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

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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.


Sweat Tongue / Skene's Gland / Cassette / Cold Milk Records / cold milk 02

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Skene's Gland is a re-press of a Sweat Tongue tour-tape made specially for their trip to Australia and New-Zealand in 2014. This one shows some more muscle than previous releases (is that actually a bass string we hear on that guitar?!) But still their trademark abrasive mix of "razor-sharp guitars, cavewoman drums, intense vocals, junkyard noises" and "The Shaggs play The Ex" vibe. Artwork by Gijs Deddens. Edition of 50 with blue insert by Ms. Blue Balls. - Cold Milk 2015.


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

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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.


Philip Corner / Metal Meditations / Vinyl LP / Alga Marghen / C 1NMN.008

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Originally released in 1997. "Metal Meditations is the culmination of many years experience and experiment with the properties of resonant metal objects, whether intended for music for not." --Philip Corner; One side is taken from a 1974 performance at Merce Cunningham's studio, performed by David Behrman (electronics and performer) and others. There is also a 1975 performance with Bill Fontana and Corner (long metal pipe with active microphone) as well as a short version from the Avant Garde Festival in Cambridge, MA, 1978. Alga Marghen.


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.


Charlemagne Palestine / SchlingenCassettenBlängen / Cassette / Close/Far / c/f025

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"Close/Far Recordings is positively elated to publish an unreleased version of Schlingen-Blängen, from Charlemagne Palestine's personal archives, recorded in 1977. Palestine considers it to be the first official recorded version of Schlingen-Blängen that pre-dates the only other published version, recorded in 1988, by eleven years. Both pieces were performed on the same church pipe organ in Delfzijl, Holland by the North Sea. Because the master was recorded on cassette, informing the character and atmosphere of the piece, and since this new edition is once again on cassette, Charlemagne has named it SchlingenCassettenBlängen. This analog magnetic tape captured version from '77 is exquisitely dark and humid in comparison to the wonderfully bright and crisp digitally recorded version from '88. It will also be the first full-length solo Charlemagne Palestine work ever released on cassette. SchlingenCassettenBlängen is colored by the nuances and flaws of being a decades-old cassette tape which Charlemagne feels embellishes the recording, making it a special new work. Or as he says "It'sssss Casssettennnn magiccccc!!!" The intermittent speed warping and out of tune tape sliding invites a rich dialogue with the mechanics of the cassette itself and fundamentally with time. Clocking in at 90 minutes long it stretches out in an ethereal fashion that is simultaneously ruminative and tempestuous documenting Charlemagne's organ playing in a particularly elegiac, painterly, and ultimately sublime mode. Fortunately, this important but hidden early document is now preserved enabling us to experience a very special chapter in Palestine's recorded oeuvre highlighted by a truly ecstatic final passage that stands amongst his most emotive, mystical, and powerful moments". Close/Far; —N.N.N. Cook, 10/14.


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

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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

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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

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"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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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.


Blanche Blanche Blanche / Hints To Pilgrims / Vinyl LP / OSR Tapes / OSR#25

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Hints To Pilgrims was the product of a fraught time. Post-Breaking Mirrors, amidst NY exodus acclimation, phantom knocks of "opportunity", & generous social shifts, I concocted a blindingly elaborate methodology to serve as the basis for a planned double album, in which a teetering tower of collaborators were invited to participate. Thankfully, these recordings, intended as "demos", survived the failure of my methodological artifice, & once-&-for-all toppled my inherited, head- strong ambition to create "great works". As I wrote to Chrissy W. on New Year's Eve 2013: these songs are the product of sustained personal and collective emotional insight fostered by the songwriting process ... they are true poems about our lives, not offered up for the "benefit" (like a punishing school- master who wants to beat "what's good for the culture" into it) of some imaginary collectivity, but just from me, from us, as I think when I'm thinking well , as I think when I'm with Sarah, as we play, as we do our imagination dance we have always loved to do since we met as the same outcasts we are today ... I can't help anybody to see anything in these songs, and I'm finally realizing that's for the best! Why revisit these songs, why complicate them? Robert Desnos : it may be that great poetry is necessarily for right now". Sung singing, sung words, piano, bass. Appearances by Nachman of Bratslav, Graham Brooks, Adam Steck, Kurt Weisman, & Colin White. 36 minutes , cover/back painting by Alexis Graman, comes w/ lyrics insert mastered for vinyl by KRAMER at Noise Miami. OSR Tapes.


Hartley C. White / This Is Not What You Expect / Vinyl LP / OSR Tapes / OSR#26

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Hartley C. White grew up in Central Kingston, Jamaica. For the past 30 years he's been living in Corona , Queens. A student of martial arts since 1966, Hartley is the progenitor of a style he calls Who-pa-zoo-tic Music , "a non-classical music" based on the "broken rhythm" of Bruce Lee's jeet kune do. Hartley : "'Who' indicates its lack of restrictions, ability to change, while still being an unknown. 'Zoo' indicates it deals with life in its various forms and conditions." This Is Not What You Expect (& it really isn't) is a vinyl compilation of material from Hartley's first four albums (all self-released and currently available on CD) , recorded 1984-2009. Hartley notates his arrangements for a variety of instruments; selections on this compilation include live-in-the-studio cuts but these are predominantly overdub recordings collaboratively sculpted by Hartley and engineers Jeff Lin , George Dugan & Josh Silver [Type O Negative] . Guest musicians include Larry McDonald [Bob Marley, Lee "Scratch" Perry, Gil Scott-Heron, Taj Mahal, etc.], saxophonist Tom Smith, vocalist Angie Rodriguez, and the amazing guitarist Vinny Giannettino. Hartley's music is holistic, addressed to you and me. Under consideration is the entire contemporary and past landscape of time and being, from the shape of a joke to the cry of the disenfranchised to the observation of flowing water. This compilation speaks to White's undying commitment to the intuitive and instructive power of music and to the meaningful partnerships Hartley has forged with a series of creative engineers and collaborators, who have helped him realize entirely new kinds of music with finesse. Hartley is one of the most compassionate, disciplined, & original musicians I have ever met, & I'm extremely proud to share his work with you! 41 minutes, art by Hartley C. White, front design by Christina Schneider , w/ lyrics insert, and mastered for vinyl by KRAMER at Noise Miami. OSR Tapes.


Toukaseibunshi (透過性分子) / Stratosphere Sound / Vinyl LP / Art Into Life / AIL012

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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.


New Blockaders, The, Artbreakhotel / Haikagura (灰神楽) / CD Box Set / Art Into Life / AIL003

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(This album has been designed to be played as loudly as possible). Rusting metal junk, discarded as trash by a world that saw no value in it, but when filled with blood, flesh and bone it can be transformed into potent sources of energy. Those chunks of energy are designed to rouse once more our savage souls, to drag us out of our comfortable everyday reality into an imaginary world. TNB present us with a choking, vacuum-like, hermetically sealed space where you utterly lose touch with your senses, whereas ABH dwell with our senses then push them towards freedom. The cover art is a classical, elegant portrait photo by Rupenus which has then been walked over and spat on by Yamada. Package consists of a long box, containing a handmade ‘objet’ card made of scrap metal (each one is different in shape and design) and a twelve-page booklet of artwork by the two musicians. Limited edition of 250. Art Into Life.


Elodie / Miniatures Persanes / Vinyl LP / La Scie Doree / Scie 1414

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Stunning LP, "Miniatures Persanes", from Elodie, the duo of Tim van Luijk and Andrew Chalk. "A musical fantasy in two movements, symbolising the evocative power and poetry of ancient illustration". Released on van Luijk's La Scie Doree label in an edition of 300 copies. La Scie Doree


Harold Budd, Eraldo Bernocchi / Music For Fragments From The Inside / 2 x Vinyl LP / Sub Rosa / SRV239

Picture of Music For Fragments From The Inside
An astonishing piano player drifts on beats and scapes. Recorded during a magic night in the courtyard of a Siena Renaissance Italian Palazzio where the lightness of Harold Budd meets Eraldo Bernocchi deep electronics. Beats and bass, drones and scapes ties together harmonically to meet one of the most emotionally involving piano player/composer. Part of our Sub Rosa Black Core, a serie featuring our 'classics' from the catalogue, never released as vinyl before. Sub Rosa.


Richard Rupenus & Nobuo Yamada / 81/44 / Vinyl LP / Art Into Life / AIL011

Picture of 81/44
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.


Charlemagne Palestine / Four Manifestations On Six Elements / 2 x Vinyl LP / Alga Marghen / Magne 8 / Algamars04

Picture of Four Manifestations On Six Elements
New edition limited to 120 numbered copies in silkscreened gatefold sleeve! One of Charlemagne Palestine most well-known works, "Four Manifestations On Six Elements" is presented here as 2LP record edition limited to 120 numbered copies pressed into white vinyl. The gatefold sleeve is silkscreened in one color and presents the original score from 1970. 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 timbral 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 continuation of wall one. A pure and sonorous phenomenon. Edition limited to 120 numbered copies in silkscreened gatefold sleeve. Alga Marghen.


Charlotte Moorman / The Long Hot Summer / Interview Oct. 1969 / Waiting for Commercials / CD / Alga Marghen / plana-M 27NMN064.3

Picture of The Long Hot Summer / Interview Oct. 1969 / Waiting for Commercials
This version contains respectively the "TV Cello Duets" with Paul Garrin and the "Concerto for TV Cello and Videotapes", largely improvised, 'including a tape collage by Ornette Coleman prepared for Charlotte, also talking with audience'.Charlotte Moorman World Music Theatre! One of the four Charlotte Moorman CDs originally included in the "Cello Anthology" box, now individually available for the first time.


Charlotte Moorman / TV Cello / CD / Alga Marghen / plana-M 27NMN064.3

Picture of TV Cello
Of the famous "TV Cello", conceived by Nam June Paik for Charlotte Moorman as a 'living sculpture', this CD offers an in-situ recording released on one of the three days inaugurating the Paik retrospective at the Museum of Contemporary Art in Chicago, on the 11th, 12th and 14th September 1982. This version contains respectively the "TV Cello Duets" with Paul Garrin and the "Concerto for TV Cello and Videotapes", largely improvised, 'including a tape collage by Ornette Coleman prepared for Charlotte, also talking with audience'.Charlotte Moorman World Music Theatre! One of the four Charlotte Moorman CDs originally included in the "Cello Anthology" box, now individually available for the first time.


Charlotte Moorman / Aachen Konzert, July 25th, 1966 / CD / Alga Marghen / plana-M 27NMN064.2

Picture of Aachen Konzert, July 25th, 1966
This CD presents a concert from July 25th,1966 in the Theatersaal in Aachen, Germany. As for the New York concert on September 12th, 1964, the recordings of this European concert well represent the kind of performances that Moorman and Paik presented in Europe in the second stage of their historical 'duo' exhibitions. This Aachen event, in fact, is testimony to the progressive and always more pronounced emergence of meta-musical elements deliberately turned toward the demystification of 'ritualistic' meanings of a concert, even while consciously accepting it as an exhibition frame. It is for this reason that the Aachen recording can document, with respect to the comprehensive program, only those works in which the sound matrix constitutes the prominent factor. This is particularly evident, beyond several classic works of their programs like "26'1.1499 for a String Player" by John Cage, "Duet II" by Toshi Ichiyanagi and a works by Giuseppe Chiari titled "Ave Maria di Schubert" (written for the cellist and dedicated to her) in "Sonata No. 1 for Adults Only" and especially the first performance of "Opera Sextronique", both by Paik, in addition to other pieces by Earle Brown and Sylvano Bussotti. This disc also includes another unspecified rendering of Ichiyanagi's "Duet II" and an abbreviated version of Cage's "2'1.1499 for a String Player".Fluxus Concert Classic! One of the four Charlotte Moorman CDs originally included in the "Cello Anthology" box, now individually available for the first time. Alga Marghen.


Charlotte Moorman / WBAI Concert, New York, Sept. 12th 1964 / CD / Alga Marghen / plana-M 27NMN064.1

Picture of WBAI Concert, New York, Sept. 12th 1964
This CD highlights an exceptional document, a performance recorded by radio station WBAI in New York on September 12th, 1964. This event superbly represent the type of repertoire that Charlotte Moorman and Nam June Paik cultivated and proposed in the US, in the years following their meeting, in their memorable 'duo' exhibitions. The program of the concert present several true war-horses of their exhibitions like "26'1.1499 for a String Player" by John Cage, "Duet II" by Toshi Ichiyanagi, a work by Giuseppe Chiari titled "Per arco", written for the cellist and dedicated to her, the premiere of Earle Brown's "Synergy", a rare and delightful duet with Terry Jennings on saxophone, an almost systematic version of "Plus Minus" by Karlheinz Stockhausen aided by Paik's Robot. The history of the avant-garde! One of the four Charlotte Moorman CDs originally included in the "Cello Anthology" box, now individually available for the first time. Alga Margehn.


Sun Ra & His Astro-Infinity Arkestra / Sign Of The Myth / Vinyl LP / Roaratorio / roar35LP

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In 1972, Sun Ra inked a high-profile deal with ABC / Impulse, bringing his recorded work to the widest audience he’d had to date. A slew of Saturn back catalog titles and two newly-recorded albums (Astro Black, Pathways To Unknown Worlds) were issued before ABC cancelled the contract, dumped the records into the cut-out bins, and left the unreleased albums to languish. Now, over four decades later, Roaratorio is proud to offer one of the lost Impulse recordings for the first time. Sign Of The Myth hails from the same studio session as Pathways, and shares its emphasis on guided improvisations. With a constantly shifting palette of Moog textures, Ra tosses off a dazzling array of ideas throughout, supported by the usual Arkestra stalwarts; in particular, bassist Ronnie Boykins and drummer Clifford Jarvis are in shining form here, giving shape and solidity to these pieces. Sign Of The Myth is a welcome augmentation to an especially fertile period from Sun Ra’s time on Earth. Download coupon included. Roaratorio.


Rhodri Davies / Pedwar / Vinyl Box Set / Alt Vinyl / av058x

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Archive box includes: Remastered LP & DL versions of Trem (2002), Over Shadows (2007), Wound Response (2012), & new LP An Air Swept Clean of All Distance Flyers, posters, essays etc. Limited edition of 250 only review: Ltd edition of 250. Definitive solo career retrospective of this seminal improvisational harpist. Records housed in hand screenprinted heavy card sleeves with commissioned artwork by jean Luc Guionnet. Curated flyers, posters etc of key gig & festival appearances Risograph printed musical score. Booklet written by Rhodri Davies. Essay by David Toop. Download audio of all 4 albums. All housed in custom made card archive box hand numbered by the artist. Alt Vinyl.


Rhodri Davies / An Air Swept Clean Of All Distance / Vinyl LP / Alt Vinyl

Picture of An Air Swept Clean Of All Distance
Stunning new LP by Rhodri Davies "An Air Swept Clean O All Distance". Released in an edition of 250 copies and pressed on green 180gm vinyl. Housed in fold out silk screened sleeve with commissioned artwork by jean luc guionnet. "Davies settles obsessively on tumbling phrases, arpeggios and articulate rhythms, turning them over and over, letting them develop only within strict limits, as though this fine, prolific and adventurous musician is freshly discovering a harp that has been there all along.” Julian Cowley, Wire Magazine, October 2014.


Pandit Pran Nath / Ragas / Vinyl LP / Far Eastern Sunshine / FES001-2

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Ragas are the spiritual folkloristic way in India of playing music originating from the depths of your soul. Some of you may have heard albums by Ravi Shankar, the grand master of Indian raga, with long hypnotical tracks which do not really tell you if they are entirely improvised or strictly composed tunes when the swirling and tingling tanpura and madly spinning tabla drums get played like a maelstrom of sound. This kind of music is mostly instrumental to generate the ultimate experience of transcending flesh to spirit but in case of Pandit Pran Nath (1918 – 1996), classical Indian singer and musical teacher, you will get an ongoing captivating chanting on a base of droning tanpura and rather relaxed percussion patterns. The instruments underline the spiritual statement given by the mid ranged, slightly darker voice of Pandit Pran Nath. This is a fine release of classical Hindustani music and should appeal to all fans of Ravi or Ananda Shankar along other prototypical representatives of Indian music but there is a major difference and that is the intonation of Pandit Pran Nath. His voice is unique and its raucous beauty captures your perception. The whole album is droning and haunting, so you should be in the right mood to enter the musical world of Pandit Pran Nath. Far Eastern Sunshine.


Various / Map Of The Interior / Cassette / Vitrine / VT06

Picture of Map Of The Interior
Vitrine is proud to announce its very first compilation as well as its final release of 2014. Map of the Interior’s nine tracks present a love letter to the heyday of mail-art culture and a promise that such international friendship is still thriving across postal channels and on the internet. In his collection, After Lorca, American poet Jack Spicer resuscitates the Spanish writer Federico Garcia Lorca through a series of letters sent across the gulf of time and mortality. Map of the Interior attempts to bridge a spatial, rather than temporal divide, with nine tracks devoted to the marriage of tape and breath. Tape prolongs the life of the voice, extending it beyond the body into the greater polis. Hiss, flutter, yawn. Map of the Interior features contributions from a distinguished pedigree of international artists, including Matthew Philip Hopkins, Arv & Miljö, Sigtryggur Berg Sigmarsson Yeast Culture, and Spoils & Relics, as well as Vitrine house artists Good Area and No Intention. “Things do not connect. They correspond".


Andrew Pekler / The Prepaid Piano & Replayed / Vinyl LP / Senufo Editions, Entr'acte / E177, senufo edition # fifty two

Picture of The Prepaid Piano & Replayed
A—The Prepaid Piano 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 sound- board. 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 tap- ping 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. Senufo Editions, Entr'acte.


Michael Pisaro, Miguel Prado / White Metal / Vinyl LP / Senufo Editions / senufo edition # forty five

Picture of White Metal
“White Metal” is a new piece by Michael Pisaro, realised by the composer and Miguel Prado. “When I first heard that Michael was thinking of working on a project with the name “White Metal”, I contacted him, excited to know more about it. At first we talked about general aspects of the piece, without knowing the route it would take, beyond a couple of conceptual premises. At some point, Michael suggested that this project be included in his “Grey Series” a series of noise-oriented scores he was then beginning. We had already agreed in principle that the entire structure of the piece would be derived from Mozart’s 40th Symphony, and that obviously, “White Metal” should carry a variation of the concept “Black Metal” and the term “white noise”. In this case I tried to explore “Black Metal” as some people have been doing, from the geophilosophy of real and psychic spaces” (Miguel Prado, extract from liner notes). Full score printed on the outer sleeve. With insert. Edition of 300 copies on black vinyl. Senufo Editions.

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