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Search Results: 14 found, Filter: Format, 2 x Vinyl LP

Aaron Dilloway, Robert Turman / Blizzard / 2 x Vinyl LP / Fabrica / FABRICA037
Recorded in the midst of an actual extreme winter weather event, Blizzard conjures the early synthesizer experiments of Popol Vuh and Tangerine Dream combined with the gritty reel-to-reel tape manipulations long employed by both Aaron Dilloway (Hanson Records / ex-Wolf Eyes) and Robert Turman (founding member of the pioneering industrial outfit NON and a celebrated solo artist in his own right). As the story goes, Blizzard was recorded in January 2009 during an Ohio snowstorm which hit on the very day that Dilloway was preparing for a move to Michigan. Alone, his wife and child already settling into the new place, and stranded in a cold and empty house, he was welcomed into Turman’s home. They decided to make the best of the occasion and hunkered down for a few days of late-night recording. Crawling synth drones and looped effects keep things bleak throughout. The wind gusts outside are strangely regular. Snow scratches at the windows more rhythmically than seems natural. Are those woodwinds or animal calls? Are the streetlights obscured by blown branches, or are they slowly strobing? Suddenly a normal house in a common Midwestern blizzard feels like a house stalked by a sentient storm, bearing down for a final freeze. Throw another log on the fire and make yourself comfortable for the last time. Blizzard was originally released on CD by Hanson Records in 2009. This first-time vinyl edition is limited to 500 copies.
Death Magazine 52 / Death Magazine 52 / 2 x Vinyl LP / Harbinger Sound / harbinger078
"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."
Second Family Band / Family Album / 2 x Vinyl LP / Sagittarius A-Star / SAS34
Second Family Band / Family Album / 2 x Vinyl LP / Sagittarius A-Star / SAS34
Argo / Flüchtige Musik / Fluchtige Music / 2 x Vinyl LP / Edition Telemark / 628.03
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."
Sheldon Siegel / Greve Totale / 2 x Vinyl LP / Scheld'apen / S'ASS001
Sheldon Siegel / Greve Totale / 2 x Vinyl LP / Scheld'apen / S'ASS001
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)"
Desmadrados Soldados De Ventura / Interpenetrating Dimensional Express / 2 x Vinyl LP / Golden Lab Records / ROWF38
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.
Harold Budd,  Eraldo Bernocchi / Music For Fragments From The Inside / 2 x Vinyl LP / Sub Rosa / SRV239
Harold Budd, Eraldo Bernocchi / Music For Fragments From The Inside / 2 x Vinyl LP / Sub Rosa / SRV239
Pancrace, Pancrace, 2 x Vinyl LP, Penultimate Press, PP28
Music for pipe organ Stiehr-Mockers 1848, Bird Calls, Baroque Violin, Tin Whistle, Boîtes à Bourdons, Landscape Piano, Motorised Bow, Standuino Pi Synth, Microphones, Hurgy Toys, AM radio, Church Bells, Uilleann Pipes and Hulusi. Penultimate Press is proud to present the debut recording from French outfit Pancrace. Pancrace is an improvising quintet comprising French, British and Austrian performers. The members include Prune Bécheau, Arden Day, Julien Desailly, Léo Maurel and Jan Vysocky. Pancrace is also the name of the church in Dangolsheim Alsace located next to where the instrument inventor Léo Maurel lives. Maurel makes ingeniously designed instruments inspired by the hurdy gurdy. The recording emerged from a disruption of the traditional elements within the church, namely the church organ which was prepared inside out whilst the performers challenged it’s gregarious authority with an array of constructed and modified instruments. In Pancrace one can hear many of these shape-shifting instruments and devices being twiddled without quite knowing which are bowed, plucked, hammered or rubbed. The results are a maelstrom of sound and song which see-saw between the harrowing and the sublime with incredible detail to sonic content. Pancrace instigates proceedings in the confinement of an organ; a Cyclops puffing its continuous and raucous breath only to be woken by instruments who, like horseflies, mischievously start tormenting proceedings with microtones and striated polyrhythms. The journey ends four sides later with the language of the birds imposing an unadorned silence on the church.
Terry Riley, Persian Surgery Dervishes, 2 x Vinyl LP, Aguirre Records, Les Séries Shandar, SSH04
This classic minimal music album is now available again on vinyl for the first time since the 70s. Californian composer Terry Riley’s In C, first issued on vinyl in 1968, is widely acknowledged as a Minimalist landmark that altered the course of twentieth-century music. His influential album A Rainbow In Curved Air, which appeared the following year, is a vivid fusion of rock and raga, jazz and psychedelia realised through overdubbing on an 8-track machine which had recently been installed at the studios of Columbia Records. In recent decades Riley has composed a series of critically acclaimed pieces for string quartet. He has also written for full orchestra and explored a variety of instrumental combinations. But during the 1970s, he concentrated on solo keyboard performances, continuing to make music yet writing down almost nothing. Riley selected a mode, chose a few motifs or basic patterns and then, seated on the floor in front of his audience, improvised on electronic keyboard. That instrument became an essential part of his musical identity for a while, although it was chosen in part for practical reasons. The electric organ, superseded at later concerts by a synthesizer, was portable and consistent. This enabled him to avoid unreliable pianos in venues which were less formal and more variable than the standard concert hall circuit. By the early 70s Riley had come to feel that scores were a distraction. Faithful interpretation of an already written piece was a deviation from the true purpose of making music, which was spiritual quest. Fortunately, some of those live performances, personal journeys towards a state of transcendence, were captured on tape. Persian Surgery Dervishes, issued initially on the French label Shandar, features two such concerts for electric organ and reel-to-reel delay, one recorded in Los Angeles on 18th April 1971, the other in Paris on 24th May 1972. At the start of that decade Riley became a dedicated student of the great Hindustani singer Pandit Pran Nath. Looking into North Indian classical tradition he found correspondences to modal and cyclic ideas that he was already working on. In 1971, as a way to learn more, Riley himself started teaching Indian music at Mills College, in Oakland. That experience fed directly into his solo keyboard performances, but other influences were also shaping the music heard on Persian Surgery Dervishes. Personal research into ancient Persian culture and the poetry of Rumi lit up his imagination, while the repetitive swirling of Sufi devotional music from North Africa, which Riley had first encountered in Europe during the early 60s, reverberates through these performances. Jazz, as conceived by such masters such as Bill Evans and John Coltrane, is also present as an enduring source of inspiration. The Californian version of Persian Surgery Dervishes starts with low dark tones, dense and brooding like a huddled human figure, deep in introspection. But as the improvisation unfolds Riley’s buoyant spirit asserts itself, spiralling out in ecstatic coils, as though liberated from the grip of body consciousness. The Parisian concert conveys a different mood, brighter and more open in texture, more relaxed from the outset and breathing with greater freedom as it takes flight. Echoes of Terry Riley’s inspired music have spread far and wide - into progressive rock, New Age and ambient soundings, film soundtracks, blissed-out electronica and dance-floor trance. His fluent and hypnotic keyboard playing can be heard as part of a continuum, transmitting energies from ancient and distant musical sources into the living here and now. Persian Surgery Dervishes is a significant part of that picture, a mesmerising record of a vital stage in Riley’s ongoing quest for connection with the universal mind and the sublime music that flows ceaselessly from it. “Music is my spiritual path. It’s my way of finding out who I am.” Terry Riley, in 1976
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
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
My Cat Is An Alien / The Dance Of Oneirism / 2 x Vinyl LP / Backwards / BW19
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."
Twinsistermoon / When Stars Glide Through Solid / 2 x Vinyl LP / Blackest Rainbow / BRR214LP
Twinsistermoon / When Stars Glide Through Solid / 2 x Vinyl LP / Blackest Rainbow / BRR214LP
Jacques Brodier, Xhos De Villemahu, 2 x Vinyl LP, Penultimate Press, PP21
Penultimate Press is proud to present the second full length release by the acclaimed French inventor, instrument builder, musician, visual artist, researcher and writer Jacques Brodier. Following up the 2012 release Filtre De Réalité, Xhos De Villemahu expands Brodier’s vision tenfold with two LP’s worth of inexplicable audio recorded between 2009 – 2016. Operating from Le Havre (France) since the 1970s Jacques Brodier has created a uniquely personal vision that incorporates music writings, paintings and drawings. Over the years he has amassed a large amount of material in all of these fields. The music he conjures from his self built instrument, the Filtre De Réalité (Filter of Reality), harnesses the energies found in shortwave radio, harmonic strings, sensors, sheet metal and rotating glass spheres of sand. The resulting audio shatters time and space with voices of the deep past slamming up against a fantastic present. Frequencies dance in a whirl of frenzied excitement whilst elements of a cosmic science hdbl7fiction leave a trail of neon lit bewilderment. jb_pp_00033A vast amount of writings, painting and drawings support the enormous world Brodier has constructed over the years. Xhos De Villemahu is an attempt to capture this substantial and significant world view into a complete package. Xhos De Villemahu arrives as a deluxe double LP in a gloss gatefold sleeve featuring a 32 page A4 booklet of images, essays and texts written by Brodier for the occasion. Utterly unique in vision and scope, Xhos De Villemahu is absolutely an experience unlike any other.