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Olan Stephens / Monk / Cassette / Wagtail / wagtail005

Picture of Monk
Olan’s Monk is a hazed out, nihilistic reference to the pop song. Its palette and sentiment pushed through a heavy filter. During a winter at home on the west coast of Ireland, Olan recorded this collection of abstract and expressive vignettes. Using restrictive old equipment, found sample banks and the effected voice, something physical is created out of nothing. Snow white cassette and cover with stamped text, white vellum insert, red seal. Limted edition tape. Packaging design by Olan, hand made by Ashley Paul.


Improvisation Group / Live 1975 / Cassette / B.Y. Recordings / No catalogue #

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45 minutes of previously unreleased space - cosmic - dada free improvisation from the golden age of the Tokyo avantgarde. Members of Taj Mahal Travellers, Marginal Consort, EBS. Recorded in 1975 and never released.... a cult!!! Released in an edition of 100 copies on B.Y. Recordings.


Alice Kemp / Impregnator Of The Death Mouth / 7" Vinyl / Harbinger Sound / harbinger112

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Following her hour-long sound piece "Decay and Persistence", released on Fragment Factory in 2013, here's the first solo vinyl release by South England's multimedia artist AK. Kemp has been active in the field of radical sound- and performance art for the past 20+ years, looking back on infrequent but memorable performances across Japan, USA, UK & Europe, as well as a handful of splendid (and mostly sold out) small-run releases under her Germseed moniker. "Impregnator" is accompanied by a high-quality 12-page full-colour booklet, showing an exclusive photo series, shot by Paul Watson at the Lazarus Corporation. Released in a limited run of 150 copies. Harbinger Sound.


Chris Corsano, Steve Baczkowski, Bill Nace / Stolen Car / Vinyl LP / Golden Lab Records / ROWF61

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Ltd to 300 copies and pressed on 140g vinyl. Could not be more excited to confirm the release of the new LP by this absolutely untouchable trio on Golden Lab Records. Last year or thereabouts, Bill Nace (Body/Head) released a super limited LP (50 test pressings only!) with the wonderful saxophonist Steve Baczkowski on his own Open Mouth imprint and it was barely off the Golden Lab stereo for the rest of 2014. A bedazzling demonstration of whacked, yet stunningly controlled guitar feedback smashing up against a wall of droning, wailing, crying and screaming sax, which each worked as the other’s tonal parallel, it was without doubt one of the records of the year. It was closely followed by an LP augmented by free drummer extraordinairE Chris Corsano, frequent Corsano collaborator, saxophonist Paul Flaherty and legendary Vermont-based freak-folk vocalist Dredd Foole, again on Nace’s Open Mouth label. A very different record for the augmentation, it was nevertheless arguably even better than the duo LP and careened into a near-wash of pulsating static energy with instruments coming to the fore and then dipping away back into the ecstatic cacophony. Now, ‘Stolen Car’, recorded in January 2013 and performed by Baczkowski, Corsano and Nace, and featuring Flaherty napkin art on the front and back covers, pushes the re-set button and does something completely different again. The sprawling title jam that covers the entirety of Side A scratches and crackles before exploding into a full-on roar of expressionism that stretches the formerly unseen boundaries of free jazz, practically suggesting a dogmatism about the genre as it existed prior to this recording. Side B collects three shorter, similarly rabid pieces, which each elevate Baczkowski’s playing to new, mind-boggling levels as he proves his mettle against two of the most outstanding proponents of their respective instruments in the world today. Absolutely unmissable and in a run of just 300 copies. No re-pressing, so once they’re gone, they’re gone. Golden Lab.


LR (Loke Rahbek), Puce Mary / The Female Form / Vinyl LP / Posh Isolation / posh isolation #145

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The Female Form is the second collaborative record between two of Copenhagen’s most prolific experimental music personas. Frederikke Hoffmeier’s Puce Mary project is known from several solo records on Posh Isolation and her collaborative releases with Sewer Election, as well as almost countless shows and performances all over the world. Loke Rahbek is probably best known for his work as half of Posh Isolation and his projects under the aliases Croatian Amor, Damien Dubrovnik, Lust for Youth, Vår and an impressive body of work manifested both as records, performances and strange places in between. Together they have previously released ‘The Closed Room’ on Posh Isolation in 2011 and now, four years later, they are ready with the second record of their planned trilogy. The Female Form was recorded partly in their shared studio in Copenhagen located inside the venue and studio complex Mayhem, and partly at the historical Electro-Acoustic EMS studio in Stockholm. Thematically the record deals with intimacy and the (im)possible relation of the sexes. It is obvious that the two artists have grown vastly, both as composers and lyricists since their last collaborative effort. Still, it feels like ‘The Female Form’ follows where ’The Closed Room’ left of, walking a path in between industrial, drone and electro acoustic music. The room is still closed, the doors are shut and windows covered, whatever insight the listener is granted is the kind of insight you get peeping through the keyhole or the crack between the curtains. Every motion is obscured and the outcome uncertain. Still, the seven pieces that form ’The Female Form’ is a demanding and intriguing venture into the two artists’ world, even if we are left at the doorstep with the door closed in front of us. Posh Isolation


Marching Church / This World Is Not Enough / Vinyl LP / Posh Isolation / posh isolation #147

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Although I have done a few things under the Marching Church moniker since 2010, the project, as in the constellation on this album, was born in November 2013 with Kristian Emdal, Anton Rothstein, Cæcilie Trier, Bo H. Hansen and Frederikke Hoffmeier. We had agreed to play with Pharmakon at Mayhem, our warehouse space in Copenhagen, even though i hadn’t done anything with the project for quite some time. With two months before the show, I threw together a few half-thought-out ideas and sketches, presented them to the new band, and was amazed to see how the songs took life in their hands. I had a picture in my head of me in a comfortable arm chair, adorned in a golden robe, leading a band while a girl kept pouring me champagne. "What would this picture sound like?" was the question. For some songs I was inspired by my friend Jamie Cripps, who unfortunately is no longer with us, and his project The Pale Horse, as well as a record by David Maranha called Antarctica that I was played one night at my favourite bar, The Nightingale in Tokyo. Those records made me want to create something that sounded half asleep and like it was being dragged across the ground, or smoldering in a bonfire, in order to keep on playing. At least that was the initial inspiration, in time it got a bit overtaken with an idea of being the leader of a soul group—people likeJames Brown, Young Americans-era David Bowie, and Sam Cooke were inspirations in this aspect. Improvisation, something I have never done before, was crucial in the making of this album. The album works because of the band’s incredible ability of breathing life into these loosely written and at times very simple ideas and experiments. Though Marching Church might be a dictatorship, This World is Not Enough was very much a collaborative effort. Everyone involved does other projects as well, but I wouldn’t want to see it as a "side project." That term seems degrading. In conclusion, half-disgusted with talking about myself, I’m going to leave you with This World Is Not Enough—eight songs of nocturnal longing, preposterous self-obsession and cockeyed etiquette. Love, Elias B. Rønnenfelt.


Speedqueen / New Wave Copy Center / 7" Vinyl / Ultra Eczema / ultra eczema 193

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The photocopier is a joy to work with — though not in your tiny apartment, and it can be expensive to maintain. That's precisely why copy centers are a great help! In Antwerp, Belgium, where Speedqueen is based, the cheapest copy centre was more akin to a darkroom than a help desk. Its two employees were depressed, almost identical goth sisters — they both had thick, red and black oil painted hair, white skin and dodgy piercings, tightly wrapped in black clothing. The smile had yet to be invented! Those were the days! The A side of this single is a tribute to this copy centre. The flip is a tribute to family values and rectal problematics—or a combination of both. Limited to 150 copies. Ultra Eczema.


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

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audioMER is happy to announce the release of a new LP; Lost City by Aki Onda (US/JP) with music by Loren Connors (US) and Alan Licht (US). The Lost City project started as a series of photographs shot by visual artist and composer Aki Onda in New York starting right after 9.11 in 2001. A decisively introspective response to the major world event taking place, his pictures were devoid of direct references, but documented his immediate surroundings, focusing on how what happened resonated on a personal micro-level. Since 2005, Onda has been presenting this series as slide projections, which function as a visual score for improvisation, and performing with NYC avant-garde musicians Loren Connors and Alan Licht. Two improvisations on this LP were recorded at Anthology Film Archives in NYC in 2007. Lost City contains the vinyl, a folded 20 x 30 inch poster with the complete photograph series and an A4 risoprinted booklet containing the accompanying text written by NYC based curator/writer Niels Van Tomme. The record's A side is a duo piece between Connors and Licht that consists of wandering, buzzing guitar drones with occasional noisy eruptions. It highlights the almost twin-like connection between the longtime collaborators, with telepathic intersecting guitar lines and a sense of unease seeping through. The B side is Connors solo and is a very lyrical and atmospheric ambient piece that is equally sparse and spacious. The LP is limited to 350 copies. Audiomer.


Damien Dubrovnik / Vegas Fountain / Vinyl LP / Alter, Posh Isolation / posh isolation 144, alt20

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Vegas Fountain is the new full length album from Copenhagen based industrial duo Damien Dubrovnik (aka Posh Isolation founders Loke Rahbek and Christian Stadsgaard). Since 2013’s ‘First Burning Attraction’ LP, Rahbek and Stadsgaard have continued to be consistently busy as label bosses but even more so as artists, performing more frequently worldwide and building a reputation for their fierce and powerful live show. It was during this time as well that the duo honed their craft in the studio and found a working rhythm where their live performance fed into the studio work and vice versa. Using this process to feed off the springboard of Rahbek’s words and imagery, it not only helped shape a stronger state of equilibrium in the project but also allowed the duo to challenge themselves, both musically and emotionally, exploring concepts like relations, performance, sexuality and their breaking points. An element of this was teased with last years ‘Patterns of Penetration’ single, but here it arrives full force with Vegas Fountain - Damien Dubrovnik’s strongest work yet. In the first couple of minutes into opening track “On It’s Double”, you get a sense that things have moved forward artistically in Rahbek and Stadsgaard’s world these past couple of years. The clear production breathes a subtlety into some of the sonics here that perhaps wasn’t revealed through the murk on previous records, heightening a tension that at some points breaks and dissolves into something almost melancholic - evoked by the reflective landscapes of “Interior 2: See Water Glass” and “Interior 3: Matching Window Blinds”. The attack remains however, with the punctuating saw toothed bass notes and screaming tones of “Interior 1: Upper Lip” (considered “problematic” to cut by the mastering engineer”), and the finale of the title track which has all the drama and explosive euphoria of their live show. Vegas Fountain is co-released by Alter and Posh Isolation.


Anthony Guerra, Patrick O'Brien / Untitled / Vinyl LP / Black Petal / Black Petal #46

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"Two dogs meet in the street, Stop Stare Bark. A well bred stud and a half feral bitch. They circle sniffing each others arses. Pulse rates rise and fall in excitement. False starts galore. Bones bump. Dogs fart. A growl and a nip on the behind. What good could possibly come from such a meeting. Nobody knows. That is why we watch. Patrick O’brien from Mad Nanna etc and Anthony Guerra from Love Chants and Black Petal label etc. With artwork by Joshua Burkett. Released on Black Petal in a limited edition of 220 copies.


Tori Kudo / Mu Ji Ge / 7" Vinyl / No Label / No catalogue#

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Tori Kudo of Maher Shalal Hash Baz, together with Chie Ozeki (Maher Shalal Hash Baz), Tsukasa Takahashi (Che Shizu, Maher Shalal Hash Baz) and Mikiko Suzuki. A cover of a song by Korean psychedelic rock legends Sanullim. Both a tribute to the band and a statement of solidarity and support for Japan’s Korean community, currently facing growing hostility from the Japanese right-wing. 7" vinyl includes an insert with a poem in Japanese and English by Japanese artist Junko Harada. From Tori Kudo's liner notes: “When I obtained cassettes of Sanullim from a Korean resident in Tokyo around 1980, the US-British world was in the rotten post new wave, but at that time South Korea had not had even a punk and was still at the stage of so-called "GS"; a situation of surplus value decomposition. Sanullim was like an unexpected flower of the frontier district that suddenly shifted from “GS” to progressive rock. Wouldn’t it be shocking if Jackie Yoshikawa & His Blue Comets were performing Uriah Heep? I do not know any similar examples that equal them in East Asia other than Les Rallizes Dénudés. Although I am not fundamentally concerned with man's politics, I remembered Sanullim when the anti-foreigner demonstration occurred in Korea town in Okubo, Tokyo, in 2012. It was an agonizing feeling which sent pressure up my spine. In response, this was performed on the street in Okubo.”


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

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


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

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


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

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


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

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


Primitive Motion / Pulsating Time Fibre / Vinyl LP / Bedroom Suck Records / BSR058

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Brisbane duo Primitive Motion (Leighton Craig and Sandra Selig) are back, blasting through the time/space vortex on their second full-length album, "Pulsating Time Fibre". One year on from their acclaimed debut, "Worlds Floating By", the band are bursting with material and have undertaken an extensive home studio exploration of dream-float-pop and cosmic wandering. Employing their unconventional recording techniques (sometimes material is captured raw as it is composed, and at other times certain compositions will float back and forth between different home studios in Brisbane, sometimes for months on end), the band have pieced together a true manifesto for what is Primitive Motion. Their signature echo-drenched sound ascends a new apex as the duo cut and polish two distinct sides, flipping a thread of minimal short form pop gems with extended deep space forays. This is truly a concept record, two sides of a coin each exploring their hypothesis within different frameworks. Driven by machine beats and live drums, the band weave their cloak of keyboards, brass and wind instruments with shimmering runs of analogue synth and stylophone. There is a dreamy warmth and melancholy that courses through the bloodstream of Pulsating Time Fibre, a sense of the almost-familiar, like an unborn memory from an imagined future. Another important feature of this release is the incredible collaged artwork, pieced together by the band and presented in a now instantly recognisable PM fashion. It is this visual aspect of that band that is becoming almost inseparable from their sound. Somehow, the essence of light and movement that the band are trying to convey in their compositions are reflected in these artworks, mercifully put on display for listeners to contemplate. Bedroom Suck Records.


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

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


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

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


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

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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.


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

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


Copley Medal / Marble Cage / Cassette / Vitrine / VT07

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


Mutual Process / Untitled / Cassette / Discombobulate / bob005

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


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

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


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

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


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.


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.


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.

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