... welcome to the "sales" portion of mimaroglu music, largely covering the "closeouts" & the remainder of the titles still in stock from the days before the migration to the new website ::


... while this "classic" version of the mimaroglu music sales site was originally slated for demolition on may 1st, 2015, due to the overwhelming interest in it over the past few weeks, i have decided to extend the "lease" (so to speak) until october 31st ; please go ahead and make your final selections from the generous closeouts campaign & please update all of your bookmarks to the address above for any & all new release, restock, and auction activity ...

... note that there is now a FREE WORLDWIDE SHIPPING promotion in effect ; no codes or special action necessary, just place an order via this site for between 1 & 1238 items & your goods will be sent via the method of my discretion to the location of your choosing, gratis ...

... also, all orders over $300 will automatically receive an additional 30% discount !!!
mimaroglu music sales best of 2011
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2011 was an inspiring, trying, puzzling, but ultimately rewarding year ; although i have the looming sensation of being in "stasis" for long stretches throughout, looking back on documentaton i can see that i played 20 concerts, travelled to europe, saint louis (twice), new york (ditto), etc ... all while keeping a regular 60-hour work-week schedule (not bad ; should keep the various existential crises at bay for now) ...

afa reflections go, here's the blurb-ette i wrote (then neglected to send in, ha !!!) for the wire's year-end issue ::

... in boston, non event had a hell of a year (mark fell, jooklo duo w/ bill nace, frank bretschneider, mandlebrot & skyy, palmetto moon electronic group) as did spectral rehab (pete swanson & ben vida slayed, as did pat "indignant senility" maher) … plus it felt great to put on a concert for borbetomagus after having my sensibilities so strongly shaped by seeing them long ago ; in troy, the "earbrains" event organized by micah silver at empac was stellar (amazing sets & sound from lambkin / lescalleet, david shively, flower man, fat worm of error) ; in krems, hearing ivo malec's "triola" over the acousmonium was semi-religious, as was experiencing anthony mccall's "line describing a cone" & the schmickler / lehn duo ; in stl, pretty much the entire "float yr face" fest at floating labs was perfect (but esp. jeremyghost icekannapell, brett naucke, raglani, rene hell, & expo '70)

otherwise, just having the time, energy, & resources to continue narrowing in on a very specific set of ideas has been a blessing ; adopting another cat was a great idea - i recommend everyone do the same …

here's a photo of our new bundle of joy (her native habitat) ::

... we adopted temperance (aka tempestuousness, tempy, temes) from the "save a gato" network ; she'd been bouncing around since being rescued in puerto rico & was in need of a good home. we were worried at first at how she'd get along with the notoriously neurotic wilbur (aka halbczszons, dribcots) ::

... but within the first hour they were thick as thieves ::

... i finished assembling this (my current "instrument") ::

... which i used to compose this piece at the grm in paris ::

in the world of records; i found some of my long-time wants while in france (at the best record-fair i've ever been to) ::

... and of course we were lucky to "work" a great deal of excellent music here @ mms ; i'm going to single out the group ongaku reissue as my single favorite "best of the year" title - it's a crucial set of music whose very existence re-writes the history of free & electro-acoustic improvisation (seriously ; everyone should have a copy) ... matt carlson's "particle language" was another high-point (hopefully "synth music" tropes in 2012 will all follow in matt's footsteps & we'll have something of a return to "complexity" after all the faux new-age "light & easy" gerrymandering of the past few years) ; plus nate young's "stay asleep • regression vol. 2" was an eye-opener, easily eclipsing anything he's recorded w/ wolf eyes ...

... i also really dug the pekka airaksinen, jd emmanuel, harald großkopf, grupo nps, jonathan halper, & dub taylor reissues ... plus the ursula bogner, mark fell, hecker, hobo sonn, sean mccann, geoff mullen, bill orcutt, red horse, marcus schmickler, temporal marauder, chris watson, & artur zmijewski records ...

it was a great year for music & records ; one that will only be topped by this year (someone has to be optimistic about all of this ; might as well be me) ... -k

Alright 2011, here it goes - a very quick year, and even though I thought I was super under-productive, it turns out I did get quite a bit done. first and foremost, I said goodbye to warehouse living and moved into a sweet old Victorian house, and quickly got an awesome kitten, Tex.

We were told that she was found on the side of the road, possibly thrown out of a car, and her face was all scratched up. she quickly adjusted to her new home in cold New England, and apart from eating up some magnetic tape and barfing it up - things have gone swimmingly.

Oh man, oh man, what else ...

I sorta kept up with my swimming routine, and definitely didn't save as much money as I set out to. The winter went by in a foggy daze, fueled by beer and wine and not enough sleep. I spent most of my time either working or looking for furniture in consignment shops, and hunkering down in the new crib. After an early spring root canal, everything started to fall in place ...

Took a trip to Asheville, NC for Eli Keszler and Ashley Paul's wedding - where Jules and I played the Velvets "I'll Be Your Mirror" while E and A walked down the aisle (me on guitar and Jules on tambourine). This all led to quite a nice time cavorting and carrying on, lots of food and lots of wine and good times all around. Took a nice hike in the Blue Ridge Mountains and ate some darn good breakfast and grits.

It was a wonderful summer spent at flea-markets, namely the weekly Sunday event at the Seekonk Speedway. We made it out to the Brimfield Fair for a couple days, always a special treat, though we didn't buy much this year. Every day off was spent at the beach or trying to get there, and I developed a perfectly slack way of documenting these trips and reworking them at home - to be documented in an upcoming tape for the wonderful DRAFT label. Worked on my tan quite a bit, and the discovered that the best thing to do at the beach is to play catch in the water w/ a tennis ball.

Jules and I had the most amazing 4th of July partying at a Victorian mansion on a rock (named Clingstone) at the mouth of the Narragansett Bay - our landlords dad bought the place for $3000 in the 60's, oddly enough, and we lucked into one helluva trip, swimming off the dock to small little islands populated exclusively by cormorants and seagulls..

Oh, and KFW and I were able to extend our lunch-break record shopping due to the fantastic news that Stereo Jack's, in Cambridge, has had its lease extended! Although this year didn't bring the bumper crop of ESP vinyl or early electronic gems of 2010, we each pulled our fair share of burning wax from the frequently updated "this just in" shelves, notably - a huge collection of straight-ahead jazz and hard-bop that's had me spending many a nights revisiting Grant Green and Kenny Burrell albums on pristine Japanese vinyl pressings.

Jeez, what else - - poured too many beers for people I had to listen to ramble on about this or that, donated my beat-up car to NPR, oh and I definitely bought some records here and there... guess I should talk about that – some stand-outs would have to include the grip of new releases by Ghedalia Tazartès- I definitely bought them all, I must admit, and I do not have the buyers remorse, not one bit. I was also super-pumped about the new Frieder Butzmann LP on Pan, as well as new stuff from No Ufo's, Ed Yazijian, Part Wild Horses Mane on Both Sides, Hobo Sonn, Angst Hase Pfeffer Nase, Anthony Levin-Decanini, Tomutonttu, the weird proliferation of Hecker / Mark Fell-inspired wacko "computer" music, Loren Connors reissues on the Enabling Works label, reissues of the Brotzmann FMP records on Cien Fuegos, Pekka Airaksinen, a proper reissue of J.D. Emmanuel's late-night / early-morning slow-burner "Ancient Minimal Meditations", and Conrad Schnitzler's "Ballet Statique" - - Oohhh, and not to mention the fantastic Artur Zmijewski "Singing Lessons" on Tochnit Aleph, the triumphant return of Creel Pone ! (my personal faves being the Umberto Di Grazia, Giuseppe Morrocchi, and Tom Cameron's "Music To Wash Dishes By"), and some just-in-timers: Wolf Vostell "De/Collage Music" and all the long overdue re-stocking of some Edition RZ titles, including the fantastic new collection of Christian Wolff pieces, and the epic David Tudor 2xCD.

In terms of totally eye-opening records / non-new releases, the two top slots will have to go to Catherine Ribeiro+ Alpes "Ame Debout" (thank you Pete Swanson) and Hugh Davies "Shozyg" (KFW pulled this out of the MMS rubble and proceeded to melt my mind and single-handedly inspire me to record an album of guitar damage / investigation, now out on REL records as "Accidental Guitars").

Had a great time playing shows here and there - most notably on a short tour w/ P. Swanson and KFW up to Montreal, where we just zoned out to the Montreal vibe thanks to our host Jean-Sebastien, going record shopping and hunting for Quebecois micro-brews for three days of blissed-out vacation.
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back in stock as of
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first in stock on
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 best of 2011 !!! 
38% off !!!
rumpsti pumsti (edition) (germany) #nummer 12 cd

carlfriedrich claus / harmut geerkeneinem luftigen akustischen kosmos entgegen” compact disc

  • einem luftigen akustischen kosmos entgegen (60:33)
june 2011 release ; ... one of few recordings of the late carlfriedrich clausconcrete-poetry, recorded in 1991 in collaboration with vaunted free-percussionist harmut geerken (whose mid-70’s recordings with michael ranta were the focus of a 5-lp box that was to be among the final releases on qbico) ...

... with each party reading text(s) aloud amidst a haze of taped materials & electronic-sound aggregations, this is a honey of a “poetry recital” often de-stabilizing into raucous flare-outs ... only to recede moments later into whisper-quiet admonition(s) ... an absolutely incredible, eye-opening, and historically important document ; highly recommended !!!
rumpsti pumsti (edition) press release ::

carlfriedrich claus & hartmut geerken - einem luftigen akustischen kosmos entgegen

rumpsti pumsti (edition) nummer 12
edition of 300 copies

comes with 12-page booklet including a text by hartmut geerken (german only)

collaboration performance by these two infamous german visual artists & sound-poets, recorded at lyrik-kabinett münchen, june 1991. this is carlfriedrich claus' only sound-collaboration ever. both artists prepared a 60-minute backing-tape and wrote a detailed score for live-performed poetry and voice-operations. in addition to these fixed compositions they left room for spontaneous improvisation and the use of small cymbals ('tschinkas').

this is like nothing else. very serious, raw and quite unsettling.

between the early 1950s and his death in 1998, carlfriedrich claus (born 1930) produced a corpus of work that occupies terrain somewhere between philosophy, art, linguistics and acoustic literature. both visually with his language sheets and acoustically with his language operations, he plumbed and explored the depths of human consciousness, making a wholly individual contribution to the art of the 20th century in doing so. these sound processes and language operations have a consistency and radicalism unacknowledged hitherto.

hartmut geerken (born 1939) is an author, composer, musician, film-maker, performer, actor, mycologist, archivist, stager of exhibitions, publisher of numerous authors from the circle of literary expressionism and dada, lumberjack, and bumble-bee-keeper. as a percussionist, he has collaborated with a variety of free jazz musicians such as sun ra, john tchicai, sainkho namtchylak. as a poet, he is a practitioner of concrete poetry and organizes events such as the annual bielefeld new poetry colloquium. as an actor, he appeared in six films by herbert achternbusch and appeared in two of achternbusch's plays at the munich kammerspiele.

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 best of 2011 !!! 
38% off !!!
seer sound archive (japan) #seer 001 lp

group ongakumusic of group ongaku” long playing record

  • automatism (26:20) 1960
  • object (7:34) 1960

  • metaplasm 9-15 • part 1 (14:16) 1961
  • metaplasm 9-15 • part 2 (11:26) 1961
january 2011 release ; whoah (really didn’t see this one coming at all !!!) ...

contemporary, 180-gram vinyl pressing of the 1996hear sound art librarydisc (itself one of the most prized & hard-to-come-by items around) collecting a series of live & site-specific recordings from 1960/61 (!!!!) by takehisa kosugi, yasunao tone, chieko shiomi, mikio tojima, genichi tsuge, and shukuo mizuno’s group ongaku ...

widely considered the “first collective musical improvisation group,” group ongaku existed only for a blink before the various members went on to more high-profile projects ... but it’s within these captured voltages we can clearly hear the roots of the constituent members’ various transgressions over the decades to come, from kosugi’s violin & tape-manipulation stratagem, to tone’s sax-blasts & room-sound interference, to shiomi’s conceptual, art-world approach ...

... can’t stress how important & revelatory this music is in terms of 20th century experimental-sound enough ; the roots of the majority of the music whispered about around these parts can be traced directly back to these rosetta-stone-like tablets ... highly recommended !!!

ps. it’s very much worth noting that the ptb have gone to great lengths to make sure this music “works” on vinyl ; despite the often butterfly-winged notions (and extended side-lengths) the mastering / pressing-quality & general audio sense are top-notch throughout ... listen to the extended sound-sample for an untouched transcription of the tail-end of “automatism” ...
seer sound archive press release ::

1] automatism (1960)
2] object (1960)

these are recordings of two live performances. recorded at mizuno's house on the same day. for both performances, they used such sound materials as musical instruments - a piano, a pedal organ, a cello, and an alto saxophone - as well as various everyday objects - an electric vacuum cleaner, a radio, an oil drum, dolls, and a set of dishes.

in "automatism," such decision as who employs what instruments / objects, or how one should articulate the sound, were made spontaneously according to how each performer played at each moment, or by chance at a particular point in time and space. the performers went back and forth between two separate rooms to articulate sounds randomly in various ways, using whatever objects inside the house that were at their disposal, any object that could possibly make sounds. during the course of the performance, one of the members touched the reel of the tape recorder, manually manipulating the tape speed. unlike "automatism," in "object" each performer listened to the sounds articulated by the other members and thus attempted to consciously create and amorphous and complex, yet unified sound space as a whole.

3] metaplasm 9-15 (1961)

this is a live recording of part 2 from group ongaku's first recital at sogetsu hall in tokyo. part 1 consisted of a collective improvisation using various musical instruments. the performance began as the bell rang for the opening of the show. through unconventional ways of manipulating and playing, noise-like sounds were created through the instruments. during the latter half of this performance, while playing the saxophone, both kosugi and tone walked off the stage, waded through the audience, and then disappeared. part 2 consisted of a performance that incorporated several reels of music tapes that had been prepared previous to the show, as well as radio and other various instruments.


group ongaku, founded mainly by students at tokyo national university of fine arts and music, was the first collective musical improvisation group. the group began their activities in 1958, and from the naming of the group in 1960 onward, continued until somewhere around 1962. they attempted to create acoustics corresponding to actual time and space by means of collective improvisation. although methodically different, the music that they pursued incidentally shared common directions with contemporaries such as john cage and others involved in the avant-garde artist collective of fluxus.

in november of 1958, shukuo mizuno and takehisa kosugi, undergraduates of the musicology program in the department of music at tokyo national university of fine arts and music, improvised sounds together, playing a cello and a violin. for them the european concept of music, in which compositions are predeterminately fixed sounds from written scores/notations that precede and regulate the performance, reduces the performance to a mere activity of representation, thereby losing the actuality of the acoustics. instead, they sought to explore different acoustics that gradually and constantly changed within actual time and space. through frequent performances every week they became convinced that improvisation, whereby creation and performance occur simultaneously, was the most effective approach for them to pursue.

between 1959 and 1960, chieko (mieko) shiomi, mikio tojima, genichi tsuge, from the musicology program, yumiko tanno, of the vocal music program, and yasunao tone, a graduate of the department of japanese literature at chiba university, joined the group and frequently attempted collective improvisations at various locations. they experimented with such different musical approaches and methods as developing a performance in which each player spontaneously responded to various non-musical sounds that were extracted from instruments and/or miscellaneous everyday objects, or performing completely random and automatic approaches that emphasized the incidental or indeterminate nature of sounds as traces of certain actions.

after their first recital in 1961, a conflict arose between members who interpreted collective as an approach for musical expression, and others who tried to directly connect everyday experiences with musical expressions in an attempt to transcend conventional musical concepts. subsequently, the characteristics of the group shifted from an organization for collective improvisation, to a flexible ensemble for individual musicians and artists, eventually leading members branching off into different directions of their own. among the group, kosugi, shiomi, and tone later joined fluxus.

for these artists, currently active in different musical fields, group ongaku marked the beginning of the careers.

hear sound art library
takako okamoto

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 best of 2011 !!! 
38% off !!!
rotifer (usa) #rc50 lp
hooker vision (usa) #hv100 lp

seziki tetrasheaf / quiet eveningssplit” long playing record

  • seziki tetrasheaf - let’s do carpet beach (17:26)

  • quiet evenings - gold coast (17:30)
october 2011 release ; ... issued as the ceremonial gold / 10-carat release(s) on rotifer & hooker vision (respectively), this split covers the 2011 reality of each label’s respectivecornerstoneartist (rc’s own david toro as seziki tetrasheaf & hv’s grantnova scotian arms” & rachelmotion sickness of time travelevans as quiet evenings) ...

david’s side is aglorious train-wreck of plunderphonic slown beats & assorted looped materials that isn’t too far in practice from joseph hammer’s work ; rachel & grant work some swampland poly-synth shuffle-flutter that opens up into a marvelous wash of hissing sawtooth haze ...

comes wrapped in a neat trompe-l’oeil sleeve with art by all three (plus jeffryxiphiidaeastin) that captures just the right levels of disorientation & ease as conjured by the music ... lovely record.
rotifer press release ::
rc50/hiv100: seziki tetrasheaf/quiet evenings split lp

edition of 300

in celebration of rotifer's 50th and hooker vision's 100th releases, the two labels have teamed up to offer a commemorative split lp between the labels' flagship bands, seziki tetrasheaf and quiet evenings.

the a side begins with seziki's lost and found shuffle of mildewed grooves. hazy recollections. deep humidity.

on the flip, qe cool things down a bit with a bubbling hymn to the ocean and her mysteries. lost in waves. floating.

mastered by keith fullerton whitman.

black vinyl with metallic silver and black label. full color art by jeffry astin, david toro, and grant and rachel evans.

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mimaroglu music sales best of 2011