mimaroglu music sales ☞ artists ☞ keith fullerton whitman

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previous artist: ruth white		there are 16 titles featuring keith fullerton whitman in stock. they are listed below.		next artist: who cares how long you sink

$11.01

new to stock as of
march 28th, 2005

file under:
reckank-related
sound-research
lap-top
free-improv
site-specific
minimal-drones
electro-acoustic
contemporary-electronic

carpark (usa) #crpk 029 cd

keith fullerton whitman / greg davis “yearlong” compact disc

boston dance company - cambridge usa - may 18th 2002
la casa - washington dc usa - march 16th 2002
knitting factory - new york usa - june 22nd 2002
bottom of the hill - san francisco usa - april 4th 2002
wnyu radio session - new york usa - march 16th 2002
merce cunningham dance studio - new york usa - december 8th 2001
mission space - baltimore usa - december 8th 2001
wfmu radio session - jersey city usa - june 23rd 2002
kontor gallery - köln germany - may 29th 2002
wfmu radio session - jersey city usa - june 23rd 2002
videogrammes festival - marseille france - june 7th 2002
knitting factory - new york usa - june 22nd 2002
impakt festival - utrecht holland - november 2nd 2002

greg and i quickly became the best of friends after he moved from chicago (undergrad at depaul) to boston (grad at n.e.c.) in 2000. we both share a love of late 20th century composition and hip hop, electronic music, folk, etc... plus our personalities just gel in the best possible way (he gets my sardonic/abstract/nonsense-oriented humor, i don’t mind his teetotalsm and disdain for the mountains). plus greg was integral in challenging me to get off my ass and begin building max-msp patches again after a 5 year lapse from doing so and i can’t thank him enough for that...

in late 2001 we decided to play some shows together (starting at a quad concert at the berwick research institute on november 4th, 2001) as solo acts and as an improvised duo (offering a maxium tonal variety/bang-buck ratio), which, the more we played, became a fantastic melding of all of our discrete and collective influences. by the time we wound down at the impakt festival almost exactly a year later (november 2nd, 2002) we had become a true esp-mind link act, capable of delicate minimal/gestural interplay one second, utter skree/dc-offset bombast the next.

culling through the surviving recordings (a large stash of our masters-library was stolen from the rental car we’d been living out of for 4 weeks whilst on the “spring tour” of 2002) was both very rewarding and very inspiring... listening to the end result while disregarding the site-specific factors of the evening in question (almost all of the shows had low turnouts, took place in rock clubs with bad sound, etc...) made the choices and sound-capture selections that much more impressive. many pieces came through as polished, through-composed works, whilst others retained the reckless abandon and surrealist tendencies that were running through both our heads at the time(s). whittling down the 18 hours of footage into 45 minutes (we both agreed this is the perfect length for a disc of abstract music) was tough, and in fact that’s pretty much what delayed this disc from coming out in early ‘03 (that and my sloth in designing the object).

well, we finally got it together late late year, handed everything off to todd-carpark (both our benefactor and closest ally during that fateful year) and lo and behold, here’s the artifact. it does a damn good job of showcasing our range without dwelling on any one thing for all too long. i’m particularly fond of its time-capsule feel, especially what with current attitudes towards computer-music performance in the kinds of venues we haunted way back when

note: every copy of yearlong sold through mimaroglu music sales (as well as through the carpark shop) comes with a free 50-sheet “suggestion pad”, as used to determine what the duo would play at the end of the night during their “spring tour” and “euro tour” concerts of 2001-2002 (the same concerts this disc documents). while supplies last...

carpark press release...

yearlong is the long awaited compendium of live recordings from new england ’s favorite bearded computer-music duo (aka keith fullerton whitman and greg davis), as recorded between 2001 and 2002 in parts of the world only read about by most. taking in a ludicrously wide range of sound-sources and stylistic leaps, yearlong is the first collection of improvised laptop pieces from keith and greg, edited down from around 18 hours of footage into one concise 45 minute mind-slayer.

$10.51

back in stock as of
may 24th, 2005

first in stock on
february 21st, 2005

file under:
reckank-related
break-core
contemporary-electronic
site-specific
lap-top
lo-fi
sound-research

entschuldigen (usa) #ent mich cd

hrvatski “irrevocably 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

click the play button to hear an excerpt of "eintrag raum • kochen raum (dub version) • glamp"

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 francisco’s 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...

$8.81

back in stock as of
november 1st, 2007

first in stock on
april 4th, 2006

threads:
minimalism-drones
concert-recordings
software-systems
analogue-synth
digital-musics
guitar-themed
electro-acoustic-improvisation

kranky (usa) #krank 092 cd

keith fullerton whitman “recorded in lisbon” compact disc

recorded in lisbon (41:41)

click the play button to hear an excerpt of "recorded in lisbon"

hello everyone! here is my new e.p. it was recorded on stage at lisbon’s brilliant galeria ze dos bois in october of 2005. it’s now april of 2006, just 6 months after the concert and here’s the disc already; i love kranky.

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 lamonte young’s poem for chairs, tables, benches, etc. - these sounds were fed into the aforementioned serge, their timbral and volume envelopes converted into control voltages used to “play” a different patch. slowly a wave of “frozen” guitar 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
formats available: cd
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 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..."

$12.01

back in stock as of
november 1st, 2007

first in stock on
may 16th, 2005

threads:
minimalism-drones
analogue-synth
electro-acoustic-composition
modern-composition

kranky (usa) #krank 081 cd

keith fullerton whitman “multiples” compact disc

stereo music for hi-hat (2:49)
stereo music for serge modular prototype - part one (3:36)
stereo music for serge modular prototype - part two (5:39)
stereo music for serge modular prototype - part three (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 - part one (5:29)
stereo music for acoustic guitar, buchla music box 100, hewlett packard model 236 oscillator, electric guitar and computer - part two (10:32)

click the play button to hear an excerpt of "stereo music for acoustic guitar ..."

i’m penultimately thrilled to present to you my second “proper” album under my christian 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 here (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 formic 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.

$9.61

back in stock as of
november 1st, 2007

first in stock on
october 4th, 2004

threads:
modern-psych
minimalism-drones
electro-acoustic-composition
analogue-synth
beat-research
digital-musics

kranky (usa) #krank 071 lp

keith fullerton whitman “schöner flußengel” long playing record

lixus (version analogique)
bewusstseinserweiternd tonaufnahme (einter & zweiter teile)
gravicembalo col piano e forte
el seny i la rauxa
(interlude)
lixus (version numerique)
weiter

click the play button to hear an excerpt of "gravicembalo col piano e forte"

here we go... lp-only release #2 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 was a take off on “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-themed” lp i was working on for the deluxe label a few years back (i.e. “hrvatski ‘73”). 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 (often many of them on top of each other; see “bewussteinserweiternd”) mixed with some new “band” pieces recorded with jim siegel late 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.

$9.61

back in stock as of
november 1st, 2007

first in stock on
april 26th, 2004

threads:
minimalism-drones
lo-fi
modern-psych
electro-acoustic-composition
modern-composition

kranky (usa) #krank 064 lp

keith fullerton whitman “antithesis” long playing record

twin guitar rhodes viola drone (for lamonte young) (7:44) 1994
obelisk (for kurt schwitters) (6:13) 1997
rhodes viola multiple (5:41) 1995
schnee (7:11) 2002

click the play button to hear an excerpt of "twin guitar rhodes ..."

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 “organic” route (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 laid 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.

$13.61

back in stock as of
february 20th, 2007

first in stock on
march 11th, 2003

threads:
field-recordings
minimalism-drones

locust (usa) #locust 19 cd
met life (united states) #met life 1 cd

keith fullerton whitman “dartmouth street underpass (met life 1 / location sound series 1:1)” compact disc

dartmouth street underpass - 3pm - july 12th 2002 (18:21)
dartmouth street underpass - reply piece - 3pm - august 4th 2002 (17:53)

2003 release containing a raw field recording of a glass-walled tunnel (track 1), then a “composed” reply piece...

quite excited about this release, finally out (a little behind schedule) but otherwise perfect. many of you know i’m an avid field recordist (the volume of my personal field recordings archive might scare more than a few people). i’ve called boston my home for the last 10 years or so but have given little back (other than working a constant ministry to the boston ‘scene’ during my travels).

i discovered the dartmouth street underpass almost by mistake when i was in college, and vowed to someday return with proper documenting equipment to capture to mood and sound-space in digital. my approach was to camp out exactly hafway through the tunnel, armed only with a minidisc and soundman okm headphone mics, waiting for that special moment. and it came, 3 hours into the session, when a group of tough city kids, upon discovering the space, started clapping their hands and singing jefferson airplane’s ‘somebody to love’. strange enough in itself, resounding throughout the cave-like tunnel, very odd. when this was followed with a brief announcement echoing into a 15 minute buzz from the faulty wiring of the station’s pa system, i knew this was what i was waiting for...

and here it is, digitally transferred from minidisc to uncompressed 16bit-44.1k, slightly remastered here in the mathlab. the reply piece takes only the electronic buzz as its source, adding birdcalls from the reckankomplex porch live into the mix as i ‘performed’ it in the laptop one balmy august afternoon. a proper documentation from a time & place quite dear. enjoy...

locust press release...

with the release of dartmouth street underpass, keith fullerton whitman inaugurates our met life series. for his efforts, whitman sat in on the acoustic world of the tunnel that connects boston's back bay station to copley plaza under dartmouth street. the sounds are a combination of pumped in muzak, children's voices bouncing off the glass walls, the sudden rush of commuters, and the glorious, rumbling low end buzz and rattle of the train ushering in and out of the station. whitman electronically processed elements of the field recording on his porch and devised a brilliantly conceived thing of beauty that slowly and effortlessly unravels into an entrancing long form drone .dartmouth street underpass has been celebrated as "a work of beautiful transparency" (ken hollings, the wire), "an evocative, stand-alone work that gains resonance with repeated listens" (matt pierce, splendid e-zine),and "as monolithic and complex as a phil niblock piece." (bill meyer, magnet) (met life 1/ locust no.19)

$10.01

back in stock as of
may 15th, 2007

first in stock on
january 1st, 2003

threads:
modern-psych

records (usa) #r 3 lp

el-ron “are dangdut kings” long playing record

part 1
part 2
part 3
part 4

back in stock - my first lp; a “mock” danish free-jazz/art-punk session recorded live in 1996 on wmbr-fm at 2am with russ newman on drums and cymbals (i played four-string guitar, mutli-vox synth, tape-machine, flex-a-ton, e-bow, and an echo-plex)

ten years on i’m not embarrassed by this in the least; especially with what’s transpired in music over the last decade (in retrospect) - we were tuned in to a kind of sound-sculpture-meets-high-rise aesthetic that still holds water. some nice long stretches of messy tape-loop guitar, synth automation, re-amped field recordings, guitar-pickup vocals, and of course russ’ caveman drums & tireless thud-scrape counterpoint.

maybe not the most popular record at the time (hell; the original 500-copy hand-stamped-label edition is still in print !!!) but then again not many of the “classic” records i’m feeling these days were either...

records press release...

ugo fleischer-michaelsen: drums, percussion, vocals.
bondo smed-vagn: 4 string guitar, feedback, cassette tapes, effects, multivox, vocals.

$10.01

back in stock as of
may 23rd, 2007

first in stock on
may 8th, 2006

threads:
digital-musics
electro-acoustic-composition
minimalism-drones
guitar-themed

room40 (australia) #edrm408 cd

keith fullerton whitman “track4 (twowaysuperimposed)” three inch fan compact disc

track4 (twowaysuperimposed) [21:04]

click the play button to hear an excerpt of "track4 (twowaysuperimposed)"

...stockpiled a few copies of this, the tour-ep from my recent travels down under over in oz & nz so that i could offer it to you guys via the shop upon my return... i’ve got a few left.

room40 press release...

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)

$6.01

new to stock as of
january 1st, 2003

file under:
rock-etc...
lo-fi
reckank-related

sale-hatin (usa) #sh vii cs

el-ron “are dangdut kings” cassette

side one
side two

this was my first attempt at 'mass producing' something. the el-ron lp was originally available as a cassette on my long-running tape label sale hatin' in an edition of 100 copies. the cassette features much extra material, including a warm up 'choon that keith-hrvatski really liked, but was cut from the lp.

sale-hatin press release...

keith: arr-scree-grr-honk-honk.
russ: arr-bang-bang.

craig and el-ron: push studio buttons

$14.04

back in stock as of
september 17th, 2008

first in stock on
october 19th, 2006

threads:
harsh-noise
plunder-phonic
digital-musics
electro-acoustic-composition

utech (usa) #ur cd002 cd

lasse marhaug “spaghetti western rainbow” compact disc

spaghetti western rainbow (redux)
i quattro dell’apoclalisse oro hondo
the endless gundown

click the play button to hear an excerpt of "spaghetti western rainbow"

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 esp “music 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."

$9.81

new to stock as of
april 23rd, 2007

threads:
minimalism-drones
modern-composition
digital-musics
guitar-themed
electro-acoustic-composition
playback-music
sound-art

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

click the play button to hear an excerpt of "quest appartments, newcastle nsw"

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.

$14.98

new to stock as of
september 23rd, 2008

sonig (germany) #sonig 66 cd

“noise room” compact disc

sun ok papi k.o. - triggered pikmin sound (3:33)
black dice - gore (4:13)
jeff carey - vector (4:30)
adam butler - jellyrollmortonfeldmantwo (5:04)
mouse on mars - tilted scenery (4:57)
jason forrest - blood, blood everywhere (5:02)
lee ranaldo - maelstrom from drift (stereo excerpt) (5:00)
daniel schorno - mantra of a black world (storm in a tea cup) (5:06)
keith fullerton whitman - two pieces (5:03)
david grubbs - the battlefield forecast (4:32)
robert van heumen - bullets (5:01)
casey rice - untitled meditation (5:02)
kevin blechdom - robomomma (5:06)
michel waisvisz - untitled wargame (5:11)

click the play button to hear an excerpt of "two pieces"

september 2008 release ; long-awaited collection of excerpts deom jan “lithops” werner’s long-running “noise room” project, first installed at steim in 2005, then later at melkweg and london’s cubitt gallery ...

really great, standout work from just about everyone involved ; a certain cluster-fuck production-set prevails (which is naturally what you get after mixing busy 5.1 pieces down to stereo !!!) but not so much as to hinder the proceedings overall ... it’s a testament to jan’s curatorial skill in just how wide-ranging the results are here, while keeping an almost imperceivable common-bond running throughout (many of the submissions / contributors stick to the time-tested basics ; squiggly, digitally transmogrified live-instrument tones & spastic, near a-rhythmic underpinnings) ...

ps. this is about as close as you’re going to get to new hrvatskimusik from me for a while ; the piece excerpted herein is in fact the “young person’s guide to hrvatski” ; consisting of 6 channels of automatic beat-sensing rearrangement algorithms going to town on the pre-”irrevocably overdriven” beat freakout megamix run through a guitar-amp simulator ... listen to the sound-sample for a taste ...

sonig press release...

noise room
format: cd | catalogue: sonig 66cd | year: 2008

the noise room cd documents the noise room, an autonomous surround sound space built for pre-recorded musical works and sonic experiments. each musical work which is performed in the noise room has been selected, edited and arranged for a listening situation in which the listeners can dedicate themselves to a maximum listening experience. the pieces presented in the noise room refer specifically to the concept of a so-called 'speaker' concert in contrast to a so-called 'live' concert. each composition is played back through a multi-channel 5.1 speaker setup that is configured according to the spatial acoustics of the noise room. the cd version offfers a selection of shortened stereo edits. noise room 1 was built and set up at steim, center for research & development of instruments & tools for performers in the electronic performance arts in amsterdam in 2005, version 2 was located at the melkweg concert space in amsterdam in 2006. version 3 will be installed in the cubitt gallery in london in september 2008. the noise room was initiated and designed by jan st. werner, former artistic director of steim and member of mouse on mars.

"going to a tape music concert characterized by a lack of performance can be a valuable experience in itself: a situation where one is presented with a high fidelity sound installation in which one can finally hear the subtle details of the music. it is this situation that defines the need for the noise room. at the same time, it builds upon in the history of acousmatic music -- a history of using space for sound compositions -- while referring to the transgression of boundaries and the utopian inspiration of the avant-garde." roland spekle

$16.41

back in stock as of
july 21st, 2008

first in stock on
june 22nd, 2005

threads:
1950s-electronic
1960s-electronic
1970s-electronic
1980s-electronic
electro-acoustic-composition
musique-concrète
digital-musics

sub rosa (belgium) #sr 220 cd

“an anthology of noise & electronic music / third a-chronology 1952-2004” double compact disc set

bernard parmegiani de natura sonorum : matières induites (1975) 3:44
hugh le caine short presentation of the 1948 sackbutthe sackbut blues (1953) followed by a noisome pestilence (1958) 3:25
keith fullerton whitman / hrvatski stereo music for serge modular prototype (2003) 5:30
ilhan mimaroglu the last largo (1989) 9:33
michael j. schumacher room pieces excerpt (2003) 4:41
justin bennett ovipool (2003) 3:25
scott gibbons / lilith stone : reciprocal (1992) 3:30
fred szymanski / modular flume (2003) 6:41
francisco lopez untitled #148 (2003) 10:03
zbigniew karkowski execution of intelligence (2004) 8:20
masami akita / merzbow birds and warhorse (2004) 11:30
michel chion requiem : dies irae (1973) 6:00
erkki kurenniemi sähkösoittimen ääniä #4 + #1 (1971) 5:26
carsten nicolai / alva noto time..dot (3) (2000) 4:26
peter rehberg / pita early work 6 (1984) 3:00
herbert eimert + robert beyer klangstudies ii (1952) 4:43
günther rabl eve (1987) 6:00
asmus tietchens teilmenge 35 c (2004) 4:40
michael rother feuerland (1976) 7:20
faust the faust tapes: untitled #16 + #17 (1973) 2:55
to rococo rot contacte (2004) 4:30
rune lindblad till zakynthos (op. 205) (1988) 13:39
cm von hausswolff + erik pauser / phauss eternal love #3 (1993) 13:07

third volume in this series... as always a great way to learn about the splendour of the early electronic music construction modus while being tipped off to the present-day candle-holders; all while not interrupting too many of the butterflies nestling in your wallet. i’m both psyched and mortified to have a piece on here alongside my idols; parmegiani, mimaroglu, le caine, eimert + beyer, faust, etc... just about everything is unreleased or an alternate version/mix/out-take to the previously available. quality all around...

sub rosa press release...

an anthology of noise & electronic music vol. 3 - third a-chronology 1952-2004
bernard parmegiani - hugh le caine -faust - to rococo rot - keith fullerton whitman aka hrvatski - ilhan mmaroglu - michael j. schumacher - justin bennett - scott gibbons aka lilith - fred szymanski - francisco lopez - zbigniew karkowski - masami akita aka merzbow - michel chion - erkki kurenniemi - carlsten nicolai aka alva noto - peter rehberg aka pita - herbert eimert + robert beyer - gunther rabl - asmus tietchens - michael rother - cm von hausswolff + erik pauser > phauss - rune lindgrad
digipack 2 cd + 40 pages booklet / sr220

this 3th volume continue to show all the aspects of electronic music from the early beginning until now - including 2 pieces of historical concrete music (of the 70's), several piece of american tape music (columbia university) with a special focus on all the electronic music from germany - wdr early works - krautrock - electronic from 90's...

featuring too some recent work of the greatest noise artists + several unsung electronic pioneers ....

$79.97

back in stock as of
june 10th, 2008

first in stock on
august 8th, 2006

threads:
anti-music
electro-acoustic-composition
electro-acoustic-improvisation
harsh-noise
digital-musics

vinyl-on-demand (germany) #vod 24 lp

“viva negativa! • a tribute to the new blockaders • vol. 1” quadruple long playing record set

asmus tietchens - kranzniederlegung
keith fullerton whitman - sept. 27th 1960
nocturnal emissions - this morphing viod
plethora - last night i dremt of anti-fest this morning i woke up deaf
silvum - discreet charma
srmeixner - the church of the absurd
the haters - mantra to rot
daniel menche - smoldered blockaders
nobuo yamada - prickle / crevice
komafuzz - damage ax
ashtray navigations - new paint for antisilence
zbigniew karkowski - chopped mod
anomali - t.n.b.r.i.p.
john wiese - annul
benzo - nothing controls something
vortex campaign - the black box
evil moisture - new kids on the blockadres
cisfinitum - out
massimo - history of everything
msbr - tnsbrupenus
jason kahn - rille
controlled bleeding - the latest hole in my head
pita - tnb ii53
v/vm - what a way to go shakey
treriksröset - negativt fortroandekapital
grunt - saarto
thurston moore - corion sound for t.n.b.
richard ramirez - cultural blockade
scanner - kohekohe
oren ambarchi - something from nothing
emil beaulieau - anti-vartan
dieter müh - hohl
z'ev - chips for the new block
lockweld - catharsis bomb
kraang - silvers on glass and steel
k.k. null - song x
prurient - majdanek slaughterhouse
freiband - nichts

click the play button to hear an excerpt of "sept. 27th 1960"

vinyl-on-demand press release...

vod 24: new blockaders / various artists viva negativa vol.1 lp-4 (box-set)

a massive project done by richard rupenus. includes tnb material reworked by 75 of the best international avant-garde/industrial/noise artists

oren ambarchi, anomali, ashtray navigations, emil beaulieau, benzo, maurizio bianchi, cisfinitum, controlled bleeding, dieter muh, evil moisture, freiband, grunt, the haters, jason kahn, zbigniew karkowski, komafuzz, kraang, lockweld, massimo, daniel menche, thurston moore, msbr, nocturnal emissions, kk null, pita, plethora, prurient, richard ramirez, scanner, silvum, srmeixner, asmus tietchens, treriksroset, vortex campaign, v/vm, keith fullerton whitman, john wiese, nobuo yamada, z´ev.

$16.89

back in stock as of
june 26th, 2008

first in stock on
august 10th, 2007

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

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:
ruth white

...and that's everything in stock featuring keith fullerton whitman.
(why not take a look at the previous and next artists?)

next artist:
who cares how long you sink

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