This is the first recorded collaboration between Charlemagne Palestine and Rhys Chatham. And it's precious. After the musical meeting with Tony Conrad (SR204), and with Z'ev (SR340), this new Sub Rosa sessions creates a form of trilogy. Rhys Chatham began his musical career as a piano tuner for avant-garde pioneer La Monte Young as well as harpsichord tuner for Gustav Leonhardt, Rosalyn Tureck and Glenn Gould. He soon studied under electronic music pioneer Morton Subotnick and minimalisticon La Monte Young and was a member of Young's group, The Theater of Eternal Music, during the early seventies; Chatham also played with Tony Conrad in an early version of Conrad's group, The Dream Syndicate. In 1971, while still in his teens, Chatham became the first music director at the experimental art space The Kitchen in lower Manhattan. His early works, such as Two Gongs (1971) owed a significant debt to Young and other minimalists. His concert productions included experimenters Maryanne Amacher, Robert Ashley, Philip Glass, Meredith Monk, Pauline Oliveros, Steve Reich, and early alternative rockers such as Fred Frith, Robert Fripp, Arto Lindsay, and John Lurie. He has worked closely with visual artist/musician Robert Longo, particularly in the 1980s, and on an experimental opera called XS: The Opera Opus (1984-6) with the visual artist Joseph Nechvatal. By 1977, Chatham's music was heavily influenced by punk rock, having seen an early Ramones concert. He was particularly intrigued by and influential upon the group of artists music critics would label No Wave in 1978. Members of the New York City noise rock band Band of Susans began their careers in Chatham's ensembles; they later performed a cover of Chatham's "Guitar Trio" on their 1991 album, The Word And The Flesh. (This parallels the way that members of fellow NYC noise rockers Sonic Youth began their careers in Branca's ensembles; Thurston Moore of Sonic Youth did play with Chatham as well.) Chatham began playing trumpet in 1983, and his more recent works explore improvisatory trumpet solos; these are performed by Chatham himself, employing much of the same amplification and effects that he acquired with the guitar, over synthesized dance rhythms by the composer Martin Wheeler. Charlemagne Palestine wrote intense, ritualistic music in the 1970s, intended by the composer to rub against audiences' expectations of what is beautiful and meaningful in music. A composer-performer, he always performed his own works as soloist. His earliest works were compositions for carillon and electronic drones, and he is best known for his intensely performed piano works. He also performs as a vocalist. Palestine's performance style is ritualistic; he generally surrounds himself (and his piano) with stuffed animals, smokes large numbers of kretek (Indonesian clove cigarettes) and drinks cognac."
In Autumn of 2014 Birk Gjerlufsen and Victor Kjellerup made their vinyl debut as Vanessa Amara on Posh Isolation with the sister recordings 'Both of Us' and 'King Machine.' The pair's new album, 'You're Welcome Here,' realises the immense potential of these previous efforts. Built around church organ, string quartet, tapes and synthesizers, the seven pieces that make up ‘You’re Welcome Here’ are immediately, though not forcefully, arresting. Gjerlufsen and Kjellerup's new work is denser though it posseses a greater fragility than their previous efforts, with the compositional depth and carefully executed production of 'You're Welcome Here' setting a new standard for their work under the guise of Vanessa Amara and a new standard for Scandinavian experimental composition. 'You're Welcome Here' is as intimidating as it is beautiful; an emotive rendering of Gjerlufsen and Kjellerup's musical finesse. Posh Isolation is thrilled to Present “You’re Welcome Here”.
Previous Sydney-sider, now Melbourne based artist Matthew P. Hopkins has worked as part of a number of groups over the last 10 years including Naked On The Vague, Vincent Over The Sink, Hochman & Hopkins, Four Door, and more recently Half High, and in duo mode with Tim Coster. In recent years Hopkins’ attention has become increasingly focussed on solo output that explores the realms of musique concrete, electro-acoustic composition, ambient music, sound poetry, noise, and nonsense, with releases on Penultimate Press (UK), Vittelli Records (UK), Canti Magnetici (IT), and Horizon Pages (AU). This 7″ release, ‘W’s’, his first solo single and debut on Albert’s Basement, is inviting and pleasing in parts, with just a hint of menace; a playful presage if you will. A slow moving (is it?) interlude to your day. Repetitious, slightly psychological synthesiser pings and waves suggest waiting (for who, or what?). Half whispers and bits of questions arise, but nothing coherent is voiced. Objects within reach on the desk are aimlessly shuffled, tapped, and slowly slid. Is that someone at the door? Probably not.
From Philadelphia comes a much needed, refreshing take on digital sound art composition. LXV reminds us of the glory days of the early Mego scene, injecting a raw edginess into what has become an otherwise sterile medium. Under buzzing synthesis, snippets of familiar culture and dialogue are caught and sent back into the shredding DSP tornado. At the core of it all is a human element, an ear for texture, timbre and composition that is lacking from most contemporary work in this field.
Robert Filliou (1926-1987) was a French poet, writer and artist affiliated with Nouveau réalisme and Fluxus. Filliou conceived the celebration of Art’s Birthday in 1963. He claimed that 1,000,000 years ago there was no art at all until one day, on 17 January to be precise, art was born when someone dropped a dry sponge into a bucket of water. Art’s birthday – which, by the way, happened to coincide with Filliou’s own – saw its first public celebration on 17 January 1973 in Aachen, Germany and in Paris, France. Filliou’s ‘Whispered History of Art’, now released on vinyl as Slowscan vol. 30, is a Fluxus mythology about the origin of art. The playful and humorous lecture was recorded by Ondine Fiore at the New Wilderness Studio, New York in December 1977 and is introduced by Dick Higgins. Courtesy Filliou recording: Archivio Francesco Conz. Verona.
This is the debut LP by Olympia Washington 3 piece Broken Water. Consisting of former Sisters (Parts Unknown Records) and Congradulations members, Broken Water's sound seems to resound in the rainy coastal woodlands that they are surrounded by. Dense walls of slow swirling distortion breath out into moments of cold syrupy magma and reverb drenched beauty. Droning post punk bass grooves build foundations for constantly evolving guitar riffing and somber vocal passages, a subtle psychedelic sound as heavy as it is lite, as dark as it is colorful, and as deep as it is wide. Broken Water's dreamy take on hazy pastoral sonic exploration is as unique as it is nostalgic and provides endless amounts of killer listening. Silkscreened artwork by Shawn Reed. This is a single-copy "warehouse find" of the first pressing on Night People!"
Pure feedback loops processed through a faulty tape echo, occasionally sequenced to generate primitive rhythms. The title “Weakness” here not only refers to physical/social condition but also is reflected in sound, specifically in how signals decay.
"Wax & Wane" is a limited to 100 copies cassette by Church Shuttle, the latest solo project of Detroit-based Chris Durham (Roachclip, The Bibs, All Gone label et al)."
Damien Dubrovnik / Vegas Fountain / Vinyl LP / Posh Isolation, Alter / Posh Isolation 144, ALT20
Debut LP from Mats Erlandsson, a Swedish electronic composer and musician based in Stockholm, where he also works at Elektronmusikstudion, EMS. A student of music since age 10, Erlandsson holds a masters degree in composition from the Royal College of Music in Stockholm. While mainly focused on solo electronic music he has also composed music for dance, chamber ensembles and work with live-electronics together with various collaborators. On 16 June 1963, Valentina Tereshkova was the first woman to fly in space. She spent 2 days and 22 hours alone in space, manually operating the Soviet spacecraft Vostok 6. Erlandsson's ’Valentina Tereshkova’ is a record made up of 5 pieces of electroacoustic music. It would be easy to argue that the Valentina of the Soviet space mission and the one of Erlandsson's record are different characters all together, however there is a feeling of spatiality in Erlandsson's music that one could speculate is not unlike that of being in a vessel like Vostok 6: a small room surrounded by infinite space, and maybe most importantly, a room that allows for just one person. Erlandsson is a craftsman, a quality most keenly felt in the focused structure of his drone pieces. It is reflexive, heavy-hearted music that almost cynically dissects itself for the listener; the pieces themselves apologise for their melancholia with their compositional brilliance. A Stunning debut of a new strong voice in Scandinavian electronic music.
Untitled two-tracker from Berlin's Krube, following up releases on labels such as Hrönir and Fragment Factory. A step even further into oblivion, exploring unknown territories via daunting everyday life recordings and electronic slices of nothing and everything. 200 copies. Black vinyl, white cardboard sleeve with postcard attached, stamped white labels, insert. Mastered by Viktor Ottosson. Plays at 45rpm.
Club Sound Witches is Matt Earle and Nicola Morton from Breakdance the Dawn. They mine keyboards and mixers for errors, glitches, distortion, and compression, chewing and macerating beats until something pastelike pushes out the other end. The signals are blurry and pulpous—almost gastronomic, like sound waves passing through so much digestion. By teasing out mechanical lapses, C.S.W. make something disturbingly corporeal—almost profane. This electronic palette does not so much elicit bodily movement as evoke the body’s movements.
Gerritt Wittmer embraces his narrative impulses on this short but dense tape. Each moment of “Unknowns” is surprising, combining Wittmer’s aktionistic vocal palette (hyperventilation, catatonic humming, garbled declarations) with grainy fuzz, ominous tonal washes, decisive edits, asymmetrical sound sequences, and loops that just keep looping, each iteration extended via unnerving, ever-lengthening pockets of silence. “Unknowns” melds the most stimulating tactics of both the Schimpfluch Gruppe and Francisco Meirino while sounding very little like either. Only 20 minutes long, but packed with more ideas, atmospheres, and distinctive moments than you’ll find in any six other tapes you bought this week. - Chris Sienko.
Over the past few years F.E. Denning has proven himself to be an important part of the Copenhagen scene. Born in 1987 he's been exploring his musical path through various releases since 2011, mostly on the Danish label Posh Isolation. Elements have come and gone but the works have always been rooted in the realms of ambient, drone, noise, minimal electronics and electro-acoustic music. After a few successful tapes in small editions 2014 saw F.E. Denning reaching it's ultimate form on the vinyl record 'Cities of Light' released once more by Posh Isolation. The record captured all the trademark qualities of the project. It showcased it's warm almost comforting and slightly noisy take on ambient music combined with captivating melodies that are bound to take the listener on a journey not easily forgotten. That year another very ambitious project was presented in the form of the F.E. Denning Descension Orchestra, an 11-piece orchestra from various backgrounds that perfectly translated the spirit of the project into more traditional music bringing free jazz into the range of styles. It's title being a direct reference to John Coltrane's 'Ascension' the record chose a whole other path to explore, inward a reflective of ones self. The result was a monolithic record co-released by Infinite Waves & Insula, not easily described or digested but highly captivating. Expanding on the complexity and emotiveness both these records have brought to the table F.E. Denning is now ready to present the next chapter. More focussed than ever the upcoming 'Under The Linden Tree' vinyl record on тhe тide øf тhe εnd enables one to take a step back into a secluded place, dwell on their state of being and the world around them in a much clearer way. The feeling of loneliness within a crowd that was present on 'Cities of Light' has made way for more concrete feelings of desolation. Starting of in familiar fashion one feels as if covered by a blanket of soft grainy drones. The peaceful status quo is easily disturbed as only minutes in sounds start to collapse on top of each other, closing in on the listener. Society is crumbling down and even though there is plenty of hope and courage left in our souls the end is inevitable and omni-present. Once more F.E. Denning skillfully threads the line between beauty and despair and one can never be certain of the outcome. Melancholic melodies set the tone and when the closing opus eventually fades out one is left with a feeling of acceptance, of whatever is to come.
One of two different sets, along with Two City Blues 2 (TROST 128CD), recorded on one intense night at Tokyo's Shinjuku Pit Inn. A trio of three towering figures, German free jazz legend Peter Brötzmann, Japanese avant-garde wizard Keiji Haino, and wildly versatile American composer and musician Jim O'Rourke, recorded by Yasuo Fujimura on November 23, 2010. Brötzmann: alto and tenor saxophones, tarogato, and clarinet; Haino: guitar, voice, shamisen; O'Rourke: guitar.
Arrigo Lora-Totino (Torino, 1928) is considered one of the fathers of Italian sound poetry. He's mostly known for having curated the anthology "Futura: Poesia Sonora" (Cramps Records, 1978), where he collected the voices of the most interesting sound poets of the twentieth century, but also for being a key figure in the Italian experimental poetry. Active since the late Sixties, he gave more than 200 performances of “Gymnastic Poetry” and “Liquid Poetry” (using the Idromegaphone, a tool invented on purpose to let the voice sound through water) and a series of mimic declamations of avant-garde texts, from Futurism to Dadaism, Russian ‘Zaum, Expressionism, Surrealism, Lettrisme and Concretism. This sound poem in six movements - performed as a vocal trio together with Sergio Cena and Laura Santiano - was recorded in 1976 in Torino at Studio di Informazione Estetica (S.I.E.) and is considered by the author himself one of his most important works. First volume in a series of sound poetry releases coordinated by Luca Garino, comes in a deluxe edition with the complete reproduction of the handwritten original scores. Pressing info: 250 copies on black, embossed lettering"
Charles Gayle / William Parker / Rashied Ali / Touchin' On Trane / Vinyl LP / Reissue / Jazzwerkstatt
"This is Charles Gayle's most accessible work. Gayle's mastery of free jazz is blended with a more traditional compositional style of jazz on this disc. Touchin' on Trane is composed of five original songs, and even includes ex-Coltrane drummer Rashied Ali. As the title insists, Coltrane is the influence for the music on this disc. The influence ranges from the upbeat tempo of "Giant Steps" in "Part A," while "Part D" is reminiscent of Coltrane's "Live in Japan" performances. Gayle, bassist William Parker, and Ali don't copy Coltrane, but rather expand on his accomplishments. Without covering any songs, Touchin' on Trane is the greatest John Coltrane tribute album."-Brian Flota, All Music."
The long awaited traditional monument is finally available on vinyl! Tornarem Dançar, recorded in 2004, stands alone among musicians as the best Auvergne/Limousin traditional album ever recorded in the last decades. We had originaly proposed to produce a second record of the duo and open our vinyl catalogue back in 2009, thus these new sessions have never been recorded and might never will. After many years of open discussion and patience, we are very proud to present an LP version of the only recording of the duo. Superb orginal takes by Marc Prévost, newly mastered for vinyl format by Frederic Alstadt and packaged by Ségolène Moteley for Standard In-Fi. This music is simply beautiful, a must have! LP, 300 copies. Silkscreened thick folder covers with stamped labels.
Orange County harsh crust, bright scrap metal manipulations atop crunchy and intricatly shifting layers of low-end noise electronics. “The nightmare lives on.” Released as a c40 cassette on the recently-revived Monorail Trespassing label.
"In fall 2014, I spent some time in New York City in preparation for a performance. During this time, I recorded as close to continually as I could given normal human and mechanical shortcomings – an SD card runs out of room, a battery dies, a person wakes too groggy to check the recorder or, in a flurry of activity, leaves it dormant. After a time, you start to forget the device is even there which is of course the purpose but also interacts in its own way with the frailties of human memory – if you forget it’s there you forget to check to make sure it’s functioning properly. Despite all that, at the end of the allotted time I was left with a large volume of recorded material that took me longer than I’d have liked to comb through, sort, assess and determine a structural framework around which I could wind bits of this straw into something resembling a form. In all this record of whirlwind events, I found myself most drawn to the moments at rest, in between overt actions and dialogue, and it was out of these that I constructed the majority of these pieces. It so happened that during the time of recording I was already collapsing into an unprecedentedly long, deep and unbroken depressive state. As so often can happen, the document I had planned to make and set out to make is not the one I ended up making. It couldn’t be. I believe that is reflected in the decision to form these pieces out of the absences and interstices – the pauses, misfirings, missing pieces, long sleeps and synaptic gaps and, of course, the way they make me feel. (Vanessa Rossetto, April 2016)."
"'The Spiral' is Frederikke Hoffmeiers third solo LP for Posh Isolation under her Puce Mary moniker, and follows where last year's critically acclaimed 'Persona' left off. Working more precisely than ever, 'The Spiral' binds the listener in a tight web of sharp synthesizers, hammering percussion, obscured vocals, field recordings, and blistering noise. Puce Mary manages to at once honour the history of industrial music and noise, as well as transform it. 'The Spiral' is harsh, but the aggression of the compositions never feels unnecessarily overstated. It is an album that is easy to get dragged into but brutally hard to get out of, disclosing the underhand of control as censurable nurture. 'The Spiral' goes through an extreme spectre of emotions, trying to be everything, feel everything, at once. The vestige of safety in dominance and submission is antagonised as audience and artist take turns being dealt blows. 'The Spiral' charts this instability as a perennial tonic in sound. With an already impressive discography and live career, Frederikke Hoffmeier has manifested herself as a key voice in new industrial music. 'The Spiral' is further proof that she has earned her praise"."
Selections from the installation The Prepaid Piano, recorded 21–24 February 2013 during the Unmenschliche Musik/Inhuman Music exhibition at Haus Der Kulturen Der Welt, Berlin. Inside a grand piano, five mobile telephones rest directly on the strings in five different areas of the piano soundboard. Calling any one of the telephones activates its vibration alarm, thereby directly ‘playing’ the strings on which the phone happens to be lying. Audience members choose which parts of the piano are ‘played’ by calling any of the five telephones’ numbers — either from their own mobile phones or from the provided stationary telephones. Contact microphones attached to the piano’s soundboard pick up the sounds of the mobile phones vibrating the piano strings and pass them on to a voltage-controlled modular synthesizer. Incoming signals above a pre-determined amplitude threshold at the synthesizer’s input trigger its recording and modulation functions. The incoming audio is looped and modulated by the synthesizer and played back through stereo loudspeakers. Subsequent calls to the phones produce new incoming signals that gradually displace the previously recorded audio. Additional layers of sounds are added by intermittently tapping and knocking on the piano, manipulating its strings directly, repositioning the mobile phones, etc. B—Replayed Using the audio-to-MIDI function in Ableton Live software, the Prepaid Piano recordings from side A are algorithmically analysed and converted into MIDI notation. When applied to the harmonically and rhythmically ambiguous Prepaid Piano recordings, the audio-to-MIDI device’s inherent limitations are magnified. The MIDI notation it generates under these circumstances is effectively an original composition which (although distantly related to the source material) is the result of the audio-to-MIDI algorithm’s inability to correctly ‘read’ the information it is presented with. The newly generated MIDI notation is then used to control and play a synthesizer consisting of an oscillator, sampler, filter, and effects modules. Edition of 300 copies. Co-published by Entr'acte and Senufo Editions.
Kye is proud to present 'The Paris Concert', the second installment in our Joe McPhee archival series, following 2015's 'To Be Continued'. Recorded May 13th 2015 'The Paris Concert' documents a historical private performance held in a 5th floor Paris apartment to an invited audience of 15 people. "40 years after a chance meeting in 1975 at The American Center in Paris, Raymond Boni (guitar), Jean Marc Foussat (synthesizer) and Joe McPhee (tenor/pocket trumpet) reunite with an impromptu private concert. This is music in the moment, walking naked on a razor's edge. The American Center is long gone and in 2015 'The City of Light' strives for a new meaning in a time of great challenge. The world has changed and we all walk naked on a razor's edge." (Joe McPhee, 2016). 'The Paris Concert' arrives in a full color Matthew Revert designed sleeve, and comes with a download card containing the full recording of the concert including the encore (not featured on the LP), as well as photographic documentation by Christine Baudillon, in an edition of 400 copies."
"IFCO follows up our highly ignored Stranded LP with an equally, if not more so, strong statement. Core members Karla Borecky and Scott Foust are joined by an all-star cast: Meara OReilly and Jessi Leigh Swenson from Stranded, as well as Frans de Waard, Graham Lambkin, and Dr. Timothy Shortell. The Island Of Taste depicts a manoeuvre in which the beauty becomes more beautiful as the desperation becomes more desperate. A stark and romantic mission to the rocks. Lavish package featuring an excellent Karla cover painting as well as a booklet presented as a set of 5 x 7 art cards with another Karla painting, band photos, and an essay of mine. Perhaps The Island Of Taste is the first LP to make explicit a certain nostalgia for itself. Along with The Shadow Rings Swill Radio trilogy (Lighthouse, Lindus, Im Some Songs), Id put IFCOs trilogy (Anti-Natural, Stranded, The Island Of Taste) up against anyones three LP run."-Swill Radio."
LR (Loke Rahbek) / The Fragility Of Happiness / Vinyl LP / Morte Creations / Morte_09
Loke Rahbek, Puce Mary / The Female Form / Vinyl LP / Posh Isolation / Posh Isolation 145
Backwards is very happy to announce the NEW My Cat Is An Alien studio double album! From the extended foreword insert by David Keenan: "What are we to make of My Cat Is An Alien, the duo of the brothers Roberto and Maurizio Opalio, titling this new extended sound work The Dance Of Oneirism? [...] None of the tracks have titles; instead we feel our way by number, by movement. Our co-ordinates are fixed, or more properly suggested, by the listing of instruments. Self-made double-bodied string instrument, handmade pocket harp, pedal effects, wordless vocalizations, modified analog drum machine, mini-keyboard, alientronics. But even here nothing is straightforward; everything is invented, shrunken, self-built, inchoate: alien-ated. The session was recorded – instantly composed – in MCIAA’s “Alien Zone”, situated in the Western Alps, and it sounds it. The central fact of MCIAA’s music has always been space but they have never sounded quite so far away, so removed. [...] The music is extremely sensual. The rhythms have a contrary cold/organic quality to them, the feel of the pulse as the breath is held, but soon even that dies down and we are left with an extended, timeless moment, the space between one breath and the next. Occasionally there is the sound of strings, strange steel resonances that populate the music like ghosts, the ghosts of Roscoe Holcomb’s high, lonesome sound, of Dock Boggs and the sanctified steel of Washington Phillips. Ash Ra Tempel met Timothy Leary in the Alps [...] The transmissions are fuzzy up here and at points it makes for a music of almost terrifying quiet. It is minimal, sure, but MCIAA are not so much interested in repetition as in eternal expansion. [...] The Dance Of Oneirism is a music of unknowing, a dance with a phantom, the letting go of a dream. It is MCIAA’s greatest long form work. It has tributaries that run deep into the past, ghost channels that facilitate two-way travel, even as its destination, in the words of the late Conrad Schnitzler, is determinedly future, future, future." - David Keenan. Includes a photographic Art Book by Roberto Opalio. Silkscreened image by the artist on Side D. In first 80 copies LP1 and LP2 come each in different colours."
Truly beautiful new LP, "The Circle Of Days", from UK sound/drone artist Andrew Chalk on his own Faraway Press imprint. Recorded in 2003-06 and created with field recordings, keyboard/organ, guitar, bass guitar, and slide-guitar, "The Circle Of Days" includes a return for Chalk to his long-term collaboration with Daisuke Suzuki (Ghosts On Water, Lost Shadow, Siren Records et al), who features on five of the LP's 14 (relatively short) pieces. The field recordings, mostly captured from everyday home/community life, blend with beautiful fragments of minimalist keyboard/organ runs and droning string tones that reach out, rise-up, and resonate to stunning effect, conveying celestial-like imagery of, say, light from another world shimmering in the dark of our own fog-blurred night. The sounds unfold, subliminally freezing/interrupting time, before fading into voids that sometimes leave a peculiar and wondrous sense of longing. Whilst the field recordings feel grounded in the real world, the instruments' rich sounds seem like they arrived from the ether of far-away, deep inside Chalk's expansive artistic vision. A magical and captivating piece of work, just like how shooting stars grip our gaze in wonder. Released on Chalk's Faraway Press imprint in an edition of 325 copies. Pressed on super-sounding black vinyl, mastered by Denis Blackham and housed in a sleeve featuring a reproduction of a pencil sketch by the artist himself, with layout design by Jos Moers."
"New limited edition c38 cassette tape from Tom James Scott on his own Skire imprint. "The Carousel" collects a dozen deeply-affecting instrumental pieces for guitar, piano, and keyboard, recorded during the summer of 2015. The tape's beautifully presented, with an extended j-card printed on 200gsm paper and each copy housed in a hand folded and full colour 260gsm card slipcase.""
The culmination of five years of obsessive work — fits and starts of ongoing perfectionism that spawned two solo projects and two additional records. Beginning with crude and unfamiliar source materials, each sound is examined from every possible angle, then taken apart and reconstructed along with the compositional process. From 2010 forward, each phase is represented; the past three U.S. tours have given clues, and these recordings offer more of the puzzle, but you will never get everything at once. To be experienced as foreground with no distractions.
Ace and very limited CDr by Dog Lady (Mike Collino of Alien Passengers label et al), released on UK-based Chocolate Monk label.
An ode to Gothenburg. Ten minutes focusing almost entirely on the sounds of seagulls and rain, with only tiny hints of the troubled A&M past. Recordings from a window, July 2015. Mastered by Giuseppe Ielasi. 200 copies. Black vinyl, white cardboard sleeve with postcard attached, stamped white labels, insert. Plays at 33rpm. (IDDB008)
Awesome new tape by Lisa Carver's Suckdog. "Super Suckdog Tape" presents three power punk rockers, all previously unreleased tracks, on a single-sided c20 cassette tape. Released on Andrew Coltrane's Hermitage Tapes label."
::: SCHEDULED TO ARRIVE IN STOCK VERY SOON ::: PLEASE EMAIL PRE-ORDERS TO ORDER@INFINITE-LIMITS.COM A visual report of sorts, collecting 64 full-colour drawings from the past six months or so. These drawings were intended as working sketches for paintings, though the latter never materialised. Instead, you can ponder what might’ve been in the privacy of your own home. This compendium of unrealised potential is offset printed and clad in a beautiful letterpress linen cover. Not much to whine about, after all.
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.
"First proper release for IFCO since 1997s vastly underrated Anti-Natural LP. Since 2002 IFCO has been performing and recording as a quartet with Jessi Leigh Swenson and Meara OReilly added to core members Scott Foust and Karla Borecky. Stranded is a claustrophobic, sensuous optical illusion. Beautiful. Sad. Epic. Stranded." - Swill Radio."
"Still Light, Outside is the fourth album by John Chantler. Originally from Australia but living outside that country for well over a decade, this record marks his exodus from London (where he lived for most of this time) and his relocation to Sweden. Over the four month period leading up to his departure, Chantler made several hours of raw recordings of the pipe organ at London's St John-at-Hackney church. These were then subject to extended processing at Stockholm's Elektronmusikstudion EMS and combined with additional electronic parts created there. Still Light, Outside is an extended suite in four parts that combines passages of stark minimalism centred at the bodily invasive extremes of the organ's register with striking explosions of colour; massed chords shot through with heavy distortion and electronics that operate according to their own dream logic. Whilst realised over a relatively short timespan, Still Light had an extended period of gestation - Chantler first worked with a pipe organ on a project with Carina Thoren (For Barry Ray) soundtracking the a short film by the artist Lucy Pawlak in 2010. He also performed a concert in early 2012 at the Unitarian Church in Cambridge - only finding out the organ was available upon arrival at the venue that day. The recording of that concert was included as part of the Touch Radio series. This release is the first on 1703 Skivbolaget - a new label set up by the artist. No stranger to releasing records, Chantler worked for several years with Lawrence English on his ROOM40 imprint and was also responsible for initiating OTOROKU in 2012 - the in-house label at London's Cafe OTO where he was senior producer from 2011-2014.""
A selection of in-the-rough gems from the ever expanding archive of 75 Dollar BIll. Track/Side one, "Southeaster" features a collage of phased out guitar & drum jams, spectral fiddle music and percussion/horn blowouts originally assembled for our 2015 South East tour CD-r. Beginning and ending sections feature some great guitar work by old friend and collaborator, Steve Maing. Track/Side two features a side-length performance of "Like Like Laundry". Often a part of our live set whenever we can get Andrew or Cheryl to sit in with us, this is the first recording of "Like Like Laundry" (not to be confused with "Like Laundry") we've made available. Andrew (upright bass) and Cheryl (bari sax) are both in top form here, fusing with Rick's box to create shifting rhythmic pockets in the lower registers to great effect. A half hour of variations on a single rhythmic vamp. A total of nearly 70 minutes of music on this album."
“Soundtracks for Takeshi Murata” (GLEX-1302) is the debut LP/CD of Kentucky-based electronic musician Robert Beatty under his given name. Beatty has long been a presence in the experimental underground as a member of Hair Police and more recently performing and recording solo under his Three Legged Race moniker. He is also well known for his visual art, which encompasses installation, drawing, video, and album artwork design for countless artists including Oneohtrix Point Never, Real Estate, Vybz Kartel, and Peaking Lights. “Soundtracks for Takeshi Murata” collects Beatty's compositions for digital video glitch pioneer Takeshi Murata, produced between 2004-2007. Beatty's collaborative relationship with Murata has spawned some of his strongest work to date, and Glistening Examples is honored to present this music to the public for the the first time outside of screenings, museums, and galleries. Beatty has performed alongside Murata's work in New York, Chicago, Pittsburgh, and Beijing, where he performed several shows, including at the Ullens Center for Contemporary Art during the 2008 exhibition, "Stray Alchemists." The formative elements of the recent Three Legged Race full length "Persuasive Barrier" (Spectrum Spools, 2013) are apparent in the rubbery pulsations of "Escape Spirit Videoslime" and the ghostly buzzing harmonics of "Untitled (Silver)". Moving between hypnotic minimalism, dense processed atmospheres, and spacious drones, often in the same track, these pieces are the perfect corollary to Murata's fractured and viscous visuals. While the video and audio are linked in the same fluid time space, the soundtracks are presented now as stand-alone works, powerful compositions drawn from the same underlying chaos apparent in Murata's ever-shifting psychedelic environments. This is exciting electronic music that invites the listener to imagine their own videoscapes with or without having viewed Murata's work. “Soundtracks for Takeshi Murata” is published in an LP edition as well as CD format, with new artwork from Murata, design by Beatty, and digital mastering by Jason Lescalleet at Glistening Labs USA. The LP includes a download code and an 11"x17" poster. The CD includes a bonus track not found on the LP. This record is released with support from Institute 193, Lexington, KY. www.institute193.org."
Solar Music by Joe Jones, performed and recorded early morning April 1, 1984, on the Baltic Sea beach of Sierksdorf in Schleswig-Holstein, Germany. This recording was originally published as a tape by Edition Hundertmark in an edition of 15 copies and later reissued as a CD by ? Records. The original tape edition included seven photo prints and a title page which were missing from the CD and are reproduced here for the first time. Edition of 200 in gatefold PVC sleeve. Right-hand side holds the LP, left-hand side holds a plastic bag with seven A5-sized photo prints on thick cardboard and the title page. Remastered sound.
Robert Filliou is one of the more elusive figures of European Conceptualism, and this tape is perhaps his most obscure document. Born in France, Filliou fought in the Resistance during World War II before emigrated to Los Angeles, where he worked as a laborer at the Coca-Cola bottling factory. He went on to earn a Masters in Economics at UCLA while supporting himself as a night watchman, busboy, and research assistant. Filliou then traveled to South Korea, where he worked for United Nations Korean Reconstruction Agency. He launched his creative endeavors only later, in 1960, at thirty-four years old. Like other latecomers (Marcel Broodthaers, Yves Klein) Filliou sat awkwardly between art movements, pivoting between Fluxus, Neo-Dada, and early Conceptualism. His sculptures, performances, and writings were primarily a means of articulating his theories: the Eternal Network, the Creative Economy, and Permanent Creation, which salutes Antonio Gramsci’s “Permanent Revolution”. But Filliou subscribed to his own, curious brand of Socialism—a utopian concoction of Charles Fournier and German Romanticism shot through with contemporary interest in Marshall McLuhan and Mao Zedong. “Robert Filliou Sings Marquis de Sade” is not listed in Filliou’s catalogue raisonné, and as far as I know, he never performed it. I found a copy in his old friend’s basement. The piece was presumably conducted casually and sent as a gift (an anti-artist as determined as Robert Filliou must have enjoyed presenting his art as gifts for amusement). Here, Filliou sings passages from Marquis de Sade, the eighteenth century’s favorite sexual extremist, antipodal moralist, and scandalizer of the feudal elite. Interestingly, Filliou excerpts passages in which Sade describes how nations torture and kill their prisoners, not the more famous passages that describe the author’s deviance. Sung a’capella, Filliou’s tenor quivers with an Old World vibrato, lending Sade’s text a peculiar ambivalence: is Filliou promoting Sade’s criticisms or deflating them? Is he shedding light on state violence or mocking our obsession with it? In Fluxus fashion, such answers are left unresolved. Covers are marbled, letterpresses, and individually splattered.
Stunning and privately-released "debut LP by Chicago-based artist Guido Gamboa. Saturday’s Notes is a multi-faceted collection of sonic studies born from a day of studious and diaristic note-taking. The music flows in idiosyncratic segments taking on a form akin to an artist’s sketchbook, constantly crossing and challenging the line between the aesthetically curious and the personally candid. Various influences are apparent as the listener is weaved in and out of hollowed concrète construction zones, beds of frayed and tangled electro-acoustics, irreverent noise chambers and catatonic lo-fi tape haunts. At times unsettlingly intense and at others laughably informal, Saturday’s Notes serves as both a rigorous fledgling artistic statement and an exhaustively introspective “note to self.” Saturday’s Notes comes in a UV gloss sleeve with full colour labels and download cards, in an edition of 200.”"
t Fever MIE 036 "Saturday Night Fever" takes the concept of the movie of the same name and stretches the night a bit later, the fever a bit higher to the point where the party ends up blending into something much more sinister and wild. What starts out as a disco drumbeat with funky guitar swagger and melodic horns, may slowly deteriorate into some sort of corroded ambient loop that eventually morphs into melodic horn samples.. Basically every track is subverting it's own gestures, carving out a narrative of interruption and stretching the disco template in directions simultaneously embracing and mocking the form.. In a way, this album is a sequel to "A Republic of Sadness", embracing the criticisms people had of that album and expanding on those flaws. The resulting album sounds like Morley's pulling out some heaping doses of the hermit boogie and Otago funk and stretching it into some sort of Basinskian disintegration loop gone Bernard Bonnier zonked mutant scene.. There are so many moves within each of the four extended tracks, that it feels like that illuminated dance floor is always slipping beneath your feet. I promise it'll be worth the effort, twinkletoes...- Pete Swanson"
Debut release for Darmstadt-based composer Hans Essel who has been active in improvised music and Grundlagenmusik (foundational music) for more than 20 years. This LP showcases his project Saitensack (string-bag) in which he develops new ways of playing the violin and viola. Comparisons could be drawn to other experimental violinists like Tony Conrad and Takehisa Kosugi but Hans Essel uses a far more stripped-down approach: The instruments are neither modified nor amplified. Strings are not pressed by fingers but rather damped. Only through bowing, they are excited to complex free vibrations, sometimes harsh and noisy, at other times reminiscent of uilleann pipes with cracking and breaking like in yodeling. Saitensack focuses on the origin of tones out of the noise, zooming into the very character of string instruments. Saitensack is pure violin. The essence of violin playing. Side A features an overtone-rich performance from 1994. Side B has a harsher 1999 recording: 24 minutes of pure violin noise bliss. Edition of 500 with printed inner sleeve featuring a Saitensack discussion transcript.
Kye is proud to announce the release of Rules Of The Universe, a fully authorized anthology of archival audio work by the renowned Dutch artist Anton Heyboer (1924-2005). Heyboer's stature in visual arts is well known and internationally celebrated, but documentation of his audio work is scant and difficult to locate. Heyboer's only previous vinyl release - 1976's ill-fated 'She And She As One' LP (EMI) introduced a music so resolutely personal and uncommercial in nature that EMI ordered the unsold bulk of the pressing withdrawn and destroyed. Further recordings of Heyboer's anomalous music eventually trickled out via a string of private press micro-edition CDs/CDRs through the Anton Heyboer Foundation in the 1990's. Released with full approval from VOF Heyboer and overseen by Lotti Heyboer, Rules Of The Universe draws from over seven hours of surviving archival tapes, restoring the cream of the CDR editions and supplementing it with a selection of previously unheard tracks. Rules Of The Universe offers a fresh reappraisal of a lesser-known - but no less important field of creativity from one of the 20th Century's most original artistic minds.Rules Of The Universe arrives in a full color high gloss gatefold sleeve, with an accompanying fold-out color poster, in an edition of 500 copies.
James Ferraro is an experimental musician, composer and virtual atmospherist born in Bronx, NY. Ferraro has released material under a wide array of aliases, and was a member of the Californian two-piece avant-garde project The Skaters. His album Far Side Virtual was chosen as Album of the Year by the UK's Wire Magazine in 2011. Ferraro has been producing small runs of releases on cassette, CD-R, and VHS with a wide variety of styles all representing different dreams of a demonic mind tower spanning from freak flesh bodybuilder atmospheres to ambient modern world/psych. First on New Age Tapes and later on MuscleWork Inc., self run cassette / CD-R labels primarily used for releasing small runs of his solo work. In the summer of 2009 Ferraro composed and recorded the Summer Headrush Series in Antwerp, Belgium for Musclework Inc. The series is loosely based on visualisations that came to mind while receiving self-induced hypocapnia (aka choking oneself) or as it’s commonly called 'free fall'. The albums being representatives of the free fall head space. Other albums from the Headrush Series are: Body Fusion 1 and 2, iAsia, Wild World, Son of Dracula and Hacker Track. The Rerex album is vintage hypnagogic Ferraro and with it’s length (almost 3 hours) it may be considered as one of his Magnum Opuses. Using cheap casio keyboards, loops, effects and difficult to trace samples Ferraro creates a slightly haunting but oh so beautiful musical world which we’d like to visit. Please use headphones for a dynamic HD headphone experience. Music & artwork by James Ferraro, mastered & Lacquer cut by Christoph Grote-Beverborg at Dubplates & Mastering, lay-out by Jeroen Wille. Released on Aguirre Records in a limited edition of 500 copies.
Requiem of Art Fluxorum organum II Opus 50. was first issued in 1973 by Edition Schellmann alongside ‘Schottische Symphonie’ with Joseph Beuys. With full co-operation with the Henning Christiansen estate Penultimate Press is proud to present the authoritative version of one of the late Henning Christiansen’s greatest works. In the summer of 1969 we made a collective film “The Search” on the heath in Jutland, Denmark. Henning Christiansen made on site field recordings for the individual scenes with Peter Sakse as sound master. The music was first time used during the performance at the festival Strategy: Gets Art exhibition organised by Richard Demarco at Edinburgh College of Art, on August 21,1970 with Joseph Beuys and Henning Christiansen. Henning Christiansen sampled the field recording into the organ music from “Eurasienstab”. He gave this composition subsequently the title Requiem of Art fluxorum organum II Opus 50. That means a requiem over the role of art in the 1960s. – Ursula Reuter Christiansen Møn, Denmark 10.20.2015. Requiem of Art fluxorum organum II Opus 50 comes in an edition of 700 copies on 180 gram vinyl house in a handsome spot-varnish sleeve along with the entire score as a high-gloss 4 page booklet.
Welcome to the ground-zero of music. This insane and self-titled LP is the punkest record ever made! Regler is a new, jaw-dropping side-project duo comprising Mattin (Billy Bao, Josetxo Grieta) and Anders "Drajan" Bryngelsson (Brainbombs, No Balls). Dancing on the ashes of a cultural breakdown, Mattin and Bryngelsson reach a tipping point where the dead body of rock explodes, before imploding upon itself. Mastered by Rashad Becker and released on the 8mm Records label in an edition of just 200 copies."
An edited and remastered issue of a tape by the IFCO quartet – Scott Foust, Karla Borecky, Jessi Swenson, & Meara O’Reilly. Rags To Riches is a live record documenting pieces from 2003 through 2005. Showcasing some top-shelf unreleased works; “The Whole World,” “Metropolis,” and “The Bitter End.” Older material is also included, a fierce version of “Artificial” from 2005’s Stranded, as well as the notorious “Cycle-19.” Additionally, there is a beautiful voice-based rendition of “Some Of Us” by IFCO comrades’ The Shadow Ring. All these pieces exhibit a contemplative and well-informed use of electronics, radio, and voice. Interlaced with spoken title announcements in French, punching typewriter passages, and bookended perfectly with audience dialogue and Mr. Ferry. Their mechanical and uncompromising aesthetic is pronounced, as Rags To Riches reminds us all why Idea Fire Company are such an important contemporary outfit. Edition of 285 copies, with color insert & essay by Scott Foust.
"Deluxe 180 gram vinyl version on reverse board card with printed inner sleeve. Rabbit Eclipse is the second -length recording from the legendary Księżyc following on from theirfull self titled debut from 1996. The Moon never went away. The 2013 the Penultimate Press re-issue of Księżyc’s timeless debut exposed the band to a large new audience resulting in a return to live performance and the subsequent development of new material. Rabbit Eclipse was recorded in Warsaw throughout May to September 2015 within the idyllic Palladian palace Królikarnia (The Rabbit House). All original members gathered to conjure the peculiar hybrid of the ancient and the contemporary unique to the band. With more expanded forms, Rabbit Eclipse presents a rich and subtle environment of beguiling narratives hanging in suspended tension. This opens up an entire new phase in the cycle of the band where an enchanting discrete musical continuum of rich and subtle sound excursions are enveloped in a mysterious melancholia. Rabbit Eclipse is another exemplary presentation from one of Poland’s most idiosyncratic and respected outfits."