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Loren Connors, Alan Licht, Aki Onda / Lost City / Vinyl LP / Audiomer / audioMER.013.LP

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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 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. Audiomer.


Ben Pritchard / A Drawn Out Line / Cassette / Wagtail / wagtail004

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Ben Pritchard’s debut solo album "A Drawn Out Line" settles at a fragile point between song and experiment; at once destructive and delicate. Using prepared acoustic guitar, percussion and voice he has created a series of very personal vignettes. Dove grey cassette with blue print. Hand painted and stamped cover, blue vellum insert and matte black seal. Hand numbered and limited edition released on Ashley Paul's Wagtail label. Packaging art and design by Ashley Paul and Ben Pritchard. Wagtail.


Rhys Chatham, Charlemagne Palestine / Youuu + Mee = Weee / Vinyl LP / Sub Rosa / SR367-1

Picture of Youuu + Mee = Weee
Absolutely stunning LP, "Youuu + Mee = Weee", from minimalist masters Charlemagne Palestine and Rhys Chatham. This is the first recorded collaboration between Palestine and Chatham. And it's precious. After the musical meeting with Tony Conrad (SR204), and with Z'ev (SR340), this new Sub Rosa session creates a form of trilogy. This is the first pressing, on a red/clear vinyl, released on the Sub Rosa label in an edition of 500 copies. Sub Rosa.


Amos & Crew / True Tears / Vinyl LP / War Extension / WEX 011

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A mysterious 1982 cassette masterpiece by Amos and Crew from the It's War Boys catalogue available now on LP. Remastered from the original tapes by Amos himself! Recorded in Tokyo, Japan on Mr Shiota’s old four track cassette in Mr Kitamura’s kitchen in sporadic three day binge. Recorded by Amos whilst on tour with The Work in Japan. Not on the NWW list! Existing exactly mid-way between the dropping of the atomic bomb and the moment ago when you opened this insensibly incendiary package, the throwaway aesthetic of True Tears now glows like a malevolent object in an ever expanding universe. It's an emetic emissary from the senseless empire of the incredible shrinking man, an attack of a fifty foot pylon into which The Three Stooges recklessly bang nails in the hope of a hereafter. It's above all an invocation of a truly plastic world. Nails are forced into each other's heads. Heels clatter on new vinyl steps, the apartment rents out at only slightly more than average and this is a good neighbourhood. We watch the traffic as if alert to the nuances of a symphony, the choreography at midnight might as well be some modernist masterpiece; and the descent of the planes in the darkness, tubes of incandescent cells, strikes terror into all the denizens of the deep. So when I say plastic, Douglas, I mean consider the landmarks that emerge from the fog in the landscape of the last two centuries. Ruin. Cot. Window. Corpse. Airplane. Aerial Photograph. Fossil. Groove. Pine grove. Hoover. Hoe. And so on. And then consider too the tools that allow for the forensic examination of all that matters in the last one hundred years or so, the age of relativity that has thrown up parallel universes, murder mysteries, musique concrete, detail, childhood, The Other, and a dismissal even by savants of consensus reality. Sailored, Dutchwifed and highly-refinedly laid-out by Studio Shitless. Art by Err o'. Large four-page full color insert with an essay by Ed Baxter and a text translated by Derek Bentley from the original Japanese (1982). A quintessentially sinister masterpiece issued in an edition limited to 365 private copies. War Extension.


Charlemagne Palestine / Bells Studies / Vinyl LP / Alga Marghen / plana-P alga049

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High up in a tower, accessible only by a spiral staircase that led to a concrete platform above the whole city, for seven years Charlemagne Palestine's HellsBells became the sonic mainstay of NYC 53rd and 5th. This LP collects some of the most relevant recordings from those early days. Side A presents "Bells Studies", the complete reel-tape that gives the title to the whole LP, an intense pulsating work built in five movements starting with slow hypnotic large sonorities and accelerating into more dense and maximal explosions. Side B collects some shorter Studies: "Bells", the two parts of "Confiscated Bell Tape" and an excerpt from "Dumb Bell Tape". each track recorded by the composer in one single take around 1965 and never heard again for the last 50 years! In 1963 while attending the highschool of music and art in NYC, 15 years old Charlemagne Palestine was asked if he’d be interested in playing a carillon with 26 bells at Saint Thomas Episcopal Church down the street from the Museum Of Modern Art everyday of the week at 5pm to 5:30pm. Charlemagne decided that he loved these voluptuous Taylor bells that clanged all over 53rd Street and 5th Avenue… everyday from 1963 to 1970 when he left NYC to study and teach at CAL Arts. Charlemagne soon became known as the “Quasimodo” of Midtown NYC, and his dissonant and “”klanggdedangggebannggg”” style of playing attracted a diverse group of fans from Moondog to John Cage to Tony Conrad among others. Charlemagne Palestine was able to continue to play his clanging bell soap operas for seven years dinggdonggingggg every late afternoon and sunday mornings! Published in an edition of 350 copies only with original photos from the recording sessions. Alga Marghen.


Robert Ashley / The Wolfman / CD / Alga Marghen / plana-A 20NMN.048

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New remastered CD edition of Robert Ashley "The Wolfman". This edition introduces us to the most extreme experimental side of the famous American composer. The program starts with "The Fox" (1957), the first electronic music work by Robert Ashley which already displays the future electronic music theatre style. Dark atmospheres and primitive tape collage techniques recorded at home, mixing the electronic tape and the voice in a single 'live' pass. The title track, "The Wolfman", was composed in early 1964 and first performed on Charlotte Moorman's festival of the avant-garde in New York in the fall of the same year, gaining considerable reputation as a threat to the listener's health. For the occasion instigated by Feldman, Robert Ashley composed a piece of tape music, "The Wolfman Tape", to be played along with the vocal performance of "The Wolfman". The idea of a tape composition, which is to come out of the same loudspeakers as the voice and the feedback (the main sound source for this composition), is to fill-in the ongoing performance sound and to transform the performance into an elaborate version of the 'drone' under the influence of electronics. The choice of what sounds should be on the tape is determined by the need to have the whole range of frequencies brought into the feedback, but to give those sounds a short duration-in other words, a blizzard of very short sounds across the whole frequency range-so that the illusion of the sounds coming from all parts of the room is preserved. For the performance of "The Wolfman" recorded here, produced at the University of California at Davis, Robert Ashley used an earlier (1960) tape composition entitled "The 4th of July". That composition changes gradually from a parabolic-microphone documentation of a backyard party into a layering of tape loops and tape-head feedback. "The Wolfman Tape" (1964) is, as described above, a tape composition made for a short performance of "The Wolfman". It uses tape-speed manipulation and mixes of many layers of 'found' sounds, both from AM radio and from recordings made using different kinds of microphones. "The Bottleman" was composed in 1960 as music for an experimental film by George Manupelli. The 40 minutes long version presented here involves contact microphones on a surface that holds a loudspeaker some six feet away. The loudspeaker is broadcasting open-circuit 'hum' (at the American standard of approximately 60 hertz). That pitch is raised slightly through tape manipulation and the result is mixed with vocal sounds and other 'found' sounds played back at various tape speeds. The digipak CD comes with a 12 pages booklet including liner notes written by the composer and the complete score of "The Wolfman", first issued in Source magazine. Alga Marghen


Charlemagne Palestine / Four Manifestations On Six Elements / CD / Alga Marghen / plana-P 32NMN.080

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"Four Manifestations On Six Elements", one of Charlemagne Palestine most well-known works, is included in the alga marghen "Golden Research" series of CD editions presenting the composer's relevant historical recordings. In 1973 Charlemagne Palestine was commissioned to make "Four Manifestations On Six Elements" by the Sonnabend Gallery in New York. As the gallery was well known for its presentation of conceptual art Palestine decided to create a record similar to an exhibition space with four walls to expose on, each wall corresponding to a side on a double LP record. "Two Perfect Fifths, A Major Third Apart, Reinforced Twice" (1973) is an electronic piece that deals with the search for the essence of timbre, sound color, through exploration of the inert chemical activity in the overtone series of tone fundamentals. In this genre of his work Palestine feels akin to a kind of sound alchemy - blending elements over and over again through the years searching for the Golden Sound - the essence of the chord or harmonic structure itself. In "One + Two + Three Perfect Fifths, In The Rhythm 3 Against 2, for Piano" (1973) the elements introduced are now elaborated upon on the piano. The resonant Bösendorfer allows Palestine to create a more lively and complex variation of tones, intervals, overtones and rhythms. "One Fifth" evolves by reinforcing the fundamentals of a fifth with their higher octave. Each performance of this work is different as Palestine reinterprets these simple elements listening within them for variations of amplitude, mixture and inertia at the moment of the performance. "One + Two Fifths" deals with the way a rhythmic sonority sounds when the sustain pedal of the piano in not used, thus focusing on its rhythmic aspect. Gradually by adding the sustain pedal the external rhythmic pattern begins to internalize becoming an inert part of the whole tymbral fabric - a piece expressing the battle of rhythm versus timbre for dominance. In "One + Two + Three" a third fifth is added - variations of melody and sonority reinforcements culminating in a rhythmic deceleration process ending the work. "Sliding Fifths for Piano" (1972) is an impressionistic version of the three fifths used in the entire work. The continuous liquid waterfall of pure romantic piano sound and color is a homage to Debussy, Ravel and Monet. "Three Perfect Fifhts, A Major Second Apart, Reinforced Twice" (1973) is the complexification and continuation of wall one. A pure and sonorous phenomenon. Digipack sleeve, with a full color 12 page booklet including two essays, originals score and visual materials relating to this composition. Alga Marghen.


Charlemagne Palestine / CharleBelllzzz At Saint Thomas / CD / Alga Marghen / plana-P 35NMN.090

Picture of CharleBelllzzz At Saint Thomas
HelllszzzBelllszzz! Alga marghen proudly presents "CharleBelllzzz at Saint Thomas", a CD in tri-folded digipak sleeve including the original Bells Studies by Charlemagne Palestine. "sixSIXsix"th chapter of the "Golden Research" series, these previously unreleased tracks are both some of the earliest recordings by Charlemagne and some of his darkest and most accomplished works ever. "Bells Carillon" and "St Thomas Bells", both recorded at unidentified dates between 1966 and 1968, are maximal bells pure resonating frontal attacks, building up in a structure that is already anticipating the later Strumming campaigns. Unique and clashing dissonances created like a spontaneous outburst, "instinctively" and "right away". Charlemagne played the bells right next to his body. The sounds became physical, visceral, each crack of the clapper was like a small earthquake. In 1963 while attending the high-school of music and art in NYC, 15 years old Charlemagne Palestine was asked if he’d be interested in playing a carillon with 26 bells at Saint Thomas Episcopal Church down the street from the Museum Of Modern Art. Charlemagne decided that he loved these voluptuous Taylor bells, high up in a tower and accessible only by a spiral staircase, that clanged all over 53rd Street and 5th Avenue… every day of the week from 1963 to 1970 when he left NYC to study and teach at CAL Arts. Charlemagne soon became known as the “Quasimodo” of Midtown NYC, and his dissonant and “”klanggdedangggebannggg”” style of playing attracted a diverse group of fans from Moondog to John Cage to Tony Conrad among others. Charlemagne Palestine was able to continue to play his clanging bell soap operas for seven years dinggdonggingggg every late afternoon and sunday mornings! World Premier edition of these legendary seminal works! Alga Marghen.


Augenmusik / Augenmusik / Cassette / Eiderdown Records / No catalogue #

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Augenmusik is Samara Lubelski on amplified violin & effects, Thilo Kuhn on thyllotronics, and Werner Nötzel on tapes & modulations. "Plucking tones and drones out of the air like so many ripe fruits, Augenmusik presents an audio feast of the highest form. Time stops as the violin and electronics melt together and slide across your synapses like a knife through warm butter. Dig in. Recorded & mixed at Sumsilobatem, December 2013. All music improvised in real-time. Limited edition cassette on Eiderdown Records in an edition of 100. Black and metallic green screen prints on green stock, art by Aubrey Nehring. Eiderdown.


Kambang Adzan / Floating Call To Prayer / Cassette / Eiderdown Records / No catalogue #

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"This recording was made while living in Bandung, West Java, Indonesia, around 1997 or 1998. Using a Sony DAT recorder and stereo microphone I had sought out the highest place where I lived to record one of the many thunderstorms that happen during monsoon season. I ended up recording on a rooftop where there were several caged and unhappy house-cats pleading with me (they can be heard on the recording) to let them out. I hit record and a few hours later, returned to collect my equipment. By happy coincidence I had also recorded the many Adzans, or call to prayers, from the nearby mosques. I hope you enjoy this aural slice of life from another time." Limited edition cassette release in an edition of 100. Black and metallic green screen prints on green stock, art by Aubrey Nehring. Eiderdown Records.


Jon Collin / Wrong Moves / Dream Recall / Cassette / Winebox Press / winebox26

Picture of Wrong Moves / Dream Recall
"Two distinct and somewhat palindromic mini-album length sides from Jon Collin. The first side is a series of solo guitar sketches from the autumn of 2014, whilst the second side's a slow-moving composition for piano and e-bowed strings. Edition of 72 copies. Art edition, hand-made from wardrobe door, with printed colour framed inserts". Winebox Press.


Christina Carter / L'Etoile de Mer / Vinyl LP / Emerald Cocoon / EC012

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"Stark and intimate even within a discography not lacking in stark intimacy, L'etoile de Mer was Christina Carter's first recorded foray outside of her work with Tom Carter as part of the legendary Charalambides. Recorded in 2000 and originally released as a limited cassette on the notorious Freedom From label, L'etoile de Mer presents the two core elements of Christina's sound as atomized statements: unaccompanied electric guitar on side A, unaccompanied vocals on side B. These atomized statements are pared down further still – single notes and unmoored vocal phrases hanging lonely in the jet black vinyl darkness. L'etoile de Mer's solo guitar side presents two takes of a live score to Man Ray's dreamlike 1928 surrealist film of the same name. Unlike the film, the music here is severely in focus: carefully placed single notes hang in a space made so tense by expectation that the air feels like glass under pressure. Buckling under the weight of their own naked intensity and the films obscure ritual logic both takes end with a sudden descent into a seasick pitch-shifted blur... The B side presents seven etude-like 'songs' recorded in an Austin hallway. Inspired by solo saxophone exercises Christina listens “to the sound of the voice to find my voice more clearly as entirely my own”. Unlike her later solo vocal works on Many Breaths Press (Masque Femine, A Blossom Fell, I Am All The Same Song), these pieces are meditations on sound rather than words. Tongue and throat animate the air, unconstrained by lyrical concerns, vocal shapes are carved, probed, turned over, discarded... Like all Christina's work these solo vocal meditations hold up a mirror to problematic dualities: self/other, conscious/unconscious, freedom/control...." Mastered by Sean McCann. Cut at Dubplates and Mastering Berlin. Heavy card stock silkscreened covers. Edition of 300. Emerald Cocoon.


A. Bolus / Tropical Poolside Drainage / Cassette / Vitrine / VT09

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It’s with great pleasure that Vitrine announces its next release, a platter of scatology and whirl courtesy Andy Bolus. For over twenty years, Bolus has been releasing tape and junk decollage, both solo as Evil Moisture, and in collaboration, either with Mark Durgan as Olympic Shitman, or with acts as distinct as the Hanatarash, Smell & Quim and Macronympha. On Tropical Landslide Drainage, Bolus degrades field recordings and sabotaged rhythm with a swelter of cassette-based Kintsugi. Bolus follows up an impressive string of Evil Moisture releases on his own School of Meat Cutting imprint with forty minutes of minced sound which is both unremittingly hermetic and hysterically depersonalizing. A confusing melange of sampled screams and homespun electronics give way to bricolage and physical action. The intimation of voice is buried underneath flutter and the crackle of wind. Limited to 100 copies. Vitrine.


Copley Medal / Marble Cage / Cassette / Vitrine / VT07

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Vitrine is proud to welcome Copley Medal to its 2015 roster with Marble Cage, the latest release from New York-based artist Ryan Martin. Diffuse electronics cross-pollinate with delayed circumlocution across two side-long tracks which take Martin deeper into a collapsed sun of sound. Marble Cage consolidates the sonic approach heard on previous releases such as the Mauve Decade (Ascetic House) and Sabbath (Robert & Leopold), combining the rough hewn panic of Mail Art-era power electronics with a somber organizational determination. And while Martin retains a studied patience throughout, the clustered haze of electronics firmly locates Copley Medal in the same psychedelic mire as Hole in the Heart-era Ramleh. An airtight garage of displaced rhythm and otherwise unspoken environment. Mastered by Kris Lapke. Limited to 100 copies. Vitrine.


Mutual Process / Untitled / Cassette / Discombobulate / bob005

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Untitled and limited to 50 cassette release on Discombobulate. "Twin-headed hydra shaking a scaly fist at God! Prepared and excitable strings connect to rubbery electronics creating very English tabletop improvisation with a US-style caffeine buzz. Static roars and lighting fidgets; pregnant notes hang lazily in the mist. The mid-section creates a space for Adam Denton’s Submarine Dub and the healing power of Sean Cotterill’s harmonic fuss. The closing moments? A complex re-birthing as serpent swallows its own tail. Adam Denton is a Sound Artist working primarily with the slithery tones that live within improvisation. Sean Cotterill’s work straddles the ocean of skronk guitar to live programming ‘ones’ and ‘zeros’". Discombobulate.


Posset / The King Will Never Die / Cassette / Discombobulate / bob006

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Limited to 50 cassette release, "The King Will Never Die", by Posset. "Cassette tape in a run of 50 copies. In a sly tribute to the late, great Shimmy Disc label of New York City Posset rescues similar rare-breeds of bacon to join his Dictaphone melange. Secretly recorded bus chatter, posh Number Poetry skits and a hobo coven meets Ian (legalise it) Fleming with vocal nu-scat to tread giant piano keys like Tom Hanks in BIG. Fans of order, sense and precision need not apply. Posset doggedly pursues a tape-based future." Discombobulate.


Star Turbine / White Lines Across The Void / Cassette / Discombobulate / bob004

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Limited to 50 copies cassette release, "White Lines Across The Void", by Star Turbine. "Living bric-a-brac pulls itself together clicking like raw peas. Cadets Sindre Bjerga and Claus Poulsen jointly tweak various close-miked micro-sounds to flood into your gracious ear ‘oles and master the erotic squeal of leather rubbed with a moistened finger. At one moment the intense pressure waves promise to painfully stretch those ear drums tight; in another a junk-yard gamelan made of tin cans and string ‘poing’ and ‘ping’ with off-camera heavy breathing. The art of meta-sound-collage-improvisation presented with heavily perfumed panache. Sindre Bjerga (Norway) has released over 100 records of his deeply personal take on that drone chestnut across our world. Claus Poulsen’s (Denmark) Sci-Fi electronics grace the great Small Things on Sundays and an increasingly weighty slew of solo and small-group interventions". Discombobulate.


Rie Nakajima / Four Forms / Vinyl LP / Consumer Waste / cw17

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Rie Nakajima is a Japanese artist based in the UK. She has exhibited and performed all over the world charming audiences with her inventive works of mechanical bricolage. In 2014 she received the Arts Foundation prize for Experimental Music. She co-curates the event series ’ ‘Sculpture‘ with David Toop and has collaborated with Miki Yui, David Cunningham, Phill Niblock, Pierre Berthet and many others. Four Forms is the first audio-document of Nakajima’s work, comprising four pieces recorded in Oxford in January 2014. Consumer Waste. "Sources of sound that have the lives of small creatures, maybe small creatures that hibernate in darkness but then come to life when exposed to the light. These creatures of which I speak are activated to perform their own cycles of drumming or scraping, all working together as if moving inexorably toward the sudden miraculous synchronicity of flashing light that a few fortunate observers have seen in firefly displays. What I am saying, should it be unclear, is that this is a kind of intensely rhythmic music performed by an extra-human ensemble not susceptible to the orthodoxies of human culture, in a sense a step into another dimension." - David Toop.


Various / Byron Recital Hall No. 2 (November 20, 1014) / Cassette / Alien Passengers / alienpassengers#25

Picture of Byron Recital Hall No. 2 (November 20, 1014)
"An hour outside, far from the prison in the room". (January 30, 2015). Tyler Hicks, Sam Hooker, Knox Mitchell, Heath Moerland, Brian Schmidt, ad Weird Gary. Released on a black cassette in an edition of 100 on the Alien Passengers label.


Morton Feldman / For Bunita Marcus / 2 x Vinyl LP / God Records / god27

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In the 1980's, Morton Feldman composed two large-sized pieces for his favourite instrument, the piano. Both pieces, Triadic Memories (1981) and For Bunita Marcus (1985), clock in at about 90 minutes. Both compositions are excellent examples of the group of works that they belong to: Triadic Memories demonstrates the complexity and tonal opulence of Feldman’s pattern compositions from 1977 through 1983, whereas For Bunita Marcus shows the stripped-down, almost dismissive structures of his last works created from 1984 to 1987. Feldman himself described For Bunita Marcus as a piece in which he “seriously grappled with the idea of meter”. God Records. “ I was very interested in this whole problem of meter and the bar line. I was so interested that I started to write a piece in which I took meter very seriously. I saw that nobody knew how to notate. Sometimes, Stravinsky! In my notation I'm close to Stravinsky; that is, meter and rhythm actually being simultaneous and also being more grid-oriented, a balance between rhythm and meter. For Bunita Marcus is essentially made up of just three-eight, five-sixteen and two-two. Sometimes the two-two would have musical content, which was at the end of the piece. Sometimes the two-two acted as silences, either on the left side or the right side or in the middle of the three-eight and thefive-sixteen, and I was using meter as a construction, not rhythm but meter and the time, the length of what is going on.” Exceprt from liner notes by Sebastian Claren.


Graham Lambkin, Michael Pisaro / Schwarze Riesenfalter / CD / Erstwhile Records / erstwhile075

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New CD, "Schwarze Riesenfalter", a collaboration by Graham Lambkin (Kye Records, The Shadow Ring etc) and US-based composer Michael Pisaro. Mastered by Jason Lescalleet and with layout by Matthew Revert. Released in CD format on Erstwhile Records.


Jim O'Rourke, Keiji Haino, Peter Brotzmann / Two City Blues 1 / Vinyl LP / Trost Records / TR126

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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.


Jason Lescalleet / This Is What I Do Vol 5 / CD / Glistening Examples / TIWIDV5

Picture of This Is What I Do Vol 5
The latest release in Jason Lescalleet's "This Is What I Do" series. Vol 5 is released in CDR format on the artist's own Glistening Examples label. Nine tracks, recorded in January 2015. Glistening Examples.


Andrew Chalk / Ghosts of Nakhodka / Vinyl LP / Faraway Press / FP024

Picture of Ghosts of Nakhodka
A new album, the sister of Ghost of Nakhodka in some ways (Siren Records 2009), but entirely new and different material. 'Ghosts' is all played on a monphonic synthesizer and recorded directly to two track tape. Evoking memories of dreamy postcard memories and snapshots of another time and place. Moving in 13 parts to a final conclusion- 'Map of the World'. Released on Chalk's own Faraway Press label on vinyl LP in an edition 300 copies. All albums contain a specially printed insert and postcard set, printed on 350 gramme cream paper stock. DMM cut, pressing on 140gramme vinyl, sleeve design and layout by Andrew Chalk and Jos Moers. Inserts printed in offset by Andrew Ostler. Faraway Press.


Robert Haigh / The Silence Of Ghosts / CD / Siren Records / Siren024

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Veteran UK musician/composer Robert Haigh returns to Siren for the first time in three years. Although not a major departure from Haigh's previous work for the label (three albums of piano music released between 2009 and 2011 subsequently known as the Siren Trilogy) this 18 track collection benefits from a wider pallet of subtle sonic textures. With The Silence Of Ghosts Haigh has visioned a journey through strange and beautiful terrain - a topography of fragile melodies and muted discords. The opening track, Song Of Selene, is a spacious, hymn-like nocturne; hauntingly stark and reflective. In Another Light is an off-beat waltz (3/4, 2/4 time) in which a cyclic theme explores major and minor keys with subtle electronic shimmers. Crooked Mile is a Satie-esque outing featuring an angular melody that climbs through strange modal keys to a discordant destination. The title track The Silence Of Ghosts is achingly melodic, yearning and touching - a eulogy to things that have passed. Where later tracks such as Happening no. 1 and 2 explore Haigh's gift for improvisation, the ghostly Demian Air presents a deep sonic excursion through electronic textures where submerged piano notes echo across alien terrain. The closing track, New Cross Counterpoint, was originally based on a refrain from Haigh's own earlier composition of the same name (from A Waltz In Plain C). The track with its Glass-like arpeggiated piano counterpoint subsequently took on a life of its own but Haigh decided to keep the title anyway since it 'felt right' for the piece. The Silence Of Ghosts is a mature and deeply reflective work employing Robert Haigh's distinctive subverted melodies and spacious counterpoint. This collection should appeal to fans of Satie, Debussy, Harold Budd, Philip Glass and Max Richter. All tracks written and performed by Robert Haigh. Mastered at Skye Mastering by Denis Blackham. With artwork by Andrew Chalk and sleeve by Saul Haigh. Siren Records.


Philip Corner / Through Two More-Than-Mysterious Barricades / Vinyl LP / Roaratorio / roar36

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“Les Barricades Mistérieuses,” the harpsichord gem by French Baroque composer François Couperin, has been a long-running source of exploration for Fluxus musician Philip Corner, who for years has used it as a jumping-off point for piano improvisations. Through Two More-Than-Mysterious Barricades comprises two very different takes on the same piece. The first dates from 1992, in collaboration with dancer Paulette Sears (who provides the ‘singings and screamings’ of the album’s subtitle); it moves from a frenzy of abstraction to a more meditative take on Couperin’s composition, with diversions and tributaries along the way. The second, from 2004, is a rougher beast: recorded with wildly over-saturated levels, the tape machine itself becomes a participant in the performance, with its heavy distortion bringing out stormclouds of overtones from Corner’s piano. Through Two More-Than-Mysterious Barricades is released in an edition of 318 copies, with Corner’s calligraphy silkscreened on Kozo rice paper and mounted onto the jacket. Download coupon included". Roaratorio.


Robert Ashley / String Quartet Describing The Motions Of Large Real Bodies / How Can I Tell The Difference? / 2 x Vinyl LP / Alga Marghen / plana-A 10NMN.030

Picture of String Quartet Describing The Motions Of Large Real Bodies / How Can I Tell The Difference?
String Quartet" was composed as the potential orchestra for an opera based on the text of "In Sara, Mencken, Christ and Beethoven There Were Men and Women." When the work was composed in 1972, it was clear that a huge change in electronic instrumentation was just beginning, a change that would involve computers and sound producing devices as yet undreamed of. The piece consists of an electronic orchestra of 42 sound-producing modules. The technique of the string quartet is for each player to make a stream of intentional but unpremeditated (that is, random) very short sounds, pulses, somewhat like pitched clicks, but with the formats and overtones of a string instrument (this idea came from the rumor of a performance by Takehisa Kosugi). These sounds go directly to a set of four loudspeakers, but at the same time they are delayed electronically, and those delayed sounds are sent to a series of seven networks of sound-producing modules activated by the very brief coincidence of an original sound and a delayed sound. The operation of the networks as a result of the coincidence can, in the theoretical world of electronics, produce almost any sound imaginable. In the performance recorded here few of the technical resources were available. Now, of course, there are computer "patching" programs that would make the job possible, but complicated. Such are dreams, when technology promises a "new world." Sort of like 1492. The hills and mountains separating San Francisco Bay from the Pacific Ocean are filled with a labyrinth of endless concrete tunnels constructed by the military in the 1930s in anticipation of World War II to defend San Francisco Bay from invasion. At the entrance of every tunnel is a huge steel door. When the door is slammed, the reverberation through the labyrinth seems to last forever. It is one of the wonders of the world. Naturally, Robert Ashley tried to record this phenomenon. On the occasion of the recording, just as the reverberation seemed to die away, a motorcyclist, miles away in the tunnels, started coming closer. The effect, which took minutes, was as if the reverberation had been reversed, as if the tape recording was running backwards, a perfect case of coincidence as illusion. In "Version One" of "How Can I Tell the Difference?" the composer tried to create the drama of the recording of the reverberation and the motorcyclist, using the string quartet as an "orchestra," in the way it is intended to be used in the opera. In "Version Two" of "How Can I Tell the Difference?" a solo string player using the same playing technique as in the string quartet opens and closes the sound "gates" to electronic reverberations and prerecorded sounds running continuously with the performance. This edition comes in a color gatefold LP cover with a new graphic and lay-out. A double LP set with three recorded sides (side 1, 3 and 4; side 2 is blank). Edition of 500 copies only." Alga Marghen.


Charlemagne Palestine / Relationship Studies / Vinyl LP / Alga Marghen / ALGA031

Picture of Relationship Studies
includes 2 seminal electronic music radical realizations by Charlemagne Palestine, or 'Relationship Study No. 1' (1967) and the generally titled 'Electronic' from the same year. Sounds in motion like race cars, motor cycles, war planes, rocket ships excited Charlemagne sonic imagination when we was still a young teenager. Then came the experience of listening to the electronic music of Tod Dockstader, Alwyn Nikolais, Pierre Henry and Pierre Schaffer, Xenakis and Poème Electronique by Edgar Varese. Immediately fascinated, Charlemagne Palestine bought primitive electronic equipment and started to experiment, creating his original electronic-esque language. The two previously unreleased 18 minute masterpieces presented here directly come from this early period of intense experimentations in a fluid, ever-changing mix of adding and filtering white noise and simple sine tone generators. Both pieces are late night compositions created at the electronic music studio of the New York N.Y.U. Intermedia Center using Buchla 100 and Buchla 200 systems. Even if dating back from the mid-1960s, these intense sonorities might very much recall the best early power electronic scene from the late 1970s, in particular to the first brut music works created by Maurizio Bianchi. For sure they represent a very unique and inspiring approach to electronic creation, sounding more and more actual and surprising nowadays. Edition limited to 350 copies." Alga Marghen.


Charlemagne Palestine / Two Electronic Sonorities / Vinyl LP / Alga Marghen / plana-P alga038

Picture of Two Electronic Sonorities
"Alga Marghen proudly presents two seminal electronic music radical realizations by Charlemagne Palestine. These previously unpublished pieces confirm once more how advanced his Golden Research already was in the 1960s, a very personal approach to sound which would have later become so influential for future generations. 'Continuous Sound,' built by an ever-changing mix of adding and filtering white noise and simple sine tone generators, is the most solid sound construction that Charlemagne created in preparation of his lost electronic masterpiece 'L'Avventura,' inspired by the Michelangelo Antonioni movie with the same title. 'Continuous Sound' pre-dates 'L'Avventura' of just a few months and with its suspended atmospheres and its deep sense of mystery represent one of the most fascinating sonic works by Charlemagne Palestine. 'Crown Chan' is an electronic music piece created for a dance by Gus Solomon in 1970. Conceiving music for dancers gave Charlemagne the possibility to experiment and manipulate the reel tapes of some of his electronic sonorities. In a previous collaboration with Gus Salomon, Charlemagne created a new sound by simply superimposing two already existing and accomplished electronic drones. 'Holy1' and 'Holy2' thus became a completely new sonority titled 'Holy1+2' (these works were included in the CD titled Alloy, also issued by Alga Marghen). In the case of 'Crown Chan' Charlemagne worked in a more structural way, shaping his electronic sound materials into two stereo reel tapes (titled 'Crown Chan' 1&2 and 'Crown Chan 3&4') which also integrated silent parts and were meant to be played back simultaneously, thus providing a powerful live music for the dancers. Edition limited to 380 copies, with an institutional portrait of the composer on front and back sleeve for you consumers to enjoy." Alga Marghen.


Kateboard / That's Not A Helicopter / Cassette / OSR Tapes / OSR#16

Picture of That's Not A Helicopter
Katie: "The first recording we did was Oh Bury Me Not, and it was our first time playing together like that. Jesse accidentally cut off a part of his thumb on New Years Eve, so he was really tired and we were spending a lot of time sitting down. Right after recording the song into a handheld tape machine, we recorded a bunch of chords. Later that night, Jesse put the tape onto the computer and collaged the chords onto our song. This is an exact description of what happened. We decided to call it Kateboard and make this process our model - to only do one take and to be pretty free and quick with decision making; To simply record it all into our handheld tape player, and to add a layer or joke after the fact if we wanted to. We could maybe capture a certain sort of excitement or freshness this way. We saw a short video documentary about Keith Haring. He said that he didn't pre-plan too much or overthink because then his art could be as consistent as he was. We both like that idea a lot. The mistakes are important to us, they let the music have roughness and warmth. That's Not a Helicopter started as a way for us to pass the time in the winter. We're struggling a little bit to write about it because it felt like a very natural way for us to relate to eachother... We don't think it addresses goals that we have as much as it is just a consequence of our spending time together. In his memoir Palm Sunday, Kurt Vonnegut complains about his contemporaries saying that many of them "cannot be funny even when it is time to be funny." This is a feeling that we can relate to about some of our own contemporaries. The tape should sometimes be funny. " 37 minutes , art by Kateboard w/ partial design by Christina Schneider. OSR Tapes.


Moth Eggs / Recursive Surfing / Cassette / OSR Tapes / OSR#19

Picture of Recursive Surfing
Some people come to be known as "naturals" because music seems to spontaneously create itself in parallel to any of their kinetic activities, but these special cases don't necessarily enjoy any cleaner or easier a relationship to their work . all this to say: it's lucky Francis Carr likes music as much as it likes him! This tape collects material recorded in Brattleboro VT during the final years of the Happy Jawbone Family Band [the other 1/2 of whose songwriting team now ploughs the field w/The Lentils] & after F.'s subsequent withdrawal to Connecticut. So Recursive Surfing's a real grab bag: imagine the most slobber-inducing home-recording / power-pop compilations or whatever & you've got a pretty good picture. 'Cause Franky isn't just a multi-idiomatic hit songwriter (reclusive, inverted, cassette-memory Newell / Pink style on "Death On Willie Mays Avenue", Gizmos / Lovers punk on "Generic Love", "Coffee Shop", Pooh Sticks / Crime Time on "Twist Of The Knife", blah blah etc.); he's also a top-caliber hardly-repeats-himself-and-never-wants-to ADAT, cassette & laptop recordist who gets interesting) results. I don't wanna insert this copacetic , pure-servant-of-rock's-best-qualities into my own personal polemic so I won't even mention how much better this shit is than what gets the imprimatur of the contemporary garage rock empire (of course secretly under sway of the same blanded-out '90s "college rock" dynasty the rest of us have been strenuously avoiding even thinking about since its inception). But there, I said it! My friend made stuff as shockingly good as Hybrid Kids, as Amos & Sara, & I'm proud to share it w/you (in 2014 , no less, when music like this is, to my mind, hard to make! 46 minutes, art by Jo Miller-Gamble & Trebor Broadbentium. OSR Tapes.


Ian Kovac Jr Jr / You'll Know It When You Feel It / Cassette / OSR Tapes / OSR#17

Picture of You'll Know It When You Feel It
Like the other members of his recently-former group Guerilla Toss (he served his tenure on the flamin' Sixtrak, x-tendo technique galore), Ian marinated his (in his case, double bass) chops in that slurry of woodshed rigor & (aesthetic) student resistance they enculture over at the New England Conservatory in fair Boston-town (Ian himself studied jazz at the U of Vermont but has been swimming in the NEC alumni network). Of course this tape is a far cry from the Toss, the Conservatory or anything else, so please excuse me for the violence of venturing a contextualization for this original 4-track music . Some songs could be described as New Wave w/ gestural melody ("Camera") , some are in possession of the brand of harmonic thickness & melodic travel my mind associates with C. Weisman ("Just A Rock" , "Flypaper"), & some are just plain out there. Ian is a magnanimous & focused musician & this tape is no doubt the tip of an iceberg OSR can only hope will sink the USS Art Culture once and for all, in one fell swoop even acclimating its spiritually emaciated inhabitants to aquatic respiration and reverence for the mystical, sonorous behemoths that encircle all those ready to "go deep" into their art in a contemporary nautical ballet I like to call "real freedom". 31 minutes, art by Ian Kovac Jr Jr & Christina Schneider. OSR Tapes.


Various / Music On A Tape: Songs By Chris Weisman / Cassette / OSR Tapes / OSR#18

Picture of Music On A Tape: Songs By Chris Weisman
The Chris Weisman of 2014 might prefer to be music in the room but the rest of us are still listening to his tapes and blowing our minds. Over 50 people threw down for this compilation; the amount of work is a testament to the originality & thrust of Chris's songwriting & his general musical presence. In fact, non-famous music is doing very well these days -- we don't even need funding from your well-regarded institution -- and it's thankful that the tiny doses of recognition some of us practitioners have received from the official vanguard and the generalized hype consortium have acted as a kind of common vaccine inoculating us against more significant impositions to our personal procedures of art veridiction. This tape might as well be a Grammy , tho it was borne on no ceremonial airs: just the accidental house-show shoulders of a gratefully disorganized, often silent, periodically effective community. Tape : 110 minutes , 11"/17" foldout art by Chris Weisman. OSR Tapes.


Dream Scene, The / New Emotion b/w Behind The Scenes / Cassette / OSR Tapes / OSR#21

Picture of New Emotion b/w Behind The Scenes
As a terrestrial human being Javier Morales (the Dream Scene, ex-Bubbly Mommy Gun, ex-Quiet Hooves soothsayer) is such a nest of humble poise apparently unconcerned even to the extent of this reporter with the kind of trivial matters that dog experienced & effective musicians that I hesitate to even venture a description of his work. Non-curatorial digital crate digger / enthusiast, videosmith, arranger & producer (potent on cassette multitrack but also living proof that GarageBand, iPad, a mic & a MIDI keyboard are more than enough) ... dude's got it all, dude! Javier is a definite part of a network of fastidious too-busy-to-chase-fame literal masters seemingly epicentered in Athens, GA [if you want to familiarize yourself with the crop, start with the Party Party Partners crew & Wild Of Night] maybe more of us should attempt to convince Mr. Morales to release his copious (& I mean copious) acoustic jewelry for public adornment, or maybe we should just leave him to his own devices, he seems really happy ...10 minutes, art by Javier Morales. OSR Tapes.


Palberta / Shitheads In The Ditch / Cassette / OSR Tapes / OSR#22

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They've done it again! Since My Pal Berta (OSR#12), experts of self-likeness Ani I.-B.,Lily K. & Nina R. + engineer Paco C. [Big Neck Police, The Cradle] have been working hard & it shows! Strengthened by extensive practice & contact w/ external social & musical forces (read : touring)the Palbertans' friendly muscular ambiguity (always funky, always loose; always funny, always serious; always cooperative , always individualistic) kills as usual. Lily: "my influences are Nina and Ani" . Hell yes! This band rules, you won't -- you can't -- expect them. 21 minutes , art by Palberta & Stefan Yf with design help from Christina Schneider. OSR Tapes.


Ed Askew / Rainbow Bridge / Cassette / OSR Tapes / OSR#20

Picture of Rainbow Bridge
Ed Askew says: "this album was recorded and mixed on cassette tape from May 98 through Feb 99. It was mostly played on a Yamaha 360 electronic piano, using the keyboards' drum machine and other sounds besides the "piano". The title came from a film I once saw about Jimi Hendrix." OSR Tapes says: I met Ed & his music during bad, questioning times in early '14. Immediately on hearing/seeing his voice & attendant hand motions my increasingly anemic hope for musical community was fully resuscitated & absolved of shame for its nudity. Ed's been making his beautiful music -- emphasis on his -- for a while now (paintings , too) & this perserverence, to my mind, equals valor. Rainbow Bridge is an awesome slice of late-'90s multitrack Askew à la Little Houses. Ed is the only person I know who sings like a poet & writes like a singer. I just don't know what else to say about this gorgeous album of humble truth & certain melody. Except : thanks Ed , keep it up! 52 minutes , art by Ed Askew. OSR Tapes.


Jimmie Packard / A Time To Look Back / Cassette / OSR Tapes / OSR#23

Picture of A Time To Look Back
Experienced luthier, operator of Jimmie Packard's Instrument Repairs in his hometown of Wilder, Vermont, daily music instructor, radio DJ (WNBX Springfield) & more, bandleader (Jimmie Packard & the Atom Bombs, Jimmie Packard's Orchestra), ridiculously prolific home recordist, & father, Jimmie Packard was born on St. Patrick's Day 1919 and passed away July 23, 2003. What we have here is a "reissue" of one cassette of a series locally circulated by Mr. Packard in the 1970s and '80s at his many (according to his son, Jimmie Sr. played "over 6000 weddings", including 5 for the same man) many regional shows. A Time To Look Back is a collection of standards, multitracked on homemade guitars with the kind of improvisational freedom accessible to seasoned lifer musicians. Hopefully this cassette marks the end of a dearth of available recordings by Mr. Packard. My infinite thanks to Jon Appleton, who gave me this cassette as we liquidated his tape collection, and to Jim Packard Jr., who graciously authorized the public release of this absolutely incredible music. The secret history of Vermont lives on ! 60 minutes, original design by Jimmie Packard, formatting by Christina Schneider. OSR Tapes.


CE Schneider Topical / Look Who Showed Up Out Here / Cassette / OSR Tapes / OSR#28

Picture of Look Who Showed Up Out Here
Christina Schneider's been writing songs her whole life and recording them for years -- this is her first album. At the inception of our collaboration the division of labor was clear but we began to write collaboratively & I became a bassist & now this is our first album, too. It took a year to make; internal vogues pertaining to songwriting & to the representational politics w/r/t recording shifted, stop-motion-fast-forward of a leaf growing falling rotting etc.: time passed. What to say about these songs? Their weird bouquet reminds me of no other. Fourteen poems written in new letters, completely legible if you wear your spirit glasses. Of course it's hard to know what to say . read the addendums for more fumbling :) 31 minutes, with art by Christina Schneider. OSR Tapes.


Ruth Garbus / Joule / 7" Vinyl / OSR Tapes / OSR#27

Picture of Joule
Joule is Brattleboro , VT artist Ruth Garbus's third solo release following a tape on Burger & a CD on Autumn, & her first self-recorded in multitrack format [tho as a former member of Feathers & Happy Birthday she is plenty experienced w/ all kinds of recording methodologies]. Ruth is a favored songwriter in her hilly locale, probably because not only is her orientation toward her fellow artists charitable & not only are her songs without exception exactly right but because she really takes her time hewing, tracking, & mixing these joules [consequently bending out of reach of the myth-grab of "the prolific Beatleboro songster"]. As a result of the intense care she applies to every song, each seems to voice (musical, lyrical) ideas drastically different from the last. This EP is just a slice of Ruthie's power but it'll feed you for a long time . (Am I betraying my high-SPF calculated-hype-blocking raw enthusiasm for this music? I just really can't believe how good these songs are, these recordings ...). 11 minutes, art by Ruth Garbus, w/ x-tra vocals by Julia Tadlock. OSR Tapes.


Chris Weisman / Monet In The 90s / Vinyl LP / OSR Tapes / OSR#24

Picture of Monet In The 90s
Part of an incredible run of 12+ platinum records NH-born Brattleboroite guitar teacher Chris Weisman recorded to his blue Tascam 4-track from 2008 to 2012, Monet In The 90s is maybe the most concise proof of his Lennon-McCartney / Bacharach-David / NH-VT quality internal songwriting team. I feel a little guilty making statements about art so good it can only buck them. Chris is the kind of musician who generates new theoretical paradigms on the regular, experimenting extensively with the implementation of fully novel concepts, and then leaves all that behind when it's time to make a song. Rewardingly, this level of experience creeps into the recordings, but palpably as an intuitive impulse rather than as a pedantic, self-conscious affectation. It's only a matter of time before the spin-cycle that is the contemporary music market politics turns its rotating eye from the reissue of "lost genius works" from past decades to the activities of today's spiritual masters of music . Why wait until then to hear Chris's songs? I know music isn't supposed to be fair, but if 100,000 people aren't spinning Monet by 2020, hindsight is an outrage. 31 minutes, art by Sarah Smith, and mastered for vinyl by KRAMER at Noise Miami. OSR Tapes.

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