Search Results: 170 found, Filter: Format, Vinyl LP
Ensemble Economique / (no thing-ness) / 12" Vinyl / Dekorder / Dekorder 070"
"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."
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."
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.
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.
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.
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
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.
Rhodri Davies / An Air Swept Clean Of All Distance / Vinyl LP / Alt Vinyl / av057
"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.""
CE Schneider Topical / Antifree / Vinyl LP / OSR Tapes / OSR48
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.
First ever reissue of Ed Askew's folk-pysch masterpiece--and debut on Tin Angel Records. Pressed on 180g black vinyl.
'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.
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.
Expo 70 / Beguiled Entropy / Vinyl LP / Blackest Rainbow / BRR243
Hive Mind / Beneath Triangle And Crescent / Vinyl LP / Chondritic Sound / CH -271
'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
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"
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.
Tart (Graham Lambkin, Karla Borecky, Scott Foust) present the world with their second LP, Bring in the Admiral. Since the release of their first LP, Radio Orange, Tart has been plying their trade at various shows in the northeast U.S. Using the same minimal instrumentation as the live shows (two small Casios, guitar, and shotwave/cassette boombox, plus a few odds and ends and the Anti-Naturals trademark tight editing), Tart produces a dazzling array of scenarios, a testament to senseless deranged beauty. Beautiful color cover. Who doesn't need a little Tart in their life?
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.
“Surely it is the dream of anybody who got into listening to rock music (as a passionate life changing force rather than a head nodding space filler) to learn the basics needed to play an electric guitar and just let loose with everything turned up full blast. The act is intensely invigorating, but there’s also something spiritual at work that has a life of its own – a surge of raw power that only the guitarist can control… Comparisons can be made to Glenn Branca’s guitar orchestras, The Velvet Underground’s “Sister Ray” improvisations (especially when the feedback begins to howl on the B side of Vol 1) and “Expressway To Yr Skull”-era Sonic Youth, but also to the Howling Hex Hildreth Tapes triple that Golden Lab unleashed in 2013… Far out or full on, this is the sound of rock’s past, present and future crashing together and reinventing itself.” The Wire, Nov 2015
“Surely it is the dream of anybody who got into listening to rock music (as a passionate life changing force rather than a head nodding space filler) to learn the basics needed to play an electric guitar and just let loose with everything turned up full blast. The act is intensely invigorating, but there’s also something spiritual at work that has a life of its own – a surge of raw power that only the guitarist can control… Comparisons can be made to Glenn Branca’s guitar orchestras, The Velvet Underground’s “Sister Ray” improvisations (especially when the feedback begins to howl on the B side of Vol 1) and “Expressway To Yr Skull”-era Sonic Youth, but also to the Howling Hex Hildreth Tapes triple that Golden Lab unleashed in 2013… Far out or full on, this is the sound of rock’s past, present and future crashing together and reinventing itself.” The Wire, Nov 2015
Glorias Navales / Cofr Kye is proud to present 'Cofradia Nautica' the debut LP by Chile's Glorias Navales, and the follow-up to 2015's 'Carta a Maureen Tucker' cassette on ETCS. "Glorias Navales is a band based in Santiago, Chile, who combine local folk traditions and paganism with a post-Velvets aesthetic. Imagine Lou Reed, John Cale and Violeta Parra together, doing late night acoustic lo-fi trance jams in a rural area of Chile." (Ivan Daguer) Drawn from live concert tapes recorded at BYM Records, and recordings made in the band's private practice space 'Cofradia Nautica' offers a raw, unvarnished walkway straight into heart the of the contemporary Chilean underground. 'Cofradia Nautica' arrives in a full-color matte stock sleeve with printed innersleeves, mastered by Jason Lescalleet, in an edition of 400.adia Nautica / Vinyl LP / Kye / kye043"
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.
Artist: Richard Youngs Title: Core To The Brave Format: Vinyl LP Label: Root Strata Catalogue #: RS87 Country: USA Date Released: January 2012
Ensemble Economique / Crossing The Pass, By Torchlight / Vinyl LP / Dekorder / Dekorder 060
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
Astounding electric guitar and lapsteel solo work by Guilhem Lacroux, the music diviner if any. The thirty single minute-long tracks present on this motion picture soundtrack will take you far-out in this far-west slide show of sonic landscapes and nature scenes. Highly soulful and magic, these recordings are with no doubt the most exciting guitar work produced in a looooong time... Hot off the press! Silkscreened thick folder covers with stamped labels. Comes with Ricoh printed history of the project, green leaflet here. Released 2015. Co-produced with Ludovic Sauvage.
Amelia Cuni was born in Milan and has lived in India for more than 10 years where she studied dhrupad singing with various renowned masters. Werner Durand has been performing his own music for saxophones, Iranian ney and self-made wind instruments since the late 70s. He started building his own wind instruments from plexi-glass, PVC and metal tubes in the early 80s and has performed in various groups including The Thirteenth Tribe and Armchair Traveller. For more than 20 years, Cuni and Durand have been performing together as a duo as well as in collaborations such as Tonaliens and Born Of Six. Diasporagas, sub-titled "Ancient Trends and New Traditions in Indo-European Music", summarizes their various musical projects in which her Indian raga singing met with his minimalist and experimental approach. In all of their collaborations, they have been creating unique forms and expanding the palette of their sound worlds while keeping the essence of raga music, justifying the use of the term in its original meaning. The title is meant to be understood as a statement to provoke reflections on our ideas of cultural identity vs. globalization, and tradition vs. experimentation. A central Diasporagas work is "Hiss (mastered noise)" for dhrupad singing, invented wind instruments, Indian percussion and samples of historical recordings by Indian singers. It is partly based on their earlier work "Gramophone Saraswati" which involved replicas of Luigi Russolo's Intonarumori instead of the Indian recordings. This LP includes "Hiss (mastered noise)" and two other pieces entitled "Aqua Shiva" and "Agana Song". Edition of 300 in a full-color sleeve with a printed inner sleeve reproducing the score of "Hiss (mastered noise)"."
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.
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.
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."
New solo acoustic guitar material in an abstract confessional style from the end of winter just gone, recorded to reel-to-reel by Patrick Crane in Manchester and Stockport (with some source recordings made by Jon Marshall in Sheffield). Comes with a risograph-printed b&w insert.
Konstrukt / Peter Brotzmann / Hüseyin Ertunç / Doğan Doğusel / Barlas Tan Özemek / Eklisia Sunday / Vinyl LP / Holidays Records
Eklisia Sunday was recorded live in front of a small audience on May 15th, 2011 at Eklisia - an old chapel built in the 17th century in Gümüşlük, a small village near Bodrum. This improvisation features the Konstrukt collective - which is Korhan Futacı (tenor & soprano saxophones), Umut Çağlar (electric guitar), Özün Usta (double bass, djembe, gong, bells), Korhan Argüden (drums) - incredibly enriched by the presence of Peter Brötzmann (on tenor), Hüseyin Ertunç (acoustic piano, küstüfon, gong), Doğan Doğusel (double bass, küstüfon) and Barlas Tan Özemek (electric guitar). The result of the combination is simply marvelous, because Brötzmann's unique phrases perfectly match with the sound of what confirms to be a well-coordinated collective. "The Turkish free jazz outfit Konstrukt might be considered the most evolved improvisational band working in jazz today. Founded, not in the hotbeds of jazz, London, New York, Chicago, Wuppertal or Krakow, their isolation is the key to their success. Well, isolation and observation." -- Mark Corroto, All About Jazz. Edition of 350."
Eli Keszler / Keith Fullerton Whitman / Eli Keszler / Keith Fullerton Whitman / Vinyl LP / NNA Tapes
Eli Keszler, Keith Fullerton Whitman / Eli Keszler / Keith Fullerton Whitman / Vinyl LP / NNA Tapes / NNA043
Albrecht/D. (Dietrich Albrecht) was born in Thüringen in 1944. Influenced by Raoul Hausmann, Hans Arp and Kurt Schwitters he became an artist in 1966 and founded Reflection Press in 1968 to published a wide variety of magazines and cassettes. Albrecht was associated with the Fluxus movement and an active member of the mail-art community. He worked and performed with leading artists such as Joseph Beuys, Nam June Paik, Wolf Vostell and Throbbing Gristle. His first album, Endless Music, came out in 1974 and in 1979 he was included in the famous NWW-list. In the early 90’s Albrecht recorded a session for a release on Slowscan Records but the project got shelved. Edited and mastered in 2016 these recordings are now finally available. ‘Far East And Out’ contains 4 home recorded, improvised and minimalist pieces using percussion, cymbals, bells, flute and guitar. Introvert, meditative and definite endless music. Limited to 200 copies.
Fvrtvr / Following Shapes to the Edge of a Drift / Vinyl LP / Discombobulate / BOB009
Rosen & Spyddet / Fortuna / Vinyl LP / Posh Isolation / Posh Isolation 153
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.
Malcolm Goldstein / Full Circle Sounding / Vinyl LP / Kye / Kye34
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.
Guerilla Toss / Gay Disco / Vinyl LP / NNA Tapes / NNA069
Locusts and Gegenschein follow up the highly acclaimed ‘Music for Church Cleaners’ release from Irish artist Áine O’Dwyer. Whilst continuing to explore the church organ as the primary instrument, these two releases steer away from Church Cleaners in both sonic content and themes explored. Gegenschein was recorded at the Franciscan Friary in Limerick city. Áine gained access to the Friary in 2012 and explored both pipe organ and space in it’s disused state. What becomes of a sacred space after the dispersion of the spirit, after the light has been switched off, after the deconsecration?
Philip Corner / Gong / Ear : dance-ing 1 & 2 / Vinyl LP / Roaratorio / roar27
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."
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."
Maher Shalal Hash Baz / Hello New York / Vinyl LP / OSR Tapes / OSR60
Blanche Blanche Blanche / Hints To Pilgrims / Vinyl LP / OSR Tapes / OSR25
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."
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.
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.”
Control Unit / In A Frame / Vinyl LP / Alt Vinyl / av043
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
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!
Black Motor / Jumehniemi / Vinyl LP / Sagittarius A-Star / SAS#29
Stuttgart's Karies produce four new tracks of that brooding, but driving post-punk sound they're known for throughout Germany. Even though the material may reference the likes of Die Haut and the Abwarts , and even touching on The Wipers at points. Karies constantly reframe that sound and keep it very much retro free. These are the last group recordings to feature Kevin Kuhn who had to go fulltime with his other band - Die Nerven. This UK edition of the EP is housed in a gorgeous gatefold sleeve and is limited to 300 copies on Harbinger Sound. A new album will follow in the fall.
Korea Undok Group / Purple Circles / Sargasso Sea / Korea Undok Group / Vinyl LP / Penultimate Press
After a run of extremely under the radar cassette releases, Penultimate Press is proud to present the first vinyl collection of works by the Winnipeg (Canada) outfit Korea Undok Group. With more hiss than a valley of snakes the various monikers here cover the gamut of contemporary practice traversing industrial decay, rhythmic pulse onwards to piano etudes and fractured possession. All these forms come debossed with the signature destroyed tape aesthetic which makes these sharks so lonely. 180 gram vinyl on beautiful reverse board sleeve with passport style booklet all designed by KUG. This is a package that befits this unique scene of one, or many.
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."
Starving Weirdos / Land Lines / Vinyl LP / Amish Records / AMI044
No Neck Blues Band/ Languid Red Marchetti / Vinyl LP / Planam / planazaum
The fifth full length album by Elodie, here expanding on the first concert as a quartet given in Leuven, Belgium in November 2012 -with Tom James Scott : piano and Jean-Noel Rebilly : clarinet. “Le Manteau D’étoiles” collects ten airy instrumental spheres glowing and evaporating in a universal infinity like any moment in the panorama of everyday life. Released on Andrew Chalk’s Faraway Press label in an edition of 300 copies. The album contains a specially printed double-sided insert and postcard set, printed on 350 gramme cream paper stock. Mastering and cut by Noel Summerville at 3345 Lacquer cut, pressing on 160gramme vinyl, sleeve design and layout by Timo van Luijk, Andrew Chalk and Jos Moers. Faraway Press.
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.
"As reported by Stefan Neville: "Clayton CJA Noone and Jon Sugar Jon Arcus are some of my oldest and dearest friends. Ive been listening to their band Armpit pouring out infinite sweat and toe jams for 20+ years and I still cant work out what Armpit even is. They are the wrongest band Ive ever heard. We were all part of the same gang in early 1990s Hamilton, New Zealand. Armpit would always happen in rooms next door. They would keep me awake with the eternal strumming of bad guitars through bad equipment, bottles falling over, people falling over, things catching fire and always lots of giggling. I saw them play at a party once where they were too wasted to plug in their guitar pedals. They wrestled with them giggling for about ten minutes and then gave up. They didnt make a sound but its one of the greatest concerts Ive ever seen. Their recordings are always confusing. They display their deepest awful humanity and their sweet, sweet hearts, all in the same mouthful. Scorched hateful noise, incompetent absurdity, smoochy crooning folk songs with poignant words and brutal sausage fingered editing to highlight the horror and hilarity. Leisure & The Elderly was recorded in Dunedin in the mid-1990s. Jon was doing a nursing foundation course and learned to simulate giving a skinhead a sponge bath. A classmate gave him some of her tortured poetry so Armpit blended it with a nursing textbook and disappeared into the room next door to record the album in one go, ping-ponging recordings with two tape decks." It was originally released on cassette in an edition of just three copies. Edition of 300 copies in a silk-screened sleeve." - Planam."
Kiyoharu Kuwayama / Ludo Mich / Wataru Kasahara / Les Archives De L'Univers Amnésique Illustré / Vinyl LP / Discombobulate
Ludo Mich, Wataru Kasahara, Kiyoharu Kuwayama / Les Archives De L'Univers Amnésique Illustré / Vinyl LP / Discombobulate / BOB002
Les Conversions / Les Conversions / Vinyl LP / Kelippah / KELIPPAH015
Ashley Paul / Line The Clouds / Vinyl LP / REL Records / REL20
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
Fourth in Open Mouths "Live At......." Series Greg Kelley-trumpet Bill Nace--electric guitar "Live at Disjecta" Recorded March 9 2016 by Daniel Menche Cover art by Bill Nace Covers screened by Alan Sherry #'d edition of 300 OM#48/"Live at..."#4"
Ambarchi, Campbell, Flower / Live At TUSK Festival 2013 / Vinyl LP / Tusk / TUF02
Maurizio Abate / Live From The Border / 12" Vinyl / Holidays Records / HOL 052"
Kommissar Hjuler / Mama Bär / Ninni Morgia / Silvia Kastel / Live In Edinburgh / Vinyl LP / Ricerca Sonora
Kommissar Hjuler, Mama Bär, Ninni Morgia, Silvia Kastel / Live In Edinburgh / Vinyl LP / Ricerca Sonora / RS4
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.
AudioMER is happy to announce the release of a new LP; Lost City by Aki Onda (US/JP) with music by Loren Connors (US) and Alan Licht (US). The images were shot in New York between 2001 and 2002. It was during the time when we were still in shock from 9.11. The stars and stripes suddenly became visible everywhere in the city. Soon after, the invasion of Afghanistan started. Everybody was living under an indefinable fear - not knowing what would happen in the future. (Aki Onda). Lost City project started as a series of photographs shot by visual artist and composer Aki Onda in New York starting right after 9.11 in 2001. A decisively introspective response to the major world event taking place, his pictures were devoid of direct references, but documented his immediate surroundings, focusing on how what happened resonated on a personal micro-level. Since 2005, Onda has been presenting this series as slide projections, which function as a visual score for improvisation, and performing with NYC avant-garde musicians Loren Connors and Alan Licht. Two improvisations on this LP were recorded at Anthology Film Archives in NYC in 2007. Lost City contains the vinyl, a folded 20 x 30 inch poster with the complete photograph series and an A4 risoprinted booklet containing the accompanying text written by NYC based curator/writer Niels Van Tomme. The record's A side is a duo piece between Connors and Licht that consists of wandering, buzzing guitar drones with occasional noisy eruptions. It highlights the almost twin-like connection between the longtime collaborators, with telepathic intersecting guitar lines and a sense of unease seeping through. The B side is Connors solo and is a very lyrical and atmospheric ambient piece that is equally sparse and spacious. The LP is limited to 350 copies.
Artist: Peter Brötzman, Bill Laswell Title: Low Life/Last Exit Format: Vinyl LP, Limited Edition, Heavyweight Vinyl, Gatefold Sleeve Label: Jazzwerkstatt Catalogue #: JW10012 Country: Germany Date Released: July 2013
"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."
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"
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
"I realized at the end of the album that I didn’t want to express, I just wanted to explore". Ian William Craig is a trained opera singer and painter out of Vancouver, Canada. Over the last few years he has proved to be one of the most original artists active in the ambient / experimental genre. His debut "A Turn Of Breath" (2014) and the follow-up album “Cradle For The Wanting” (2015) received high acclaim across the globe. Meaning Turns to Whispers is a combination of piano improvisations and FM feedback loops, recorded over various winters in the period 2009-2011 and edited down / manipulated / degraded to reveal some of their hidden spaces. The discreet piano layers mixed with waves of white noise keep on intriguing and make us longing for more. Craig has been making music since 2009, when he sat at a piano and started recording improvisations. The result was Meaning Turns to Whispers, a record rooted in a gorgeous neo-classical tradition, but totally fucked up by tape manipulations that made it anything but pretty. For Craig, the use of reel-to-reels is a way of decaying sentimentality: any time his music has come too close to meeting his expectations, he’s uprooted it, creating impervious walls or bursts of modest but stupefying noise, anything that might help rewrite the truth. In choice moments on Meaning, you could hear Craig trying to imagine the lived lives of his inanimate instruments: beyond the notes he played on his piano, there was the sound it made, if only for a few seconds; when you heard him beaming down on the piano, its wooden infrastructure was revealed, and it sounded like it had its own set of motivations. “I was living with my sister in Edmonton, and during the ridiculously cold winter, I gutted her piano and mic’d it up in a whole bunch of weird ways. I recorded probably 20 hours of material, and after listening to it I was amazed at how much it sounded like sentimental crap. At that point I was really trying to express something, and afterwards I thought the only way through would be to destroy the recordings, and that’s what Meaning Turns To Whispers is. It’s completely mangled to remove that struggle for expression. I realized at the end of that album that I didn’t want to express, I just wanted to explore.” All sounds by Ian William Craig, mastered by Sean McCann at Recital, with lacquer cut by Christoph Grote-Beverborg at Dubplates & Mastering. Released on Aguirre Records in a limited edition of 500 copies."
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.
Jo Thomas / Mermaids / Vinyl LP / Holidays Records / HOL061
Fossils, Darksmith / Million Year Spree / Vinyl LP / Kye / KYE014
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
Olymphia / Music For A Dance Performance / Vinyl LP / Posh Isolation / Posh Isolation 155
Music For Private Ensemble is Sean McCann’s first new solo album since 2011’s The Capital. Demonstrating a more serious study of orchestration and timbre than his previous work; it is a big step forward. The four arrangements presented here shy away from the use of synthesizers and effects processing – instead relying on voicing and movement to actuate the album’s sentiments. Inspired by the grandiosity of John Adams, the concerned somberness of Gavin Bryars, and the guttural tape work of Fluxus artists. Private Ensemble was written, recorded, and laboriously edited over the course of 17 months, composed both traditionally as well as through the clustering and organization of improvisations. McCann played violin, viola, cello, flute, piano, glockenspiel, and percussion. He was forced to notate samples of bassoon, french horn, and timpani, as those were not available resources at the time. Taking multi-tracking to extremes, many of the pieces surpass 100 layers of instruments. However this structural depth does not lead to chaos; no sound on Private Ensemble is unintentional. The objective with the ambitious multi-tracking and precision editing was to achieve the sound of a full orchestra. The only other person appearing on the album is vocalist Kayla Cohen (Itasca), her layered singing is formed into a small choir to help conclude the record. This album reveals McCann’s most refined work to date, indicating the beginning of his transformation into a modern composer. Mastered by Helmut Erler at Dubplates & Mastering Pressed at RTI in an edition of 500 copies, with full color insert
Gianni Giublena Rosacroce / Musica Da Camera Oscura / Vinyl LP / Holidays Records / HOL-080
Holiday Records present a reissue of Hüseyin Ertunç Trio's Mûsikî, originally released in 1974 on Intex Records. This cosmic free jazz improvisation by this legendary trio guided by Hüseyin Ertunç - on drums - with his then-regular partners Michael Cosmic and Phil Musra - on saxophones and additional percussion - reveals the primitive and physical approach of the trio, with Ertunç's massive cymbals drumming building a carpet of trance-driving vibe where the reeds can freely dance without any structure. "A new world of improvisational freedom opened up for me when I first heard drummer Huseyin Ertunç's 1974 LP Mûsikî, with reedmen/multi-instrumentalists/brothers Phil Musra and Michael Cosmic. Ertunç returned to his native Turkey about twenty years ago (and performs with the Konstrukt collective), but Musra - this tune's composer - now resides in Los Angeles and, as regular readers of this blog know, is still active in music. Although I initially assumed that Mûsikî and Musra's companion LP The Creator Spaces (1974) were recorded at the same session, in truth Mûsikî was recorded months earlier. The Creator Spaces is a bit more spacious than Ertunç's date, though both are quite intense documents of self-produced and spiritually-directed improvisation. Knotty and weird, there's a folksy unhinged-ness that really spoke to me in a way quite different from Albert Ayler, the Association for the Advancement of Creative Musicians, and other music I was spending time with when I dropped the needle on the trio's debut album. Ertunç's percussion work really shocked me and it's still absolutely fascinating, and Cosmic's organ playing behind/around Musra's tenor is just something else." -- Clifford Allen. Edition of 400."
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.
"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. ""
Ben Hall's String Trio / Negatively Complicating A Procedure That Is Already Flawed / Vinyl LP / 8mm Records
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."
Bad News / No End / Vinyl LP, 12" Vinyl / Chondritic Sound / CH-267LP"
Philip Corner / OM Entering. And Once Entered: The Barton Workshop Plays Philip Corner / Vinyl LP / Kye
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."
Henning Christiansen / Opus 67 STRATEGYGETARTS A Symphony, Hommage á Richard Demarco / Vinyl LP / Penultimate Press
Opus 67 STRATEGYGETARTS A Symphony, Hommage á Richard Demarco is a previously unissued recording by Henning Christiansen from 1971. Listen: Henning Christiansen – Opus 67 Strategygetarts a symphony (excerpt) In 1970 the Richard Demarco Gallery in collaboration with the Kunsthalle Düsseldorf organised the exhibition, Strategy: Get Arts. This celebration of art from Düsseldorf was held at the Edinburgh College of Art during the Edinburgh International Festival. The title of the exhibition was a palindrome created by André Thomkins and featured works by Joseph Beuys, Claus Böhmler, George Brecht, Henning Christiansen, Robert Filliou, Dorothy Iannone, Mauricio Kagel, Dieter Roth amongst others. Opus 67 STRATEGYGETARTS A Symphony, Hommage á Richard Demarco was sent to Demarco as a gift following the exhibition. Having returned to Denmark Christiansen, along with sound technician Peter Sakse created Strategygetarts, a sound collage incorporating field recordings from urban spaces, supermarkets, a boxing game, etc. The sole ‘musical’ element is a piano motif which repeatedly punctuates the recordings. The first side moves forwards, the flip back. A reverse groove will set you straight. Opus 67 STRATEGYGETARTS A Symphony, Hommage á Richard Demarco comes in a high gloss sleeve featuring two original artworks by Henning Christiansen in a limited edition of 500 copies.
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."
Fantastic sound poetry piece by Hartmut Geerken restringing the Sun Harp, the Ukranian bandura that Sun Ra gave him in 1971 when he visited Egypt for the first time. The acoustics of his manual workings emerge without any esthetic intention: the bandura's voluminous resonating body forms the reverb of the room. Each manual action and each contact of the tuning key with the wooden body is 'reverbed'. The instrument creates its audio space. A mythic dream play is evoked: the myth's space of reverb. An ear ready to absorb, hears the labor pains of voice and string ahead of language and music. A human voice in search for language and thus for communication. A string instrument in search for sound and thus for music. Based on this phonemic pre-space, words do rise only sporadically. Through certain techniques of vocal chords the phonemes move close to the meditative Indian Dhrupad-singing, as well as to lunacy and disturbance. Animal languages, signals, shepherds' calls, silvered drum-language, hamboning, calls, litany, subconscious voicings, sirens: the search for Eurydike and the search for the origin of letter and syllable, out of the breath. Besides one single 'superimposition' no further mounting, no computer-generated sounds, no digital gimmicks, no remix or art mix do exist in this live-recorded dream play. pressing info: 200 copies on black
When freedom meets grace. New, wonderful work by one of Japan's most unique voices. Hisato's songs shine like stars in a summer night. Warm, fragile, and thorn music. It will send shivers down to your spine. EDITION OF 250 COPIES WITH PROFESSIONALLY PRINTED ARTWORK AND INSERTS.
The Pickle Factory / Our Anthems / Vinyl LP / Twisted Knister / knack 003
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."
Pink Luminous Invocation / Pink Luminous Invocation / Vinyl LP / Sagittarius A-Star / Sagittarius A-Star 11
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.
"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."
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.
Public Housing / Public Housing / Vinyl LP / Torn Light Records / TL005
Toshiji Mikawa, Hideaki Shimada, Nobuo Yamada, Katsuyoshi Kou / Quasispecies Four / Vinyl LP / Art Into Life
A document of a quartet session by Toshiji Mikawa(Incapacitants, hijokaidan), Hideaki Shimada(Agencement), Nobuo Yamada(Artbreakhotel), and Katsuyoshi Kou(Soundings), recorded at Hatchobori Nana Hari on April 28, 2012. At the time Hideaki Shimada (Agencement) had just started drawing again, and it was advertised that the session would be recorded and released as an LP using Shimada's artwork. Four twenty minute takes were recorded, and the LP includes two of these takes. The project title, Quasispecies Four, was inspired by the image of an indeterminate and neurotic noise performance. Limited edition of 250. Art Into Life.
"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."
The debut LP from the trio of: Karla Borecky, Graham Lambkin, and Scott Foust, recorded and assembled over 8 months between 1999 and 2000. Tart is an exquisite combination of three distinct minds, much like the skillful structure of diverse, yet subtle, ingredients in a piquant and nostalgic recipe: The Past as well as The Future. Tart blends together these strange elements in an organic yet totally disciplined style that renders many of their contemporaries as either flabby or boring.
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.
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."
Royaume (originally a CD on Touch, 1991) is made up of 4 tracks and is a kind of purifying travel through the four elements which symbolically refers to the light evoked by the colour green, an allegory of the grail and of the light carrier angel. As to the poems, they tend to amount to their essentials, as is the case in Matin which is both Taoist and surrealistic. Aimant + Aimant (originally as a split 10”/CD on Danceteria,1992) presents itself as a magical alchemical mantra based upon the force of love, the force of life. Two pole like two bodies like two hearts like two magnets. Like true buffoons from ultra – world , Eric and Marc Hurtado succeed in achieving what many sages consider to be the very purpose of magical art : to create one’s own ritual and , being one’s own referent, to become a vibrating point in the cosmos and be a receptacle for natural energy, like those bright patches or that black point recurring in their magical music, real poemspaintings and irremediably aiming , like an insect caught between the circle and the cross, in the heat of the sun in an attempt to merge with the Whole. Stephane Duval.
Richard Youngs / Rurtain / Vinyl LP / Alter / ALT07
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.
Muruga & Big Black / Sangoma Drums / Vinyl LP / Sagittarius A-Star / SAS #32
Tronics / Say! What Is This? / Vinyl LP / M'Lady's Records / MLADYS10
Schlim (slime in alsatian dialect) Micro_penis’ third lp released by Doubtful Sounds, is the final instalment of a trilogy. This record is made from rare recording sessions, stretching in time from 2011 until 2015 at the N.E.M. Studio (Noise Ensemble of Mulhouse) located in the Mer Rouge building, Mulhouse, France. The name of the game, collectively agreed on, was that no band member could be chemically restrained. For a psychotic can only ever be himself freed from one’s treatment, thus expressing one’s inside kept insanity. Another rule stated that during each session, one would have to use a different instrument, be it acoustic or electronic, no matter wether mastered or not. This huge interpersonal tension, through a violent rupture in terms of playing modes and tones, resulted in a broad range of pieces, very much dissmilar from one another. Then the group switched to an autarkic mode for a couple of weeks. They finalized and gave birth to their new weird baby during endless listening sessions and mixing sessions including sonic tinkering that only those who do not pretend to be mad are capable of. Cyclothymia and dementia are hidden in each sound, each track of Schlim. Black vinyl with a postcard. Limited to 300 copies. Mastering by Frédéric Alstadt.
Artist: Chris Corsano, Joe Mcphee Title: Scraps And Shadows Format: Vinyl LP, Limited Edition Label: Roaratorio Catalogue #: roar26 Country: USA Date Released: August 2012
Security Besides Love is the first vinyl album from Philadelphian artist Gabi Losoncy. This album is an account of the artist’s life. The first side voyeuristically and objectively documents Gabi’s external experiences and habitats; in this instance, a conversation heard while riding public transportation. The second side of this record turns back in on the artist herself with an associative monologue, in which an understanding of her own artwork is examined. It is fair and honest and walks through the whole house leaving windows open. There is a small piece of film which separates, seemingly, Gabi’s daily life and her artwork. It is quite inspiring. Understanding this can instill the same mysterious allure into your own trials and leisures. Limited Edition of 300 Comes with artist’s bumper sticker
MV & EE, The Golden Road / Shade Grown / Vinyl LP / Blackest Rainbow Records / BRR270
The Instant Automatons were leading figures in the largely cassette-based U.K. Bad Music scene (a British DIY movement whose adherents made their music available on cassette for free) of the late ’70s. Between 1977 and 1982, using a bedroom full of homemade gear plus some conventional instrumentation, core members Protag (later of Alternative TV, Blyth Power and Zounds) and Mark Lancaster (“somewhere between Cooper Clarke and Mark E. Smith”) forged a warped hybrid of traditional songcraft and lo-fi primitive post punk. Although cassettes were the band’s native medium, they also appeared on several vinyl releases, including their own EP and various compilations featuring similar weirdos. “The Instant Automatons mixed the experimental and the conventional, with relatively traditional song structures often lurking beneath the surface weirdness–unlike some of their post-punk contemporaries who deconstructed the concept of “the song” itself. Again, Lancaster attributes some of this to practical considerations: “We were only just learning to play our instruments and our equipment was deficient, so even our best efforts to play ‘properly’ sometimes turned out quite bizarre.” The band was never short of skewed rock and pop oddities, most memorably “John’s Vacuum Cleaner”–a weird tale of love, betrayal, appliances, obsessive housework, and suicide.” Perfect Sound Magazine. For fans of the Messthetics compilations (Hyped to death released the Another Wasted Sunday Afternoon compilation Cd),Urinals, Homosexuals. Curated by Lancaster, “Sincerely Making A Noise” dusts off curiosities from the Instant Automatons archives (Peter Paints His Fence EP, Angst In My Pants EP, No Platform For Heels LP, Love Not Devotion LP, Tape Transport cassette …). Tape Heads: A Brief History of the Instant Automatons (Perfect Sound Forever magazine): www.furious.com/perfect/instantautomatons.html . Artwork by Guille Roam (www.cargocollective.com/guilleroam). Co-released by Beat Generation and B.F.E. Records. Remastered/ 180 gr vinyl / 300 copies.
Les Conversions / Snowwhite / Vinyl LP / Holidays Records / HOL 059
"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."
Joe McPhee / Solos : The Lost Tapes (1980 - 1981 - 1984) / Vinyl LP / Roaratorio / roar38
“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."
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. ""
"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."
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
Nate Young / Stay Asleep: Regression Vol. 2 / Vinyl LP / NNA Tapes / NNA039
BeNe GeSSeRiT / STiLL INSaNe AFTeR ALL THeSe YeaRS / Vinyl LP / Ultramarine / UM23
"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.""
"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."
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.
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
Elektrodiesel / Summer Sessions, Del Tre / Vinyl LP / Sagittarius A-Star / SAS#27
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.
Synchron / Synchron / Vinyl LP / Sagittarius A-Star / SAS#18
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.
Loke Rahbek, Puce Mary / The Female Form / Vinyl LP / Posh Isolation / Posh Isolation 145
LR (Loke Rahbek) / The Fragility Of Happiness / Vinyl LP / Morte Creations / Morte_09
"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."
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."
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.
MV Carbon / The Sun Will Turn On You / Vinyl LP / Discombobulate / BOB008
Sir Richard Bishop / The Unrock Tapes / Vinyl LP / Unrock / UNROCKLP001
DJ Dog Dick / The Yo Po Freestyles / Vinyl LP / American Tapes / AM925 [AM UNHEARD 1]
Killer LP from No Guru, helmed by joel stern ( sky needle, greg boring, abject leader) and featuring ian wadley ( mad nanna, lost domain) chelsea charlton ( brainbeau ), eon phyre and michael donnelly ( 6majik9, brothers of the occult sisterhood), and jeremy nuske. Ritualistic improvised rhythms and electrified junk ornates from brisbane, Australia. Released in limited run of around 200 copies by Australian label Hashram Audio Concern.
Marching Church / This World Is Not Enough / Vinyl LP / Posh Isolation / posh isolation 147
The long awaited traditional monument is finally available on vinyl! Tornarem Dançar, recorded in 2004, stands alone among musicians as the best Auvergne/Limousin traditional album ever recorded in the last decades. We had originaly proposed to produce a second record of the duo and open our vinyl catalogue back in 2009, thus these new sessions have never been recorded and might never will. After many years of open discussion and patience, we are very proud to present an LP version of the only recording of the duo. Superb orginal takes by Marc Prévost, newly mastered for vinyl format by Frederic Alstadt and packaged by Ségolène Moteley for Standard In-Fi. This music is simply beautiful, a must have! LP, 300 copies. Silkscreened thick folder covers with stamped labels.
"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."
Arrigo Lora-Totino (Torino, 1928) is considered one of the fathers of Italian sound poetry. He's mostly known for having curated the anthology "Futura: Poesia Sonora" (Cramps Records, 1978), where he collected the voices of the most interesting sound poets of the twentieth century, but also for being a key figure in the Italian experimental poetry. Active since the late Sixties, he gave more than 200 performances of “Gymnastic Poetry” and “Liquid Poetry” (using the Idromegaphone, a tool invented on purpose to let the voice sound through water) and a series of mimic declamations of avant-garde texts, from Futurism to Dadaism, Russian ‘Zaum, Expressionism, Surrealism, Lettrisme and Concretism. This sound poem in six movements - performed as a vocal trio together with Sergio Cena and Laura Santiano - was recorded in 1976 in Torino at Studio di Informazione Estetica (S.I.E.) and is considered by the author himself one of his most important works. First volume in a series of sound poetry releases coordinated by Luca Garino, comes in a deluxe edition with the complete reproduction of the handwritten original scores. Pressing info: 250 copies on black, embossed lettering"
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.
Charlemagne Palestine / Two Electronic Sonorities / Vinyl LP / Alga Marghen / plana-P alga038
"One more top mysterious trace from the Little Skull legacy: Dean Browns album Ubique (i.e. "everywhere" in Latin) marks the passing of time and people. This sense of loss is very present though the whole record; not getting around to saying the things we meant to say and making sense of the leftovers. Screaming calmly, Dean Browns Little Skull has shrunk, even more, until his head is almost just sore meat - this music sounds like it was made to soothe that inflammation. Currently living in the UK, Little Skull is Deans long running solo project. He plays all of instruments, even if it sounds like he is barely touching them and yet, his obscure personal fingerprints are all over the place. His instinctive spontaneous playing finds ways to make them glow and fizz and ripple. The very complicated hand-made cover is astonishing. It incorporates religious imagery and patron saints expanding in space and creating a three-dimensional architecture filled with mysterious presences. Dean Brown is a New Zealander from Hamilton. A joke city to much of the rest of New Zealand, but its feral mongrel out-of-it-ness is well known to those that have lived there. Dean coped with Hamilton through his bands Negative Eh and Nova Scotia and then buggered off to other cities and other countries. After several privately produced lathe-cut editions and a sold-out LP on Elica, Ubique is reissued here on LP in a one-time-only pressing limited to 250 copies." - Planam."
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.
Penultimate Press is proud to release a unique vinyl of the only known recordings by Danish artist Poul Gernes. Poul Gernes only ever recorded just under 20 minutes of music. His entire musical production is therefore on this LP. The recording was done on a Tandberg Recorder at Poul Gernes’ house in the south of Sweden in 1969. He is playing an old harmonium salvaged from a local primary school. The result is an informal quasi-drone work, which, along with the ambient sounds and domestic interference, comes across as a snapshot of the recording itself, a sonic Polaroid. Poul Gernes (1925-1996) was one of the central figures in Danish art life during the latter half of the twentieth century. His experimental art holds a firm place on an international level and as one of the founders of the legendary Den Eksperimenterende Kunstskole (The Experimenting Art School) he has exerted considerable influence on a whole generation of artists who make up the Danish post war avant garde. His wide-ranging body of work is still a source of inspiration for younger generations of artists in Denmark and abroad. This recording was initiated by John Hunov who was the chairman of ‘Ung Dansk Kunst’ (Young Danish Art) an association for the presentation and publication of many Danish artists of the period. A series of cassettes were commissioned as a supply on demand service prompting Poul Gernes to instigate a musical work. The recording was done during a prolific period of creativity and lingers in the current spirit of endless possibilities. The combination of an old harmonium and a tape recorder manifests a yet untried option: why not compose music as well? A child’s voice, his daughter Ulrikka, is heard making small remarks and pointing out when the needle enters the red. This audial domestic background is too included as an incidental yet natural part of the work as Poul Gernes saw no limit between art and life. Poul Gernes’ major musical inspirations at the time were J.S. Bach, Terry Riley and Gregorian chant. An alleged encounter with John Cage and close collaborations with, for instance, composer and Fluxus artist Henning Christiansen are likely to have encouraged the musical endeavour. During the 1960s Poul Gernes also made a large number of happenings and performances, together with Per Kirkeby and Joseph Beuys.
Keith Fullerton Whitman, Alien Radio / Untitled / 12" Vinyl / Dekorder / dekorder054"
Bob Cobbing, Peter Finch, Frangcois Dufrene, Helmer Bodil, Lawrence Upton / Untitled / Vinyl LP / Slowscan
Slowscan #36 is a re-issue on vinyl of three separate cassettes originally released on Balsam Flex, a London-based label run by artist Erik Vonna-Michell in the late 1970s-early 1980s. In those days a number of British poets were producing works influenced by radical international currents in sound art, conceptual art, visual poetry and performance art. Bob Cobbing (1920-2002) was a central figure in this continuation of the ‘British Poetry Revival’, a rather loose poetry movement of the 1960s and 1970s which can be seen as an internationally oriented modernist reaction to the English traditionalist and nationalist approach of poetry of ’The Movement’ (Kingsley Amis, Philip Larkin et al.) Many of the Balsam Flex cassettes brought poets connected with ‘Writers Forum’, a small press, workshop and writers’ network founded in 1963 by Bob Cobbing, Jeff Nuttall and John Rowan. After Cobbing’s death in 2002 ‘Writers Forum’ has been directed by poet and artist Lawrence Upton (1949). A joint piece by Cobbing and Upton is included on Slowscan #36. Also included on this LP are two 1968 collaborations of Bob Cobbing and French Nouveau réalist and Lettrist François Dufrêne (1930-1982). Dufrêne’s sound poetry, musique concrète and décollage harked back to the early Futurist and Dadaist experiments in that field. ’Trigram (Trilofy Four)’ is a collaboration of Bob Cobbing and Helmer Bodil, released on Balsam Flex in 1978 and now re-released on Slowscan. So is the entire 1977 Balsam Flex cassette ‘Big Band Dance Music’ by Welsh poet and artist Peter Finch (1947), whose artwork for the original cassette now also graces the sleeve of the Slowscan re-release.
Up-Tight are a three-piece psych group based in Hamamatsu, Japan with a history dating back to 1992 has released around 10 records. Up-Tight's current line-up (2016) is original members T. Aoki (vocal & guitar) T. Ogata (bass) and T. Shirahata (drums). The ghosts of The Velvet Underground, Les Rallizes Dénudés and Amon Düül loom large over their personal feedback song-destruction universe. This LP is the first re-issue of their original CD-R-only release in Japan in 1999 in a very limited edition of 100 copies. It has been remastered in Berlin from original recordings and presented here in an edition of 300. Here is what David Keenan (Wire magazine) thought about this first CD-R released in 1999 : "Up-Tight are a noxious young trio from south Tokyo, all acolytes of the legendary Japanese psych group Les Rallizes Dénudés, who augment their sound with crushing, Sabbath-styled dynamics, earsplitting acid leads and beautiful Velvets-inspired ballads... Song structures are mostly kept loose, allowing for lots of noisy improvisation. Generally the album is anchored by heavy riffs. Just when you thought you'd got to grips with Tokyo's paradigm destroying psych scene, this one hits like a sucker punch." All songs are five to ten minutes long, varying from very melodic ballads to psychedelic journeys. The album ends with an epic track, "無題", which is an 18 minutes tour-de-force, that takes you to another dimension as if the Velvet Underground's "Sister Ray" would have a child with Acid Mothers Temple, while listening to Amon Düül under codeine. Up-Tight are from the generation that emerged with the madness of the Tokyo '90s and the P.S.F Records scene. Close to Acid Mothers Temple (the two bands recorded an album together), Up-Tight has a unique sound and is one of the most important underground reference in the Japan psychedelic scene."
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.
Damien Dubrovnik / Vegas Fountain / Vinyl LP / Posh Isolation, Alter / Posh Isolation 144, ALT20
Sarin Smoke / Vent / Vinyl LP / MIE Music / MIE013
A classic masterpiece from 1981, never re-released before. Originally 1000 copies pressed on orange/red vinyl. 120 copies were sold through Rough Trade and Virgin Records. 800 copies were bought and later destroyed by the United Dairies label, makin this record even more rare. File under Dada, underground, post industrial, concrete music, DIY or punk. Hastings of Malawi were Heman Pathak, David Hodes and John Grieve. They recorded the album in one night in 1981 with no plan and no idea of what they were doing. They played drums, clarinet, synthesiser and piano but also made use of things that they found lying around the studio - old records, cookery books, telephone directories and a telephone. The recordings were played down the phone to randomlydialled numbers and the reactions added to the recording. All three had been involved in the recording of the first Nurse with Wound album Chance Meeting On A Dissecting Table Of A Sewing Machine And An Umbrella and had contributed metal scrapings, piano, effects, clarinet and guitar during the session. The album was released in 1981 as Vibrant Stapler Obscures Characteristic Growth by Hastings of Malawi on the Papal Products label. The star of the record is Pat Simmons who was the voice of the UK speaking clock between 1963 and 1984. In his book Lipstick Traces writer Greil Marcus seeks to draw a line from Dada through the Situationist International to punk rock. If this line exists then this record sits on the end of it. The only review that the album received was from Steve Stapelton who suggested that "nobody should miss this vinyl disaster" Good or bad are not concepts that can be applied to this recording. The record stands firmly in opposition to the now all pervading concepts of commercialisation, celebrity culture and the commodification of creative activity."
Borbetomagus / Vole Lotta Love / Vinyl LP / Tyyfus, Verdura / tyyfus11, verdu-36
A necessary vinyl reissue of Voyage A L'Ombre by Ghédaliza Tazartes. Voyage A L'Ombre was originally released in 1997, as a limited CD on the France-based Demosaurus label run by David Fenech, a frequent Tazartes-collaborator. With tracks featuring Pambin Thullal, Syeta Choir, and Yumi Nara. Hot Releases. Label: 'Ghédalia Tazartes combines an orchestra and a pop group in one person. his voice shifts constantly from child to woman. completely unique, his music is unbelievable. You can't miss that record.
Pete Swanson, Rene Hell / Waiting For The Ladies / Vinyl LP / Shelter Press / SP001/R1
Hobo Sonn, Decimus / Weeping From Eyes Three, Four And Five / Apathia / Vinyl LP / Kelippah / Kelippah012
Spine Scavenger / Weighted Ghost / Vinyl LP / Cylindrical Habitat Modules / FORTY - THIRD MODULE
Tronics / What's The Hubub Bub / Vinyl LP / M'Lady's Records / MLADYS9
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.
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”.
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."