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... everything currently listed on the "closeout" section will not be surviving the journey to the new server / site, which means you have approximately 2 weeks in which to make your final final selections from said before they're cast into the void, never to return ...

... this is your last last chance at ownership of the thousands of fantastic titles on offer therein, which have been marked down essentially to cost ; final final warning !!!
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there are 26 titles featuring keith fullerton whitman in stock.
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 best of 2010 !!! 
amethyst sunset (usa) #as-005 lp

keith fullerton whitman / mike shiflet070325 b/w 080409” long playing record

  • keith fullerton whitman - 070325 (14:32)

  • mike shiflet - 080409 (19:50)
june 2010 release ; ... following on from the no fun productions split with carlos giffoni, here’s the second in the “split series” of lps issuing my initial “synth concerts” from 2007 & 2008 (further volumes in-the-works from amish & dekorder) ...

the piece here is rather special ; for the only time in my professional life i broke the “don’t play at gigs you set up” rule & put myself first on a bill with heathen shame, carlos giffoni, burning star core, and prurient, just so i could get in a set of gnarly, rectified, slowly-opening moog-topology low-pass-filter pulse at ear-splitting volume out of a mono, 550w keyboard amp to a fairly sizable turnout (for a saturday night in the wastelands of union square, somerville, at least) ...

amethyst sunset’s william berry chose a liveguitar/drone” piece by columbus mainstay mike shiflet for the b-side, and it’s a doozy !!! consisting of a long patch of pulse-wave modulating tones, a growing wall of grizzly pitch-altered rumble (creating a lovely, if unstable major fourth) gains in pressure, laying out for a spell before a series of guitar parts (run through a low-frequency ring modular from the sound of things) come in & the piece builds to a buzzy, echo-laden climax ...

nice, full-color sleeve (with design & layout by mike) hides a 180-gram lp with full-color labels ...
amethyst sunset press release...

keith fullerton whitman / mike shiflet - "070325 b/w 080409" lp (amethyst sunset)

one live track a piece from keith and mike.
keith presents a modular synth recording from the spring of 2007.
mike's side is an excellent guitar/drone piece recorded during the summer heat of 2009.

pressed on 180 gram vinyl.

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38% off !!!
amish (usa) #ami 033 lp
required wreckers (usa) #r/w 3 lp

ben vida / keith fullerton whitmansplitaggregatepulseripper (damaged iiii) b/w 080114” long playing record

  • ben vida - aggregatepulseripper (damaged iiii) (11:31)

  • keith fullerton whitman - 080114 (18:20)
june 2011 release ; third vinyl-only release in amish’srequired wreckers” series, offering a studio piece from ben vida (the first issued evidence of his switch from a keyboard-based moog voyager-centric setup to a computer-controlled eurorack modular) & a live piece from myself (making this the third in the “split series”), about which ::


great gig, still one of my favorites ; something of a "stone soup" event centered around the arrival of serfs from the uk. greg kelley set up a bill with heathen shame (wayne & kate from twisted village / major stars / magic hour & greg himself) & dan lopatin (just post-astronaut breakup, when he was still going as “dania shapes” or maybe already "magic oneohtrix point never" ; a reference to the boston soft-rock magnates) ... i had heard serfs on a singing knives comp & was intrigued enough to offer to schlep my gear down the hill ...

chronologically, this was the fourth of the solo synthesizer sets ; the theme here was economy ... i made a point of using each cv-source in as many ways as possible. throughout the recording you can clearly hear people talking in the room (even as this was in the days before gerry decided to tear down the wall between the bar & the stage) as well as sound coming from different areas :: a small, battery powered speaker on stage right, the giant barbetta on stage left ... each speaker was being fed a different patch respective of its frequency response ; the high, squeaky hysteresis is all analogue (from two of the limewire modules run in a feedback loop) & the loud, buzzing pitched noise is all digital (zorlon cannon, clocking itself via a cv-feedback loop with a sample & hold circuit in the send) ... a single master-clock is timing all events ; the same noise-source that's feeding the timing events is also generating the quantized "melodies" near the end. the only effects (other than the extensive use of wave-form geometry modifiers) are the 4096 bbd delay (again, being controlled by the same sample & hold result) & the built-in spring reverb (sounding as buzzy as ever) ... 

note that there is no sequencing at any point, nor any straight time throughout (even the somewhat quantized-sounding section in the middle is rather "drunk", computationally speaking) ... during the twenty-second burst of extremely high-mid-frequency sine-wave action about 10 minutes in, someone (i forget who exactly) actually climbed over everyone & ran for the door holding his/her ears in a state of utter terror ... not a single other person even seemed to notice the tone or the egress ...


... as with the last two lp’s in the series, this comes in a gorgeous b/w outer sleeve, to which a letter-pressedbadge” has been affixed with string ; inside there a 16-page booklet of photographs by meredyth spark (who also designed the cover) ... it’s also worth noting that marcus schmickler’s assist on the frequency-spectrum representation (ben’s side sounds crisp & direct, but i’m more blown away at how he turned a distant, back-of-the-roomfield recording” into a detail-heavy monster) ...
amish press release...

ami 033 r/w
ben vida / keith fullerton whitman
aggregatepulseripper (damaged iiii) / 080114

the third iteration in the required wreckers series, a split lp featuring new and exclusive work from ben vida and keith fullerton whitman (ami-033 r/w). having collaborated over the last decade as a trio with greg davis, this release features new solo-work by two of america's most important emerging sound artists.

the first side of this release debuts a new composition from ben vida. in keeping with his recent patchwork-based compositions, aggregatepulseripper (damaged iiii) continues to explore vida's interest in both digital and analog control sources, a compositional process that refuses to fetishize one technology over another and, more interestingly, appears (though, of course, these appearances are deceptive) to displace the musician's hand from the compositional process. in light of vida's early work with the acoustic ensemble, town and country, and the world music and concrete studies of his solo project, bird show, this new compositional method should not be overemphasized. for this piece, vida creates a complex web of patches that change and morph in what he has contextualized as a series of shifting generative patterns. the subtitle of his piece references how these patterns coalesce in aggressive, almost hardcore, clusters of sound that refuse to slip into contemplative or mystical arenas that so many in today's electronic music reference in relation to their work. vida's composition opts instead to remain engaged in the phenomenal and spatial forces that shape our perception of sound.

the flipside of this lp features keith fullerton whitman's third in a series of splits (previous releases have included no fun production's b/w carlos giffoni and amethyst sunset's b/w with mike shiflet) documenting a particularly productive period in his creative output - a series of "synth concerts" from 2007 and 2008. recorded on january 14, 2008 at pa's lounge in somerville, ma, this piece documents the fourth in whitman's solo synthesizer sets. his technical set-up is based around a theme (and circuitry) of economy, in which the artist makes use of each cv-source in a variety of fashions. throughout the recording one can discern talking from the audience and ambient room-tone noise, as well as sound coming from different sources spread throughout the room - a small battery powered speaker on stage right, a giant barbetta on stage left. each speaker was fed into a different patch irrespective of its frequency response. whitman uses a hybrid system of digital and analog sound sources that, with the exception of a single 4096 bd delay, is presented here without treatment, overdub, or sequencing of any sort.

new york-based artist meredyth spark provides the cover art and sixteen-page booklet for this release. sparks has been assisting amish for the last few years with design and layout. this is the first release to exclusively feature her work. the images and design elements for the cover art come from her extraction series (in truth, the front and back covers are extractions of her extractions), paintings and collages that draw heavily from the aleatory methods and analog/digital processes that both vida and whitman utilize in their recordings.


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threads:
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 best of 2012 !!! 
editions mego (austria) #demego 026 lp
demand (austria) #demego 026 lp

keith fullerton whitmanocclusions” long playing record

  • occlusion (rue de bitche) (18:17)

  • occlusion (weteringschans) (17:47)
june 2012 release ; ... impressively quick hit on this one :: a high-spec lp (pressed at 45rpm, fyi) of two concerts given a week apart (at the cable# festival in nantes ... then sonic acts in amsterdam) just 4 short months ago ...

... “occlusion” has steadily been building in intensity & complexity ; starting as a studio-based experiment (the first recordings of which, made over a year ago, make up my side of the split lp w/ eli keszler on nna tapes) in generativefreerhythms & exerted machine-control, it has blossomed into a master rule-set for performing entirelyliveelectronic music ... these two iterations (both performed in quad, yet presented here in all of their room-toned glory via the two built-in mics of a $99 zoom h1 handy recorder) are easily amongst my favorite of the two-odd-dozen given thusfar ; the recordings just happened to turn out beautifully & were each the perfect length for an lp-side, so here we go ...

... a couple of things to clarify (for those that have asked) ; the “titling” system in place simply reflects the street on which each set was performed (i thought about scrapping this whole mechanism after performing at “ateliers du bitche” on, you guessed it “bitch street” ... but opted to stay the course ; que sera cetera) ... also, the seemingly arbitrary pacing is actually the most intricate part of the piece ; largely hinging on a given audience’s reaction to the music as it starts, continuing in a quiet, sparse way, building subtly until an understanding between listener & performer is reached ... an avoidance of the cliché’d “ramp” and or “triangleform-arcs is also a goal (personally speaking, i can’t deal with the slow rise into “significance” and/or the slow retreat from said ... mainly as i’ve burnt out on it after 2 decades of “drone” performances) ; the constant misappropriation of forward momentum being something of a source of joy ...

... anyways ; it warrants stating that i’m happier with this particular music than i have been about anything i’ve made in a very long time ; perhaps i’m finally zero-ing in on what it is that i look for in music these days (in many ways this is a stab at finally breaking free from genre conventions & just focusing on sound) ; i’ll understand completely if it’s not your kind of thing (i can definitely see those that enjoyed the “generators” pieces solely for their repetitive melody sequences not getting much out of this rather difficult, un-resolving music) ... it helps to consider it as a concatenation of several conflicting approaches to the real-time assembly electronic sound, albeit compressed together at an atomic level into something that’s constantly shifting, churning, self-destructing, then begging to be re-built within any given 10-second stretch ...
editions mego press release...

demego 026 /  keith fullerton whitman
occlusions
lp (cut at 45 rpm)

release date 19.06.2012

occlusion (rue de bitche)

recorded on february 18th, 2012 at les ateliers de bitche, nantes, france.
performed on a 4.2 quad array, captured in stereo from the performer's perspective
on a zoom h1 handy recorder (auto level :: off)

occlusion (weteringschans)

recorded on february 25th, 2012 at paradiso, amsterdam, the netherlands.
performed on a 4.2 quad array, captured in stereo from the performer's perspective
on a zoom h1 handy recorder (auto level :: on)

occlusion is a loose framework for a multi-channel, freely improvised piece of live electronic music, performed without the aid or consent of pre-recorded or even pre-arranged materials of any kind. a given realization will last between 10 and 30 minutes ; time is elastic. every effort has been made to avoid divisible rhythms (although mistakes are occasionally made) ... still, i consider it a "kind" of dance music.

these two realizations, recorded a week apart at festivals in france and the netherlands during february 2012, capture the piece (much like those on the generators lp) in two entirely different iterations, in states of (a) a mildly inebriated bliss & (b) an arbitrarily triggered blind rage. both recordings were made at 24-bit, 96khz through the absolute cheapest means available to the consumer to do so. they sound fantastic.

occlusions is a companion piece to generators in that they share the same tool-set ... however, it is the free jazz yang to generator's minimalist yin. it is not recommended to those seeking meter, melody, cleanliness, or a clearly outlined organizational sense.



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threads:
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digital-musics
electro-acoustic-improvisation
electro-acoustic-composition
minimalism-drones
modern-composition

 best of 2012 !!! 
editions mego (austria) #demego 024 lp
demand (austria) #demego 024 lp

keith fullerton whitmangenerators (white vinyl)” long playing record

  • issue generator (for eliane radigue) (17:34)

  • high zero generator (17:34)
february 2012 release ; well, would you look at that ...

this lp was originally intended for release on our in-house “no” label (r.i.p. ; don’t even get me started ... in short, if i offer to put out a record for you, remind me of my track-record w/r/t running labels) ... even went as far as commissioning a series of illustrations from graham lambkin to be used as the artwork (amazingly, he ended up hand-bubble-lettering the entirety of the thanks & liner notes ; detail below) ... but then life, travel, business, and pessimism all reigned supreme & the project was shelved (alongside three other perfectly fine “no’s” ; apologies to von himmel, benjamin nelson & brandon terzakis, & nasturtium) pending that figurativerainy day” in which i would so happen to have $3-$4k just lying around ...

during a particularly inspiring stretch at the end of 2011 (yes, the whole grm / quai branly / kontraste / c.a.m.p. basement leg) i ran into editions mego’s peter rehberg (who was also in krems presenting a joint grm commission with stephen o’malley) ; ended up going to vienna with nick cain for a day to hang out with peter & his lovely wife isabelle, ate a fine schnitzel, shopped for toys & chocolate, & generally just lounged around, talking records & shop ...

peter brought up the fact that, way back in the hrvåtski days (pre-hrvatski), i had given him a demo for mego proper ; this came as a shock as i’ve always prided myself on the fact that i’ve never solicited anyone with a demo in my life ... but sure enough, a few weeks later, he emailed me a photo a crusty mid-90’s branded cd-r with the text “hrvåtski mego demo” written in sharpie, then we-transfer-ed me the audio (here’s all five tracks ; best keep a hand on your volume-knob !!!) ::



... kinda glad in retrospect this didn’t hit the shelves in 98 as it’s not my best work, but peter’s assertion :: “so you got side a of your mego album” was just what i needed to hear ...

... flash forward a few months ; had the bright idea (in mid-december, 2011) to hand over the abortedno” lp to peter - a professional - and what a wise choice that turned out to be ... 2 months to the day, i sit here in cambridge holding so many copies of a deluxe euro-spec lp, recorded in brooklyn & baltimore on september 23rd & 22nd, 2010 (respectively) ; mastered on october 1st, 2010 here @ mimaroglu ; drawn by graham during november 2010 ... then slept on for over a year, but scanned, laid out, mastered for vinyl, cut, plated, tested, pressed, printed, assembled, shrink wrapped, boxed, consolidated, transported, shipped, then received ... in 62 days :: insane ...

... despite the “rush job” schedule, this came out perfectly ; it covers the final two performances of “generator (the best, most successful two, but also two completely different approaches) & works best at modest (the a-side) & extremely batshit loud (the b-side) volumes ... enjoy.
editions mego press release...

demego 024 /  keith fullerton whitman
generators
lp

release date 21.02.2012

over the course of a year, keith fullerton whitman performed a piece of live electronic music a few dozen times entitled "generator." the debut was given in san francisco at root strata's "on land" festival at cafe du nord on september 19th, 2009 … over the months that followed stagings took place in venues ranging from flooded basements to festival stages in baltimore, boston, brooklyn, chicago, easthampton, iowa city, jamaica plain, northampton, raleigh, saint louis, san francisco, somerville, & washington d.c.

this lp covers the final two performances of the piece over two consecutive evenings ; the opening solo set from the final night of the "high zero" festival in baltimore at the theater project, september 26th, 2010, then the performance during the "for eliane" night of the "propensity of sound" festival dedicated to eliane radigue's work at issue project room, brooklyn, september 27th, 2010. these recordings show the piece in two different iterations, taking two different trajectories entirely. they're considered the definitive versions of the piece.

composed for, and realized with a scalable selection of digital & analogue modular synthesis equipment, "generator" was at attempt to wrest a viable performance-based music out what had until then been a solitary set of sound-design tools. the piece grew out of a frustration with the limitlessness of computer-based real-time synthesis & algorithmic / generative systems vs. their utter failure as performance solutions. it hinges heavily on the ideology of the "playthroughs" system (in that the subtle tuning inconsistencies of a physical instrument - the electric guitar - could be amplified & multiplied) through the use of multiple layerings of different topologies of oscillator, yielding an unstable array of modal canons that drift in & out of "tune," causing all manner of inter-voice beating & assorted psycho-acoustic effects.

keith fullerton whitman is a musician based in cambridge, ma, usa. previous releases include "generator" (root strata #62, 2010), "live generators (1)" (protracted view #041, 2010), "live generators (1.5)" (agents of chaos #7028, 2010) & "chicago generators" (hyperdelic #7 , 2010)



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 best of 2005 !!! 
38% off !!!
entschuldigen (usa) #ent mich cd

hrvatskiirrevocably overdriven break freakout megamix” compact disc

  • irrevocably overdriven break freakout megamix (40:39) (91 tracks) including: concert reel intro • ink • une drole de journee • rhetoric (revamped) • epoxy (demo) • heavy.mallow (vocal version) • uncivilibertarian (reworked) • our turn (revised) • routine exercise (recontexualized) • marbles/hekla’s steeze (rewoven) • eintrag raum • kochen raum (dub version) • glamp • pale.overture • 2nd zero fidelity mandible investigation • une drole de journee (reprise) • whalesplosion
the second pressing of this all-time mms best seller arrived just this afternoon. while i’m still in the process of cutting up all the new custom paper and putting them all together i wanted to let you know a few things about the repress:

1). the pressing plant fixed the error which resulted in the new hrvatski logo being printed in halftone black over the white flood/base coat, instead of “knocking-out” of the white flood/base coat to the silver cd face, and as such, the new hrvatski logo now “knocks-out” of the white flood/base coat to the silver cd face. so... yes, the 2nd-press copies look much nicer and i don’t cringe when i see the disc art

2)
. as the acquisition of the first batch of custom/handmade papers was something of an experiment, and as i learned much from said experiment, the 2nd pressing features an evenmoresodareisay amazing selection of weird nepalese blockprints and very cool metallic textured/embossed patterns (see the updated cover-scan to your left.)

3). i wasn’t really going to repress this thing until a few of my distributors sent in restock orders, mentioning that they really enjoyed the disc! this was a real boost and as i want to turn the label into something a bit more regular, i ordered the repress to meet demand. with every copy sold that’s one step closer to the next entschuldigen edition (of which there are currently three planned.)

4). i hate finite-editions of anything that people will want down the road... but then again i don’t want to have another 1100 discs sitting in my room waiting to bought (there’s already enough in here!) so i’ll be assembling these in small batches throughout the summer, possibly into the fall. after that it’ll be time to move on to the next hrvatski-project and all latent copies of this will be sold off...

<--- original description --->

here it is... after a short wait... the mysterious “hrvatski bootleg” i’ve been prattling on about. a very nice looking thing featuring a two-color metallic sticker and a booklet cut from one of twenty different kinds of custom metallic cardstock on my kitchen table with a rodahle guillotine, then stuffed into a cool variopac “trigger-action” booklet box in the reckankomplex living room over the last few weeks by myself (with help from andy solomon and petra-pixm).
entschuldigen press release...
entschuldigen is pleased to release irrevocably overdriven break freakout megamix, a disc which has the honor of being both the first ever live release from hrvatski as well as the debut release on the entschuldigen label.hrvatski is widely known throughout sentient populations for his ruthlessly eclectic music, as released over the past six years on scores of tastemaking labels. he has collaborated with and/or remixed a who’s who of contemporary music and sound production. his last two simultaneously released albums were voted to the top of many year-end lists, including those published in the wire and pitchfork.recorded live at san franciscos rx gallery (as part of the jiffy scuttler series curated by blevin blectum, j. lesser, lance grabmiller, and sean rooney), irrevocably contains a wide selection of material from hrvatski’s vast repertoire, including a majority of otherwise unreleased tracks and reworkings of some of his classic anthems.rather than neatly beat-match each piece into a dancefloor-ready whole, hrvatski herein opts to tear his oeuvre apart in a truly depraved manner, eviscerating familiar themes and passages into a distorted uptempo mess which is then coated with layers of previously recorded instrumental passages, found sounds, realtime digital bleeps, and loads of added beats and breaks (hence the title).one could say that irrevocably is hrvatski’s tribute to such amped-up, overdriven live albums as high rise live and the ventures live in japan 65. one wouldn’t be too far off...”there’s never been a hrvatski live disc (or any weird hrvatski special projects other than 7 singles) as those tend to get relegated to the kfw-aegis) which is odd for myriad reasons (but we’ll only outline a few here):(1) of all of the “laptop r0x0rz” out there essentially pushing play on a pre-recorded/pre-looped/pre-defined mix of recent 2-track stereo masters, keith-hrvatski has always yielded some strange (and frankly unreliable) computer music performance-solutions, most variants on his “h-mod” modular digital-audio max-msp patch, itself a behemoth of mammoth proportions (incorporating the guts of an analogue modular synth simulator, several pitch-tracking and attack-sensing random-event distributors, many tempo-synced filtering algorithms, 10 kinds of realtime granular grunkage, etc...)(2) keith-hrvatski’s never played the same set twice. never. he’s fond of busting out unreleased tracks and/or weird alternate versions of his many classic break-damage anthems.(3) the hrvatski live experience (depending on factors of mood and/or enebriation) is often a full-on sensory assault of high-volume anti-dancefloor aktion, often intentionally pushing his signal way beyond comprehension (just ask anyone who lives in ghent). the hrvatski oeuvre would benefit from a live disc in the same way the high rise oeuvre did from “high rise live” or the ventures from “live in japan 65.
so, bearing all that in mind, here’
s what will most likely be hrvatski’s swan song (barring that the cd reissue program a few folks have offered to help out with never gets off the ground), a gloriously frazzled transcription of his set at the jiffy.scuttler event at the rx gallery in san francisco’s tenderloin from july of 2004. more merzbow than mezz mezzrow, “irrevocably” sees a stove-boat of hrvatski-klassiks run through the gain-blender, butted up against some seriously zonked bleep, sound-system fx, death metal guitar growl, etc... all so far into the red that it’s hard to even hear the beat at times. keith-hrvatski wouldn’t have it any other way.one-time pressing of 32,701 copies (actually, closer to 700), sure to go the way of the eagle shortly after release...

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threads:
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digital-musics
guitar-themed
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 best of 2006 !!! 
kranky (usa) #krank 092 cd

keith fullerton whitmanrecorded in lisbon” compact disc

  • recorded in lisbon (41:41)
march 2006 release ; ... a 40-minute continuous piece for guitar, circuit-bent electronics, reel-to-reel tape, and computer, recorded on stage at lisbon’s brilliant galeria ze dos bois during october of 2005 ...

i chose this set from lisbon as my first proper solo live release as it just works on a few different levels ... what starts out as a nice & serene playthroughs-bit (which almost comes across as a solo guitar / electronic take on “in a silent way”) slowly morphs into an incredibly loud & claustrophobic blast of “rising sound” courtesy of a self-evolving serge modular/eventide clockworks harmonizer patch and some particularly gnarly rectified electric guitar (thank you truly beautiful disaster) ... this gives way to a long section of musique concrète involving the moving walkways in london’s heathrow airport, metal handrails in the 8-story stairwell of a belgian hotel, and an ad-hoc performance of la monte young’s “poem for chairs, tables, benches, etc.” ; these sounds were fed into the aforementioned serge, their timbral information and volume envelopes converted into control voltages used to “play” a different patch ... slowly a wave of “frozenguitar chords creeps in, which is followed by a massive swell of squared-off playthroughs guitar, which was then bounced around the zdb space, recaptured in the system, then rebroadcast again in something of a feedback loop owing much to alvin lucier’s classic “i am sitting in a room” ... the piece slowly fades out after this abruptly cuts to a frail band-pass-filtered version of the same ...

more than anything else i’ve done, you really need to be listening to this one through good speakers at at a fairly decent clip (i.e. “play it loud.”) computer speakers and/or headphones just won’t do it (unless you’ve got a pair of grados) ; there’s much extremely low-end information that will bounce around your comfortable listening spaces quite nicely if you only give it the chance ...
kranky press release...

artist: keith fullerton whitman
title: recorded in lisbon
catalog #: krank092
release date: march 2006

a message from mr. whitman:

in october of 2005 i found myself wandering the streets of lisbon, entirely deaf in one ear, 75% the other (an artifact of witnessing first-hand the fine air-pressure regulation on four separate aer lingus flights) belly full of swordfish, just in awe of the city and its inhabitants. for the first time since i could remember everything just clicked.

those of you who have been lucky enough to get a copy of the recent 22 minutes for electric guitar tour-only mini-cd on entschuldigen may have an idea of just where my head's been at over the past year or so regarding the evolution of the playthroughs system of live / real-time guitar / computer synthesis ; the piece i often play in concert has gradually been getting much darker, more dynamic, and in general; monolithic. i’ve started to embrace traditional "loud guitar" concepts (via a collection of bizarre, home-made/boutique guitar pedals) along with the sine-tone throb and "slow aerosol dispersion" of the classic playthroughs material. more recently, i've augmented the pure-guitar sound(s) with a collection of small, battery-powered sound-devices and several tapes of "automatic synthesizer compositions" (recorded this past summer on the same serge modular protoype and buchla music box 100 systems used on multiples) and field recordings from all over god's green earth. finally, on top of all that i've re-kindled my love of alvin lucier-lineage process music by placing microphones and small speakers / fm receivers / speakers around the space, capturing the sounds as they occur at various points in the room, feeding them back through the central artery that is the max-msp-based playthroughs patch, then out again to any number of locations...

this recording, captured to hard disk on stage at galeria zé dos bois on october 4th 2005, is in my mind the perfect encapsulation of all of these elements into a single lilting piece of static sine-tone harmonics, squared-off electric guitar haze, clangorous room-tone eruptions, and high-end synth freakouts...

note: in something of a sea-change to my modus over the last 10-odd years i've decided to relax, not sweat the details, let mistakes be mistakes and just let the music breathe without my normally prescribed 3-year gestation cycle of incessant editing, re-mastering, tinkering, etc... making this the shortest amount of time for any one of my musical ideas to go from conception to execution to release (all things going to plan; just five months from the concert itself to the disc on shelves...). the recordings are released in a cardboard pack adorned with high-contrast photos taken by yours truly during the lisbon trip, priced as a cd ep ...


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 best of 2005 !!! 
kranky (usa) #krank 081 cd

keith fullerton whitmanmultiples” compact disc

  • stereo music for hi-hat (2:49)
  • stereo music for serge modular prototype (1) (3:36)
  • stereo music for serge modular prototype (2) (5:39)
  • stereo music for serge modular prototype (3) (1:54)
  • stereo music for yamaha disklavier prototype, electric guitar and computer (10:08)
  • stereo music for farfisa compact duo deluxe, drum kit (6:47)
  • stereo music for acoustic guitar, buchla music box 100, hewlett packard model 236 oscillator, electric guitar and computer (1) (5:29)
  • stereo music for acoustic guitar, buchla music box 100, hewlett packard model 236 oscillator, electric guitar and computer (2) (10:32)
may 2005 release ; i’m thrilled to present to you my secondproper” album under my xian given, “multiples” ...

this recording is the result of a massive, sprawling project to which i lent most of my free time over the last few years ... one that took me from the basement of the reckankomplex to the harvard university studio for electro-acoustic composition to a hotel room in rome, back to the mit media lab, back to my bedroom (otherwise known as “the mms offices™”) and finally, now, to home stereo speakers worldwide ...

... people have been saying that this is my “academic” record, although despite the fact that i did compose the majority of it in academic institutions, i like to think of the music as much less cold and formal than that title would imply (personally, i think the music is very human !!!) ...
kranky press release...

artist: keith fullerton whitman
title: multiples
catalog #: krank081
formats available: cd
release date: may 16, 2005

multiples was recorded at the harvard university studios, where a stash of vintage synthesizers and electronics was made available to keith fullerton whitman during his time as a lecturer there. the eight tracks on multiples flow through hit hat shimmer to skull-scraping electronic tones to interlocking clusters of repetition. this is whitman's most inclusive and developed album yet. the limited edition antithesis and schöner flußengel lps released in 2004 showed the range of whitman's interests, multiples integrates them into a complete work.

keith fullerton whitman has described himself as being enamored of "hyper-programmed rhythms & concrète sounds, bleeding freakout guitar, beach-boys style sweet harmony, eastern euro-prog, vintage synth burbles, classic-era minimalism, early mainframe computer music, fluxus-lineage borderline nonsense, complete and utter chaos, doomy chamber pop, and quiet melancholy." his solo work for kranky has expanded from the processed guitar drones of playthroughs to the tribal psych ritual of "schnee" on the antithesis lp and on to the ominous miasma of schöner flußengel. multiples is a fusing of these strains of interest and ability into an effective whole.


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kranky (usa) #krank 071 lp

keith fullerton whitmanschöner flußengel” long playing record

  • lixus (version analogique)
  • bewusstseinserweiternd tonaufnahme (einer & zweiter teile)
  • gravicembalo col piano e forte

  • el seny i la rauxa
  • (interlude)
  • lixus (version numerique)
  • weiter
may 2013 release ; ... just in time for my 40th birthday, here’s a reissue of the second of two vinyl-only albums i did for kranky in the mid-2000’s (this one orig. came out on october 4th, 2004) available for the first time in years ...


... lp-only release #2 (#1, “antithesis”, is now o/p) for the magnificent kranky label ... this turned out exactly as i had planned it (no typos to be found !!!) ; don’t let the doom / industrial cover (which is both a parody / homage of / to “a sucked orange” and “ohrenschrauben”) fool you... this is a psychedelic-drone freakout of just about the highest caliber i’m currently capable of producing ...

this particular record had its roots in a “krautrock-themedlp i was working on for the deluxe label a few years back (i.e. “hrvatski ‘73”) ... in fact, a few of the pieces i had intended for that release (“lixus” and “weiter”) remain, albeit in vastly superior / modernized form(s) ...

sonically, it’s all over the map ; some of my favorite archive-drones many of them on top of each other ; see “bewussteinserweiternd”) mixed with some new “band” pieces recorded with jim siegellate in 2003 ... there’s even a full-on musique concrète piece made entirely of piano sounds (“gravicembalo”) ...
kranky press release...

artist: keith fullerton whitman
title: schöner flußengel
catalog #: krank071
formats available: lp
release date: october 4, 2004

schöner flußengel (pronounced "shooner floos-engel") is the follow up to keith fullerton whitman's antithesis lp release from april, 2004. as was the case with antithesis lp, this is a partly archival, vinyl-only album released in a limited pressing of 1,000 copies.

consisting of material with a decidedly dark mood overall, the new album embodies whitman's considerable musical scope. with tracks recorded using vocals, computer, clarinet, synthesizer, record player, microphone, bell and guitar the album traverses grittier and more complex territory than its predecessors. the six tracks veer from multifi drone to computer-guitar-piano trio. the vcs3 that runs through the two "lixus'" tracks was recorded at soma in chicago in 2001 with the aid of casey rice and john mcentire.

packaged in a faux-dark metal album jacket with suitably intricate gothic script, schöner flußengel is a dip into a cold, stygian stream that splashes and flows around the listener. keith fullerton whitman's musical interests have taken a course towards solo experimentation of late. schöner flußengel was begun as whitman took a lecturer position at harvard and gained access to the university's sound labs. as whitman worked on his multiples album project for kranky, the material that coalesced into schöner flußengel required a separate album. the album title is german for beautiful river angel.

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kranky (usa) #krank 064 lp

keith fullerton whitmanantithesis” long playing record

  • twin guitar rhodes viola drone (for la monte young) (7:44) 1994
  • obelisk (for kurt schwitters) (6:13) 1997

  • rhodes viola multiple (5:41) 1995
  • schnee (7:11) 2002
may 2013 release ; ... just in time for my 40th birthday, here’s a reissue of the first of two vinyl-only albums i did for kranky in the mid-2000’s (this one orig. came out on april 26th, 2004) available for the first time in years ...


... first of two lp-only releases on kranky ; this one features some of my favorite archival material, over which i labored some time ago, then again for some time late last year... on one hand i love theses pieces dearly and listen to them often, but on the other i didn’t want to seem like i was eschewing computer music altogether for a more “organicroute (couldn’t be further from the truth). i came very close to doing a 300 copy lo-fi lp of this material until the kind souls at kranky heard it and offered to do a proper release. and now that it’s done and out, i couldn’t be happier.

those of you who have been gawking at this site for a little while know where my head’s at... musically at least. in many ways this ep is a crysallization of everything i’ve been listening to over the last 10 years or so... academic minimal drones, heavy electric feedback, organic psych-overtone, etc...

an aside: i didn’t realize until very recently that i’d broken a cardinal rule in the kranky design-spec when i had mr. p.c. c.p. lay out this lp ... it is in fact a sin to put a photo of a musician’s face anywhere on a piece of kranky produkt ...
kranky press release...

artist: keith fullerton whitman
title: antithesis
catalog #: krank064
formats available: lp
release date: april 26, 2004

antithesis is an lp-only release of material from keith fullerton whitman's archives that doesn't fit aesthetically with his upcoming multiples studio album. the theme for the album is "ensemble works," that is a combination of instruments played by whitman himself with no computer interaction.

each piece was recorded in one of the different apartments whitman has rented since he lived in boston. the album will be pressed in an edition of 1,000. antithesis broadens the instrumental and compositional base of playthroughs with fender rhodes piano, viola, guitar and percussion. the four tracks on the album verge from straight up drone to what sound like lost krautrock classics.

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kranky (usa) #krank 055 cd

keith fullerton whitmanplaythroughs” compact disc

  • track 3a (2waynice) (5:30)
  • feedback zwei (10:01)
  • fib01a (8:01)
  • acgtr svp (9:05)
  • modena (17:02)
october 2002 release ; at long last, here’s my debut album under my “real” name, reflecting 10 years of computer-guitar sound research, having nothing to do aesthetically with the hrvatski output (hence the use of my xian given) ... this is more the logical progression of the experiments witnessed on the “21:00 for acoustic guitar” ep on apartment b & kicks off a proposed trilogy of albums (“playthroughs”, “multiples”, “generators”) exploring more “compositionalideas (hey, i have to put my bachelor’s in music synthesis & composition to use somehow) ...

not exclusively comprised of pitch-tracking guitar pieces however (for example: feedback zwei is composed of 34 channels of electric guitar feedback ; acgtr svp is all strummed acoustic guitar chords) ... but that’s the theme. i’m quite happy with the way this record turned out, and it’s by far the least jarring of my recorded output ; let these pristine digital undulations lull you into an alpha-state ...

ps. here’s the video for “modena”, from this very album ::

kranky press release...

artist: keith fullerton whitman
title: playthroughs
catalog #: krank055
formats available: cd
release date: october 21, 2002

the source material for every piece on playthroughs is guitar : acoustic, electric or otherwise. from sept. 2001 to april 2002, keith fullerton whitman transformed raw guitar tones via laptop computer into the tracks on playthroughs.

whitman has used ring modulators, granular re-synthesis algorithms, banks of delays and special effects in a process that owes much to terry riley's time lag accumulator setup and steve reich's phase pieces.

technology and whitman's careful selection of notes combine to create shimmering drones and deep waves of sound. though the source material was improvised guitar and the processing involved computer technology, playthroughs reflects whitman's mastery of composition.


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make noise (usa) #mnr 004 ep

keith fullerton whitmanvehement denial b/w platelets” seven inch single record

  • vehement denial

  • platelets
april 2014 release ; ... fourth in this fantastic series of 7 singles issued by the synthesizer manufacturer makenoise, featuring a selected set of artists all working solely with a fixed-configuration modular synthesizer named the “shared system” ...

... while my time with the instrument was brief, i managed to eke out these two short pieces, the first something of a minimal-synth / industrial banger (possibly initially indebted to john bender ; alas the outcome strayed vastly from my original intent - the resultant piece, recorded in one-take directly out of the stereo output of the optomix featured the first singing i’ve done on any record in close to 10 years heard mutated & piled up via tony makenoise’s digital take on pierre schaeffer’s phonogene) b/w a moreocclusion” -y free-time rise-fallnumber (heavily utilizing tony’s adaptation of grant richter’s “wogglebug” circuit) ...

... this comes in a somewhat tiny edition as a crystal-clear &, frankly, batshit-sounding (c/o of the amazing mastering job by shawntwerkhatfield @ audible oddities) housed in a gorgeous letter-pressed vellum sleeve designed by make noise’s kelly kelbel, hand-printed via an old vandercook ... couldn’t be happier with how this turned out !!!

ps. i’ve attached a soundcloud player to this listing containing a live-set of music played on the shared system just days after receiving it (essentially an embryonic version of the piece on the a-side ; skip to the 8:32 mark for the “beat”) plus there’s also a vimeo demo-video of the patch that eventually yielded the b-side piece ... these to give you a bit more context on just how incredible & versatile tony’s forward-thinking designs have become ...
make noise press release...
mnr004 : keith fullerton whitman

instrument: make noise shared system

statement:

… borrowing a bit from the techniques that pauline oliveros used in her earliest pieces, i started by running the wogglebug at audio-rates, using the smooth & stepped outputs as an fm-source for the dpo running at sub-bass frequencies & patching the clock into the rene running a diatonic sequence. the various wrap-around heterodynings essentially added a third "voice" to the patch & the resultant "tonal" rhythms started resolving themselves in nice ways, reminding me a bit of the sort(s) of experiments with drum-programming i carried out in the mid-90's whilst i was still recording as "hrvatski" … there was enough gain in the input of the phonogene to preamp a small battery-powered microphone, which was getting a real-time feedback loop of the sounds the skiff was creating, plus a little bit of drone-singing & in-situ concrète-sound - both track were recorded in real-time to a pcm recorder, a digital dictaphone, and a cassette walkman …

the shared system series compiles the separate recordings of several artists utilizing the same electronic musical instrument, the shared system. at times it feels as though electronic music has become an overly automated form driven by simplified genre specific apps and software. what happens when the signal path is not pre-defined or optimized for a popular result? the shared system is a modular synthesizer developed by make noise. it has no pre-determined signal path, and is not designed for any particular musical destination. in limiting the artists to this one instrument, we hope the shared system series of records will purely illustrate the intentions of the artists.

high quality master lacquers were made by sae mastering, and shipped to urp for pressing. the result is a high fidelity 7" record. like the shared system instrument, the sleeves for these records are a combination of digital and analog technology. they are designed using computer software and printed using a hand-cranked letterpress called the vandercook 4.

series curated by surachai.

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38% off !!!
matador (usa) #ole 590 cd

matmosthe civil war” compact disc

  • regicide (2:47)
  • zealous order of candied knights (4:36)
  • reconstruction (9:13)
  • y. t. t. e. (9:07)
  • for the trees (3:31)
  • the stars and stripes forever (2:07)
  • pelt and holler (4:17)
  • the struggle against unreality begins (5:30)
  • for the trees (return) (4:18)
matador press release...
'the civil war' is the new album by san francisco electronic duo matmos. a hallucinatory double exposure of medieval english folk and 19th century americana, the civil war finds matmos experimenting with a dramatically different palette from their critically acclaimed exploration of medical technology 'a chance to cut is a chance to cure'. though there's nary a scalpel in sight, their humorous cut-up sensibility and willingness to take risks remains intact. in a time when most electronic artists seem desperate to ape the sounds of 1983 as closely as possible, matmos have tried to make the 2003 version of the 1990 version of the 1968 version of the 1860 version of the 1590s. across the nine tracks on 'the civil war', production styles and instrumentation keep telescoping backwards and projecting forwards, producing weirdly anachronistic dialogues: medieval jigs and reels joust against country and western twang, and pastoral acoustic folk gets pistolwhipped by crisp digital editing techniques.a guerilla assault on rock, folk, and country maneuvers, 'the civil war' keeps lines of communication open across genres and periods. if the opener "regicide"'s keening hurdy gurdy recalls the incredible string band's psychedelic medievalism,the ambling piano line of "for the trees" sounds like a distant cousin of honky tonk pianist floyd cramer's swooning instrumentals. songs mutate and reverse direction: "y.t.t.e" starts with tumbling big band drums that recall iggy pop's "lust for life", gatecrashes a boredoms drumcircle, lilts into chet atkins twang, and finally scuttles to a close in minimalist soundfile manipulation. deceptively "pretty" on the surface, it's music that struggles against itself and occasionally collapses, breaking down into amorphous skeins of noise, dissolving into raw field recordings of cicadas in the trees and fourth of july fireworks, and, in "pelt and holler", unexpectedly jump-cutting to total silence. while much of this album's focus on untreated and close mic-ed acoustic instruments suggest a pickin' session on a southern porch, the mellowness is peppered with peaks of scaldingly bright and extreme sonics. on this recording m. c. schmidt and guest member keith fullterton whitman (aka hrvatski) had the opportunity to use one of the original serge modular synthesizers built by ivan tcherepnin; its piercing squeals ricochet across the military drumrolls of "reconstruction".as their compositional appetite grew more ambitious and expansive, matmos decided to bring in more musically gifted reinforcements from across america. among others, steve goodfriend and jim putnam of radar bros. sit in on drums and guitar respectively, jay lesser plucked the dobro, tim barnes offered drum source samples, improv guitar manipulator keenan lawler ventured into the sewer pipes of louisville, kentucky for a subterranean steel guitar recording, fellow louisville alumnus david grubbs contributed piano, with a little coaxing blevin blectum added violin, and, providing the lion's share of guest contributions, mark lightcap (formerly of acetone, now playing with hope sandoval) played tuba, peck horn, banjo, and heaps of electric and acoustic guitar. that said, matmos' trademark ear for highly unorthodox sample sources endures: "pelt and holler" is made almost entirely out of the sound of a rabbit pelt, while "the struggle against unreality begins" features the sound of the blood in m. c. schmidt's carotid artery.balancing baroquely detailed production against passages of stark single-instrument simplicity, matmos have pushed themselves in an unexpected, and surprisingly tuneful, new direction. part canterbury tale and part southern gothic, 'the civil war' eludes easy categories but rewards careful listening, responding to present tensions with historical imagination and sly wit.

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nna tapes (usa) #nna 043 lp

eli keszler / keith fullerton whitmansplit” long playing record

  • eli keszler - mired

    drums, crotales, installed motors, micro-controller metal plates
    bowed crotales, snare drum
    drums, guitar, crotales
    cymbal, bass drum, clarinet

  • keith fullerton whitman - occlusion

    real-time music for hybrid analogue/digital modular synthesizer
april 2012 release ; ... originally conceived as part of the “split series” of live recordings (i.e. the lp’s for no fun, amethyst sunset, amish, and dekorder with my formative experiments in live hardware synthesis on one side ... then considerably more elegant work(s) by carlos giffoni, mike shiflet, ben vida, and alien radio on the others, respectively) the proposed split with eli keszler (a musician whose work i’ve long been in admiration of, despite never actually working together on anything) for nna tapes actually took on a different shape entirely ...

... i had something of an epiphany while watching eli play music last spring ; as someone who’s long been enamored with the “free” style of drumming (and someone whose hands / motor skills often fail / betray him on the regular) i had the idea to devise a sub-patch to “generate” completely arbitrary clustered rhythm-events, which i then used to control the spacing of randomly-derived sound events, automated by a similar (yet, discrete) set of “bucket-brigade” values that were applied to the pitch, panning, length, shape, wave-shape, and frequency modulation of a continuous stream of analogue / digital sound ...

... the results, heard here on record for the first time (recorded in one afternoon, shortly after discovering the patch, presented here as a pair of continuous, overlaid takes captured a few hours apart) form the basis on a new piece that i’ve titled “occlusion” ; the same that i’ve been performing for the last year & will continue to hone & complicate for the remainder of the year ... here’s an excerpt of the very recording heard on this lp ::



... eli’s side is incredible for a multitude of reasons, but ultimately what makes it unique is the “calling cardnature of it ; gone are the side-length explorations of bowed-metal, spastic snare-drum crackle, or stand-mounted / stick-playedno wavelineage electric guitar sizzle ... instead, we get four digest-length pieces incorporating each of these approaches, culminating in (a first) an extended drone piece (sourced to an interference setup used to animate the sounding head of a large bass drum via feedback) cut with some low clarinet growl (c/o ashley paul) ... the first track also shows off some of his recent work with arduino-based, automated rhythm aggregates (listen to the first part of the sound-sample ; the high transients floating above his hyperkinetic snare drum blister) ...

... comes in a nice sparse sleeve, with one of eli’s “works on paper” recreated as the cover, another more pointillist figure on the front of the printed inner sleeve (detail below) and a third on the a-side label ; this came out beautifully, both in sound (natch, we both insisted on a d&m cut) and sight ...

ps. to make the parallel clearer, you can actually overlay both the first few tracks by eli (via the sound-sample player to your left) & the first few minutes of my side (ditto the soundcloud player above) yourself ; doesn’t that sound nice ...
nna tapes press release...

nna043: eli keszler / keith fullerton whitman split lp

nna is very excited to announce a split lp between world-renowned electronic music composer keith fullerton whitman and multi-instrumentalist composer eli keszler.

this lp is a conversation in sound between two prominent artists, one working in the electronic realm (whitman), and the other in the world of live acoustics (keszler). in fact, whitman's piece was inspired and created as a direct response to keszler's signature frenzied percussion style.

both sides of the record are full of incredibly detailed nuance-driven music. these artists work with sound on the microscopic level, deliberately placing each individual molecule of sound in it's intended location. whitman's piece "occlusion" is automated "machine music" warfare, utilizing rhythm as a textural tool, while keszler uses live percussion, bowed metal, and other acoustics to act as a humanized response to whitman's machine-regulated assault, solidifying this record as a fantastic document of human vs. machine call and response.

original artwork by eli keszler.

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no fun productions (usa) #nfp 52 lp

carlos giffoni / keith fullerton whitmantechno b/w 070207” long playing record

  • carlos giffoni - techno

  • keith fullerton whitman - 070207 (15:51)
september 2009 release ; split lp release debuting both carlos’ new “acid” direction and the first bit of my own music performed solely on an analogue modular synthesizer back on july 2nd, 2007 ...

rather than write about this again, i’ll just copy y’all on the post i already put on the internet ::


... thanks for repping the no fun lp ; mms received its copies on friday. it turned out great !!! i love how maya's art channels both the acid-era design sensibility & the early-mid-70s "dark era" (see: the andromeda strain soundtrack, etc ...) ; carlos' side is incredible, a sort of drum-less 4-part cycling minimalism borne of mutating sawtooth waves - definitely the first release of his "new thing" (well, aside from the track on the lopatin comp) ; we blasted it at full volume here in the office & it sounded incredible, although i don't know how well it will work on headphones (you kind of need to have the waves coming out of two speakers, then meeting up the air for it to "work") ...

my side is a straight room recording of the first solo synth concert i gave back in 2007 (opening for major stars & donna parker @ pa's lounge, no less) ; this was the first time i'd played a gig w/o using a laptop in prob. 10 years !!! the idea for those first few concerts was to stay as far away from synthesizer-music "cliches" as possible ; i.e. no straight filter-sweeps, arpeggiations, etc ... it's extremely minimal, lots of space between the "notes", with a somewhat convoluted cv patch "playing" a pair of oscillators while the inverted version of the same "plays" the delay-time of a bucket-brigade echo ... it builds up into a nice dense array of overlaid parts that's probably more in tune w/ the no fun aesthetic, but other than the ending gambit it's largely very pointillist / iterative - i'm actually pretty psyched that carlos picked this one out of all those early sets as it's by far the most challenging ...

the idea i had for these solo synth-concert recordings was to let folks that run labels release them as sides on split-lps with whomever they want (ala melt banana's 7" wave back in the 90’s) ; i have a few other takers besides carlos in the works, but if any of you guys are interested, get in touch w/ me via email - i'm on sales@mimaroglumusicsales.com ... -k


no fun productions press release...
52 carlos giffoni / keith fullerton whitman techno b/w 070207

two very active modern electronic musicians who enjoy 20th century analog equipment deliver a document of mind expanding electronics with very different approaches. giffoni's track 'techno' is full of layered and perfectly synched synthetic rhythms matched with some very adhesive evolving sounds; creating something that somehow ends up being a homage to both early techno and harsh japanese electronics. whitman's track is a beautiful exploration of synthetic tonality and space, like a sudden massage to several areas of the brain one by one but also all at once with a little spice of musique concrete . both of these recordings share an expansive and psychedelic nature,  as well as a nod to the past while moving into the future.

artwork by maya miller. limited to 400.

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protracted view (canada) #pv 089 cd

keith fullerton whitmanlive occlusions (3) • (4)” double compact disc-recordable set

  • occlusion (venloer straße)” (36:00) • 130129 • zimmermann's, köln
  • occlusion (am wriezener banhof)” (36:00) • 130130 • berghain, berlin

  • occlusion (ashwin street)”(31:00) • 130201 • cafe oto, london
  • occlusion (narrow quay)” (31:00) • 130202 • arnolfini, bristol
... manufactured as a “merch tablenumber for my appearance at the tokyo festival of modular 2014 at super deluxe, i managed to smuggle back a few stray copies of this double-disc set, collecting all four sets from my winter 2013 tour of europe ...

... the sly influence of tour-mate mark fell can be heard in the clearer moments (certainly the never-rhythmically-resolving nature of the cafe oto set ; listen to the sound-sample) ; the variable fidelity throughout (each set was recorded on a different device [a1428, pcm-d50, icd px-333, h4n, respectively] then heavily post-processed) makes similar patches & ideas sound completely different in context (it’s hard to believe [but true] that the bianchi-isms of the zimmermann’s set & the clear, huge-room fidelity smoldering bass-bin bluster of the following night’s berghain quad face-melter were actually executed utilizing a near-identical patch) ...

... as with the previous cassette-onlylive occlusions (1)” & “(2)” there’s a bit of post-performance intervention (in some cases the audio was “re-composed” & embellished with site-specific field recordings & assorted in-situ sounds [the berghain set ends with a recursive application of time-based effects on the opening notes of the interstitial dj ; the arnolfini set includes an overlay of the setup & breakdown of the concert recorded during consecutive afternoons] from the venues in question) that turn this into more of an ongoing concrète-themed process than a raw live-music document ...

... 134 minutes of music pressed onto two discs, packaged in a slim kraft-paper sleeve with an eye-popping wireframe convolution of the title-text against the audio of the berghain intro (see cover detail above) ; i made 100 of these for the roppongi dates, half were claimed on-site (just some food for thought) ...

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protracted view (canada) #pv 079.2 cs

keith fullerton whitmanlive occlusions (2)” c48 cassette

  • "occlusion (oudaan)" (24:00)

  • "occlusion (plaça de catalunya)" (24:00)
january 2013 release ; ... a few months after the string of february 2012 concerts documented on the “occlusionslp (editions mego #demego 026) i embarked on a trip to spain & belgium (largely to take part in jose luis villalobos prats’ yearly festival, where i played alongside nate young, floris vanhoof, hype williams, raime, blues control w/ laraaji & arji, thomas köner, and many others) ...

... whereas the cable# & sonic acts sets, both performed in quad, tended to work with the idea of avoiding regular / repeatinghead-nodrhythms in favor of something a bit more careening & free, the “electronica en abril” sets, largely rendered in stereo, often work along a more clearly delineated rhythmic grid (albeit an upper-polyrhythmic, largely unresolving one) ...

... this tape, the second in a two-parttour merchpair (for my upcoming zimmermann’s, ctm / berghain, cafe oto, & arnolfini dates) covers the 3rd & 4th concerts of the trip, featuring a set at dennis tyfusgünther space (r.i.p.) on the a-side, then the final set at barcelona’s espai cultural / obra socialla caixa” on the b-side ...

... this edition comes as a pro-duped, silkscreened clear-blue number (on high-quality chrome tape) with silver liners & white text inside a blue / clear norelco with a piece of tissue paper shrouding a piece of dark blue metallic / silver foil, inserted together as a “j-card” ; both of which should be destroyed on receipt ...

... unlike the audio on the “occlusions lp, the source recordings consist largely of phase-aligned mixdown(s) of both direct-inject preamped audio & ambient sound ; listen to the sound-sample for a transcription made directly from a stock-copy ...
protracted view press release...

...


pv0792csdetail2.jpg>


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protracted view (canada) #pv 079.1 cs

keith fullerton whitmanlive occlusions (1)” c62 cassette

  • "para la familia" (2:15)
  • "occlusion (ronda valencia)" (24:00)
  • "occlusion (ronda valencia) (encore)" (4:45)

  • "occlusion (brabantstraat)" (31:00)
january 2013 release ; ... the first of twotour tapes” for the ctm / berghain, zimmermann’s, cafe oto, and arnolfini dates ; 50 copies of each of which are available at said ...

... this one starts out with a few minutes of a workshop given at madrid’s la casa encendida (wherein a group of 8-12 year old children were left to play the “voight-kampff machine”, largely unsupervised) before launching into the complete set (and encore) given in the same space on the following evening ...

... the flip offers a complete transcription of a lengthier set given at brusselsles ateliers claus on a bill w/ nate & floris, wherein the combination of delicious belgian takeaway pizza & an assortment of brasserie de la senne biers had my blood-sugar levels through the roof, resulting in a blaster of a pointillist set ...

... this edition comes as a pro-duped, silkscreened clear-blue number (on high-quality chrome tape) with silver liners & white text inside a blue / clear norelco with a piece of dark blue metallic / silver foil shrouding a piece of tissue paper, inserted together as a “j-card” ; both of which should be destroyed on receipt ...

... unlike the audio on the “occlusions lp, the source recordings consist largely of phase-aligned mixdown(s) of both direct-inject preamped audio & ambient sound ; listen to the sound-sample for a transcription made directly from a stock-copy ...
protracted view press release...

...


pv0791csdetail2.jpg>


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 best of 2006 !!! 
33% off !!!
room40 (australia) #edrm408 cd

keith fullerton whitmantrack4 (twowaysuperimposed)” three inch fan compact disc

  • track4 (twowaysuperimposed) (21:04)
april 2006 release ; ... tour-ep for my second australian jaunt (3 weeks spent in brisbane, townsville, cairns, perth, melbourne, sydney) featuring a fleshed-out version of this piece ::



... comes in a clam-shell case w/ a yellow / white insert ; 2002playthroughs” recording heavily embellished in 2005 for this release ; one of the feworchestratedplaythroughs that made it out of the (sizable) archive (about 7/8ths of which remains un-issued) ...
room40 press release...
keith fullerton whitman
track4 (twowaysuperimposed)

over the past few years, keith fullerton whitman has been responsible for producing some of the most engaging electronic music to emerge from the united states. informed by traditional musique concréte as much as contemporary dsp, his work remains provocative without relying on overt actions or grandiose sonic statements. for his upcoming tour of australia, whitman issues this bass heavy journey through processed guitar and electronics – a refined statement of intent from one of the usa's finest. (lawrence english)

"here’s a 10:32 piece from 2002, re-worked, turned into a 21:04 piece in late 2005, released in spring of 2006 to correspond with my second australian tour. much like "track3a (2waynice)" (the first piece on the "playthroughs" album), this piece is entirely bi-directional, meaning that it plays the same forwards as backwards (just try to get your head around that...) by far the most woofer-rattling piece of music i've ever made..." (kfw)

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 best of 2013 !!! 
shelter press (belgium) #shelter 017 lp

keith fullerton whitman / floris vanhoofjardin electronique b/w de karekiet van karakas” long playing record

  • keith fullerton whitman - “jardin electronique” (18:00)

    automatic ping (3:00)
    automatic melody (3:00)
    automatic drums (3:00)
    automatic drums with melody (9:00)

  • floris vanhoof - de karekiet van karakas (19:31)
june 2013 release ; ... first new music from begian synth-builder & virtuoso floris vanhoof since last year’s excellentcycles of confusion” lp for kraak (not to mention the fantastictime slime” lp for ultra eczema, released in 2010) ...

... which each passing gesture floris really narrows in on an ultra-personalized take on the wholeprivatesynth spectrum ; his side-length, backwards-maskedde karekiet van karakascouldn’t be any further from the hyper-layered, flitting automations of a subotnick piece ... instead, the gooey laconic burblings (impressively recorded in one pass) show him finessing just the subtlest, most drugged-out notches of his self-built filter arrays, resulting in something that perfectly channels those alien landscapes that adorn all of nikpascalraicevic’s narco-era output ...

... my side offers a quartet of pieces ; first, the threebuilding blocks(ping, melody, rhythm) then a lengthy track incorporating these three patch-elements into a self-evolving, fully functional piece of music ... it’s an experiment i’ve wanted to carry out for some time & it seems to have worked out beautifully, makes perfect sense (to me, at least) given florissimilarly deconstructed modus on the flip ...

... comes as a high-spec (180 gram lp, cut by rashad becker himself) in a gorgeous, hand-silkscreened op-art sleeve (designed & executed by floris’ friend hannah geise) in a tiny pressing of 400 (of which, i’m told, we have the final remaining copies available for sale) ...
shelter press press release...

#017 / « split » by keith fullerton whitman / floris vanhoof

5 tracks / 38:00 min / 12 lp / 33 rpm / 2013
first edition of 400 copies / 3 colors silkscreened cover / art by hannah giese
180gr black vinyl / mastered and cut to vinyl by rashad becker at d+m berlin
out on june 1st

new split 12 between two modular experimentalists stretching the world map for this split release. while keith fullerton whitman comes with one of his more accessible / danceable piece to date, floris vanhoof had full reign to record a dark and hazy drone piece for the flipside. using purely analog synths, both build very unique although complementary compositions.

keith fullerton whitmanyou already know him – is an american electronic musician who has recorded albums influenced by many genres, including ambient music, drone, electronic, drill and bass, musique concrète and krautrock.

making music since the 90s, he started recording using his own name in 2001, and most of his work recorded today is under that name. he studied computer music at berklee college of music, where he was exposed to modern electronic music composition and synthesis. whitman has released albums on many labels such as edition mego, pan, kranky, root strata, planet mu.

connecting his many worlds, ideas and influences into highly personal pieces, everything floris vanhoof put his hands on turned into a highlight. not only his solo lps on ultra eczema and kraak, but also an extensive list of stunning performances.

in his live shows vanhoof links new visual ideas to his idiosyncratic musical performances in which homemade synthesizers, exceptional ebay acquisitions and a personal framework are forged into an impressive whole. one of the most versatile and creatively liberated artists in belgium!

this record has been mastered and cut by rashad becker at dubplates & mastering in berlin. pressed on 180g black vinyl and packaged in a 3 colors silkscreened cover printed by hannah geise. edition of 400 copies.

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staubgold (germany) #staub 039 cd

sunsun” double compact disc set

  • make it
  • reach for the sky
  • leave it on its own
  • moon
  • letter to an old dog
  • sleepin’
  • i don’t mind
  • it’s not real

  • make it > mapstation
  • reach for the sky > pluramon
  • leave it on its own > pimmon
  • moon > tom recchion
  • letter to an old dog > rafael toral
  • sleepin’ > hrvatski
  • i don’t mind > norbert möslang
  • it’s not real (reactionary mix) > christoph heeman
2001 release ... full length recorded by chris townsend and oren ambarchi in sydney, originally released on the preservation music label, now reissued as a double cd/lp set with remixes... i sussed it out for pitchforkmedia.com thusly:the side of oren ambarchi no one gets to hear: his complete & total infatuation with all things brian wilson. no no-wave caterwaul. no coldly calculated guitar-sine throbs. no drones. just good old-fashioned summertime jangly sunshine music. some of this reminds me of low (whispered couplets over near-imperceptable acoustic tone clusters) or maybe even the clientele sans-baggage. i have nothing but respect for oren following through on his various seemingly contradicting musical visions. hearing him lay his boyish tenor bare on record for posterity only makes me like him more. and the songs are quite nice, catchy, hummable, am-radio stuff. lovely.
staubgold press release...
staubgold 39 sun » s/t« 2cd/2lp

"heartfelt melodies and crystalline guitars play throughout throbbing atmospherics. it all makes for soulful listening." (rolling stone australia).

staubgold proudly presents the self-titled debut album from the sydney duo sun, licensed from australia's preservation records for exclusive worldwide release, and accompanied by a complete bonus remix album feat. mixes of all original tracks by artists like hrvatski, mapstation, pluramon, rafael toral, christoph heemann and pimmon.

sun is the unusual pairing of world renowned experimental guitarist oren ambarchi and australian music figurehead chris townend. sun confirms its authors as two truly original music minds, a languid and sweet pop creation, brimming with sly invention in its classicist frame. these songs simply float into the consciousness with a grand air and sublimely delicate touch. there's an easy warmth to sun as well as some darker surprises for added depth and nuance.

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 best of 2006 !!! 
38% off !!!
utech (usa) #ur cd002 cd

lasse marhaugspaghetti western rainbow” compact disc

  • spaghetti western rainbow (redux)
  • i quattro dell’apoclalisse oro hondo
  • the endless gundown
note: this is a proper, replicated cd-edition, re-issuing this now-classic lasse marhaug session with bonus materials (including a piece done in something of a mail-collaboration with... myself... late last year)

here’s the blurb i originally wrote regarding the cd-r edition:


here’s a nice edition of a september 2004 wnur-fm radio set from norway’s leading bringer of doom, lasse marhaug. lasse completists (of which there are many, certainly enough to justify a larger pressing of this than 50) will want to note that this is, as far as i can tell, the first solo live marhaug release (there have been a few jazzkammer live things, notably the one w/merzbow recorded @ a molde a few years back). taking a step back from recent brutal/all-sound ventures, lasse here dips into a collection of found-sounds and fx, mish-mashing them this way and that, rendering what could be considered a “musical” piece (esp. given the context). i haven’t had this fun listening to what is ostensibly a “noise” record since the merzbow/cock espmusic for man with no name” 7” on fusetron (which shares a similar love for leone/morricone-lineage twang). more proof that mr. marhaug is and continues to be one of the most vital voices in contemporary sound ...
utech press release...
artist: lasse marhaug
title: spaghetti western rainbow
format: cd
edition: 1000
length: 55'
trx: 4
catalogue number: urcd002
released: october 21, 2006
recorded:
chicago / boston / bergen / oslo.
final mix > oslo > june 6, 2006.

hailing from the land of the rising snow, lasse marhaug has become one of the most commanding and respected sound artists in norway. as a musician and composer he has contributed to cd, vinyl and cassette releases for labels throughout europe, asia and america. aside from solo work, marhaug contributes to several ensembles including nash kontroll (ideal) and a large jazkamer unit (smalltown supernoise) with black metal legends enslaved. having collaborated with artists from varying fields of musik (sunn o))), aaron dilloway and maja ratkje) marhaug's reach extends into musik for theatre, installations and video.

a salvo to ennio morricone, spaghetti western rainbow stands testament to the italian composer's enduring influence. morricone collaborator sergio leone established the spaghetti western genre in 1964 with a fistful of dollars. the director used morricone again to score the remaining two films in his three-part account of greed and violence (for a few dollars more and the good, the bad and the ugly.) leone's critics were struck by his brutal depiction of an unromantic west, but his singular style, camera angles and extension of time made his work different from any western that had come before. lasse marhaug exacts leone's slow, beautiful power and love for expanse with shades of morricone's subtle witchery to create what will inevitably be considered one of his masterworks. harsh, dry passages blend with drifting soundscapes, bird calls and an asseverate guitar figure that promotes an invigorating context for film musik.

issued on utech records [001] as a micro pressing of 100 cdr copies in the winter of 2004. lasse marhuag first performed this music as an improvised laptop work for chicago radio station wnur. this edition finds the original piece remastered and divided into two tracks that open and close the album. two unreleased pieces recorded in boston, bergen and oslo have been added as bonus tracks. various source material contributed by keith fullerton whitman. artwork inspired by the film "the great silence."

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 best of 2013 !!! 
38% off !!!
violet poison (italy) #vpn 004 ep

violetshapedremixes • part 2” twelve inch single record

  • anesthesia (keith fullerton whitman remix)

  • cx310 (jk flesh reshape)
  • spectral nightdrive (grischa lichtenberger 0113_31_vsh_rmx_b)
violet poison press release...
after releasing the violetshaped lp, violet poison returns with the second part of violetshaped's remixes, this time with reworks by experimental edged, industrial metal and noise glitch artists keith fullerton whitman, justin broadrick (under his jk flesh pseudonym), and grischa lichtenberger.

the a side is an upbuilding 13minute long recomposition by keith fullerton whitman, an american experimental electronic producer specialising in hybrid digital analogue modular synthesizers who has released on the excellent editions mego, pan and planet mu record labels. he takes the droney atmospheres of "anesthesia" to an irregular rhythmic noise reinterpretation with advanced panning and modular fx.

on the flip, the b1 remix is provided by the great songwriter, guitarist, drummer and producer justin broadrick, the man behind important projects such as godflesh, napalm death, techno animal, grey machine, and the jk flesh moniker which is used for this rework. the dark moods of "cx310" are transformed into a powerful gothic industrial masterpiece with influences taken from old school jungle and british dnb.

the final remix features a noisy and glitchy reinterpretation by the highly acclaimed raster noton artist grischa lichtenberger. "spectral nightdrive" gets stripped down and oriented to a more minimalist approach. precise and clockwise like a swiss watchmaker, the dry rhythms are enhanced by bleepy jingles that give a superb electroacoustic taste of modern electronic music firmly rooted in the past.

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 best of 2007 !!! 
38% off !!!
idiosyncratics (belgium) #id 001 cd

idioscapes” compact disc

  • janek schaefer : scarlett arrives - for scarlett schaefer
  • keith fullerton whitman : quest appartments, newcastle nsw
  • critikal : critically fluffy
  • rapoon : the moment screams
  • kk null : idioscape / decomposition
  • charlemagne palestine : la beauté et la bête
  • steffen bashô-junghans : the blue hour
  • sébastien roux : d 821
  • troum : fantauma
  • eve and the sickness : infected nature
  • jazkamer : ruido rosa 5 minutos
  • daniel menche : cadence
  • idiosyncrasia : filt_h
spring 2007 compilation of “idiosyncratic” music curated by yannick franck... includes music by a pretty damn excellent selection of contemporary drone/repetition practitioners ranging from the minimalist swell of charlemagne palestine to the munged roar of lasse marhaug & jon hegre’s jazkamer to steffen basho-junghan’s ringing steel-string figures...

just about everything is exclusive to this reasonably priced and quite lovely set (featuring tatiana klejniak’s scribbled-out paintings...) with a nice blend of darker & lighter tonalities. something for every fan of long-form sound. properly chilled.
idiosyncratics press release...
idcd 001
various artists : idioscapes 2007
digipack / 1000 copies

“the idea was to ask some of our favourite sound artists to take part in a compilation... and, to our surprise, they accepted. the only concept was that they had to provide a specific / particular / idiosyncratic piece. qualified as a drone paradise by lasse marhaug (of jazkamer), the result is a fine and coherent whole, full of extended textures, contrasted acoustic surfaces, subtle and strong. idioscapes contains 70 minutes of authentic acoustic researches, with glitches, loops, noises, deep and glittering textures, subliminal frequences and narrative inserts, punctured with sensible musical moments. idiosyncratics is honoured to present these sound masters on idioscapes. infinite thanks to all of them.” y.f.

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38% off !!!
periphery (usa) #otp 3011 cd

home patterning • a one thousand pulses compilation” compact disc

  • eraldo bernocchi - april 10 2010 (6:08)
  • malcolm cecil & the electric golem - july 17 2010 (9:14)
  • robert rich - may 15 2010 (11:10)
  • keith fullerton whitman - may 28 2011 (6:33)
  • kevin kissinger - march 26 2011 (7:25)
  • color is luxury - september 25 2010 (5:00)
  • rapoon - may 7 2011 (6:46)
  • tim motzer - april 16 2011 (5:16)
  • chuck van zyl - december 4 2010 (8:06)
august 2011 release ; ... here’s a fun compilation of excerpts from a series of concerts held in the basement of darren bergstein’s spacious woodcliff lake, nj home (amazingly, i grew up not 10,000 feet away in neighboring hillsdale) over the past year or so (including a segment of a piece i performed on the eve of my 38th birthday before i hightailed it to gloucester for a nice pancake breakfast ; listen to the sound-sample) ...
periphery press release...

home patterning a one thousand pulses compendium (otp3011)

otp’s first compilation, home patterning, highlights some of the seriesfinest moments, extracted from a year-and-a-half of unique and special performances. includes tracks by robert rich, malcolm cecil & the electric golem, rapoon, eraldo bernocchi, chuck van zyl, tim motzer, kevin kissinger, and more.

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january 1st, 2003


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38% off !!!
tigerbeat6 (usa) #meow 039 cd
ostian mele (usa) #om 001 cd

wrong application” compact disc

  • wrongapplogo.bmp
  • anonymous - m.90
  • no human intervention - tracks.a01
  • farmers manual - m4
  • pimmon - etude_per.dll[rmx]
  • blitter - that perceptrons
  • anonymous - m0.9
  • underwood - image of my grandmother's backyard
  • blitter - cannot do
  • farmers manual - m2
  • no human intervention - tracks.a02
  • 6562372
  • electric company - valencia 14
  • no human intervention - tracks.a05
  • lesser - 182041 dae error encountered
  • anonymous - m0.6
  • no human intervention - tracks.arj
  • anonymous - m1.7
  • suetsu - dodgy pesto
  • blitter - there are simple tasks
  • viratone ballad - residual fault #1
  • phthalocyanine - txt1
  • farmers manual - m1
  • anonymous - m0.4
  • viratone ballad - residual fault #2
  • kid606 - so.nk.izz.obtuse.and.unneccessary
  • anonymous - m0.01
  • farmers manual - m3h
  • (bonus track)
october 2001 release ; ... collection of digital music from people made by computers controlled by people, assembled by andrewnoznosnitsky ...

... all sounds are from non-audio data interpolated as audio data ; groundbreaking stuff, etc ...

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38% off !!!
vivo (poland) #vivo 2002 005 cd

black faction reworked” compact disc

  • grains - john hudak (additional sound design andrew diey)
  • cartesian - black faction
  • afghan front mix 3 - black faction
  • kaftanistanabul 1 - universal delux
  • odessian - rapoon (additional sound design andrew diey)
  • caligulan - rapoon (additional sound design andrew diey)
  • sepia indate - keith fullerton whitman aka hrvatski
  • oakland concréte - sutekh (additional sound design andrew diey)
  • modenesa arleasian - valea djinn "the arleasian girl"(additional sound design andrew diey)
  • danté is afraid of virgils vision - black faction
  • widow maker - nemezis
  • älska dig min kärlek - john hudak (additional sound design andrew diey)
  • into the ether - unknown
  • anti-freeze -props mix - black moses
  • caucus burial final - black arc cclay (additional sound design john hudak)
  • dissidents in exile - foreign terrain / cclay
  • mina schoen unreleased - black arc (seven sages mix)
2002 polish remix cd of tracks found on black faction's second soleilmoon release "internal dissident" - a bunch of very nice mixes from john hudak as well as one by yours truly ...
vivo press release...
black faction
reworked cd
vivo 2002 005 cd

the original intention of this album was to feature a few remixes from the previous black faction album internal dissident part - 1 released on soleilmoon recordings, however as things developed thru lots of email conversations with other musicians it developed into a full on project spanning a number of artists from various disciplines within the global contemporary music scene.

whilst attempting to stay relevant to the previous recordings in the similar vein, those who enjoyed the internal dissident will enjoy what is being delivered here. black faction have mixed up and reconstructed the works to ebb and flow in the stylistic manner has many times in the past delivered on his previous works. the album has a similar structure, and much like internal dissident it carries the same 'sound magnifique soundmark' that is black faction. the accent into purgatory or not is another matter.. thou it must be said this is very much a continuation of the same imitable style of dieys production, albeit generously helped along by his fellow souls... let the journey continue......

previous artist:
 robert white 
...and that's everything in stock featuring keith fullerton whitman.
(why not take a look at the previous and next artists?)
next artist:
 david whittaker 
.home..artists..labels..new..restocks..best..faq.
.soon.
... this page was last updated on tuesday, september 30th, 2014 @ 11:50 am