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... the new mimaroglu "ultralite" site is now live ; please update all of your bookmarks to ::

http://www.mimaroglumusic.com

... this "classic" version of the site will remain up for the time being, mainly to allow "stragglers" the chance to acquire items from our ongoing "closeouts" campaign as well as view & acquire catalogue items that have yet to migrate to the new site ...

... note that no new titles will be posted herein ; for all new arrival and restock activity please head over to the site linked above ...
mimaroglu music sales best of 2011
 ( - )  p ::  (1)  y :: 2013   2012   (2011)   2010   2009   2008   2007  ( + ) 

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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first in stock on
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threads:
modern-psych
guitar-themed
electro-acoustic-composition
minimalism-drones

 best of 2011 !!! 
kranky (usa) #krank 140 lp

ken camdenlethargy & repercussion” long playing record

  • birthday (6:57)
  • raagini robot (7:01)
  • in your ears (7:33)

  • raga (8:10)
  • new space (7:40)
  • jupiter (11:45)
march 2010 release ; awesome record of shimmering, electronically modified solo guitar music from arco flute foundation & implodesken camden ...

the pulsing, gated rhythms do have a certain (k) / (c) luster that reminds me of achim reichel & / or steve hillage, but the sound-pallette is decidedly contemporary, with endless synchronized delays & comb filterings making the proceeding just so rich & dense ...

... one of the best things that kranky has put out over the past few years, one that seems to have been somewhat swept under the rug (i have the distinct feeling that ... if this exact same record had been released as a boutique, pricey euro-import - say on 8mm or ultra eczema - people would have been all over it) ; highly recommended !!!
kranky press release ::
artist: ken camden
title: lethargy & repercussion
catalog #: krank140
release date: march 29, 2010

ken camden plays guitar. while those four words might imply something extremely limiting, ken's playing and execution are anything but. his work seamlessly melds elements of modern composition, kosmische musik, eastern modal themes and academic electronic works; in other words, a good amount of the things we love here at kranky.

all of the pieces were recorded in real time with no overdubs, with the exception of jupiter which was designed and recorded as a duet for two guitars. while this process may not result in the technical perfection that many strive for, it leaves in the idiosyncrasies that give sound recordings their life and their soul, that make them unique to the individual and the moment. each final mix was chosen from multiple versions of each composition for the qualities inherent in the specific selected take.

what results are six intoxicating, structured atmospheres perfect for headphones and a deep recline into an enveloping chair.

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january 25th, 2013

first in stock on
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threads:
sound-poetry
site-specific
concert-recordings
playback-music
musique-concrète

 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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 $16.81 
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 $10.41 

back in stock as of
september 3rd, 2013

first in stock on
may 31st, 2011


threads:
beat-research
modern-psych
minimalism-drones
electro-acoustic-composition
electro-acoustic-improvisation
plunder-phonic
machine-music

 best of 2011 !!! 
38% off !!!
nna tapes (usa) #nna 032 lp

diamond catalogmagnified palette” long playing record

  • slith’d on
  • valveneration

  • ancestral comprehensions & acrid predictions
  • aries vieweight
may 2011 release ; ... long-awaited debut wax (after a single, self-issued tape via pat’s cherried-out merch) from patdj yo-yo dietingmaher & life-partner lala conchita’s diamond catalogue ...

recorded at home in hubbard, or & in a hollywood studio, the four cuts on “magnified palettedeviate from the purely four/floor thump-outs of “we are 138bpm”, preferring a more variegated take on contemporary berlin’s many electronic music flavors (elements echo the hardwax-universe greatly, down to the grungey dub & lo-fi haze) while still nestling it’s aesthetic core in the whole “slowed & throwedpantheon of temporal transfiguration that anchors all of pat’s work under his myriad aliases ...

that this is the first vinyl release on the until-now tape-only nna is telling (this really does make more sense as a spin-able “clubartifact ; at least moreso than anything else the label has done thusfar) ; toby & matt have done a bang-up preserving their whole look / feel onto the new format (full color printed inners ; fancy !!!) ... highly recommended !!!
nna tapes press release ::

nna032: diamond catalog "magnified palette" lp

nna is proud to present the debut lp by diamond catalog, the new duo of lala conchita and "glamorous" pat maherr (indignant senility, expressway yo-yo dieting, and so on). this full-length is the definitive statement of diamond catalog's concoction of cross-bred dance music and mutated, swirling noise bricolage.

"magnified palette" seems to exist in five dimensions of sound, with factory-booming beats creating a mechanical-yet-organic framework for devious sonic chatter to wind its way through. imagine the sound of a distant rave in the midst of a disorienting drug spell, wading your way through the infinity of your mind's own dark matter.

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 $10.35 

new to stock as of
december 1st, 2011


threads:
1970s-electronic
1980s-electronic
live-electronic
electro-acoustic-improvisation
free-improvisation
analogue-synth
beat-research
lo-fi
machine-music
nww-list

 best of 2011 !!! 
38% off !!!
drag city (usa) #dc 458 lp
groovy (uk) #stp 1 lp

free agents£3.33” long playing record

  • untitled (1) (17:49)

  • untitled (2) (4:14)
  • untitled (3) (8:38)
  • untitled (4) (6:00)
december 2011 release ; ... the first groovy release, free agents(aka pete shelley, eric random, francis cookson, and barry adamson)£3.33(recorded in the late 70’s, released in 1980) sets the tone for the onslaught to come, with it’s art-damaged hedging of “minimal synth” tropes (due to the involvement of both former “electronic music society” chair pete shelley & manc synth-legend eric random) & straight-up reckless free-improv abandon ...

... in many ways this musical formation is the true heir to such forward-thinking freakout troops as the sperm (there really is a lot in common ; irreverence, ineptitude, but a certain formal & technical dexterity that moves things along), taj mahal travelers, seeselberg, the futura crowd, etc ... there’s really no wonder that this appeared on the (later, revised)nurse with wound” list ... highly recommended !!!

ps. slightly higher price due to drag city’s adherence to the original spec ; comes as a “paste-on” with a repro of the original 1980 insert ; rad ...
drag city press release ::

free agents £3.33 lp dc458/stp1

street date: december 6, 2011

originally released on groovy in 1980

the first groovy release cast a light on the murky goings-on of a progressive electronics society in the midst of the manchester punk scene of the late 70s. francis cookson, (aka sinister dexter) led the madness, which comprised tape loops, feedback, free improv and what have you from the likes of pete shelley, eric random and barry adamson. the original's diy deluxe packaging has been duplicated – don't worry, get free agents!

a little bit of history is a dangerous thing. how then would a present-day acolyte of punk rock’s strict regimen explain how pete shelley launched an avant-garde diy label while riding high on the british charts and touring internationally back in 1979 and ’80? today, buzzcockssound is recognized as a template for the punk-pop sound, but the atmosphere in which they and their contemporaries gestated was markedly different than today’s pop-punkers might expect: a cultural free-zone where anything went, not just the fast and loud. early-wave british punks were looking for something different: outsider prog sounds, electronic music, primal screaming, free-jazz—anything, as long as it was interesting and set apart from the blandness of mainstream product.

loving the art of records and their wayward appeal, it was only natural for shelley and francis cookson to conceive groovy records as a way to make some truly freaky (and decidedly un-punk rock) records, and do as much of the work of making the records themselves as they could. these releases represent some of the farthest-out sessions on the wild-to-begin-with late-70s manchester scene. that three of these four albums were released in the space of one big year, 1980 the one real year of groovy’s existence, is further testament to the swirl of passions in swiftly morphing times.

free agents was the first of the lot, with an album named after its price, £3.33. cookson took live performance tapes from a tiller boys show (a conceptual band featuring himself, eric random, and, when available, shelley) and added some additional recordings using tape loops, feedback and anything else he could get on there. it ranged around from postrevolution 9 collage to wack beats that one might associate with the emergent krautrock to stark industrial moments, flowing into each other with an organic, freely improvised quality. packaged in 12 sleeves with photocopies of cookson scribbles pasted on the front and back, free agents was diy all the way.

the second of the groovys was actually the first to be recorded, back in 1974. sky yen dated back to pete shelley’s college days, where he chaired an electronic music society, playing records over the intercom during lunch hour. after he’d made the recordings that became sky yen six years later, he added them to his playlist—and his schoolmatesconsternation. the material wasn’t exactly easy listening / ambient style—it was raw waves of oscillator tones, wildly leaping up and down and stretching out into a pair of twenty-minute pieces. thirty years of electronics-saturated music culture lends perspective to the appeal of sky yen—the album’s edges are still jagged and sharp.

surrealism raised its willfully mutated head on the third groovy release, hangahar, credited to sally smmit and her musicians, special guest lindsay lee. claiming to be the soundtrack of the film hangahar, the album was inspired by a casual demonstration of a made-up sung language. a full-blown recording session captured this previously unheard quantity, the better to wake the world to its allure. the groovy gang broke out the oscillator and any other synth devices they had on hand (along with a kitchen cabinet full of impromptu percussives) to back up the operatic overtones of the mysterious eponymous chantueses via drones, riffs, chanting and, with reverb pots fully open, loads of ominous atmosphere throughout. despite the deep feeling of synchronous accord throughout this recording, it has proved to be something of a path not followed for the once and future ms. timmssally, that is, of eventual mekons fame.

this was the last the world heard of groovy — until now. their house of ideas wasn’t spent by any means—as of 1981, another session was planned under the general description a man sprays a ford fiesta brown but that never came to pass. a sea-change was signaled with the buzzcocks’ break-up, pete shelley’s subsequent solo career and energy going to other projects. however, even as these events were unfolding, recordings were made on a porta-studio at pete’s place that further realized the groovy direction. after the pubs closed, pete brought back a motley crew of usual suspects and special guests, broke out the synths, drums and what-have-yer attitude, resulting in a wealth of additional material that provided private listening pleasure for the groovy alumni over the years. culled from francis cookson tapes, these pieces make a fourth groovy installment entitled strange men in sheds with spanners that features a bent towards more disciplined rhythm pieces scored with a very purposeful array of synthetic sounds — truly the lost next new wave of groovy, finally crashing on our ready shores in 2011.

so here it all is, each of these lps in their own faithfully replicated jackets. these four aural tomes will be collected together for a cd box release in early 2012 —but really, what are you waiting for? it’s been over thirty years’ now—get groovy!


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first in stock on
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threads:
1960s-electronic
free-improvisation
electro-acoustic-improvisation
sound-art
fluxus
site-specific
concert-recordings
experimental-instruments
playback-music
anti-music

 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.


seer01detail1.jpg

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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threads:
digital-musics
electro-acoustic-composition
minimalism-drones
site-specific
concert-recordings

 best of 2011 !!! 
kranky (usa) #krank 154 cd

tim heckerravedeath, 1972” compact disc

  • the piano drop (2:54)
  • in the fog i (4:52)
  • in the fog ii (6:01)
  • in the fog iii (5:01)
  • no drums (3:24)
  • hatred of music i (6:11)
  • hatred of music ii (4:22)
  • analog paralysis, 1978 (3:52)
  • studio suicide, 1980 (3:25)
  • in the air i (4:12)
  • in the air ii (4:08)
  • in the air iii (4:02)
february 2011 release ; ... for tim hecker’s third kranky album (either his sixth or seventh overall, depending on your scheme) he decamped to reykjavik, met up with australian composer ben frost (something of a ... let’s face it ... tim hecker biter) & spent a single day recording the pipe organ tones & patterns that are the majority sound-source (along with a fair bit of ben’s spry ivory-tinklings) of the 12 fragments contained herein ...

one expecting a departure from tim’s largely nihilisticmetal” -informed music as of late into a spiritual miasma will perhaps be pleased to instead bear witness to the familiar crushing, piled-up voids of all-sound that make up his productions herein ; as heavy and atmospheric as his guitar-based work, retaining the full-spectrum thrills but imbuing it here with a newfound sense of acoustic realism (listen to the sound-sample ; plenty of witness of humans interacting with musical apparatus in a huge, resonant room) that, imho, makes this his most nuanced outing yet ... highly recommended !!!
kranky press release ::

artist: tim hecker
title: ravedeath, 1972
catalog #: krank154
release date: february 14, 2011

tim hecker's latest work approaches a form of secular musical transcendentalism from within the battered temple of spirituality. recorded in a church in reykjavik, iceland and using a pipe organ as the primary sound source, this new piece is essentially a live recording. in reality, it exists in a nether world between captured live performance and meticulous studio work, melding the two approaches to sonic artifice as a unity. it is in parts a document of air circulating within a wooden room, and also a pagan work of physical resonance within a space once reserved for the hallowed breath of the divine.

while the title of the piece "hatred of music" might be a clue, the album is also partly an attempt to confront a pervasive negativity surrounding music. historical rituals of destroying pianos, mountains of pirated cdrs pushed by bulldozers in eastern europe, or the melancholy of the digital music era began as sideline motifs which quickly informed the work on this record. they also really didn't at all.

despite that the context is wide open in such a form of musical abstraction, the substance of these immersive compositions showcases hecker's continued mastery of organizing sound into a visceral near entity. it is an almost physical presence that the listener feels as much as hears. this work is a significant contribution to hecker's oeuvre, one which spans over ten years of musical production. ravedeath is an enigmatic document of beauty and force.

the album was recorded mostly over the period of one day in july of 2010. iceland-based musician ben frost assisted with the engineering and performs on this recording.

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threads:
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 best of 2011 !!! 
38% off !!!
western vinyl (usa) #west 083 cd
small music (germany) #small music no. 2

rolf juliusmusic for a distance • small music no. 2” compact disc

  • music for a distance (39:53) 2003-2009
  • music in a corner (6:53) 1983
february 2011 release ; second title in western vinyl’s renewal of rolf julius’ “small music” campaign, covering two pieces ... the first, a impeccable electro-acoustic composition consisting of bubbling upper-mid range gloss (echo’ing françois bayle’s “toupie dans le ciel”) executed between 2003 & 2009 & the second, a shorter installation piece created in 1983 ... both pieces offer a rich palette of in-situ sounds, rife with machine-shop allure ; highly recommended !!!
western vinyl press release ::

rolf julius music for a distance

release date: february 22, 2011
catalog number : wv 83
format: cd
packaging: cardboard wallet

music for a distance is the second release in the small music series. the title of the work in relation to the cover images (abstract photographs of julius wife resembling landscapes merging into a distant horizon) suggests a work of uncommon poetic perception and inspiration. with the opening track "music for a distance," julius achieves a sensitive balance of unpredictability and deliberate design, at times resembling a symphony of insects, complete with crickets and cicadas and rustling leaves. listening closely, you can hear old fractured melodies float by only to be hidden again under a thunderous sky and rain.

music for a distance began as a 2003 live performance of musik für eine weite ebene (music for a wide plain) at the donaueschinger musiktage in germany. over the next 6 years julius continued to refine the piece in the studio, in addition to live performances of the piece in europe, asia, and north america.

the dense and nocturnal closing track, music in a corner was composed for an installation at moma ps1 in new york in 1983. though different in proportion and point of view, it nevertheless captures the stillness of the horizon that would inspire music for a distance many years later.

julius' pioneering work dike line (1979), was presented at the ground breaking collective exhibition “f r augen und ohren in 1980, together with works by john cage, nam june paik, joe jones, bill fontana, harry bertoia, and david tudor.

julius' works have since been shown in countless major exhibitions and important musuems around the world, such as new york's ps1 (1983), the 1985 paris biennial, documenta 8, kassel (1987), the hamburger banhof, berlin (1998), pittsburgh's mattress factory (2001), the centre pompidou, paris (2004), the two editions of sonambiente, berlin (in 1996 and 2006), museum bochum (2006), national museum for modern art, japan (2007), as well as in various galleries and non-profit spaces in berlin, paris, tokyo, bordeaux, san francisco, montpellier and barcelona.

• in 2005, in berlin, julius was awarded the prestigious hannah-höch-preis for an outstanding artistic life's work.

• a selection from julius music for the ears (wv75) was featured on the popular npr show radio lab.


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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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back in stock as of
september 3rd, 2013

first in stock on
january 18th, 2011


threads:
modern-psych
minimalism-drones
analogue-synth
experimental-instruments
live-electronic
machine-music

 best of 2011 !!! 
nna tapes (usa) #nna 022 cs

three legged raceraining order” c20 cassette

  • raining order

  • raining whisper
january 2011 release ; ... after robert’s solocomeback” side (on that lovely split with jeff rene hellwitscher on arbor) here he breaks form with not a pair of cracked-electronic flare-outs, but in fact a pair of heart-wrenchingly gorgeousambient” pieces, full of slightly woozy, yet tonal chord-forms and ghostly / “spectrallyprocessed voices that rates as one of his finest moments ...
nna tapes press release ::

nna022: three legged race "raining order" c20

hair police member robert beatty produces two pieces of lush, womb-like synthesizer melded with hypnotic processed female voice. highly intricate and textured electronics weave in and out of gelatinous loops of speech with expert precision.

artwork by the artist.

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first in stock on
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threads:
analogue-synth
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modern-psych
machine-music

 best of 2011 !!! 
nna tapes (usa) #nna 039 lp

nate youngstay asleep • regression vol. 2” long playing record

  • comes unbidden
  • dress a chair
  • cast a circle

  • stygian faces
  • collapse
november 2011 release ; ... totally incredible set of subterranean electronic anti-gloss from wolf eyes / demonsnate young, perfectly inhabiting that exact alien landscape pictured on so many nik raicevic album covers while simultaneously keeping a foot in 80’s horror film sound-design (the first track alone ; the little scratchy noises the graemlins in phantasm make, the woozy synth squee from so many charles / richard band flicks, and of course the pitched-noise terminator wooble) ; all while not specifically referencing anything other than his own twisted vision ...

... one of my favorites of the year, this literally has something for everyone ... highly recommended !!!
nna tapes press release ::

nna039: nate young "stay asleep: regression vol. 2" lp

it's an honor for us to present the latest solo recording from nate young, founding member of michigan noise legends wolf eyes. this record represents a new direction for young, as he deviates from trademark aggressive murk-and-misery sounds of his previous works, and instead opts for a queasy, subdued zombie lullaby consisting of bizarre rhythms, synthetic melodies, and almost gamelan-sounding ritual sleepwalking. featuring an epic closer with contributions from past & present wolf eyes members aaron dilloway and john olson. this is a record to sit and get absorbed in, a non-linear travel through a different place altogether.

mastered by lupo at dubplates & mastering in berlin.

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