Coverpainting: "BIOMECHANOID 75" by H.R. Giger. Aguirre Records' first pressing with white sleeve background (second pressing has a silver sleeve background). Comes with double-sided insert. Limited edition of 500 copies 180gr vinyl. Originally from 1980 on Coloursound Library label. Rights Society: GEMA Label Code: LC 4233 Joel Van Droogenbroeck / Biomechanoid / Vinyl LP / Aguirre Records / ZORN19"
First new recordings in five years from Aaron Davis. Slow-moving riffs and minimal drum machine emerging from his trademark tonal sea. Released on the recently-revived Monorail Trespassing label in a limited edition of 100 copies.
Second generation New York School poet, one-time Bolinas resident. Son of the legendary Armenian/American writer William Saroyan, former president of PEN USA West, partaker in the legendary expedition to interview Jack Kerouac for the Paris Review. Teacher, playwright, novelist, biographer and performer. His one-word minimal poetry shook the literary establishment, his memoirs make us long for times gone by. An American master. On the tape Aram Saroyan is interviewed by Michael C. Ford for radiostation KPFK, Los Angeles 2014. There´s a performance together with Doors drummer John Densmore at the Armenian Music Awards, 2002, Glendale California and an excerpt from an evening at Alias Books, Los Angeles 2014. Silkscreened covers and inserts. Limited to 100 copies. Counter Culture Chronicles.
'Between The Infinite And The Finite' is ZAIMPH's first solo studio recording. Three new improvisations capture field recordings of stolen conversations, live radio and echoes that shimmer in a reverberant magnetic darkness of empty corridors. Spectral spaces entwine with the corporeal, amplified strings blossom in explosions, repetition and ominous tones of destruction and decline slowly sequence into a fragile space of beauty. The instinctive activity seeps into our deepest subconscious. ZAIMPH is the solo project of Marcia Bassett (Double Leopards/Hototogisu/GHQ). Since the mid-90s Marcia Bassett has been exploring free-form improvisational music and spontaneous sound in her collaborations and solo work. 'Between The Infinite And The Finite' is comprised of three new works using analog & digital synthesizers, processed voice, field recordings, piano and amplified strings. Recorded in the intimacy of Brooklyn's Bunker Studios. A horror takes form in the living contradiction which exists in the clash between the infinite and the finite. Everything that's here exists. Spring Equinox 2016. Art work by Marcia Bassett LP limited to 300 copies Recorded by Stephen Conover Bunker Studios, 2016 YEW-007 Side A Absence & Presence Equinox Reprise Side B Entropic Horror
Hive Mind / Beneath Triangle And Crescent / Vinyl LP / Chondritic Sound / CH -271
Expo 70 / Beguiled Entropy / Vinyl LP / Blackest Rainbow / BRR243
Stunning work of radical free music by saxophonist Masayoshi Urabe and guitarist Rinji Fukuoka (Overhang Party / Majutsu no Niwa). Recorded in 2004 in various locations (France, Spain, Switzerland and Japan), “Barcelona Express” brings together elements of free jazz, rock, noise and even folk music, in a way that is magically spontaneous, iconoclastic, and full of grace in every single sound produced. Pretty much uncomparable to any other music “out there” nowadays, these are wild cuts by two wild men, only for adventurous listeners! Released on the 8mm Records label in a limited edition of just 150 copies. Pressed in a beautiful 140g vinyl edition, with artwork by Sachiko.
'Barbed Wire Explosion in the Kingdom of Atlantis is the sound of Richard Youngs attempting to recreate the sound of a band at the peak of its powers. Homemade in Glasgow to the backdrop of everyday life, nothing is hidden on this record. It is raw, direct, unpretentious, loud, fast, brief. Richard Youngs' 38th solo album finds him revisiting a key influence on his adolescent self. He has had 30+ years to forget and now rediscover the joy of d-beat. Sonic Oyster Vinyl. Limited to 250 copies. Vinyl only release.
First ever reissue of Ed Askew's folk-pysch masterpiece--and debut on Tin Angel Records. Pressed on 180g black vinyl.
Pierre Gerard / Architect / CD / Senufo Editions / senufo edition # fifty
Charles Plymell, Bill Nace / Apocalypse Rose / Art Book with Mini CD / Lenka lente / lkl-l13
The fourth and last album by Peter Brotzmann's fiercesome Die Like A Dog quartet, originally released on CD by FMP and released here for the first time on vinyl. The chemistry Brotzmann, Parker and Drake have as a trio is significantly altered when they are joined by Toshinori Kondo to form Die Like a Dog Quartet. Kondo's electronically altered trumpet adds a surreal iridescence to the molten energy the trio achieves on its own. On Aoyama Crows, recorded at the 1999 Total Music Meeting in Berlin, Kondo occasionally lends the proceedings a gritty '70s-vintage Milesian flavor; but far more often than not, Kondo's ricocheting smears and blasts have no jazz antecedent whatsoever. Conversely, Kondo's presence tends to prod Brotzmann toward mournful chant and work-song-related thematic fragments that countervail the infinite skittering of Kondo's digitally delayed textures, which is the case deep in this gripping set. BILL SHOEMAKER / JAZZ TIMES. 180g audiophile vinyl in gatefold sleeve.
CE Schneider Topical / Antifree / Vinyl LP / OSR Tapes / OSR48
"What you do.... You take what you have....a resonator guitar, a mandolin, 3 fuzz boxes, a 5 watt valve amplifier, a 44 gallon drum, some old records....and you acquire a 3-in-1 home stereo with dual tape decks with record and overdub functions....and you tap into what you’ve been listening to, what you’ve been living your whole life, a stream running free through pre-war blues, songsters and saints....and you feel it when you’re sober even, and you do it when you’re fall down drunk....and somehow, over a couple of tumbledown, turnaround months in 1990 you commit An Unnatural Act. And it contains both kind of breakdowns, it has stolen voices, a cover (sort of), a love song, a piece by Samuel Beckett, sensitive feedback, a back beat, insensitive jokes, the sound of losing it, a tribute, a debt being paid in part, a groove found, an entirety. And it’s more noise than you can bear. And it’s deeper and bluer than you can feel. And you know it won’t come this way again.""
Rhodri Davies / An Air Swept Clean Of All Distance / Vinyl LP / Alt Vinyl / av057
Black Truffle is honoured to present the first vinyl reissue of the classic debut album from AMM, AMMMusic. Coinciding with the 50th anniversary of its recording in 1966, this reissue makes one of the cornerstones of the experimental music tradition available again in its original form, replete with Keith Rowe’s beautiful pop art cover and the terse aphorisms by the group that served as its original liner notes. A testament to the interaction between the experimental avant-garde and the countercultural underground, the album was originally released on Elektra, recorded by Jac Holzman (the label’s founder, responsible for signing The Doors, Love, and The Stooges) and produced by DNA, a group that included Pink Floyd‘s first manager Peter Jenner. (Pink Floyd paid tribute to AMM’s influence on their improvisational sensibility with the track ‘Flaming’ on their debut album, named after the piece that occupies AMMMusic’s first side, ‘Later During a Flaming Riviera Sunset’). Formed in 1965 by three players from the emerging British jazz avant-garde – Keith Rowe and Lou Gare had played with the great progressive big band leader Mike Westbrook and Eddie Prévost played in a post-bop group with Gare – AMM quickly evolved from a free jazz group into something decidedly more difficult to categorise. By the time these recordings were made, two more members had joined the group: another Westbrook associate, Lawrence Sheaf, and the radical composer Cornelius Cardew. Then at work on his masterpiece of graphic notation Treatise, Cardew brought with him extensive experience of the post-serialist and Cageian currents in contemporary composition. Using a combination of conventional instruments and unconventional methods of sound production (most famously Keith Rowe’s prepared tabletop guitar, but also prepared piano and transistor radio), the group performed improvised pieces often running for over two hours and ranging from extended periods of silence to terrifying cacophonies. Evan Parker famously described the improvisational logic of AMM’s music as ‘laminal’, in contrast to the ‘atomistic’ approach more common among the generation of British improvisers (Bailey, Rutherford, Stevens and co.) to which he himself belonged. AMM improvised in layers: layers of sound subtly rising and falling or abruptly starting and stopping without being propelled by the implied pulse of free jazz improvisation. Rather than a pulse, AMM’s music began with the sound of the room in which it was played, the Cageian anarchy of silence. By embracing the non-synchronous simultaneity of layered sound, AMM was able to create a musical container into which nearly anything could be incorporated at any moment: on AMMMusic, long tones sit next to abrasive thuds, the howl of uncontrolled feedback accompanies Cardew’s purposeful piano chords, radios beam in snatches of orchestral music (and, on the LP’s second side, an extended fragment of ‘Mockingbird’). AMM’s clearest break with jazz-based improvisation concerned the idea of individuality. Where improvised music has tended to foster the development of idiosyncratic stylists who move freely from one group to another, AMM, initially through an engagement with eastern philosophy and mysticism and later though a politicized communitarianism, sought to develop a collective sonic identity in which individual contributions could barely be discerned. In the performances captured on AMMMusic the use of numerous auxiliary instruments and devices, including radios played by three members of the group, contribute to the sensation that the music is composed as a single monolithic object with multiple facets, rather than as an interaction between five distinct voices. – Francis Plagne Remastered and cut by Rashad Becker at D&M Berlin and presented in an exact replica sleeve of the original 1966 release by Stephen O’Malley.
Ben Vida / Keith Fullerton Whitman / AGGREGATEPULSERIPPER (DAMAGED IIII) / 080114 / Vinyl LP / Amish Records (Required Wreckers series)
Ben Vida, Keith Fullerton Whitman / AGGREGATEPULSERIPPER (DAMAGED IIII)/080114 / Vinyl LP / Amish Records (Required Wreckers series) / AMI-033R/W
Tabloid / Access Ch. 1 / Cassette / Chondritic Sound / CH273
Tears seem to have made sufficient space for a shy smile on Miaux's latest audio massage, although the general mood remains that of being ”alone in a bar at 6am while the cleaner politely asks you to put your feet up, like all the other furniture“. Let's keep things simple and clear, like in Sarajevo: A and B are the same on this cassette; the audio was created as a soundtrack for a screening of René Clair's silent movie Paris Qui Dort from 1923. Miaux must have been younger than her wild child is right now. Being woken up with Tubular Bells daily as a child instead of the ringtone that seems to be stuck in Antwerp cathedral certainly made its mark… Instead of playing with talking dolls everyday, Miaux had to drill for gold to procure a bowl of Balkan soup, resulting in the beauty her destroyed hands push out of these keys!
Ashtray Navigations / A Monument To British Rock / 3 x Vinyl LP / Smokers Gifts / SG1/2/3 With original bent corner sleeves!
Andrew Chalk / A Light At The Edge Of The World / CD / Faraway Press / Faraway Press 025
On 26 June 1983, Joe Jones set up a solar orchestra in Erik Andersch's garden in Düsseldorf, North Rhine-Westphalia, Germany. Guests were invited for a dinner party to listen to the orchestra. The music was recorded and the event documented by various photographs that were published as a book by Jones in 1987 in an edition of 15 copies. The audio recording remained unreleased. This edition brings together the recording and an A4-sized reproduction of Jones' book. It is presented in a gate-fold PVC sleeve. Right-hand side holds the LP, left-hand side holds the book, a poster, and a postcard. Edition of 200. Edition Telemark.
Extracts from the Farewell performance at Kings College, London 1978. Jgjgjgjg formed at the London Sound Poetry Festival in June 1976. Reissue of tape on Balsam Flex. 200 copies Lawrence Upton (b. 1949) – poet, prose writer, essay writer, critic, publisher. Author of a great number of publications in literary magazines, collections, miscellanies both in Great Britain and abroad, and also of www-publications on various literary sites. Editor and publisher of a number of magazines and international anthologies, author of numerous books of poetry and prose. For many years he has been collaborating with different literary and artistic associations and perform-groups.
Mastered by Lily Vice at Sacred Lust Studio. Side A: 20% heavily armed with random discharges of radio-wave theatre and metal noise. Multiple blows with a heavy hatchet along the time axis, but no blood flows. From the speakers, the right and left wing exchange blows but reconciliation remains eternally unreachable. Steeped in idle repetition in a comfortably heated secret chamber. With several random passers-by, sounds like those made by slapping a wet towel alternate between life and death but in a continual state of existence. However, it was all meaningless. Side B: Misshapen metal objects roll around randomly, 100% liberated in their movement. Junk noise flies about in every direction, howling at distant objects, wildly spasming, rolling around on the floor, having sudden heart failures, and constantly apologizing for its own violent impulses. Yes, finally the expression of those capricious modulations begins to show its charm, and losing none of its freshness rusted fragments fly up into the air in Japan and the UK. Handmade jacket consisting of a decorated transparent acrylic sheet (each one is different). The background color changes according to the light conditions. Limited edition of 150. Art Into Life.
The Maciunas Ensemble was founded in 1968 by Dutch musicians and sound artists Paul Panhuysen, Remko Scha and Jan van Riet. It has existed ever since, though having gone through a number of membership changes until today. The group's intention was to realize the piece "Music for Everyman" by Fluxus initiator George Maciunas which they interpreted as allowing boundless freedom in the sounds being produced. The group met at a regular basis, usually improvising on a number of instruments that were at hand. Every session was recorded. Before playing, they listened to the recording of the previous session and discussed it. No rehearsing or fine-tuning of pre-conceived material took place. To the view of Paul Panhuysen, their method of making music is closely linked with the oral tradition of folk music. This LP edition features two pieces, both recorded on December 19, 1976, and never released before on any format. Here, the group comprised Paul Panhuysen, Remko Scha, Jan van Riet, Leon van Noorden and Hans Schuurman. "This music is literally polyphonic – a composition of multiple voices. The members of the ensemble do not engage in virtuoso playing. Although each may go down his individual path, no one attempts to outdo the others in exuberant soloing. Their approach to improvisation bears none of the hallmarks of jazz. It is a group effort. They operate as a band in the anthropological sense: a small, mobile, and fluid social formation without clear-cut leadership." (from the liner notes by René van Peer) Edition of 250 copies. Special edition of 50 copies containing a hand-made letterpressed print by Sappho Panhuysen."
C. Spencer Yeh / 1975 / CD / Intransitive Recordings / INT037
"Marcia Bassett (Double Leopards, Zaïmph) and Samara Lubelski return with 110 Livingston. This is the second album from this weighty pairing of two of Americas most audacious psychedelic drone proponents, following the stunning Sunday Night, Sunday Afternoon, released in 2012 on Graham Lambkins label Kye. Bassetts guitar processing squashes otherwise raging howls into densely packed tones of feedback wail, and blends with Lubelskis long violin voyages into the drone zone to form a combination thats wondrous to behold. One side-long trip and three shorter but nevertheless expansive explorations of black magic meditation. 140-gram vinyl presented in a matte sleeve and limited to 250 copies." - Golden Lab."