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Whole Voyald Infinite Light / Uncollected Recordings / Cassette Box Set / Winebox Press / winebox25

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Double set of archival recordings from the WVIL vaults. The first tape documents a partly improvised but wholly free four-piece session – the first ever in this configuration, featuring the bass and drums of Tom Settle and Edwin Stevens – from June 2013, recorded to reel-to-reel tape in Manchester by Patrick Crane. Tape 2 is the result of a fruitful period of double guitar small speaker destruction from late 2010/early 2011, recorded to tape in historically disputed Greater Manchester/Lancashire/Merseyside territory. Limited edition of 82 copies comes presented in a double tape case constructed from the broken down frame of a wardrobe. Also includes risk-printed card inserts with grainy photos, track information and discographies. Winebox Press.


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

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


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

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


Mutual Process / Untitled / Cassette / Discombobulate / bob005

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


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

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


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

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


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

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


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

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"An hour outside, far from the prison in the room". (January 30, 2015). Tyler Hicks, Sam Hooker, Knox Mitchell, Heath Moerland, Brian Schmidt, ad Weird Gary. Released on a black cassette in an edition of 100 on the Alien Passengers label.


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

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


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

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


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

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Recorded on one intense night at Tokyo's Shinjuku Pit Inn. A trio of three towering figures, German free jazz legend Peter Brötzmann, Japanese avant-garde wizard Keiji Haino, and wildly versatile American composer and musician Jim O'Rourke, recorded by Yasuo Fujimura on November 23, 2010. Brötzmann: alto and tenor saxophones, tarogato, and clarinet; Haino: guitar, voice, shamisen; O'Rourke: guitar.


La Monte Young, Marian Zazeela / The Tamburas Of Pandit Pran Nath / CD Box Set / Just Dreams / JD001

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Great reissue of these seminal 1982 recordings by La Monte Young and Marian Zazeela. The Tamburas Of Pandit Pran Nath is one of Young and Zazeela's most sought-after classics, finally repressed here in a limited run. Originally released in 2000, it's an homage to their guru Pandit Pran Nath, who for many years used this recording for his own practice. Accompanied by a 44-page booklet that includes two colour and seven black and white photographs, as well as extensive documentation prepared by La Monte Young and Marian Zazeela regarding the origins and history of the Tambura and its significance in the Indian classical vocal style of Kirana as practiced and taught by Pandit Pran Nath, this 74-minute CD represents Young's best recorded tambura tuning. In his introduction to the notes, Terry Riley writes, "This recording is an invaluable artifact, destined to become a cherished classic, valued for years to come by those able to appreciate the subtle vibratory qualities of this High Art." The tamburas are played at Jora Sa 120 Hz, Pa 90 Hz, Kuraj Sa 60 Hz (low B pitch). The 44-page printed booklet and silkscreened disc are packaged inside a double-size plastic CD jewel case. Just Dreams.


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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


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

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Hironari Iwata began his solo project Toukaseibunshi (Transparent Molecules) in 1985. In the same year he formed a second unit called Haiginsha, and began collaborating with Merzbow and Agencement. Iwata also ran the independent label Angakok, releasing several albums on cassette and curating a compilation that featured some the most radical musicians of the period including H.N.A.S., Asmus Tietchens, P16.D4, DDAA, etc. But in 1988 he suddenly ceased all musical activities. He returned to public attention twenty-one years later in 2009, when PSF Records released an edited reissue of his early album, “Meta-Inorganicmatter Meta-Newlon”. “Stratosphere Sound” is Iwata’s latest work, underpinned by his feelings of poignancy and deep passion towards his own music. The release is designed to emphasize the concept of transparency: it is pressed on clear vinyl and comes with a photographic print by Aqua (Iwata’s photography alias) on special transparent film. Limited edition of 200. Art Into Life.


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

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


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

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


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

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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.


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.

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