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."
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”.
Previous Sydney-sider, now Melbourne based artist Matthew P. Hopkins has worked as part of a number of groups over the last 10 years including Naked On The Vague, Vincent Over The Sink, Hochman & Hopkins, Four Door, and more recently Half High, and in duo mode with Tim Coster. In recent years Hopkins’ attention has become increasingly focussed on solo output that explores the realms of musique concrete, electro-acoustic composition, ambient music, sound poetry, noise, and nonsense, with releases on Penultimate Press (UK), Vittelli Records (UK), Canti Magnetici (IT), and Horizon Pages (AU). This 7″ release, ‘W’s’, his first solo single and debut on Albert’s Basement, is inviting and pleasing in parts, with just a hint of menace; a playful presage if you will. A slow moving (is it?) interlude to your day. Repetitious, slightly psychological synthesiser pings and waves suggest waiting (for who, or what?). Half whispers and bits of questions arise, but nothing coherent is voiced. Objects within reach on the desk are aimlessly shuffled, tapped, and slowly slid. Is that someone at the door? Probably not.
From Philadelphia comes a much needed, refreshing take on digital sound art composition. LXV reminds us of the glory days of the early Mego scene, injecting a raw edginess into what has become an otherwise sterile medium. Under buzzing synthesis, snippets of familiar culture and dialogue are caught and sent back into the shredding DSP tornado. At the core of it all is a human element, an ear for texture, timbre and composition that is lacking from most contemporary work in this field.
Star Turbine / White Lines Across The Void / Discombobulate / Cassette / BOB004
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.
This is the debut LP by Olympia Washington 3 piece Broken Water. Consisting of former Sisters (Parts Unknown Records) and Congradulations members, Broken Water's sound seems to resound in the rainy coastal woodlands that they are surrounded by. Dense walls of slow swirling distortion breath out into moments of cold syrupy magma and reverb drenched beauty. Droning post punk bass grooves build foundations for constantly evolving guitar riffing and somber vocal passages, a subtle psychedelic sound as heavy as it is lite, as dark as it is colorful, and as deep as it is wide. Broken Water's dreamy take on hazy pastoral sonic exploration is as unique as it is nostalgic and provides endless amounts of killer listening. Silkscreened artwork by Shawn Reed. This is a single-copy "warehouse find" of the first pressing on Night People!"
Spine Scavenger / Weighted Ghost / Vinyl LP / Cylindrical Habitat Modules / FORTY - THIRD MODULE
Pure feedback loops processed through a faulty tape echo, occasionally sequenced to generate primitive rhythms. The title “Weakness” here not only refers to physical/social condition but also is reflected in sound, specifically in how signals decay.
"Wax & Wane" is a limited to 100 copies cassette by Church Shuttle, the latest solo project of Detroit-based Chris Durham (Roachclip, The Bibs, All Gone label et al)."
Pete Swanson, Rene Hell / Waiting For The Ladies / Vinyl LP / Shelter Press / SP001/R1
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.
Sarin Smoke / Vent / Vinyl LP / MIE Music / MIE013
Damien Dubrovnik / Vegas Fountain / Vinyl LP / Posh Isolation, Alter / Posh Isolation 144, ALT20
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.
CS-40 clear tape, limited edition of 55 copies. Sold-out-at-source. "Second chapter of Bear Bones Lay Low on the Vagaciones series (the first came out a couple of years ago on our fellow's label Young Girls from Liege), which is probably Ernesto Gonzalez most psychedelic freak-out excursus in music. On this one the leading figures are the dreamy piano melodies and the obsessive percussive lines, surrounded by an aura of minimal electronics sounds. All this recorded straight on tape and quite lo-fi, which helps keeping it trippy and foggy. Drawing by Virginia Genta, inner picture by David Vanzan shot on the Ocean somewhere around Northern California, during the Jooklo Duo & Bear Bones Lay Low West Coast tour of April 2014. ""
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."
Club Sound Witches is Matt Earle and Nicola Morton from Breakdance the Dawn. They mine keyboards and mixers for errors, glitches, distortion, and compression, chewing and macerating beats until something pastelike pushes out the other end. The signals are blurry and pulpous—almost gastronomic, like sound waves passing through so much digestion. By teasing out mechanical lapses, C.S.W. make something disturbingly corporeal—almost profane. This electronic palette does not so much elicit bodily movement as evoke the body’s movements.
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.
Mutual Process / Untitled / Cassette / Discombobulate / BOB005
Gerritt Wittmer embraces his narrative impulses on this short but dense tape. Each moment of “Unknowns” is surprising, combining Wittmer’s aktionistic vocal palette (hyperventilation, catatonic humming, garbled declarations) with grainy fuzz, ominous tonal washes, decisive edits, asymmetrical sound sequences, and loops that just keep looping, each iteration extended via unnerving, ever-lengthening pockets of silence. “Unknowns” melds the most stimulating tactics of both the Schimpfluch Gruppe and Francisco Meirino while sounding very little like either. Only 20 minutes long, but packed with more ideas, atmospheres, and distinctive moments than you’ll find in any six other tapes you bought this week. - Chris Sienko.
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.
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.
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"
"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."
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.
Eli Keszler / Tilt / CD / R.E.L Records / REL010
Orange County harsh crust, bright scrap metal manipulations atop crunchy and intricatly shifting layers of low-end noise electronics. “The nightmare lives on.” Released as a c40 cassette on the recently-revived Monorail Trespassing label.
The Vittelli label announces itself with this fine release of London’s highlife, lowlife, wildlife and everday life plucked from Ian Rawes’ vast London Sound Survey. At his day job at the British Library sound archive Rawes cut his teeth in archiving and explored its depths. Field recordings and studies by acoustic ecologists came to his attention around the same time that he was looking to create his own capital-based project. At this time the internet promised to be the great equaliser and enthusiasts’ sites like urban75, Classic Cafes, Derelict London, and Subterranea Britannica provided inspiration. Several years later Rawes is responsible for his own huge archive and has explored novel ways of presenting and preserving the recordings on his site. His recordings employ a variety of professional, home made, and adapted devices used both discreetly or in plain view. In recent years Rawes has presented and discussed his work at various institutions, galleries and events around the UK. He’s been featured in The Wire, Time Out, and has appeared on BBC R4, BBC London and the BBC World service. The selections on this LP were made by Vittelli’s Nick Hamilton and were mastered for vinyl by Graham Lambkin (Shadow Ring, Kye). These Are The Good Times comes in an edition of 300 on 180g vinyl in a colour sleeve featuring notes by Ian Rawes and Ed Baxter (Resonance FM).
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.
“It aint what you make, its what makes you do it.” Theme for a Major Hit is the soundtrack to an installation with motor driven marionette, wood, cloth, felt, tape player & external speakers made in 1974 by Dennis Oppenheim. Recorded at Angel Sound, New York in 1974. This piece consists of 15 marionettes with the artist’s face, dressed in felt suits. They are rigged to machinery that engages them in a jerky, disturbing dance to a soundtrack. Stepping into the room (and consequently stepping into the art itself, for the marionettes take full command of the space offered them) is like entering a deranged puppet show. Their words are difficult to discern, but the phrase “it ain’t what you make, it’s what makes you do it” is repeated through the music. This phrase represents the central theme of this show. The components of art, such as movement, sound, and color, are important, but it is the process of art and the meaning of that process that is the essential theme. In this show, which displays Oppenheim’s work from the last three decades, he explores the ideas of creation, destruction, and their place in art through large installations, photography, sculpture, and multimedia. Since the 1960s, Dennis Oppenheim’s practice has employed all available methods: writing, action, performance, video, film, photography, and installation (with and without sound or monologue). He has used mechanical and industrial elements, fireworks, common objects and traditional materials, materials of the earth, his own or anothers body. He has created works for interior, exterior and public spaces.” - Bio, dennis-oppenheim.com.
Michael Muennich / Michael Esposito / GX Jupitter-Larsen / The Wraiths Of Flying A / CD/CDr / Firework Edition Records
Muennich, Esposito, Jupitter-Larsen / The Wraiths Of Flying A / CD / Firework Edition Records / FER1102
"In fall 2014, I spent some time in New York City in preparation for a performance. During this time, I recorded as close to continually as I could given normal human and mechanical shortcomings – an SD card runs out of room, a battery dies, a person wakes too groggy to check the recorder or, in a flurry of activity, leaves it dormant. After a time, you start to forget the device is even there which is of course the purpose but also interacts in its own way with the frailties of human memory – if you forget it’s there you forget to check to make sure it’s functioning properly. Despite all that, at the end of the allotted time I was left with a large volume of recorded material that took me longer than I’d have liked to comb through, sort, assess and determine a structural framework around which I could wind bits of this straw into something resembling a form. In all this record of whirlwind events, I found myself most drawn to the moments at rest, in between overt actions and dialogue, and it was out of these that I constructed the majority of these pieces. It so happened that during the time of recording I was already collapsing into an unprecedentedly long, deep and unbroken depressive state. As so often can happen, the document I had planned to make and set out to make is not the one I ended up making. It couldn’t be. I believe that is reflected in the decision to form these pieces out of the absences and interstices – the pauses, misfirings, missing pieces, long sleeps and synaptic gaps and, of course, the way they make me feel. (Vanessa Rossetto, April 2016)."
Sir Richard Bishop / The Unrock Tapes / Vinyl LP / Unrock / UNROCKLP001
MV Carbon / The Sun Will Turn On You / Vinyl LP / Discombobulate / BOB008
"'The Spiral' is Frederikke Hoffmeiers third solo LP for Posh Isolation under her Puce Mary moniker, and follows where last year's critically acclaimed 'Persona' left off. Working more precisely than ever, 'The Spiral' binds the listener in a tight web of sharp synthesizers, hammering percussion, obscured vocals, field recordings, and blistering noise. Puce Mary manages to at once honour the history of industrial music and noise, as well as transform it. 'The Spiral' is harsh, but the aggression of the compositions never feels unnecessarily overstated. It is an album that is easy to get dragged into but brutally hard to get out of, disclosing the underhand of control as censurable nurture. 'The Spiral' goes through an extreme spectre of emotions, trying to be everything, feel everything, at once. The vestige of safety in dominance and submission is antagonised as audience and artist take turns being dealt blows. 'The Spiral' charts this instability as a perennial tonic in sound. With an already impressive discography and live career, Frederikke Hoffmeier has manifested herself as a key voice in new industrial music. 'The Spiral' is further proof that she has earned her praise"."
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.
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."
Posset / The King Will Never Die / Cassette / Discombobulate / BOB006
"IFCO follows up our highly ignored Stranded LP with an equally, if not more so, strong statement. Core members Karla Borecky and Scott Foust are joined by an all-star cast: Meara OReilly and Jessi Leigh Swenson from Stranded, as well as Frans de Waard, Graham Lambkin, and Dr. Timothy Shortell. The Island Of Taste depicts a manoeuvre in which the beauty becomes more beautiful as the desperation becomes more desperate. A stark and romantic mission to the rocks. Lavish package featuring an excellent Karla cover painting as well as a booklet presented as a set of 5 x 7 art cards with another Karla painting, band photos, and an essay of mine. Perhaps The Island Of Taste is the first LP to make explicit a certain nostalgia for itself. Along with The Shadow Rings Swill Radio trilogy (Lighthouse, Lindus, Im Some Songs), Id put IFCOs trilogy (Anti-Natural, Stranded, The Island Of Taste) up against anyones three LP run."-Swill Radio."
LR (Loke Rahbek) / The Fragility Of Happiness / Vinyl LP / Morte Creations / Morte_09
Loke Rahbek, Puce Mary / The Female Form / Vinyl LP / Posh Isolation / Posh Isolation 145
Backwards is very happy to announce the NEW My Cat Is An Alien studio double album! From the extended foreword insert by David Keenan: "What are we to make of My Cat Is An Alien, the duo of the brothers Roberto and Maurizio Opalio, titling this new extended sound work The Dance Of Oneirism? [...] None of the tracks have titles; instead we feel our way by number, by movement. Our co-ordinates are fixed, or more properly suggested, by the listing of instruments. Self-made double-bodied string instrument, handmade pocket harp, pedal effects, wordless vocalizations, modified analog drum machine, mini-keyboard, alientronics. But even here nothing is straightforward; everything is invented, shrunken, self-built, inchoate: alien-ated. The session was recorded – instantly composed – in MCIAA’s “Alien Zone”, situated in the Western Alps, and it sounds it. The central fact of MCIAA’s music has always been space but they have never sounded quite so far away, so removed. [...] The music is extremely sensual. The rhythms have a contrary cold/organic quality to them, the feel of the pulse as the breath is held, but soon even that dies down and we are left with an extended, timeless moment, the space between one breath and the next. Occasionally there is the sound of strings, strange steel resonances that populate the music like ghosts, the ghosts of Roscoe Holcomb’s high, lonesome sound, of Dock Boggs and the sanctified steel of Washington Phillips. Ash Ra Tempel met Timothy Leary in the Alps [...] The transmissions are fuzzy up here and at points it makes for a music of almost terrifying quiet. It is minimal, sure, but MCIAA are not so much interested in repetition as in eternal expansion. [...] The Dance Of Oneirism is a music of unknowing, a dance with a phantom, the letting go of a dream. It is MCIAA’s greatest long form work. It has tributaries that run deep into the past, ghost channels that facilitate two-way travel, even as its destination, in the words of the late Conrad Schnitzler, is determinedly future, future, future." - David Keenan. Includes a photographic Art Book by Roberto Opalio. Silkscreened image by the artist on Side D. In first 80 copies LP1 and LP2 come each in different colours."
Truly beautiful new LP, "The Circle Of Days", from UK sound/drone artist Andrew Chalk on his own Faraway Press imprint. Recorded in 2003-06 and created with field recordings, keyboard/organ, guitar, bass guitar, and slide-guitar, "The Circle Of Days" includes a return for Chalk to his long-term collaboration with Daisuke Suzuki (Ghosts On Water, Lost Shadow, Siren Records et al), who features on five of the LP's 14 (relatively short) pieces. The field recordings, mostly captured from everyday home/community life, blend with beautiful fragments of minimalist keyboard/organ runs and droning string tones that reach out, rise-up, and resonate to stunning effect, conveying celestial-like imagery of, say, light from another world shimmering in the dark of our own fog-blurred night. The sounds unfold, subliminally freezing/interrupting time, before fading into voids that sometimes leave a peculiar and wondrous sense of longing. Whilst the field recordings feel grounded in the real world, the instruments' rich sounds seem like they arrived from the ether of far-away, deep inside Chalk's expansive artistic vision. A magical and captivating piece of work, just like how shooting stars grip our gaze in wonder. Released on Chalk's Faraway Press imprint in an edition of 325 copies. Pressed on super-sounding black vinyl, mastered by Denis Blackham and housed in a sleeve featuring a reproduction of a pencil sketch by the artist himself, with layout design by Jos Moers."
"New limited edition c38 cassette tape from Tom James Scott on his own Skire imprint. "The Carousel" collects a dozen deeply-affecting instrumental pieces for guitar, piano, and keyboard, recorded during the summer of 2015. The tape's beautifully presented, with an extended j-card printed on 200gsm paper and each copy housed in a hand folded and full colour 260gsm card slipcase.""
The culmination of five years of obsessive work — fits and starts of ongoing perfectionism that spawned two solo projects and two additional records. Beginning with crude and unfamiliar source materials, each sound is examined from every possible angle, then taken apart and reconstructed along with the compositional process. From 2010 forward, each phase is represented; the past three U.S. tours have given clues, and these recordings offer more of the puzzle, but you will never get everything at once. To be experienced as foreground with no distractions.
Ace and very limited CDr by Dog Lady (Mike Collino of Alien Passengers label et al), released on UK-based Chocolate Monk label.
An ode to Gothenburg. Ten minutes focusing almost entirely on the sounds of seagulls and rain, with only tiny hints of the troubled A&M past. Recordings from a window, July 2015. Mastered by Giuseppe Ielasi. 200 copies. Black vinyl, white cardboard sleeve with postcard attached, stamped white labels, insert. Plays at 33rpm. (IDDB008)
Superdisque is the first album of the French trio formed by David Fenech (electric guitar) with Jac Berrocal (trumpet) and Ghédalia Tazartès (vocals). Somewhere beyond the borders of rock, jazz, punk and sound poetry...The vocals seem to come from another planet, with lyrics in an improvised language. The winds are blown from Tibetan human bones and conch seashells. Guitars sound like rubber and steel. Expect the unexpected. Sub Rosa.