Black Motor / Jumehniemi / Vinyl LP / Sagittarius A-Star / SAS#29
Innercity / Into The Bright World / Cassette / Beyt Al Tapes / BAT03
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.
Desmadrados Soldados De Ventura / Interpenetrating Dimensional Express / 2 x Vinyl LP / Golden Lab Records
Third vinyl outing for Manchester, UK free-rock guitar army Desmadrados Soldados De Ventura. Recorded at the band’s unofficial HQ at ‘Sunshine Studios’ by local legend Patrick Crane, it’s another molten third eye opener shooting ecstatic vibrations straight to the pranic centres.
Hartmut Geerken And Hartmut Geerken And His Rock And Free Jazz Group Kabul (Featuring John Tchicai) / Insistency! / Vinyl LP / Holidays Records
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!
Folk unit originated in the Swedish underground Enhet för Fri Musik -- featuring members of Sewer Election, Ättestupa, Neutral, Makthaverskan, and Blod - continually re-inventing what music is about through free improvisation and lengthy folk meanderings. Embedded in the ever exciting Swedish underground scene Enhet För Fri Musik continues the quest for innovation numerous legendary Swedish bands started during the 70s, Pärson Sound, Trad Gras Och Stenar, Arbete Och Fritid. Taking the ideas of communal music craft and experimentation, on this album the group comes to a unique combination of Jandek-like atonal guitar, organ, tape effects, field recordings, saxophone and Sofie Herner’s amazing loner voice running over it. Adding another inspiring document to the world of open-minded music. Tracklist A1 Innersta Rummet 01:33 A2 Se Dig Om 07:37 A3 Droppar På Din Hud 05:22 A4 Stilla Vatten 02:55 B1 Det Ordnar Sig Ska Du Se 18:40 Notes ° Silkscreened sleeves by Marijke Loozen ° Music by Dan Johansson, Gustaf Dicksson, Hugo Randulv, Sofie Herner ° Mastered by Kris Delacourt ° Artwork by Dan Johansson ° Edition of 150
It´s the year 1978, Harry Hoogstraten and fellow poets Jim Koller and Franco Beltrametti are succesfully touring the USA. A heavy schedule, long drives, travelling huddled together in Jim´s car.On arrival in Indiana Harry books a motelroom all for himself, he just needs some space, some time alone. The TV is on, a beauty contest is shown, Harry takes out his notes, switches on his walkman and starts the Indiana Motel Monologue as a spoken letter to his girlfriend. It´s not known if she ever heard it, fact is the results lay dormant for years. Luckily the tape was recently rediscovered, tucked away in a shoebox, and handed over to us. Harry consIders the recording as one of his best works, it´s now available for everyone to hear! Silkscreened covers & inserts. Limited to 100 copies. Counter Culture Chronicles.
Improvised/recorded/edited: summer 2016, Uley-guiseley Screened clear cassette with double-sided j card. Constellation Tatsu.
Control Unit / In A Frame / Vinyl LP / Alt Vinyl / av043
Terre Roche / Imprint / Cassette / OSR Tapes / OSR50
Limited to 500 copies. Recorded over a few years in Antwerp and Tokashikijima. “After two sold out concerts in Tokyo and Osaka, we treat ourselves on a trip to Okinawa and the Ryukyu Islands. After spending a little time in the main city of Naha we took a ferry to Tokashikijima, a small island surrounded by coral reefs, mother-of- pearl farms and infested by an aggressive and poisonous snake. Aharen, a classic small beach town stuck in a fabricated memory of 80’s surf movies, was to be our home for just a few days. While walking through its snake infested bush and through its lagoon, while photographing, the Tombeau De Robert Louis Stevenson, a composition I was hinting at in live environments, became reality inside a patchwork of history, of coral reefs. While walking on the beach, more or less solitary since tourist season was just a few months away, while listening to the gorgeous sound of a small motoric fishing boat working on the reef – an ever-pleasing sound -, and to beautiful synthesized steel drum music coming from the local junior school. In the end the piece became so simple, an almost clinical exhibition of sound, that it became a difficult world entangled in meaning. Like a coral reef that is so pretty, yet dangerous, vibrant, endangered, complex, slow, fast, all at the same time. (…) Since I already figured out how to present my idylls – in a possible dark sense of the word – in the various forms, presented as a storytelling collection in four parts. Being a portrait (which could be a secretive self-portrait), a comment on ethnography, an exotic illustration and a ritual. The latter used in the most mundane sense ever, since I’d like to stay far away from a sensational bubblegum approach to (religious) pseudo-ethnography, to the copying of ethnic behaviour, or to approaching it as something odd or weird. These behaviourisms unavoidably invoke the end of all rituals, thus making the world a duller place.”
Jim O'Rourke / Keiji Haino / 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
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)"
Loren Connors, Suzanne Langille / I Wish I Didn't Dream / 7" Vinyl / Northern Spy Records / NSVS 031"
Edition of 100. ““The classic book, so readable now.” Footsteps and a passing automobile introduce daily comedy and the droll slake of boredom. Vitrine is honored to announce the newest release by British artist Russell Walker, I never see my pal. Russell Walkers work inhabits an impressive and idiosyncratic sector, from the frayed post-punk of the Phermoans to the synth preambles of the Bomber Jackets. This alone makes Walker an intriguing contemporary figure. His work in the Charcoal Owls, Teleporters and under his own name, on the other hand, paints a Pickmans Model of parochial malaise and out of bounds art rock. I never see my pal compiles, for the first time on cassette, two rare and deleted Savoury Days CDrs. “You wouldnt have got them if I didnt like…these. I want these.” While Side As Willow Session contrasts field recordings with penumbral acoustic sketches, The Thwartee of Side B combines dour shortwave with the eldritch banality of Mark E Smiths the Post-Nearly Man. Musicality is drained of semblance and incidental sound gains fragile primacy. Crude keyboard. Television from the other room. Wind interference. Guitar and voice made strange and uncommon. Words smell of stale beer. The nightmare is the accuracy of life on dreadful display. Casual occurrence falls into inevitability. Heres another chance to pick up two of the most confounding and vital releases of the past five years. “I want to change what people see when they look at me.” - Vitrine.
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.
Peter Brötzmann, Steve Noble / I Am Here Where Are You / CD / Trost Records / TR122
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.
Myrrh / Hymns / Cassette / Lighten Up Sounds / lighten up sounds #56 All Infinite Limits' copies of this tape are from the first edition of 100 copies.
Kye is proud to present 'Home of the Blues', the latest LP by Dan Melchior, and his sophomore effort for the label following 2012's now legendary 'Excerpts (& Half-Speeds)'. For 'Home of the Blues' Dan agreed to undergo a series of exercises aimed not only at destabilizing his natural songwriting process, but also testing the durability of the blues idiom when placed under stress. As one would expect, Dan met the challenge with aplomb, hoisting the project beyond some one-dimensional art-school prank, toward a sincere and multi-faceted presentation of damage and survival as sound. 'Home of the Blues' arrives in a full color, high gloss sleeve featuring original artwork by Dan, with an accompanying 18" x 24" foldout poster, in an edition of 400 copies."
Phil Julian / Hive Work / CDr, Mini / Sheepscar Light Industrial / SLI.013
Blanche Blanche Blanche / Hints To Pilgrims / Vinyl LP / OSR Tapes / OSR25
Following on from the sun-bleached, decayed atmospheres of Scott's previous 2016 release The Carousel (SKR05), Hilldrop brings together four pieces for piano, FM synth, finger cymbals, autoharp, and clock chime. Recorded in different domestic settings between 2011 and 2016, the four tracks vary in structure and intensity, yet remain united by a common sense of stillness and a lightness of touch familiar to much of Scott's solo and collaborative work. Originally planned as a double 7”, Hilldrop is presented here as a single 12” cut at 45rpm and comes packaged in brown paper inner sleeves with a hand finished wrap-around cover designed by Tom Scott. Composed and recorded by Tom Scott. Autoharp on Dewpoint played by Kristina Liulia. Mastered by Sean McCann. Edition of 150 copies.
Andrew Paine, Richard Youngs, Highwaymen E.P., 7" Vinyl, Sonic Oyster Vinyl, SOV003"
Clay Cantrell / High On The Gallows / Cassette / House Of Alchemy / houseofalchemy#067
Maher Shalal Hash Baz / Hello New York / Vinyl LP / OSR Tapes / OSR60
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 album has been designed to be played as loudly as possible). Rusting metal junk, discarded as trash by a world that saw no value in it, but when filled with blood, flesh and bone it can be transformed into potent sources of energy. Those chunks of energy are designed to rouse once more our savage souls, to drag us out of our comfortable everyday reality into an imaginary world. TNB present us with a choking, vacuum-like, hermetically sealed space where you utterly lose touch with your senses, whereas ABH dwell with our senses then push them towards freedom. The cover art is a classical, elegant portrait photo by Rupenus which has then been walked over and spat on by Yamada. Package consists of a long box, containing a handmade ‘objet’ card made of scrap metal (each one is different in shape and design) and a twelve-page booklet of artwork by the two musicians. Limited edition of 250.
Stunning new LP from Elodie (Andrew Chalk and Timo van Luijk duo project). "The glowing momentum captured in a suite of five movements for speechless voice rooted in a flair of earthly instrumental strokes. A sensual twilight where ashes become seeds". Each copy includes an original hand printed edition etching by Timo van Luijk, attached to gorgeous handmade sleeves of thick card stock with textured debossing/rounded tabs outside sleeve construction. Released on van Luijk's Editions La Scie Dorée imprint in an edition of just 300 copies."
Sheldon Siegel / Greve Totale / 2 x Vinyl LP / Scheld'apen / S'ASS001
William Corrigan / Grandma's House / Cassette / All Gone / No Catalogue #
Philip Corner / Gong / Ear : dance-ing 1 & 2 / Vinyl LP / Roaratorio / roar27
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.
Guerilla Toss / Gay Disco / Vinyl LP / NNA Tapes / NNA069
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.
Malcolm Goldstein / Full Circle Sounding / Vinyl LP / Kye / Kye34
Peter Brotzmann / Marino Pliakas / Michael Wertmuller / Full Blast / Full Blast / Vinyl LP / Jazzwerkstatt
Heavyweight European free-jazz/improv from Full Blast, the trio of Peter Brotzmann, Marino Pliakas, Michael Wertmuller. The pieces on this heavyweight vinyl LP issue were performed and recorded in Cologne, Germany, in February 2006. Released on the Jazzwerkstatt label.
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."
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Steve Reich / Four Organs / Phase Patterns / Vinyl LP / Reissue / Aguirre Records Les Series Shandar
Sam Hooker / Apetechnology Chip / Four Minutes Of Madness Vol. 1 "Madness Squared" / Cassette / Michigan Underground Group
Sam Hooker, Apetechnology Chip / Four Minutes Of Madness Vol. 1 "Madness Squared" / Cassette / Michigan Underground Group / No catalouge #"
Al Marantz / Forgotten Device / Cassette / OSR Tapes / OSR30
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.
In the 1980's, Morton Feldman composed two large-sized pieces for his favourite instrument, the piano. Both pieces, Triadic Memories (1981) and For Bunita Marcus (1985), clock in at about 90 minutes. Both compositions are excellent examples of the group of works that they belong to: Triadic Memories demonstrates the complexity and tonal opulence of Feldman’s pattern compositions from 1977 through 1983, whereas For Bunita Marcus shows the stripped-down, almost dismissive structures of his last works created from 1984 to 1987. Feldman himself described For Bunita Marcus as a piece in which he “seriously grappled with the idea of meter”. “ I was very interested in this whole problem of meter and the bar line. I was so interested that I started to write a piece in which I took meter very seriously. I saw that nobody knew how to notate. Sometimes, Stravinsky! In my notation I'm close to Stravinsky; that is, meter and rhythm actually being simultaneous and also being more grid-oriented, a balance between rhythm and meter. For Bunita Marcus is essentially made up of just three-eight, five-sixteen and two-two. Sometimes the two-two would have musical content, which was at the end of the piece. Sometimes the two-two acted as silences, either on the left side or the right side or in the middle of the three-eight and thefive-sixteen, and I was using meter as a construction, not rhythm but meter and the time, the length of what is going on.” Excerpt from liner notes by Sebastian Clark.
Fvrtvr / Following Shapes to the Edge of a Drift / Vinyl LP / Discombobulate / BOB009
The trio Argo was formed in Darmstadt in 1985 by Hans Essel (violin), Marit Hoffmann (viola), and Thomas Stett (clarinet). It existed until 2016 when it was forced to an end by the untimely death of Stett. Argo set out to explore new ways of free collective improvisation that were aimed neither at personal expressivity nor at the evocation of a certain mood or atmosphere. Eschewing any compositional agreements, they experimented with musical forms and processes that emerged spontaneously between the poles of the players' individual lines of improvisation. They played with fleeting objects of sound and transformations, inflections, and disruptions of those objects. Unexpected noises that could arise at any time required and provoked fast reactions of the players. Argo utilized three classical instruments without any preparations but over time developed an augmented range of sound generation techniques on these instruments. Their playing bears almost no traces of tonality, harmony, or rhythm. The title of this edition, "Flüchtige Musik", translates as "fleeting music" or "transient music". The double LP collects recordings made mostly live between 1987 and 2013. The first recording still shows traces of classical sound material but also includes other sound generators like styrofoam and cardboard that were left out later. Already in 1991, Argo had settled on using the three instruments exclusively but with a new range of sounds that can be heard throughout the subsequent recordings. On a few occasions, Argo transferred their concept to experiments with their own speaking voices. This led to "Flüchtige Wörter" ("fleeting words"), one recording of which is also included. Double LP in gate-fold sleeve with black poly-lined inner sleeves. Edition of 300. Edition Telemark."
Fully remastered and repackaged second release of the final Ferial Confine album 'First, Second and Third Drop' by Siren Records (Japan). Here presented in Japanese mini-LP style sleeve with obi, mastered at Skye Mastering by Denis Blackham in 2012. 'First, Second and Third Drop', although never actually released when it was completed in late 1985, became the final cycle of music by Ferial Confine and marked a departure from the closing moments of the preceding album 'Meiosis' (Siren 022). Its impression is austere and surreal, even though the instrumentation is limited to the use of bowed acoustic percussion and wind instruments and some tape treatments later in the album.
Toxoplasmosis / Father Son Holy Ghost / Cassette / AA Records / No catalogue #