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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.


Marcia Bassett & Samara Lubelski / 110 Livingston / Vinyl LP / Golden Lab Records / ROWF47

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Second album from this weighty pairing of two of America’s most audacious psychedelic drone proponents, following a stunning release on Graham Lambkin’s Kye label a couple of years back. The combination of Marcia Bassett’s pretty well processed guitar, squashing otherwise raging howls into densely packed tones of feedback wail, and Samara Lubelski’s long violin voyages into the drone zone is something wondrous to behold. One side-long trip and three shorter, but nevertheless expansive, explorations of black magic meditation. Don’t miss this one. Comes in an edition of just 250 on 140g vinyl with beautiful matt sleeve art. Golden Lab Records.


Evan Parker, Han Bennink, Derek Bailey / The Topography Of The Lungs / Vinyl LP / Otoroku / ROKU(RE)001

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We're very pleased to cap off this year's celebrations of Evan Parker's 70th birthday with a vinyl re-issue of 'The Topography of The Lungs' - Evan Parker's first recording as a "leader" and originally the first LP issued in 1970 by Incus, the label he founded with guitarist Derek Bailey and drummer Tony Oxley. This re-issue has been produced from an original vinyl pressing from Evan's archives - carefully transcribed and restored by Andreas [LUPO] Lubich at Calyx in Berlin. Oto Roku.


Jun Konagaya / Travel / CD Box Set / Art Into Life / AIL013, CD-02

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Jun Konagaya is best known as GRIM, but in 2012 he published a story and CD called “Organ” about a young girl called Magnolia and a monster called Gamahead. “Travel” presents the second part of the story. Several years have passed and Magnolia has set out on a journey, where she records the many things she sees and hears. It is unclear whether her journey is real or imaginary, and as she wanders between dream and reality she stumbles across some ruins in the middle of a forest. Her feet carry her closer to the ruins, as though she is being summoned there. She then hears a woman singing underground. Includes a 40-page booklet that illustrates Magnolia’s adventures. Joint release between Art Into Life and Eskimo Records. Boxset. Limited edition of 300. Art Into Life/Eskimo Records.


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

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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

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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

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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

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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

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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

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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

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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.


Aaron Dilloway, Jason Lescalleet / Popeth / Vinyl LP / Glistening Examples / GLEX-1403

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"Limited edition of 400 copies. It is with great pride and pleasure that Glistening Examples announces the newest collaborative efforts of Aaron Dilloway and Jason Lescalleet. Recorded at Tarker Mills in February 2014 then mixed and mastered at Glistening Labs, this 38 minute LP was carved deeply into 150 grams of virgin vinyl via Direct Metal Mastering at GZ Media in the Czech Republic. These records are sheathed in deluxe poly-lined inner sleeves and presented in 300gsm uncoated reverse board, beautifully adorned by Australian artist and novelist Matthew Revert. "Aaron Dilloway and Jason Lescalleet worked on through the night until the sun came up, and the results are presented on Popeth, their riveting second full-length LP. Few artists exhibit such routinely impressive understanding of loops not as mere repetitions, but as possibilities for tectonic movement. Their music evolves and devolves simultaneously within the use of these patterns. They also realize the possibilities inherent in a host of experimental techniques. Their methods are not simply demonstrative ends, but tools for the exploration of new vistas. The nest, a recurring theme in their collaborative work, is usually a protective place, a place of comfort. But in the Dilloway/Lescalleet milieu the nest is a place where protection and comfort fray and break open. You didn't come here for protection or comfort, though. The first side, “Black Mountain,” is a chain of glacial swirls. Icy wheels of sound are punctuated by warbling tape and a ghostly voice. Flip the record and you’ll find “Western Nest” and “Ewch I Gysgu Popeth,” two tracks which push the idea of simplistic structure to the limits of its vitally complicated ends. This is the sound of looking at a spiral staircase, or a clothesline, or a power line, or the center line on the highway. It’s the result of deeply electric consciousness. There is a gap in the assembly, a terrible and magnificent peace, a true taste of the passage of time, a measure of the hours and their shifting conditions. It’s their most perfectly realized report yet. The album is a statement of confidence, an assertion of purpose with the assured possibility of purposelessness." - Matt Krefting, Holyoke, MA 2014.


Dennis Tyfus / Verleden Tijdsbesteding / Art Book / Ultra Eczema / UE190

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Fantastic and beautifully skewed visual documentation of the Ultra Ezcema label's recent history. Heaps of fun, 320 pages with tons of great photos / collages, bound in classy hard-back cover. If you dig the Ultra Eczema catalogue, then you're gonna wanna get down with this too, it's a real joy. "A 320 pages book of collages by DT in 320 different colors! These collages are all made with photos taken with analog photo cameras of different kinds, with the exception of 2 or 3 collages, this book is basically a selection of daily work, in a way published to get on with other stuff. It marks a specific period but also was used in a way to deal with changes and to document happenings at UE events, Stadslimiet and exhibitions (or the periods before, after or in between these facts). A visual report of recent times (2008-2014) made as an end result for the Toekomstmuziek residency at Het Bos and a little bit at Stadslimiet in Antwerp / Belgium. limited to way too many copies". Ultra Eczema.


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

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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.


Morton Feldman / Two Pianos And Other Works 1953 - 1969 / 2 x CD / Another Timbre / at81x2

Picture of Two Pianos And Other Works 1953 - 1969
"The music featured on these two discs testifies to the intensity of Feldman’s experimentation with notation and sound during the 1950s and 60s. Considering the works chronologically one senses the composer trying out, teasing and developing means of notation to get close to his desired elasticity of time and duration. His experiments with indeterminacy of pitch – whereby Feldman specified only the register (high, middle, low) of sound rather than the exact notes themselves – do not feature here; after trying this method in a series of works in the early 1950s he abandoned the technique, with a few notable exceptions straying into the 1960s, because he was too ‘attached’ to the pitches he wanted. All notes are specified exactly in the pieces on these discs – the experiments are instead with duration and time. Durations of sounds are variously free, dependent upon the decay of the sound, worked out in coordination with other players, as well as at times exactly and complexly notated within a specific tempo. Sometimes the freedoms of notating time are worked through in combination with listening closely to the sounds of other players, allowing patterns to emerge without forcing the situation, whilst at other times different ways of notating time are combined, creating false alignments in the score and thus placing greater emphasis upon the individual performer’s journey. The piano is an inherently indeterminate instrument - any given note will have a very different afterlife dependent upon the touch of the performer, the register of the note, the type and size of the piano, the acoustic of the space in which the piano is situated, and so forth. Put six or seven of these notes together as a chord and the situation becomes complex. In all these pieces Feldman specifies the dynamics to be quiet, or as quiet as possible, or very quiet. However the notion that Feldman’s music is ‘about’ quiet-ness is a misconception: the subject is sound, and in order for that subject to be properly attended to those sounds are quiet. The range of pieces presented here depict very many different types of quietness – from the delicate sounds of Piano Three Hands and Piano Four Hands to the massed complexities of Two Pieces for Three Pianos. Quietness in Feldman’s piano music is a performance instruction which is everything to do with touch and the desire to really hear the instrument. As such these recordings are a celebration of the piano (its tone and its decay) and piano playing, for all its frustrations and challenges – an instrument which is at the heart of Feldman’s music". Philip Thomas.

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