"In fall 2014, I spent some time in New York City in preparation for a performance. During this time, I recorded as close to continually as I could given normal human and mechanical shortcomings – an SD card runs out of room, a battery dies, a person wakes too groggy to check the recorder or, in a flurry of activity, leaves it dormant. After a time, you start to forget the device is even there which is of course the purpose but also interacts in its own way with the frailties of human memory – if you forget it’s there you forget to check to make sure it’s functioning properly. Despite all that, at the end of the allotted time I was left with a large volume of recorded material that took me longer than I’d have liked to comb through, sort, assess and determine a structural framework around which I could wind bits of this straw into something resembling a form. In all this record of whirlwind events, I found myself most drawn to the moments at rest, in between overt actions and dialogue, and it was out of these that I constructed the majority of these pieces. It so happened that during the time of recording I was already collapsing into an unprecedentedly long, deep and unbroken depressive state. As so often can happen, the document I had planned to make and set out to make is not the one I ended up making. It couldn’t be. I believe that is reflected in the decision to form these pieces out of the absences and interstices – the pauses, misfirings, missing pieces, long sleeps and synaptic gaps and, of course, the way they make me feel. (Vanessa Rossetto, April 2016)."
Sir Richard Bishop / The Unrock Tapes / Vinyl LP / Unrock / UNROCKLP001
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MV Carbon / The Sun Will Turn On You / Vinyl LP / Discombobulate / BOB008
Edition of 100. "Vitrine is thrilled to announce a new cassette from Pennsylvania-based visual artist and instrument builder, Jim Strong. The Sallow Rakes runs a triathlon down the middle and back again through Strongs varied repertoire, which encompasses broken electronics, free improvisation, crank-based mechanisms and sound poetry. His work marries dance and video with homespun artifacts of painting and hand-built machinery. The Sallow Rakes suggests the most curious reaches of mail art and sound poetry, reminding the listener of under appreciated acts of the Underwhich Audiographics family such as DUCT and Tekst. Vitrine alumni Mel Bentley provides text and voice as counterpoint to Strongs amorphous instrumentation and spoken word. Rubber burns on a pyre of wet oak. Breath bleeds into the more discreet sounds of the body. Jim Strong has made a name for himself privileging the collaborative and intuitive serendipity of performance. That said, The Sallow Rakes is an inclusive marvel which yet speaks of a focused and individual personality. The protein mirror. Bob Cobbings work in Konkrete Canticle is a possible road marker, but that doesnt quite get the adventurous traveler all the way there. This is an invented compass, pointing to a True North beyond the axises. Here, an interior mystery play of device.” - Vitrine."
The Tobacconists / The Route / Mini CDr / My Own Little Label / MOLL029
The Red Albums consists of an A6 10 page booklet printed on 160gsm recycled paper, and a chrome C40 cassette with full colour printed o-card sleeve + download code. The set is a collaboration between Tom James Scott and Russell Walker. a set of music cassette and text pamphlet in a run of 50 copies.
Selections from the installation The Prepaid Piano, recorded 21–24 February 2013 during the Unmenschliche Musik/Inhuman Music exhibition at Haus Der Kulturen Der Welt, Berlin. Inside a grand piano, five mobile telephones rest directly on the strings in five different areas of the piano soundboard. Calling any one of the telephones activates its vibration alarm, thereby directly ‘playing’ the strings on which the phone happens to be lying. Audience members choose which parts of the piano are ‘played’ by calling any of the five telephones’ numbers — either from their own mobile phones or from the provided stationary telephones. Contact microphones attached to the piano’s soundboard pick up the sounds of the mobile phones vibrating the piano strings and pass them on to a voltage-controlled modular synthesizer. Incoming signals above a pre-determined amplitude threshold at the synthesizer’s input trigger its recording and modulation functions. The incoming audio is looped and modulated by the synthesizer and played back through stereo loudspeakers. Subsequent calls to the phones produce new incoming signals that gradually displace the previously recorded audio. Additional layers of sounds are added by intermittently tapping and knocking on the piano, manipulating its strings directly, repositioning the mobile phones, etc. B—Replayed Using the audio-to-MIDI function in Ableton Live software, the Prepaid Piano recordings from side A are algorithmically analysed and converted into MIDI notation. When applied to the harmonically and rhythmically ambiguous Prepaid Piano recordings, the audio-to-MIDI device’s inherent limitations are magnified. The MIDI notation it generates under these circumstances is effectively an original composition which (although distantly related to the source material) is the result of the audio-to-MIDI algorithm’s inability to correctly ‘read’ the information it is presented with. The newly generated MIDI notation is then used to control and play a synthesizer consisting of an oscillator, sampler, filter, and effects modules. Edition of 300 copies. Co-published by Entr'acte and Senufo Editions.
Idea Fire Company / The Playground / Cassette / Banned Production / bp213
Kye is proud to present 'The Paris Concert', the second installment in our Joe McPhee archival series, following 2015's 'To Be Continued'. Recorded May 13th 2015 'The Paris Concert' documents a historical private performance held in a 5th floor Paris apartment to an invited audience of 15 people. "40 years after a chance meeting in 1975 at The American Center in Paris, Raymond Boni (guitar), Jean Marc Foussat (synthesizer) and Joe McPhee (tenor/pocket trumpet) reunite with an impromptu private concert. This is music in the moment, walking naked on a razor's edge. The American Center is long gone and in 2015 'The City of Light' strives for a new meaning in a time of great challenge. The world has changed and we all walk naked on a razor's edge." (Joe McPhee, 2016). 'The Paris Concert' arrives in a full color Matthew Revert designed sleeve, and comes with a download card containing the full recording of the concert including the encore (not featured on the LP), as well as photographic documentation by Christine Baudillon, in an edition of 400 copies."
US Girls / The Island Song / 7" Vinyl / Calico Corp / CCRP01"
"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
Ludo Mich / The Fluidium / Cassette / Benniffer Editions / No Catalogue #
Loke Rahbek, Puce Mary / The Female Form / Vinyl LP / Posh Isolation / Posh Isolation 145
Backwards is very happy to announce the NEW My Cat Is An Alien studio double album! From the extended foreword insert by David Keenan: "What are we to make of My Cat Is An Alien, the duo of the brothers Roberto and Maurizio Opalio, titling this new extended sound work The Dance Of Oneirism? [...] None of the tracks have titles; instead we feel our way by number, by movement. Our co-ordinates are fixed, or more properly suggested, by the listing of instruments. Self-made double-bodied string instrument, handmade pocket harp, pedal effects, wordless vocalizations, modified analog drum machine, mini-keyboard, alientronics. But even here nothing is straightforward; everything is invented, shrunken, self-built, inchoate: alien-ated. The session was recorded – instantly composed – in MCIAA’s “Alien Zone”, situated in the Western Alps, and it sounds it. The central fact of MCIAA’s music has always been space but they have never sounded quite so far away, so removed. [...] The music is extremely sensual. The rhythms have a contrary cold/organic quality to them, the feel of the pulse as the breath is held, but soon even that dies down and we are left with an extended, timeless moment, the space between one breath and the next. Occasionally there is the sound of strings, strange steel resonances that populate the music like ghosts, the ghosts of Roscoe Holcomb’s high, lonesome sound, of Dock Boggs and the sanctified steel of Washington Phillips. Ash Ra Tempel met Timothy Leary in the Alps [...] The transmissions are fuzzy up here and at points it makes for a music of almost terrifying quiet. It is minimal, sure, but MCIAA are not so much interested in repetition as in eternal expansion. [...] The Dance Of Oneirism is a music of unknowing, a dance with a phantom, the letting go of a dream. It is MCIAA’s greatest long form work. It has tributaries that run deep into the past, ghost channels that facilitate two-way travel, even as its destination, in the words of the late Conrad Schnitzler, is determinedly future, future, future." - David Keenan. Includes a photographic Art Book by Roberto Opalio. Silkscreened image by the artist on Side D. In first 80 copies LP1 and LP2 come each in different colours."
"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.
156 / Taking A Look At A Moment Lost / Cassette / Chondritic Sound / CH279
Ace and very limited CDr by Dog Lady (Mike Collino of Alien Passengers label et al), released on UK-based Chocolate Monk label.
Synchron / Synchron / Vinyl LP / Sagittarius A-Star / SAS#18
Stephen Cornford / SWF / Cassette / Mantile / mantile#26
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).
Superdisque is the first album of the French trio formed by David Fenech (electric guitar) with Jac Berrocal (trumpet) and Ghédalia Tazartès (vocals). Somewhere beyond the borders of rock, jazz, punk and sound poetry...The vocals seem to come from another planet, with lyrics in an improvised language. The winds are blown from Tibetan human bones and conch seashells. Guitars sound like rubber and steel. Expect the unexpected. Sub Rosa.
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."
A visual report of sorts, collecting 64 full-colour drawings from the past six months or so. These drawings were intended as working sketches for paintings, though the latter never materialised. Instead, you can ponder what might’ve been in the privacy of your own home. This compendium of unrealised potential is offset printed and clad in a beautiful letterpress linen cover. Not much to whine about, after all.
Elektrodiesel / Summer Sessions, Del Tre / Vinyl LP / Sagittarius A-Star / SAS#27
It's been a while coming, but Sprot's 'Summer of Sprot' 7" is finally ready to release upon the world. Sprot are a Brisbane duo featuring Matt Earle and Adam Park. On this 7" they offer up your pop tinged swirling clang on the A side (as a single to their album Tough Call on Breakdance the Dawn) and some shakey power electronics as a perfect abstract b-side. Although cut at 45, the b-side sounds particularly pleasing at 33. As Spencer Grady from Record Collector Magazine says; "Cartloads of fun to be had alternating velocities on this missive from Brisbane's Matt Earle and Adam Park. Apply the brakes to create befuddled textures like seditious droid scum sucking tube lottery ball retrieval. If it's a dose of braying bovine snuff you're after, simply juice up.""
Primed with a glass of cognac Charlemagne Palestine sits at the keyboard of a Bösendorfer Imperial grand piano. One foot firmly holds down the sustain pedal while both hands perform an insistent strum-like alternation on the keys. Soon Palestine and his Bösendorfer are enveloped in sound and bathed in a shimmering haze of multi-coloured overtones. For 45 minutes this rich pulsating music swells and intensifies, filling the air. When Strumming Music first appeared on the adventurous French label Shandar during the mid-1970s, it seemed a straightforward matter to place Charlemagne Palestine in the so-called Minimalist company of La Monte Young, Terry Riley, Steve Reich and Philip Glass, whose work also featured in the Shandar catalogue. Palestine too used a deliberately restricted range of materials and a repetitive technique, but as he has often pointed out in more recent times the opulent fullness of his music would more accurately be described as Maximalist. Strumming Music, recorded in Palestine’s own loft in Manhattan, has no written score. In an age of recorded sound he still feels no need for traditional notation. The surging energy of this particular recording stands comparison with the improvising of jazz visionaries who impressed and inspired him while living in New York, as a young man. But, as Palestine himself has made clear, primarily he brings to music-making the sensibility of an artist rather than a musician. Although the technique of the piece has roots in Palestine’s daily practice, when a teenager, of playing the carillon at a church, hammering sonorous chimes from a rack of tuned bells, it also draws on his later work as a body artist, staging vigorously muscular, physically demanding and often reckless performances. In addition, Strumming Music can be heard as a sculptural tour de force, while its textures connect with the colour moods, plastic rhythms and tactile space of Mark Rothko’s Abstract Expressionist canvases. Strumming Music remains the essential index of Palestine’s singular creative vision. Fundamentally this fascinating piece is a collaboration between an artist and an instrument. Palestine had first encountered the Bösendorfer Imperial back in 1969. He had already been playing church organs for several years, relishing their power and presence. Now he had found a piano that satisfied his need for sonic depth and weight. “The Bösendorfer at its best is a very noisy, thick molasses piano,” he has remarked. Charlemagne Palestine embraced its clinging sonorousness, its clangorous resonance and out of that embrace came the voluptuous sonic fabric of Strumming Music. “My rhythms are sexual, not machine-like.” Charlemagne Palestine, in 2013. Tracklist A Strumming Music part I 26:05 B Strumming Music part II 26:05
Robert Ashley / String Quartet Describing The Motions Of Large Real Bodies / How Can I Tell The Difference? / 2 x Vinyl LP / Alga Marghen
Robert Ashley / String Quartet Describing The Motions Of Large Real Bodies / How Can I Tell The Difference? / 2 x Vinyl LP / Alga Marghen / plana-A 10NMN.030
Charles Gayle Trio / Streets / CD / Northern Spy / NSCD 018
Hironari Iwata began his solo project Toukaseibunshi (Transparent Molecules) in 1985. In the same year he formed a second unit called Haiginsha, and began collaborating with Merzbow and Agencement. Iwata also ran the independent label Angakok, releasing several albums on cassette and curating a compilation that featured some the most radical musicians of the period including H.N.A.S., Asmus Tietchens, P16.D4, DDAA, etc. But in 1988 he suddenly ceased all musical activities. He returned to public attention twenty-one years later in 2009, when PSF Records released an edited reissue of his early album, “Meta-Inorganicmatter Meta-Newlon”. “Stratosphere Sound” is Iwata’s latest work, underpinned by his feelings of poignancy and deep passion towards his own music. The release is designed to emphasize the concept of transparency: it is pressed on clear vinyl and comes with a photographic print by Aqua (Iwata’s photography alias) on special transparent film. Limited edition of 200. Art Into Life.
Leif Brush (b. 1932) is a pioneering sound artist who for over five decades has built something of a vast labyrinth of an artistic presence, in a certain sense having existed on the fringes of the more esoteric strands of early sound practices. During his time as a student at the School of the Art Institute of Chicago in the late 60’s, Brush explored large scale installations that would often utilize the city’s landscape as a platform for steel-strand based sounding constructs. After going on to become a professor at the University of Minnesota Duluth, he began to expand upon his ever-evolving concept of the “terrain instrument”, generally defined as a physical construct situated in nature that would harness the forces and vibrations of the earth in order to generate various types of sonic phenomena, often via the activation of triggers and sensors. Stitched Phenomena contains the entirety of Brush’s 2004 flagship composition “Earth Star Songs”, a 47 minute long “stitching” of sounds and recordings taken from an array of his analog constructs and terrain instruments spanning decades, paired with recordings produced by Jerry Chamkis’ Kosmophone. The result is an inexhaustibly complex amalgamation of hard-edged terrestrial and tactile phenomena contrasted by cosmically sourced retro-futuristic synth interjections. Prior to now, this piece had only ever existed on the internet in the form of low quality mp3’s during the earlier days of netlabels. This issue marks its first ever physical release in proper form, rescued in full quality from its original master tape. In an edition of 100 with updated 2017 cover art by Brush himself.
"Still Light, Outside is the fourth album by John Chantler. Originally from Australia but living outside that country for well over a decade, this record marks his exodus from London (where he lived for most of this time) and his relocation to Sweden. Over the four month period leading up to his departure, Chantler made several hours of raw recordings of the pipe organ at London's St John-at-Hackney church. These were then subject to extended processing at Stockholm's Elektronmusikstudion EMS and combined with additional electronic parts created there. Still Light, Outside is an extended suite in four parts that combines passages of stark minimalism centred at the bodily invasive extremes of the organ's register with striking explosions of colour; massed chords shot through with heavy distortion and electronics that operate according to their own dream logic. Whilst realised over a relatively short timespan, Still Light had an extended period of gestation - Chantler first worked with a pipe organ on a project with Carina Thoren (For Barry Ray) soundtracking the a short film by the artist Lucy Pawlak in 2010. He also performed a concert in early 2012 at the Unitarian Church in Cambridge - only finding out the organ was available upon arrival at the venue that day. The recording of that concert was included as part of the Touch Radio series. This release is the first on 1703 Skivbolaget - a new label set up by the artist. No stranger to releasing records, Chantler worked for several years with Lawrence English on his ROOM40 imprint and was also responsible for initiating OTOROKU in 2012 - the in-house label at London's Cafe OTO where he was senior producer from 2011-2014.""
BeNe GeSSeRiT / STiLL INSaNe AFTeR ALL THeSe YeaRS / Vinyl LP / Ultramarine / UM23
Nate Young / Stay Asleep: Regression Vol. 2 / Vinyl LP / NNA Tapes / NNA039
Ensemble Economique / Standing Still, Facing Forward / Vinyl LP / Amish Records (Required Wreckers series)
Ensemble Economique / Standing Still, Facing Forward / Vinyl LP / Amish Records (Required Wreckers series) / AMI032
Bolide, NPV / Split / CDr / Chocolate Monk / choc.215
"A dogroll is a cheap giant sausage of bad meat to feed your pets. Teen-X-Ray came from Hamilton, New Zealand, which is known for agricultural innovation, frosts, fog and Taniwha in the Waikato river. Live cows with windows permanently inserted into their bodies for research live on the edge of town. As Stefan "Smetal" Neville recalls: "Glen Frenzy asked me to join his new rock n roll band Teen-X-Ray at a ska concert at the Hillcrest Tavern in Hamilton in 1993. He had probably already recorded most of the first cassette The Ballad Of Vince Neil using the karaoke sound on sound function of his flat-mates stereo. Then and now I would do anything Glen asked of me so Ive been in X-Ray ever since." Glen also recruited Dusk, his girlfriends German Shepard who howled when she heard sirens. She would bite and claw at Casio keyboards. She didnt share her dogroll. Teen-X-Ray recorded their music on cassette decks, performed on top of kitchen tables and released many tapes on the Plop, M60 and Stabbies And The Rocket labels. Glen and Dusk got a reel-to-reel tape machine, moved to Upper Hutt, making noise long into the night. Dusk got into Neil Young and killing mice while Glen got into home brewing beer and computers. Stefan Neville moved to Dunedin but Upper Hutt became his favorite holiday destination and each visit would result in new albums. Upper Hutt is known for its pig hunting and for producing New Zealands first hip hop group. Spirits Dogroll was compiled from recordings from 1994-1996. Teen-X-Ray is still active today. LP comes in full color sleeve, in an edition of 300." - Planam."
METABOLISMUS "SPIRALTENDENZ" LP 12" black vinyl, handmade paste-on fluo paper, sprayed labels, ltd edition of 200 copies "After ten years from the date of its recording (2003), this surreal jam between kaleidoscopic Stuttgart's collective Metabolismus and evergreen American improviser Eugene Chadbourne, is finally turning into a wax. You'll have the cheerful feeling of listening to Sun Ra jamming with Stockhausen while together on a trip to Stonedland! What's on this record is basically high lysergic psychedelia meeting crazy free jazz, with some spared funky grooves and fragmented tapes manipulations. You'll be astonished by the amazing piano and guitar work by Chadbourne and some umbelievably freaky winds and analog synths' puzzles. Last but not least, this is a fully analog production straight from reels to vinyl for top sound quality, deep and warm as it's supposed to be. Recorded and produced at the most amazing Studio ever (Sumsilobatem, Degenfeld). Don't miss the chance to have this pearl in your collection before it's gone. ""
Stefano di Trapani is one of the key figures in the Italian Underground. Exploring genres like noise, rock, improvisation and soundpoetry, his musical skills and interests are incredibly diverse and deep. Trapcoustic is the most song-oriented project he has: minimal, experimental songs for your hallucinated nights. 'Speculum is a kaleidoscope of sounds and visions, fans of the best music of the last 50 years will love this. Baby Yoga Recordings.
“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."
"New 2011 edition of this cornerstone sound art collection, originally published in 1987 on LP by Igloo. Sounds of Sacred Places arrives in a high gloss 4-panel digipak with accompanying 16 page booklet of photos and notes. Remastered from the original tapes by Moniek Darge at the Logos Foundation, Gent. Edition of 500." "In most ethnic cultures, sacred places serve an important social function. The qualities, typical of these places, explain to western people the magic magnetism of these 'holy grounds'. During our international Logos Duo concert tours we have had the opportunity to visit quite a few of these places. Uluru, the 'Shadowgiving Mountain' of the Aborigines, better known under its western name of Ayers Rock (Australia), impressed us more than any other. The presence of water and an enormous monolith in the midst of the vast desert plain is given as an explanation for its magical appeal. But to the Aborigines, each little place of the rock contains tracks of their ancestors, the 'Dreamtime People', who live in this mountain and speak to them in the sounds of the winds howling through the crevasses and rockholes. Uluru is also the dwelling-place of the 'World Serpent', the most powerful totem shared by the surrounding tribes. Sounds of Sacred Places attempts to transform the listener into a living witness of the sounds of similar places, not far away in any specific ethnic culture, but in Flanders." --Moniek Darge, 1987"
Joe McPhee / Solos : The Lost Tapes (1980 - 1981 - 1984) / Vinyl LP / Roaratorio / roar38
"Soibiast Anti-Culler was recorded in 1995 by the winterless north of New Zealands Witcyst. Another monolithic skid mark serving of crackers plucked from the mans vast lifetime archive of sound making and beard. Witcyst makes his music with oceans of constant daily mutation. Machines get used upside down and back to front and inside out. Layers of string, tin foil and expired medicine are saved up to dazzle the eye. Parcels in the post come and go full of nostril hair and pamphlets and wool. What would that sound like through a funnel and a heavy metal pedal? Is the room shrinking? One knock for yes. Two for no. This audio is severely distressed and swollen. It is particularly buried and murky and howling here. Are they voices or organs? Meat or musical instruments? Is that a drum solo or decades of tape degradation? Are the hums musical or malfunctioning? It starts to sound like it was recorded inside your brain and has always been there. Who knows if it means any harm? And then it starts to sound like a basket full of wise puppies. Soibiast Anti-Culler is one of the most relevant works among at least a thousand albums Witcyst has originally released on cassettes and CDRs on his own Extemporaneous and Lifespace labels since the early 1990s. Edition of 300 copies in a silk-screened sleeve." - Planam."