of 218, with hand silkscreened and numbered artwork."
Lost At Sea imagines the Idea Fire Company as the bar band on a small cruise ship. There are approximately 40 passengers aboard. Around 2/3 of them are in the lounge for the nightly IFCO performance. Most of them seem more interested in drink than in music. The ship has become lost and seems to be endlessly circling. Well stocked with booze and food, etc., the ship continues on. IFCO, armed with only a piano and trumpet/ radio/ synth, provide the nightly entertainment. Lost At Sea is certainly the sister of the also piano-heavy The Music From The Impossible Salon, but Lost At Sea has an air of weary optimism replacing the bleak sadness of Impossible Salon. For almost 30 years IFCO has carved their own path, or dug their own hole, depending on your view, through the ever-changing world of underground music. Still violently committed to the Avant-Garde and to new forms of beauty. Still Romantic. Still idealistic. Despite the odds. In the old days, this sort of commitment was better appreciated. IFCO remains IFCO. As a number of people have said over the years, every IFCO record sounds different, but they all sound like IFCO. Edition of 400 LPs on black wax. Includes a 4″ x 6″ Postcard and a download coupon.
Konstrukt, Marshall Allen / Live At Sant’ Anna Arresi Jazz Festival / Vinyl LP / 8mm Records / 8mm061
Saturn calls, Istanbul responds! After releasing a handful of beautiful releases last year that brought them to the attention of the free jazz scene, Konstrukt come back with a fantastic album recorded in collaboration with Mr. Marshall Allen, the legendary saxophonist of the Sun Ra Arkestra (aka the best band ever landed to Earth). Cosmic, cathartic, spiritual free jazz in its purest form! When music can make you travel with your imagination like this, building bridges between different cultures and languages, all you need to discover is definitely outside planet Earth! Space is (still) the place. Released on the 8mm Records label in a limited edition of 200 copies.
Teenage Jesus and the Jerks began to formulate their visionary brand of aural catharsis sometime during the first half of 1977, amidst the sordid ruins of a then fully down-and-out Lower Manhattan. The mastermind behind this juggernaut of sonic libertinage was a barely pubescent but world-weary runaway who called herself Lydia Lunch. Influenced strongly by the Marquis de Sade and Henry Miller, Lunch shrewdly decided to graft the existential horror of her own writing onto harsh, atonal music after being exposed to the room-clearing live output of other contemporary rock-music deconstructionists like Suicide and Mars. With an agenda of conjuring nightmarish intensity in lieu of technical instrumental ability, Teenage Jesus instantly made the supposedly “nihilistic” and “raw” current wave of so-called Punk acts sound like slick, good-timey pop music by comparison. Teenage Jesus and the Jerks were The Texas Chainsaw Massacre, lisa, She Wolf of the SS, and Salò, or the 120 Days of Sodom, transliterated into a blatant mockery of the increasingly tired, basic rock-band format. Posthumously, there have been numerous reissues of the primary Teenage Jesus corpus, namely the first side of the Lydia Lunch double compilation album Hysterie (CD Presents, 1986), a very incomplete anthology titled Everything (Atavistic, 1995) and Shut Up and Bleed (Cherry Red/Atavistic, 2008), which also featured Beirut Slump tracks. These less-than-fastidious documents contained reverb-laden transcriptions of the studio cuts directly from vinyl copies, as well as random live tracks of mediocre fidelity. This particular collection about to be released on Other-People is meticulously edited and mastered from rare bootlegs taped during the initial 1977-1979 period of classic band, and only one title (Crown of Thorns from January 17,1979) has been legitimately released to date, albeit in a completely different sound quality. Almost every known Teenage Jesus and the Jerks composition appears on this compendium and Ms. Lunch herself is quite satisfied that this just might be the final nail in the coffin…. If it is the sound of deliberately organized and deployed agony you are seeking, your bath has been drawn and the razor awaits. Weasel Walter, Brooklyn, NY, June 30, 2015
Debut LP of Grisha Shakhnes. Formerly operating under the name of Mites, Shakhnes has been recording and performing in Tel Avi, Israel since 2008. His work has been issued both privately in limited handmade CD-R editions, and internationally though Alamut Records (Jerusalem), Mystery Sea (Belgium), and Copy For Your Records (NYC). Consider ‘leave/trace’ a graduation ceremony, as Shakhnes steps away from pseudonymity and into the bright lights of his own exceptional music. “leave/trace” offers a compelling display of musical abstraction, blending field recordings from peculiar and mundane origins into sumptuously detailed and surreally original new forms. Shakhnes is deftly able to capture and juxtapose otherwise overlooked details of commonplace events, placing his work at the fulcrum of contemporary tape music. Never overly literal, “leave/trace” instead allows the listener to find their own way through its compositions, granting rich reward for those willing to make the journey. “This is unquestionably Grisha’s most convincing statement to date, and one which cements him in the frontline of artists to watch as the year unfolds. A fabulous LP.” - Graham Lambkin, KYE Records.
Another shamanic journey in Tazartès's universe. He sings and plays all the instruments and samples, recorded in the very same room as all his other solo records since 1974. Performed, produced, and recorded by Ghédalia Tazartès for Bisou in 2012. Tazartès's son, Lalo, can be heard on "Don't Cry for Me, Mamma." The front cover is a picture of Quentin Rollet, shot by Yannick Ressigeac. The back features a drawing by Lalo Tazartès. Mastered by F/Lor."
P.E. is one of the monikers of Denmark-based Mikkel Valentin Dunkerley (Internazionale, Lace & Collar, Olympisk Løft, and Rosen & Spyddet et al). Kalliope is a c20 cassette, featuring four untitled tracks, and released on the artist's own Janushoved label. A limited edition of just 100 copies.
“Ithaca” stands as one of the missing links between the tradition of free jazz and the current explorations in sound art. Bringing together one of the greatest living free jazz saxophonists and a young talented percussionist and sound sculptor, you have a record that sounds like a 'classic' and yet way ahead of its time. McPhee’s playing here is so lucid that it feels like a compendium of all those aspects of his style that have enlightened his long career, alternating beautiful soft passages to almost silent moments, or exploding into fuorious 'fire music'. On his part, Keszler gives plenty of room to spread out, whether playing minimal rhythmic patterns or creating sound structures that collapse when Joe's saxophone goes wild. Silence, harmony and noise, perfectly balance each other on a work that is improvised avantgarde music in its purest form. “Ithaca” was recorded in November 2010. Released on the 8mm Records label in a limited edition of 250 copies, pressed on 140 grams vinyl, and housed in pro printed covers.
Un-effected e-bow and acoustic guitar pieces recorded deaf by Jon Collin in 2015. The diagram on the sleeve acts as a track listing and simplified score for the tape. Limited edition tape cassette on Very Bon and Comfortable On A Tightrope labels.
Harmut Geerken And His Rock And Free Jazz Group Kabul (Featuring John Tchicai) / Insistency! / Vinyl LP / Holidays Records / HOL069
Third - and sadly last - chapter of the archival recordings fixed on tape by Hartmut Geerken during his stay in Kabul in the Seventies. Insistency! was recorded at the Goethe Institut of Kabul on same day of the duo session of Hyndukush Serenade - May 22, 1977 - but sees also Maqsud Schukurwali and Ghafur Rasul - members of the Free Jazz Group Kabul - joining Geerken and Tchicai and playing an insistent anthem, featuring also an eight year old Olaf Geerken at congas. On side B, the music gets quieter and Tchicai finds the perfect moment to release his yelled, ecstatic chant - slowly turning into a hypnotizing song. 250 copies on black vinyl!
Listening to Fursaxa’s music is like strolling around at night in a dark forest under a full moon’s gaze and getting lost in crystallized spider webs spun by Rumpelstiltskin. Boiling down Hildegard von Bingen, Nabakov and Nico in heavenly spiked acid folk layered with organ drones, percussion and chanting. 300 copies.
Keiji Haino, Jim O'Rourke, Oren Ambarchi / I Wonder If You Noticed ”I’m Sorry” Is Such A Lovely Sound It Keeps Things From Getting Worse / 2 x Vinyl LP / Black Truffle / BT021
The remarkable series of releases from the trio of Keiji Haino, Jim O’Rourke and Oren Ambarchi continues with "I wonder if you noticed "I'm sorry" Is such a lovely sound It keeps things from getting worse", which presents the entirety of an 80 minute set performed at Tokyo’s SuperDeluxe in March 2014. Where their 2012 performance (BT011 and BT012) was divided into two releases, one continuing their exploration of the guitar/bass/drums power trio format and the other emphasizing new instrumental configurations, the single extended performance presented here ranges widely over terrain both new and familiar, from acoustic strings and collective chants to thunderous power trio moves. Throughout all of its transformations, the music here is some of the riskiest and most abstract the trio have yet committed to record. Beginning with chiming percussion reminiscent of Haino’s classic Tenshi No Gijinka, the first side is dominated by Haino’s impassioned vocals and performance on the bulgari, a traditional Turkish string instrument. Together with the woozy, sliding foundation of O’Rourke FX-laden bass and Ambarchi’s ritualistic percussion, the trio craft a sort of epic, abstracted song that moves through its spontaneous episodes with all of the fluidity of the best free improvisation. After a haunting passage in which Haino’s voice, descending from angelic high notes to guttural growls, is accompanied only by O’Rourke’s roaming bass, Haino turns to electronics, gradually building a thick cloud of cosmic sludge as Ambarchi’s drumming goes into free fall. The end of the second side presents a special treat: Haino’s first recorded outing on the contrabass harmonica, from which he coaxes bizarre, wheezing textures against a backdrop of spacious bass and percussion. When Haino eventually picks up the guitar midway through the epic performance, the spaciousness and sense of volatility remain, with the trio often moving in an instant from crescendos of ecstatic noise to near-silence. O’Rourke and Ambarchi rarely adopt here the classic rock roles essayed on earlier releases. O’Rourke’s bass, which takes centre stage surprisingly often, is sometimes so heavily processed by his array of pedals that it becomes a shifting electronic mass; at other times his roving chromaticism suggests a sort of fuzzed-out free jazz. Ambarchi spends much of the set exploring areas of tumbling free pulse; and even when he locks into a constantly repeated figure on the set’s third side, he gestures as much toward Ronald Shannon Jackson’s stuttering marching band funk as toward any classic rock moves. When the trio finally move in the final quarter of the performance into an extended passage of rock riffing, the payoff is immense, as they craft a thudding one-chord epic reminiscent of some of the early Fushitsusha classics, before Haino returns to the bulgari, bringing the set back to where it began. Continuing to explore new instrumental and dynamic possibilities while remaining grounded in the trio’s previous work, this set also brings with it a unique pleasure for the non-Japonophone listener: for the first time Haino sings many of his metaphysically brooding lyrics in English. (Francis Plagne)"
What makes this tape different from all other Ignatz tapes? Not much really. The hermitic constancy of Ignatz’s songs is part of his greatness. This is Belgium’s finest guitar loner doing what he always does—sending chills down spines by way of the minor pentatonic. There is, however, something distinctly “at ease” about these recordings. They are longer and dreamier than previous ones. Ignatz’s voice is softer and rounder. What once were funeral songs now sound hymnal; some almost have an Americana pietism. Perhaps the move from Brussels to the small town of Landen gave license to Ignatz’s solitary tendencies. I’m inclined to believe in the album title’s joyousness (the last one was called “I Hate this City”). I guess this is Ignatz when things are going pretty well.
At the beginning, Hystérie off Music was conceived as a catalogue record, an open field where the author could play with all musical genres and their stereotypes, but then evolved rapidly into an uncompromising clash of field recordings, sampled instruments and Tazartès' incomparable vocal eclecticism, made of emotional psalms and shamanic hymns. The Encyclopédie of genres turns into a childish - and sometimes scary - play and the song titles mislead the listener introducing him to a completely new classification. Recorded in early 2000s and released on CD in 2007 by the French label Jardin au Fou, it's now available in a remastered vinyl version - with an excellent cut made by SST in Frankfurt - for the best listening experience of this cinematic electronic collage. A true movie for the ear. Released on Holidays Records in a limited edition of 350 copies on black vinyl.
Hans Rudolf Zeller (b. 1934 in Berlin) is best-known for being a music theorist, essayist and writer on contemporary music. His essays on Dieter Schnebel, Iannis Xenakis, microtonality etc., often published in the German journal "Musik-Konzepte", are deemed being among the best ever written on new music. Apart from that, he has since the 1960s maintained his own artistic work, most of which has not been published or only seen the light of day in private micro-editions. Zeller's work often involves combining multiple dimensions (texts, vocals, visual projections) into one cinematological literature. This LP edition is an attempt at collecting various elements of Zeller's work. All recordings have been made within the last 10 years, yet many of the underlying concepts date back to the 1960s or 1970s. Contained are two scriptophonies (works combining writing and vocals, with the notion of writing being extended in ways not unlike those Carlfriedrich Claus and Gerhard Rühm have shown), two vocal improvisations, one piece of Tesa sounds (sounds produced by adhesive tape), and one piece for horn. The full-color sleeve and inner sleeve show Tesa pictures made between 1961 and 1970, and one collage from 2010. There is one insert with detailed liner notes by Zeller in German and English, and another insert showing a relic of a scriptophony. Edition of 300."
This is the third album recorded by Joshua Burkett. The first Owl Leaves Rustling was returned to life by Spirit of Orr. Its CDR follow-up, Life Less Lost, was recently retrieved by Golden Lab. Now it is time for Cold Cosmos to once again bask in the sun. Initially released in 2001, Gold Cosmos (a title I always thought sounded like a Robbie Basho bootleg) featured performances by people like Dredd Foole, Matt Valentine, Ben Chasny, Teri Morris. PG Six, Chris Corsano and Noah Wall, which was the world’s first real evidence that Burkett was not operating entirely in a vacuum. Prior to this Joshua’s work seemed quite hermetic, although those few who knew of his recorded legacy would tell you otherwise. The album still sounds amazing an revelatory today. The music proudly wears the fingerprints of a vast array of outsider artists from aroun the globe who created their own weird universes in the guise of “folk music” — from Dave Bixby to Dana Westover, Perry Leopold, Ed Askew (with whom he collaborated) and various other freaks. These impulses were run through deep knowledge of UK “acid folk” (ISB, COB, and onward) and you end of with a brilliant and unique alloy. Burkett never falls prey to checklist-thinking or doing the obvious. His creations are fully his own and they wail in the softest way imaginable. Prepare for a real trip. -Byron Coley, 2015
First appearance on the Janushoved label by Gersemi. C20 tape released in a limited edition of just 99 copies: The Secret Pact Of Lovers, The Sacred Bond Of Spit. Janushoved.
A new album, the sister of Ghost of Nakhodka in some ways (Siren Records 2009), but entirely new and different material. 'Ghosts' is all played on a monphonic synthesizer and recorded directly to two track tape. Evoking memories of dreamy postcard memories and snapshots of another time and place. Moving in 13 parts to a final conclusion- 'Map of the World'. 300 copies, with all albums contain a specially printed insert and postcard set, printed on 350 gramme cream paper stock.
Latest broadcast from Korea Undok Group, one of the best new tape labels to emerge from the depths of the contemporary underground. “Gender Summit” is the debut release of Winnipeg-based Purple Circles, and presents seven songs for love, sex and the body, and the ecstasy and agony that comes with it. Intended for moments of weakness.
New and official full-length studio album by Micheal Morley's Gate, joined here by Ninni Morgia and Silvia Kastel's Control Unit! Six hallucinatory tracks of free noise blast, abstract electronics and industrial landscapes. A radical new effort by two projects at the apex of their creative power. Cover Art is a painting by Morley's himself. Released on the 8mm Records label in a limited edition of 300 copies.
Limited to 50 copies cassette by Christian Mirande that's a "meditation on the relationship between Eastern and Western aerospace engineering". Another fantastic release from Mirande. Published on Jason Crumer's No Rent Records label."
Steve Reich /Four Organs-Phase Patterns / Vinyl LP / Aguirre Records, Les Series Shandar / SSH02Album,
Essential (and official) vinyl reissue of Steve Reich's classic minimal music album, now available again on vinyl for the first time since the 70s. In recent decades Steve Reich’s music has been presented internationally at major venues, performed by high-profile musicians including the Kronos Quartet, guitarist Pat Metheny, and the San Francisco Symphony Orchestra. But in 1970, when the music on this LP was recorded, Reich’s audiences gathered in museums and art galleries to hear his work interpreted by the composer himself and a group of friends. ‘I am interested in perceptible processes’ Reich had written in 1968. ‘I want to be able to hear the processes happening throughout the sounding music.’ Four Organs is a radical realisation of this goal. Against the steady rattle of maracas, individual tones within a single chord are gradually lengthened. No changes of pitch or timbre occur, and the drawn out nature of the process provoked outrage at some early performances, when audiences found themselves caught up in a decelerating loop, being dragged towards stasis. Phase Patterns, composed a month later, relies on a phasing technique developed during Reich’s earlier experiments with magnetic tape recordings, which he allowed to drift out of sync. Identical figures initially in unison shift out of phase, generating unexpected patterns. When these pieces first appeared, on the adventurous French record label Shandar, they were regarded as defining works within a musical movement that had developed during the late 1960s. Reich was seen as a pioneer of minimalism, along with La Monte Young, Terry Riley and Philip Glass, whose music also featured in the Shandar catalogue. With hindsight the term is inadequate and inappropriate when applied to much of Reich’s subsequent oeuvre, which includes rich and varied works such as The Desert Music for voices and orchestra, Tehillim – a setting of Psalms, and his multimedia opera The Cave. But these two works from 1970 are purely minimalist, in a way that the visual artists and sculptors who formed Reich’s early audiences would have recognised. These pieces may have clear affinity with conceptual art as well as the minimalist aesthetic, but Reich’s allegiance is to making music rather than sound art or acoustic research. Characteristically, after creating Four Organs Reich looked for antecedents in musical history, and found them in the medieval organa of Léonin and Pérotin. His subsequent work has found acceptance and a substantial following within the established institutions of composed music. He has become a major composer. In the same year that these Four Organs and Phase Patterns were written Reich travelled to Ghana to study with a master drummer. On his return to New York he started work on Drumming, an hour-long distillation of his interest in African and Balinese music and their polyrhythmic processes. It forms an impressive culmination to his use of phasing technique and is widely acknowledged as a minimalist masterpiece. But if it is the radical edge of uncompromising hardcore minimalism that you are after, this reissue of Four Organs and Phase Patterns delivers two key examples.
Rosen & Spyddet / Fortuna / Vinyl LP / Posh Isolation / Posh Isolation 153
Volume 9 of the awesome Fördämning zine produced by Matthias Andersson. This edition was printed in May 2016, featuring interviews with Lasse Marhaug and the Greedy Ventilator tape label. Obsessive Listening Within National Borders (a big feature on Music Gallery Editions by Allen Mozek), stuff on Neutral and Skaters, as well as Speaker Crackle In The Garden (NZ lathe cuts - Part I and reviews. Cover artwork by Dennis Tyfus (Ultra Eczema, Vom Grill et al). A5, 40 pages. 250 copies. ::: SCHEDULED TO ARRIVE IN STOCK VERY SOON ::: AVAILABLE NOW FOR PRE-ORDER / RESERVATION :::
Second archival collection from the extinct duo of Adris Hoyos and Graham Lambkin. Unlike the hermetic 'Rise of Elklink' LP, 'Farm Stories' features creative use of the great outdoors, recorded in 2002 at Green Chimneys rehabilitation center for children and animals, in Brewster, NY. We hear pigs, birds, thunder, cows, children, their parents, and planes. These recordings were then fed through a mixing board where Lambkin added Kurzweil K2500 synth, and Hoyos added electric guitar and FX. The results were made into a private run CDR that was given away at Christmas to friends. This 2015 edition of 'Farm Stories' has been restored from the original cassettes by Graham Lambkin and fully remastered by Jason Lescalleet at Glistening Labs. 'Farm Stories' arrives in a full color high gloss sleeve at replicates the Elklink Christmas card of 2002 in an edition of 500 copies.
The Bow Of Artemis Once Again Resonates The Call Of Spring Sun Dresses And Love Proclamations Fill The Air Like Flotsam Of Silk Drengen Ved Brystet is Rosen & Spyddet's first release since 2015's Fortuna LP on Posh Isolation. Released as a limited edition cassette tape on the Denmark-based Janushoved label.
Punk/electro/techno-noise trio Consumer Electronics return with an album of all-new studio material, following on from last year's acclaimed "Estuary English" LP and this year's "Repetition Reinforcement" 12" on Diagonal. Housed in a sleeve featuring stunning cover artwork by Tokyo-based artist Trevor Brown, "Dollhouse Songs" further chronicles frontman Philip Best's trawl through the seedy thoroughfares of crumbling Tory Britain. "Learn Your Fucking Place" sneers Best in trademark-style, aping the austerity mongers of Britain's current right wing junta. Ably assisted on dark cracked electronics by Sarah Froelich and stunningly produced by noise/beat guru Russell Haswell, this latest instalment in CE's state-of-the-nation polemics is sure to be keenly anticipated. Featuring seven new studio tracks, 'History Of Sleepwalking', 'Knives Cut', 'Condition Of A Hole', 'Nothing Natural', 'The Push', 'Colour Climax' and 'Murder Your Masters' (the last track previously surfacing briefly as an ultra-rare gig only 7"), CE now features a twin vocal attack from the Best/Froelich husband-and-wife team, a furious tide of words spat out over a chaotic spew of mangled beats, bracing synths and state-of-the-art noise generation. This is their most personal and political album yet. Nice 180gsm vinyl too."
Embudagonn 108 is Wataru Kasahara, hermetic artist from Tokyo. The recording covers over 30 years. Started in 1984, continued in 1988, finished in mid 2014. Field recordings, /smashed with disturbingly electronic sounds, echoes of old instruments lost in our memories. Kasahara describes his work in these words: “My simbolism is a decorative trap. you and I are in the absurd game. This music is killed, dissected and discarded music'. White vinyls, printed labels and inner sleeve, one time limited pressing of 100 copies. Single sided LP.
The first of two LP re-releases of early recordings by Sean Halpin aka Craow. These recordings show a stripped down, more raw version of Halpin’s beast. Droning synths and noise are met with post-punk and industrial elements. Unconstrained by boundaries, Halpin utilizes any and all forms of experimental music to achieve a thoroughly dark and anxious atmosphere. Originally released as a limited tape on Corpse Without Soul in 2011, Death Shadow Records is pleased to present these recordings to the public again. Remastered for vinyl by J Short, this release is presented in an edition of only 100 copies.
"Between 1982 and 1984 Death Magazine 52 played around 20 shows mostly within the Black Country region of the U.K. Sometimes they played under the name Spontaneous Human Combustion which was the moniker they originally started out with. These recordings capture the core group and its floating membership at various stages of their existence. Recordings from the studio sessions and live sets, including playing to a school hall full of teenage girls at 3pm one afternoon, and as the final band to play at the legendary Equinox Event before the plugs got pulled and the police arrived. The recordings are of a raw nature and should be considered as historical documentation." - Harbinger Sound."
When Jersey teen, Marianne Nowottny, arrived on the scene in the late ’90s she had the looks of a typical NJ gum-snapper, but possessed a voice that was way beyond what you’d expect to find hanging out in the parking lot of White Castle, trying to bum cigarettes. Her vocals had the rich smoky maturity of Marianne Faithfull’s late ’70s work, hauled into an off-center bedroom pop universe that was almost impossible to decode. Her subsequent studio recordings have investigated magnificent nooks of post-naif construction, but it was in a live performance that she created some of her most staggering sonic edifices. We are very pleased to finally present two sides of her explosive and surprising avant-lounge meditations The first side was recorded at the Knitting Factory in ’99, with an improvisational trio comprised of Mark Dagley (Girls, Hi Sheriffs of Blue, etc.), Mark’s visual arts pal, the late Steven Parrino (whose work with Jutta Koether in Electrophilia was unbelievably savage) and Scott Jarvis (Workdogs, th’ Cigaretz, Half Japanese, etc.). The fully toasted coil of Marianne’s keys and voice, blends into the sound-sheets rustled up by her collusionists like an unholy meeting between one of Sun Ra’s small ensembles and Robin Crutchfield’s Dark Dark. Messy, smudged, long-format song distention with amazing shifts in tonal center and a truly crazed heft. The flip, recorded with just Dagley in ’02, is even more extreme. Built around a pummel that sounds like the L train blasting straight through Union Square Station, Marianne channels broken Simone-tones and broadcasts them into the maw of chaos. Even in those instances when she chooses to use her völk-voice the results are dastardly, with a feeling so deeply drugged it’ll make yr head heavy. If you’ve never sampled the Nowottny sound, this is a pretty amazing place to start. Don’t be afraid. She was just a kid. -Byron Coley, 2015
Aaron Rosenblum, Matt Krefting / Cross Rivers / Cassette / Hank The Herald Angel Recordings, Silver Lining / 011, 003
Stunning and very limited tape release featuring live performances by Aaron Rosenblum and Matt Krefting. A co-release on the artists' own Hank The Herald Angel Recordings and Silver Lining labels and long sold-out-at-source.
The duo of Greg Kelley and Jason Lescalleet premiered on Erstwhile Records in 2001 with the critically lauded Forlorn Green CD. Thirteen years later, Glistening Examples is proud to present their 2nd duo album, CONVERSATIONS.
Wolf Vostell / Concert Fluxus "Sara-Jevo" / Vinyl LP / Edition Telemark, Tochnit Aleph / 314.02, TA125"
Realised at Fundació Pilar i Joan Miró in Mallorca, Spain. September 9, 1994. Wolf Vostell: Actions, electronics, tapes; Nancy Bellow: Soprano; Mercedes Guardado; Ximbomba. Co-released on the Edition Telemark and Tochnit Aleph labels. A limited edition of 450 copies in fantastic full-colour gatefold sleeve, with printed inner sleeve featuring photos of the concert.
Kye is proud to announce the release of 'Clear and Cloud', the debut LP by Alec Livaditis. Recorded over the summer of 2015, 'Clear and Cloud' showcases Alec's unique vision for extended cello technique across two varying settings. Side A's 'Clear and Cloud' presents Livaditis (cello, objects) and Killick Hinds (Vo-96 guitar) live in an extraneous sound environment, where music and conversation seek to undermine each other in a morose and thrilling tussle, whereas Side B's 'Through The Open Window' finds Livaditis alongside John Kiran Fernandes (clarinets, violin) in a discrete collage of live/studio improvisations that test the elasticity of form and structure. Mastered by Jason Lescalleet at Glistening Labs, 'Clear and Cloud' arrives in a full color Lee Turner designed sleeve, in an edition of 400 copies.
Fourth release from Ligature, the solo project of Chris Hansell (Ascetic House, Warthog et al). "Claustrophone" presents two tracks of crude tape loop manipulations on field recordings and voice interspersed with poignant strings provided by C. Spencer Yeh to create a formidable portrait of today’s turmoil in the Big Apple. Released on Italian underground label Joy De Vivre in a limited edition of 100 copies. ::: AVAILABLE FOR PRE-ORDER. EXPECTED TO ARRIVE IN STOCK SOON :::"
Two-song vinyl debut from Sofie Herner, the younger half of the Malmö/Gothenburg duo Neutral, following up a fairly unheard cassette released on Ingen Våg in 2014. The A-side cut wouldn't have been completely out of place on a Root Don Lonie For Cash lathe cut from the 90's, but the underlying heaviness and overall psychedelic guitar/synth blur blasted through a shitty amplifier totally sets it apart. Flip the vinyl and find a sort of fragile take on kosmische musik, straight from the Utmarken elementary school. Japanese whispers. A homespun scorcher and a completely unique voice in the Swedish underground. Recorded at the IDDB headquarters spring 2014. 200 copies. Black vinyl, white cardboard sleeve with postcard attached, stamped white labels, insert. Plays at 45rpm. (IDDB010) ::: SCHEDULED TO ARRIVE IN STOCK VERY SOON ::: AVAILABLE NOW FOR PRE-ORDER / RESERVATION :::
Rainer Riehn (1941–2015) was a German musicologist, conductor and composer of avant-garde music. He is best known for being the long-time partner and collaborator of Heinz-Klaus Metzger with whom he published the journal "Musik-Konzepte" between 1977 and 2003, devoted to the musical avant-garde of all eras. Together, they also founded the Ensemble Musica Negativa in 1969, committed to radical music by John Cage, Morton Feldman, Dieter Schnebel, a.o., for which Riehn served as the conductor and organiser. Nevertheless, his own small but impressive compositional oeuvre of chamber and electronic music remained mostly unpublished. Between 1965 and 1971, Riehn was a student with Gottfried Michael Koenig at the Institute of Sonology in Utrecht where he realised a number of electronic pieces of which only one, "Chants de Maldoror", was released on Deutsche Grammophon in 1970. This edition for the first time collects all surviving pieces he made during this period. Included are two versions of "Chants de Maldoror", one side-long piece in a similar vein, and two shorter conceptual pieces. The double LP is presented in a gate-fold sleeve with a 4-sided insert, reproducing an essay by Riehn on his way of composing ("Art and Feces"), and an extensive interview about his time in Utrecht. All texts are printed in German and English. Edition of 300."
Stunning doube long-player by Charlemagne Palestine, "Cathédrale De Strasbourg" is a 70 minutes organ concert recorded in 2012 at Strasbourg Cathedral during the «Transes» symposium at HEAR. This was a unique performance in the cathedral’s history and an important performance for Charlemagne Palestine, showing him at his best, slowly developing a wild crescendo and filling the gigantic space with his own ritual full of trance and ecstasy. 2015 marks the millennium of Strasbourg Cathedral. Recorded in Strasbourg - 15/11/2012 at Cathédrale de Strasbourg, during TRANSE(S) symposium at Haute Ecole des Arts du Rhin, Strasbourg. Recorded by Philippe Lepeut, mastered and cut by Frederic Alstadt. Released on the France-based Erratum label in a limited edition of 500 copies and housed in a truly stunning gatefold sleeve."
Matthew P. Hopkins second full length release for Penultimate Press presents a curious and compelling listen which harnesses his deeply personal and paranoid vision into the ultimate beauty/horror object. Over the last decade Hopkins has distinguished himself as master of multiple musical forms including bent song, freeform concrete, improvised electronics and techno. Under his own name he has produced a most singular take on abstracted voice, feedback, field recordings and found sounds. With Blue-Lit Half Breath Hopkins furthers his domestic enquiry into subconscious sounds with a series of vignettes that hover from hissing clunk, atmospheric creep to improvised piano refrains. Amongst all this the voice of Hopkins appears throughout as a shadowy narrator delightfully disturbing the sonic play. Blue-Lit Half Breath is a late night oil burning masterpiece which resides within a zone orbiting it’s own logic.