united states of belt “pancake alley” compact disc

• ping pong holiday (19:08)
  
• sleepytown breakfast (21:47)

vic rawlings / michael bullock “fall of song” compact disc

• as if the
  
• as the
  
• when the
  
• as in the
  
• about the
  
• wherein the
  
• what if the
  
• as we went to
  
• __ ____ __ _____
  
• ____-_-____ _____
  
• ____ __ ________
  
• ____ _____ _-__-__ ___
  
• _________/_ ____ __ ___ ____

greg kelley “one hour as something that didn't turn out the way i intended it to” compact disc recordable

• one hour as something that didn't turn out the way i intended it to (i’m not anti-music, music’s anti-me)

due process “fin de la voix” compact disc

• combine xxi (4:42) (w/ chris cooper)
  
• combine xxii (6:19) (w/ greg kelley)
  
• combine xxiii (6:18) (w/ dave quinn)
  
• combine xxiv (8:30) (w/ vic rawlings)
  
• fin de la voix (17:59)

tim feeney / vic rawlings “in six parts” compact disc

• 1. (7:38)
  
• 2. (8:33)
  
• 3. (6:46)
  
• 4. (9:22)
  
• 5. (5:22)
  
• 6. (13:21)

james coleman “zuhitsu” compact disc

• this castle keeps me
  
• burial of the combs
  
• katydid
  
• muddy kemaris
  
• lady of the combs
  
• flying water shrine
  
• each spire an animal
  
• events at the laurel pond
  
• zwittering maschine
  
• tsunekos’ dream
  
• the singing sword
  
• stick & stone i
  
• sticks & stone ii
  
• kokin mystery birds
  
• released to the stars

vic rawlings / liz tonne “interference” c34 cassette

• vic rawlings - the middle of three days
  
  
• liz tonne - b
  
• liz tonne - arsonist

semata productions press release...

sem-009 vic rawlings / liz tonne 'truck krone' c34 vic rawlings and liz tonne have been working together for the better part of 2 decades, spanning various genres of music(s) including indie/art rock, country, and that nebulous nexus: "experimental". they continue to work together in the electroacoustic-improvisation octet the bsc and the undr quartet, both of which have been pushing the limits of extended technique and aesthetics for over a decade. one thing that both vic and liz have always brought to the table is an interest in experience and a lack of fear in the face of potentially uncomfortable or unsettling aesthetic territories. their distaste for comfort zones, "coolness", flash and the familiar have led some to refer to their work as alternately "frustrating," "harrowing," and/or "exhilarating." which adjective you choose depends on how far out on the plank you're willing to walk with them. but if you go the whole distance you realize the plank doesn't lead to shark-filled waters or a horrible void, but to a naked, (nearly hyper-) aware present. vic's piece, "the middle of three days," occupies "classic vic territory": an unhurried pace which blurs the lines between intentional and arbitrary, "cracked" electronics, beautifully tarnished bowed tones, beautifully stretched out memory man sonorities and plenty of what-the-fuck elements (coughing, "five-oh," wind machine ??). it ends as suddenly as it arrives following the classic show biz dictum, "leaves you wanting more."  liz's "b" is a tonal/character study of the title letter (in flattened form), showcasing liz' unique sense of song craft (or anti-song craft if you prefer). using timbral variations (mostly slight), flutters, and modulations, liz presents a shadowy, skewed version of standard song form where a very stripped down content is presented in nearly traditional repetitions. in a parallel world, someone is singing a standard with too much melisma. with "arsonist," this process is further distorted and fragmented towards abstraction, functioning almost as an extended coda or question mark.  vic and liz have appeared on numerous recordings for various ensembles and have collaborated with a who's who curriculum of improv heavy weights; surprisingly, this is the first solo release for both artists and it's a privilege to have it as part of our catalog. edition of 100: pro-dubbed on red type ii high bias cassettes with 2-panel jcard, silkscreened shells & shrink-wrapping.

vic rawlings / howard stelzer “by my side; i am yours” compact disc-recordable

• ... (14:13)
  
• the free (6:18)
  
• meeting at cover (5:12)
  
• breaking cover (2:15)
  
• in full cry (i am your's) (15:08)
  
• the death (7:50)

songs from under the floorboards press release...

floor3 vic rawlings & howard stelzer “by my side; i am your’s” cdr edition of 100 copies this oddly punctuated album of studio compositions for modified cello, open-circuit electronics, cassette tapes, and other detritus was retrieved from intransitive’s climate-controlled vaults after carefully aging for more than six years. “by my side” came about at a time when vic rawlings and i were performing lots of duo concerts, and felt that we were pushing ourselves into some strange, exciting territory. we decided to capture what we were doing in a “real” studio, rather than simply record concerts in situ as best as we could… which at the time, would probably have meant putting one stereo mic in the room and hoping for the best. two days of improvisations in jesse kudler’s attic studio were sculpted and massaged over several intense days until this album emerged. and then… nothing happened. we’re not sure why. the subject of publishing this album would come up every now and then. every time i listened back to the music, i’d think, “hm, this is pretty weird stuff. i should put it out.” years later, the rapid fluctuations between narrative tease, passages of high-velocity throttle, and grotesque emptiness seem just as fresh and bafflingly exciting to us as they did when we recorded them. rawlings and stelzer are two members of the large ensemble the bsc, along with their compatriots nmperign, mike bullock, chris cooper (fat worm of error, angst hase pfeffer nase), james coleman, and liz tonne. when he isn’t teaching rock guitar to kids in the suburbs, rawlings builds electronic instruments, makes a mess of a perfectly nice cello, and performs in the groups n.r.a. (with ricardo aria and tatsuya nakatani) and mawja (with mazen kerbaj and mike bullock). stelzer is tired of writing about himself in the third person, so today he won’t do it. first edition of 100 pro-duplicated cdrs in jewel case with full-color artwork. design by justin myers (tone filth). out now on songs from under the floorboards, a division of intransitive recordings.