angst hase pfeffer nase “seashard (elongated)” c40 cassette

• seashard (elongated) (1)
  
  
• seashard (elongated) (2)

no label press release...

barn owl “the conjurer” compact disc

• into the red horizon (5:11)
  
• across the deserts of ash (16:59)
  
• procession of golden bones (3:51)
  
• ancient of days (14:42)

root strata press release...

barn owl "the conjurer" rs-45 cd edition of 1000 the conjurer is the latest offering by bay area duo barn owl. this new long player finds evan caminiti & jon porras finally (by way of an actual recording studio) documenting something that is a bit closer to their very heavy live sets, with expanded peaks of white light distortion and enormous valleys of bottom end. each side opens with a brief funeral dirge to set the mood, a precession of bare bones drum beats and bell like guitar statements that bridge the gap to the wider open spaces of the almost side long 'across the desert of ash' and 'ancient of days''. it may seem obvious, or even a little overwrought, but it has to be said that these guys really do evoke all kinds of cinematic drama with their music. apocalyptic westerns, bleak melodramas, mother nature fever dreams, it all seems to come to mind amid the evening guitar passages, incantations, flute tones, and finally, the solo piano that emerges lost among the electric mayhem to close the album. considering the amount of terrain, the conjurer is far from being scattered or rushed sounding. the record as a whole moves at a crafted even rhythm, slowly merging from one scene of violence to the next of almost silent recovery, then back up the mountain again.

marcia bassett / margarida garcia “the well” long playing record

• the well (a) (16:10)
  
  
• the well (b) (14:45)

headlights press release...

marcia bassett & margardia garcia the well headlights lph14 hand-numbered edition of 200 copies lp on manuel mota’s private headlights imprint documenting a heavyweight duo set from marcia bassett of zaimph, hototogisu, double leopards, ghq et al and improvising portuguese bassist and guitarist margardia garcia. garcia is one of the major new generation european free players, coming out of the same scene as mota, and she’s just as capable of generating swans-style industrial entropy as she is playing explosive fire music. here bassett uses keyboard and guitar to create austere arcs of industrial-strength drone that garcia anchors with tactile, questing strings, giving the whole thing an odd avant-classical backbone.

sigurd berge “early electronic works” compact disc

• eg beisla min støvel (5:39)
  
• preludium (4:55)
  
• ritual (4:43)
  
• sørgemusikk (6:47)
  
• erupsjon (3:06)
  
• delta (5:38)
  
• (excerpts from) blikk (31:39)

prisma press release...

sigurd berge: early electronic works cd prisma records 708 releasedate 04.10.2010 prisma records is proud to present the first release dedicated to the music by the late norwegian experimental composer and electronic music pioneer, sigurd berge (1929-2002). this release shows some of berge`s earliest experiments with tape-machines and early synthesizers and is taken from three reels found in the henie onstad art centre music archives in 2009. the reason why these tapes are located here are probably because berge worked for several years at the norwegian studio for electronic music, located at the art centre. berge also was a part of the electronic music concert-series elektrofoni which took part at the centre from 1968 until 1983. on the first tape we found the unreleased pieces preludium, ritual & sørgemusikk and the previously released pieces erupsjon and eg beisla min støvel. on a different tape we found the musique concrète piece delta, which berge also used in a collaboration with the avant-garde jazz trio svein finnerud in 1970. the second part of this release is dedicated to one of norway’s first multimedia art installations entitled blikk. the work was commissioned for the henie onstad art centre in 1970 and created by the artists irma salo jæger, jan erik vold and sigurd berge. the installation consisted of jæger’s kinetic sculptures, vold’s abstract poetry and berge’s electronic music, all blended together with one of norway’s first computer generated laser-light shows. the multimedia piece was so complicated to produce that the engineeers halvor heier, birger komedal & harald schiøtz was hired for technical assistance. the pioneering work blikk was exhibited at the henie onstad art centre between april-may 1970. prisma records is proud to one of norway’s most famous and acclaimed experimental composers and electronic music pioneers for the first time on a complete cd release.

brother raven “diving into the pineapple portal • eagle vision” long playing record and c40 cassette set

• diving into the pineapple portal (12:54)
  
• it's raining in atlantis (2:06)
  
  
• speaking whale from my sea canoe (8:46)
  
• happy astronaut (6:14)
  
  
• eagle vision
  
• four walled world
  
  
• back to tonasket's hand
  
• tran's mission
  
• salamander
  
• the foragers

aguirre press release...

brother raven – diving into the pineapple portal lp the synth explorations by brother raven recall cluster & harmonia with a touch of dream & fantasy. “diving into the pineapple portal” offers you a view into the craters of the synthesizer moon, seen from earth through 3d new age glasses. the original tape release of ditpp was only handed out to a few friends & artists. as this is one of their most profilic recordings, it deserves a proper release. brother raven is a seattle-based duo that creates experimental music through improvisations with synthesizers, tape, and effects. drawing influence from synth music of the early 80s, inuit mythology, and time travel, their music combines the atmospheric zones of space music with the positive-vibe ambiance of early new age. formed in 2008 by jamie potter and jason e anderson. released in an edition of 300. comes with an optional c40 tape: “eagle vision”

the c&b “1991 pre-shadow ring recordings” seven inch single record

• c-town breeding ground
  
• kent custer
  
  
• cave of ice cats
  
• father’s dead

caboladies “live anywhere” long playing record

• live anywhere (1)
  
  
• live anywhere (2)

aguirre press release...

caboladies - live anywhere lp “electronic chaos & control at the same time” on the 15th of januari performers chris - flower man - bush & eric lanham recorded this lp live on air.  the a side is the take off side. electronic chaos & control at the same time. the b side offers up some more distorted alienating sounds. comes with insert. released in an edition of 330 lps.

carl calm “dayglo port” long playing record

• after hours stereomars
  
• outer rim gamellan
  
• stamping bent memory lagoons
  
  
• congo bog
  
• makin' a trip
  
• adolescent wavelength i
  
• adolescent wavelength ii

tristram cary “it’s time for tristram cary • works for film, television, exhibition & sculpture” compact disc

• music for light (red / white) (4:12)
  
• music for light (short orange) (1:10)
  
• music for light (red / green / white dubbing track) (4:11)
  
• visible manifestations (e1 a - d) (1:11)
  
• visible manifestations (f 31) (0:38)
  
• visible manifestations (e11, e12, e13, e14 a - e) (0:48)
  
• a hill, some sheep and a living (1m 1 take 2) (1:53)
  
• a hill, some sheep and a living (1m 2a) (1:00)
  
• a hill, some sheep and a living (m6 take 3) (1:03)
  
• opus (m1 - electronic titles, montage of metal sounds) (2:58)
  
• opus (house sequence / cocktail party montage) (1:20)
  
• opus (house sequence continued) (1:50)
  
• opus (m6 a take 3) (2:14)
  
• opus (green, drum track with reverb) (0:51)
  
• tests, for casino royale (opening section) (0:25)
  
• tests, for casino royale (torture sfx part 1 - persuasion by pain) (0:50)
  
• tests, for casino royale (torture sfx part 2) (1:19)
  
• tests, for casino royale (further sfx) (0:42)
  
• centre music (4:16)
  
• escalator music (0:40)
  
• shaped for living (1m1, 7 sounds) (0:48)
  
• shaped for living (1m5, 8 sounds) (1:21)
  
• shaped for living (1m6 sounds 5-9) (0:44)
  
• shaped for living (1m7, 18 sounds) (0:50)
  
• shaped for living (2m8, 5 sounds) (1:00)
  
• shaped for living (mixed track) (4:37)
  
• the curious history of money (effects part 11) (0:45)
  
• the curious history of money (m12) (1:04)
  
• divertimento (start) (3:38)
  
• divertimento 05 (4:09)
  
• 3 4 5 - a study on limited resources (6:56)
  
• narcissus (7:59)

trunk press release...

tristram cary catalogue number jbh035cd over the last few years intrepid music lovers have been investigating and enjoying the work of pioneering electronic musicians, electro-acoustic artists and all the groovy folks who spent hours manipulating and cutting tape to make new and exciting sounds. it’s meant that lots of interesting figures have been brought back into our musical view. but one of the most important, innovative, influential and almost forgotten artists of them all is tristram cary. he hasn’t had that much exposure over the last few years. not much at all considering he is known as “the father of electronic music”. well now his story is here. some of his experimental music is here. and you are here too. so buy this cd now and spend some time with the great man and his extraordinary compositions for film, tv, sculptures and exhibitions. and if you like this hopefully more cary recordings will follow. the title for this album caused me lots of problems. in the end i decided that “it was time” we all learnt a bit more about this great man. he is a towering musical figure who lots of people have never really come across, but whose influence is all around us. for further joy i’d suggest looking up the following two obscure documentaries where the importance of his work becomes even more apparent: the same trade as mozart (1969), what the future sounded like (2007). featured on this album are a number of recordings from different sources, but all of course from the tristram cary archive. i’d agreed which archive pieces i was going to use with tristram about 6 months before he died. and thanks to the enthusiasm and help of his son mark, this project has continued. jonny trunk biography tristram cary. 14th may 1925 – 24th april 2008. born in oxford, he was the third son of famed novelist joyce cary (mr johnson, the horses mouth etc). as a youth tristram enjoyed a keen interest in science, sound and electronics, and even though his father wanted him to become a doctor, he supported his son’s desire to be a composer. cary went on to study at trinity college where he was introduced to the delights of modern classical music by friends michael flanders and donald swann. as war broke out cary joined and served in the royal navy as a radar operator. here he encountered modern german tape equipment, and on his return to oxford started experimenting with recorded sound. after further studies in composition, piano, viola and horn, cary started gradually building up his own modern electronic studio, the first of its kind in the uk. thanks to his experiences in the navy and his mind for odd electronics, cary started constructing his own sound generators using discarded, defunct and decidedly cheap military equipment. simultaneously across europe similar minded musicians were working along similar lines, but cary was unaware of their sound or progress. by 1954 cary was earning a living as a composer, and in 1955 got the job of writing all the music for new ealing movie the ladykillers. the film’s director, alexander mackendrick, had been cary’s drinking partner in their local boozer, the fringes in fulham road. by the late 1950s the commissions were coming in at quite a rate, there was work for more films, radio, theatre and tv. much of this work was straight classical, but there were opportunities for cary to bring in his new ideas and electronic sounds. unusually cary was happy working across all musical mediums; he’d be content composing in a conventional classical style, and equally thrilled building electronic scores for modern commissions. in 1962 his radio musical “the ballad of peckham rye” won him the prix italia, and no doubt more international commissions followed. he worked for the bbc on many occasions, most infamously creating the music and otherworldy effects for the dr who daleks seven part series in 1963 (this is the series in which the daleks first appear). in 1967 he founded the royal college of music electronic studio, wrote the groundbreaking music for hammer’s quatermass and the pit, and in 1969 along with peter zinovieff and david cockerell founded ems (electronic music studios), the uk’s first ever synthesiser company. their first major products included the vcs 3 synthesiser, the suitcase synthi and the delaware, equipment that became the modern musical tools of their times. pink floyd, brian eno and the bbc radiophonic workshop would have all sounded very different without their ems equipment. at the same time cary was still experimenting with his very own studio and sound ideas, and through a local label in norfolk released two extraordinary short records (both on this release). on demonstration tour in australia he was offered further work, and moved to adelaide in 1974 where he worked at the university under a number of different musical titles. he left in 1986 and returned to composing, and in 1991 received the medal of the order of australia for services to australian music. he carried on developing sound, consulting and composing for the rest of his life.

cassis cornuta “mag ik eens even in uw broek pissen” long playing record

• halo 10 (28-11-2008)
  
• voor (28-11-2008)
  
• claustrofilie (originele opname nog steeds spoorloos, reconstructie 2009)
  
  
• ddadtaddadta (voorbeschouwing voor optreden, 2007)
  
• mag ik eens even in uw broek pissen? (anticiperende plaatvervangersmix, 5-5-2006)
  
• normadem,, het water liep onder en de lucht was flauw (18-7-2005)

february 2010 release ; words alone cannot express the ... ridiculousness of this particular ue missive ... so i’ll offer this image :: right ... apparently mr. cornuta broke into dennis’ sprawling charing cross road suite late one night, drill in hand, and “added” extra spindle-holes to the entire pressing of his lp here, largely consisting of zonked, anti-music lineage pieces (scrabbling, water drops, etc ...) with the occasional “acid” jam (which could just as easily be rebirth jams from the sound of things) that are much improved by the resultant wobbly list from playing the record from any of the supplied “alternate centers” ... incredible stuff, housed in a prototypically gnarly dennis sleeve (to your left & below for detail) ; highly recommended !!!

ultra eczema press release...

ue69 cassis cornuta mag ik eens even in uw broek pissen lp since 69 years i've been begging daniel de wereldvermaarde botanicus, aka cassis cornuta, if i could please start a second recordlabel which only releases recordings from his archive. this botanic's modesty is an absolute exception in times of an overdose of recorded farts, since 1974 cassis cornuta combines musique concrète, analog synthesizer carpets, weirdo acid, noise, fieldrecordings, tape music, free jazz etc in a puddle of madness spiced with odd staring, dozens of plants (cacti to be more specific), a encyclopedic knowledge about soundart, and an insane collection of hats! besides that, daniel does a weekly radioshow on radio centraal in antwerp since 25 years, mainly playing a combination of recycled music, home recordings and a hell lot of noise! this lp is playable on more than 4 different ways, depending on how many extra holes daniel drilled in each record by hand! some records contain 3 extra holes, some around 20 .. none of the lp's have just one hole, that would be selfish. another beautiful collection of loner synth sound that makes your hangovers or lsd trips worth going for, the strangest beat oriented 303 and 808 acid snoop, and a combination of piss, wind and wood to bring back the good old plunderblur of the new blockaders. this lp comes in a collaged cover design made with pictures from daniel's archive, with an insert and an extra photo. limited to 300 copies!

corridors “corridors” compact disc

• 1. (14:57)
  
• 2. (12:04)
  
• 3. part 1 (9:49)
  
• 3. part 2 (12:04)

sedimental press release...

corridors: corridors sedcd058 | released in 2010 | 500 copies byron westbrook has been performing corridors live around the us and eu for the last four years, however this audio cd is the first physical release of the project and sedimental is ecstatic to be releasing this very committed young artist's debut. since 2004 westbrook has been the technical coordinator for phill niblock’s experimental intermedia foundation. while assisting and collaborating with niblock and other luminaries of experimental music, westbrook began developing corridors as a multi-channel performance system for live guitar feedback. shortly after the completion of a month-long tour with rhys chatham’s essentialist, westbrook began performing the project. corridors has since evolved to encompass the improvised performances of other musicians, recordings of which are processed into phrases or texture units for playback from ipod or minidisc players through the multi-channel system. the results are sweeping and fluctuating textures that place distinct frequencies in different parts of a room, creating an intense opening and closing of space over time for the listener. the pieces were recorded in large spaces (churches, concert and university halls) using a mixture of binaural and mid/side microphone techniques, to allow for the most accurate imaging in a stereo field. the recording process spanned a three year period, during which many different performances of the works were documented. these recordings were carefully edited together, taking the most representative moments of each performance, to make this cd containing three frequently performed pieces. these pieces are loosely structured works, always performed in conjunction with single or multiple light projections. an element of improvisation exists within each performance in that every room is different and the sounds respond uniquely to different rooms. there is a beginning, middle and end that has been worked out, but where the sounds exist and for how long will change for each performance.

alvin curran “solo works • the '70s ” triple compact disc set

• songs and views from the magnetic garden (canti e vedute del giardino magnetico) (1973)
  
  i (26:42)
  ii (23:14)
  
  
• light flowers dark flowers (fiori chiari fiori oscuri) (1974)
  
  i (24:48)
  ii (26:50)
  
  canti illuminati (1977)
  
  i (26:19)
  
  
• ii (19:00)
  
  the works (1976)
  
  i (25:34)
  ii (19:42)

new world press release...

composer(s): alvin curran album title: solo works - the '70s  cat. no.: 80713 (3 cds) genre: classical / contemporary release date: 10/2010 i am happy to stand again in front of all these free-wheeling tone paintings and look back—embracing both their concrete and their purely ephemeral, abstract qualities—while reflecting on how much these four seminal works determined the music i made afterward, similarly inspired by the rhythms, colors, and eternal durations of nature and the immediacy and knowledge of making music with anything at hand. —alvin curran this historic collection gathers together the four seminal solo albums recorded by alvin curran (b. 1938) in the 1970s. two, fiori chiari fiori oscuri and the works, are making their first appearance on cd. author/critic tim page, an early advocate of these works, writes :: curran weaves electronic technology, an occasional acoustic instrument, voices and musique concrète (“found” music) into a multi-hued tapestry of sound. he holds these dissimilar elements together with a compelling subliminal musical consciousness; the listener never feels that curran is deliberately being clever, or that he is out to impress, shock or self-consciously ‘expand the musical language.’ curran’s eclecticism is not willful; his sounds are there because they fit, and they convey a subtle and ingratiating sense of mysticism. these challenging, multi-faceted compositions manage, through their very catholicity, to synthesize and perfect a striking new musical syntax uniquely curran’s own.

moniek darge “crete soundies” compact disc

• magnesia (20:03) 2006
  
• anemos (19:58) 2007
  
• east crete (20:00) 2008-2009

kye press release...

kye is pleased to announce the release of crete soundies, the major new work by moniek darge, and the follow-up to last years soundies (1980-2001) cd. crete soundies presents three new pieces - magnesia (2006), anemos (2007) and east crete (2008-2009). these works were born from two years of levka ori sound research, and an additional year in east crete in collaboration with fellow sound artist francoise vanhecke. moniek darge was born in bruges, 1952 and studied music theory and violin at the music conservatory of bruges, painting at the ghent royal academy of fine arts; art history, philosophy and anthropology at the university of ghent, belgium. she is active as composer, violinist, performer and audio artist and has built light and soundsculptures, installations, musical instruments and for many years has been constructing a series of alternative music boxes, with which she also performs. darge has specialised in both soundscapes and live-art performances in which visual and musical aspects are combined and in interactional improvisation on violin. since 1970 she has performed around the world and has been active on stage, first with the logos ensemble, then with logos duo (together with godfired-willem raes), and more recently with the m&m robot ensemble. she also founded logos women, a small group specialised in intermedia improvisations performing their own compositions for various instruments, voices and music boxes. she's often invited by international artists to collaboration. in 1986 the third program of the national belgian radio broadcasted a series of programs about her concerts and performances in new york city and about some artists with whom she collaborated there. a similar program was made about her music experiences in kenya and rwanda. and later on also about japan, china, bresil, australia, new zealand etc. she herself also realised radio programs about women artists over the world. in 1997 she received the title of cultural embassador of flanders for the logos duo. moniek darge published several journalistic and literary essays, amongst which "inter media myths, auto-author" (1986), an art edition, combining poetry, drawings, scores and pictures (toronto, art metropole-catalogue no.12) and the book "lijf tegen lijf" (body against body, kritak, leuven, 1982). she's general editor of the 'logos-blad', the monthly magazine of the logos foundation, which appears already during more than 30 years and in which she also tells her international music travel experiences. many international magazines published her articles. besides her many concerts and performances all over the world and besides her activities as organiser, moniek darge is assistant professor at the "hogeschool gent" where she teaches 20th century art history, audio art and non western art studies at the fine arts department and an introductionary course in ethnomusicology at the music department. crete soundies comes housed in 6-panel digipak, in an edition of 500, and is released with the support of the flemish government.

fritz dietl “webcor” compact disc-recordable

• tape (3:00)
  
• baoding tape (8:45)
  
• complete tape (13:45)

kevin drumm “necro acoustic” quintuple compact disc boxed set

• spraying the weeds (5:55)
  
• blistering statick (4:39)
  
• needleprick (2:06)
  
• idle worship (18:19)
  
  
• malaise (1) (4:16)
  
• malaise (2) (9:23)
  
• malaise (3) (3:20)
  
• malaise (4) (2:10)
  
• malaise (5) (1:47)
  
• malaise (6) (1:36)
  
• malaise (7) (2:54)
  
• malaise (8) (2:21)
  
• malaise (9) (15:00)
  
• malaise (10) (6:44)
  
• malaise (11) (4:01)
  
  
• stomach acid (3:03)
  
• blistering statick (7:01)
  
• band pass (5:12)
  
• take the focus off (2:52)
  
• stale content (2:52)
  
• bustelo (1:15)
  
• trash (2:55)
  
• dilemma 1 (3:45)
  
• dilemma 2 (9:13)
  
• older shit 1 (3:10)
  
• older shit 2 (2:44)
  
• totemic saturation (13:31)
  
• the blurry stupor (10:15)
  
  
• no edit 1 (23:33)
  
• no edit 2 (34:37)
  
  
• organ (54:54)

pica disk press release...

kevin drumm: necro acoustic pica019. 5cd box set. cd1. lights out new album of necro acoustic material recorded 2006-2008. 2 pulse generators, band-pass filter, feedback, computer assistance. cd2. malaise reissue of the limited edition double cassette previously released on hospital productions in 2009. guitar, oscillators, computer assistance. cd3. decrepit previously unreleased material from 1998-1999 and 2008 + reissue of drumm's tracks from split lp with 2673 on kitty play records (2005) + the limited edition lp on dilemma records (2008). guitar, oscillators, filters, tape recorders, analogue synthesizer, computer assistance. cd4. no edit<br>new album of prepared guitar material recorded in 2009. prepared guitar, eq, octave fuzz, rat pedal, marshall mini-amp. cd5. organ first full length release of this classic track heard in edited form on the "comedy" album. this is the full 55 minute version as recorded by jim o'rourke in 1996. believed to have been lost for years, but recently discovered. thomas organ, chord organs, marshall jcm 900, ampeg 4x12 cabinet, bag end 2x12, rat pedal. packaged as a solid box with gold print, individual cd-wallets and 24 page booklet.

kevin drumm “self-titled” double long playing record set

• untitled (1) (7:36)
  
• untitled (2) (3:03)
  
• untitled (3) (9:57)
  
  
• untitled (4) (5:28)
  
• untitled (5) (9:47)
  
• untitled (6) (3:41)
  
  
• untitled (7) (17:09)
  
  
• untitled (8) (8:24)
  
• untitled (9) (11:17)

thin wrist press release...

thin wrist recordings presents the expanded and definitive double lp edition of kevin drumm's groundbreaking first album, originally released in 1997. featuring some of the most fiercely abstract and organic guitar work ever heard, drumm's debut is both jarring and completely alien. dubbed by some as the greatest prepared guitar record ever recorded it prefigured (and continues to trump) almost an entire decade or so of contemporary "out" music that would follow. beautiful and completely essential. this edition includes an entire fourth side of previously unreleased recordings from drumm's personal archive, all recorded in the same era as the original album. it also includes entirely new artwork featuring the body of the actual guitar used to record the album. the album comes housed in a heavy textured gatefold jacket and includes two full color inserts. high quality 2 x 180 gram vinyl pressed at pallas germany and mastered by rashad becker at d&m berlin. looking back at kevin through his formidably individual tunnel of works, it's hard to remember that his first official recorded statement would be caught sneaking into bed alongside history's milestones of "solo instrument improvisation." or that, in turn, it also would be caught trying to sneak out of the house built by father jazz, into a backyard that still hasn't quite been fenced off yet. those running around chicago chasing down the sound in the mid-90's should've already known about this guy and his contributions both in and out of the relative spotlight. for those far from the city winds, thankfully they might've gotten the message in the form of this missive. in the afterglow of later love letters titled “sheer hellish miasma” and “imperial distortion”, it's absolutely overdue that this first musty green postcard be dug out, polished off, and framed. judged by its understated title, "self-titled" aka "guitar" is incredibly literal -- what you hear is what you get. in the simplest considerations, the ensuing connotations and possibilities are wide open; the real-time velocity of urgent decision and movement are wrapped in a clearly-mapped compositional endurance that continues to stand firmly in the relative spotlights of this day. no surprise then, that even all these years later, we would still be trying to figure out exactly at which table kevin should squarely sit. they say that every kid who heard this record immediately went out and grabbed a busted guitar with a scratchy selector switch, ready to subject their friends to fuzzy pauses of amp hum. i know of at least four. -- c. spencer yeh, spring 2010, brooklyn ny

kevin drumm / john wiese “untitled” long playing record

• untitled (1) (4:56)
  
• untitled (2) (3:29)
  
• untitled (3) (7:53)
  
  
• untitled (4) (6:57)
  
• untitled (5) (8:20)
  
• untitled (6) (3:14)
  
• untitled (7) (1:39)

nihilist press release...

kevin drumm / john wiese untitled lp (2010) very long awaited collaborative record by two fellows that need no introduction. mania inducing heavy waves of suffocating bass frequencies with ripping and tearing, hissing and speaker destroying hellstorm. recorded in chicago in 2006, cover art by alex decarli. pro-pressed covers pressed on black vinyl.

paul dunmall / chris corsano “identical sunsets” long playing record

• identical sunsets (5:07)
  
• living proof (17:04)
  
  
• better get another lighthouse (14:24)
  
• out of sight (6:35)

esp-disk’ press release...

esp 4058 paul dunmall & chris corsano - identical sunsets best known for his collaborations with paul flaherty, michael flower and thurston moore as well as a year-and-a-half stint as the drummer for björk's volta tour, chris corsano is widely considered to be one of the most adaptive drummers of his generation. equally prolific is uk saxophone giant, paul dunmall, who has worked disparately with jazz greats like alice coltrane and evan parker as well as funk and folk acts like johnny guitar watson and dando shaft. after a chance meeting in a taxi line at lisbon airport, a surreal intertwining of tours emanated. in between the lasers, confetti and face-painted fans at plymouth pavillions and wolverhampton civic hall, chris left the björk mega-tour to get down to business alongside the imaginative dunmall for some vital improvisation at slak bar in cheltenham, england. this wonderfully recorded live set begins with dunmall swirling away on the border pipes (he may be the preeminent improvisor using bagpipes). what follows is an impulsive and lyrical improvisation, alternatingly sparse and impossibly textured. corsano's skittering marries perfectly with dunmall's rapid-fire lines. the melodies are expertly uncoiled so that they remain charged whether the tempo is at full speed or crawling. the set ends furiously, leaving no doubt that this duo was fated to work together. personnel paul dunmall : tenor saxophone, border pipes chris corsano : drums

emeralds “does it look like i'm here?” compact disc

• candy shoppe (4:44)
  
• the cycle of abuse (4:57)
  
• double helix (3:01)
  
• science center (4:38)
  
• genetic (12:06)
  
• goes by (4:10)
  
• does it look like i'm here? (7:28)
  
• summerdata (4:47)
  
• shade (4:25)
  
• it doesn't arrive (3:33)
  
• now you see me (3:28)
  
• access granted (4:04)

editions mego press release...

emego 101 / emeralds does it look like i'm here? cd release date: 24.05.2010 emeralds are john elliott, steve hauschildt, and mark mcguire recorded july - august 2009 and january - march 2010 in cleveland, ohio mastered by james plotkin vinyl cut at dubplates & mastering, berlin art by emeralds cover photo by jen gomez layout by mike pollard and jen gomez ‘does it look like i’m here?’ is the third official album by emeralds (after "solar bridge" on hanson, and the self-titled lp on their own wagon and gneiss things imprints, as well as countless small edition tapes and cdrs on a host of labels) and once again it presents another radical new direction for this cleveland trio. it sees the group moving from playing single oscillator analog synthesizers to really complex analog and analog/digital hybrid as well a great deal of guitar synthesizers, not to mention fine tuning their skills as brilliant tunesmiths. simply put, the results are outstanding. comprising of a number of tracks from their recent  ultra limited 7” vinyl series on wagon, as well new compositions exclusive to this release. this fine selection of tunes surpass anything they have achieved in their 5 year career. perfect melodies intertwined with ripping sequences and a guitar sound that floats perfectly throughout. although most tracks cover new ground in that they follow a shortened ‘pop format’, more long form cuts such as the towering ‘genetic’ and the title track will give fans of their earlier work something to grab onto, or totally let themselves go depending on the state of mind. having spent all their lives in the relative isolation of cleveland means their music has developed into a vital, stunning unique hybrid that may have not been able to blossom in more active urban centres. ‘does it look like i’m here?’ heralds a turning point for all those involved and is perfect vivid soundtrack to emerge out of the recent harsh grey winter. fresh, shiny and totally essential.

expressway yo-yo dieting “bubblethug” double long playing record set

• bubblethug (1)
  
  
• bubblethug (2)
  
  
• bubblethug (3)
  
  
• bubblethug (4)

weird forest press release...

expressway yo-yo dieting bubblethug 2xlp pat maherr is probably best known for his explorations into fetishistic industrial ambience under the indignant senility moniker, but cassette hoarders will know that the oregon-based producer runs a syrup-laced sideline in half-speed rap. through a handful of tapes, maherr's dj screw-influenced sound has already bagged him something of a cult following, but 'bubblethug', his sophomore 'album proper', truly takes things further into the abyss, melting his signature pulse into a dark, viscous tar. pitch shifting rap tracks might not be a new idea at this point (hell, it's practically mainstream practice in houston), but maherr takes this as just an entry point - slicing and stretching his chosen joints into a buzzing symphony of stutters, noise and chewed-up cassette tape. the resulting pieces are thick, heavy and pummelling - a demonic mid-point between punk and rap that mercifully avoids ska. the distant skeletons of the original songs are all but dissolved as the beats decompose noisily around them, dissolving choruses and crushing the life out of guest emcees. links to lo-fi music and psychedelic music will no doubt be made, but 'bubblethug' is defiantly hip-hop from beginning to end. there's a beat, there's a rapper and with the help of maherr's spread of tape machines and filters he's taking the genre to places it rarely gets to go. it might only tentatively balance on the 'elements' ... but when rap's got no other place to go, all that's left is to travel deep down into the annals of unacceptability. intricate collage artwork by glamorous pat. double vinyl album packaged in deluxe gatefold jackets. limited edition of 500, no repress.

juan pedro fabra / jan håfström / carl michael von hausswolff “graf spee” long playing record

• graf spee i (19:12)
  
  
• graf spee ii (18:45)

john w. fail “the 15,000 day boat trip” long playing record

• the 15,000 day boat trip • part 1 (17:37)
  
  
• the 15,000 day boat trip • part 2 (15:14)

8mm press release...

8mm 038 the 15.000 day boat trip lp it happens every so often, something astounding arrives out of nowhere. like a revelation from another era that has been trapped between dimensions, floating endlessly through the empty layers of space and time and then suddenly arriving like an ancient message in a bottle. the message: “the 15,000 day boat trip” a stunning  soundtrack to an imaginary travel through the oceans of the mind, and the wonderful diary of a lonely traveller across the world. my word: this record sounds like nothing you’ve ever heard before, a strange alchemy between styles. completely without genre and extending beyond the boundaries of the infinite! decades of avant garde, are homaged together in a sort of “harmonic schizophrenia” in this unique distillation of (electro) acoustic music, sound collage, spectral folk passages, free improvisation, and an almost orchestral arrangement for violin and strings. each subject is particularly approached and concurring in the creation of an ancestral form of a “blues” hybrid. if what you ask from a record is the chance to travel with your imagination, close your eyes and you’ll be somewhere between atlantis and utopia floating in the hold of this ship full of ghosts! music composed, performed and edited by john w. fail (cenotaph audio label, past releases on dronedisco, ultra eczema,  lied music, spiral joy band) mastered by ruradith sadancahaan. massive nautical-style silkscreened artwork and inserts  by cavalo branco. handnumbered and limited to 300 copies. i love this album cheers luca massolin

failing lights “s/t” compact disc

• moon on the first hunt (2:25)
  
• revealing scene (6:18)
  
• serve in silence (6:37)
  
• telling artifacts (4:40)
  
• the comfort zone (18:32)

intransitive press release...

int036 failing lights cd mike connelly's failing lights cd is a deep trip into darkness, density and dimension. this work is not random noise. connelly is able to bend sound and texture at will, with a great deal of control. he sculpts huge amounts of space and intensity with a great deal of grip. really good! - henry rollins ... with the first full-length cd of failing lights, mike connelly melds his diverse and obscure personal musical interests into one inspirational album. patience. minimalism. refinement. restraint. filthy dirty home recording, executed with the cutting skill of a sound-art composer and the heart of folk music. an amazing album, by far his best! - dominick fernow, prurient ... never before has the solo force of mike connelly been so clearly on display. failing lights is a dark necessity, an important document from one of underground music's most important figures. - steve lowenthal ... an evocative work of bleak electronic atmosphere and suffocating dread, failing lights is the intensely personal vision of michigan (via lexington, ky) artist mike connelly. while he has toured the world as 1/3 of legendary industrial/noise units hair police and wolf eyes, connelly spends his days crafting a much different sound on his own. under the failing lights flag, he has selfpublished a nearly uncountable number of cassettes and cdrs of rough drones, detuned improvised grit and unstable acoustics in tiny editions that quickly vanish into collector-land. intransitive is proud to present the defining – and first widely available – failing lights statement, an album of sinewy horror with a fine-tuned beauty within its darkness. a single piece in five sections, failing lights begins with disquietingly barren negative space. as the album creeps forward, it steadily dispenses sheets of diffuse throat-scratch and skittering strings, culminating in a blast of molten organ. not noise, ambient, improv, black metal, or anything else: this is failing lights . available august, 2010. edition of 1000, in shrink-wrapped jewel case featuring full color artwork by the artist.

fat worm of error “broods” long playing record

• re: jh-168
  
• return of the thin white dook
  
• --------------------
  
• shunt creek
  
• mashed potentate
  
• lichen like me
  
  
• upsmanschmuck
  
• feted corps
  
• broods
  
• fleagod
  
• ratzong

open mouth press release...

fat worm of error broods lp cat: om #27 / e#212e maybe its something in the raw cows milk one can so fortuitously procure here in western massachusetts, or maybe it’s that lysergic haze of berkshire foothill emanation, but whatever it may be, it is most definitely in manifestation as the five-headed rock n’ noise n’ bleet n’ zzrrp n’ roll n’ weirdcore phenomenon known only as fat worm of error. after more than six years of live gig decimation and confusion and a smattering of cassettes, cdrs, “legit” lp releases (on labels as swank as load and ultra eczema), fwoe has become, along with noise nomads and dinosaur jr, as one of the most astounding musical whatsis factors in the pioneer valley. it was after being stunned into melted delight one evening at our local hang (the flywheel ‘natch) by the dead battery guitar, silent psycho-killer bass, drums punked beyond the free thump joy of john stevens n’ drumbo, and the supremely swinging costume-cuhraziness of the freekwency singer…well, we wanted to do a, ahem, “proper” lp. put this genius fringe into the studio with justin pizzoferrato (that’s right, the guy who helps engineer j mascis and t moore sides) and capture the delirious magic of fwoe in their inimitable prime. and we did! and mark beyer did the cover art! and the drummers name is neel young! and this lp rules hard, and if you happened to be in the same room as the live fwoe this last summer than you know: fat worm of error has got the coolest moustache in town. case closed.

forced collapse “consider the weather a failure” long playing record

• consider the weather a failure (1) (12:30)
  
  
• consider the weather a failure (2) (11:50)