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... the "closeoupacolypse" is ending ; shortly i will begin removing items from our closeouts section (in order by catalogue number, as they were listed) & placing the remaining stock in deep storage to make room for new inventory ; please finalize your selections this week ...
mimaroglu music sales best of 2011
 ( - )  p ::  (1)  2  3  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:
electro-acoustic-improvisation
harsh-noise
1980s-electronic
free-improvisation
machine-music
live-electronic
electro-acoustic-composition

 best of 2011 !!! 
edition omega point experimental music of japan (japan) #opx 004 cd
omega point (japan) #opx 004 cd

agencementexperimental music of japan vol.4 • early works 1983-1986” compact disc

  • cylindre 2 (1984) (5:48)
  • rout 83 (1985) (6:30)
  • pico-01a (1985) (23:58)
  • pico-01b (1985) (24:42)
  • untitled (1983) (2:47)
april 2010 release ; excellent overview of the “early works” of legendary japanese improvisor / sound-artist agencement, including the entirety of his first tape ( “pico-01,” as it were) ...

... fans of the 80’scassette underground,” early japanese industrial / noise, & even kosugi’s solo violin works will see this as the major reissue it is ...
edition omega point experimental music of japan press release ::

experimental music of japan vol.4

agencement vol.1 - early works 1983-1986

edition omega point opx-004

at first, agencement was started as an anonymous tape music project in 1985. it started from among indies movement that had occurred like being in inverse proportion to the calm situation of mid-eighties domestic improvised music scene.

as for activity of violin performances that i started from the influence of european improvised music after it is related to the edit of underground music magazine named avant-garde that kanazawa university students issued from 1976 until 1979, several years have passed from beginning.

i played the violin in various places at that time, for instance, have participation at "the 2nd ten minutes solo improvisation festival" (1982) at kyoto seika university, and i sometimes performed violin + live electronics by solo at the cafe named merzbau, etc.

i was gradually editing them with multi-track though the magnetic tapes that recorded live performances became a huge amount. such a work style originates from the drawing works which i am starting producing from teens.

the work of 1st lp (side b) was made by using cheap analog multi-track tape recorder and was spent one year. the flow of such time has not basically changed in the studio work of me digitalized now too. a lot of time has passed any more.

at the time of 1986, i was able to come in contact with artists such as merzbow, toukaseibunshi, 10t and others through compilation cassette releases etc. masami akita who had contact for several years recommended it though i did not think that i make lp of myself at first.


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first in stock on
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threads:
electro-acoustic-composition
modern-composition
modern-psych
minimalism-drones
machine-music
live-electronic
analogue-synth

 best of 2011 !!! 
spectrum spools (austria) #sp 005 cd

bee maskelegy for beach friday” compact disc

  • deducted from your share in paradise (4:20)
  • fallen tree thursday and the half-crushed arc of the sky taking tea in the pastoral index (3:14)
  • causes and cures (2:08)
  • ...so that we each wander through a true elysium (3:42)
  • askion kataskion lix tetrax damnameneus aision (5:33)
  • elegy for beach friday (2:29)
  • the book of stars vibrating (3:01)
  • in the karst interior (4:04)
  • stop the night (10:10)
  • how to live in a smashed state (2:27)
  • scarlet thread, golden cord (7:35)
september 2011 release ; cd version ...


epic, sprawling collection covering chrisbee maskmadak’s finesttape-scene” moments from over the past 8-odd years, finally done the fidelity / spec-justice(s) earned via this immaculately formed cd-object ...

as much of this music has remained elusive , even to the trained scavenger / hardcore fan (such as myself) this set is a real revelation ; giving context to these originally context-free (i.e. “untitled”, for the large part) pieces & framing them as a coherent whole, this set goes further than any other towards the eventual unlock of chrismaster-concept(s) ...

given the delicate dynamic-builds & deep sonic ruminations contained within these signals, the upgrade to 16/44master-tape” quality has revealed many, many extra value-added layer(ing)s & sly production tricks lost in their initial issue(s) ... the packaging is lovely as well, with the sparse / mildly gross cover hiding some very classy spot-varnish(es) & in fact most of the credits in the gatefold are rendered in spot as well (you’ll need direct sunlight & perhaps a little patience to decode them all) ...

one of my favorite records of the year thusfar & inarguably the best place to start in your personal journey towards “the singularity” ; highly recommended !!!
spectrum spools press release ::

sp 005cd / bee mask
elegy for beach friday
cd

synthesizers, percussion, piano, guitar, tape, electronics, and max/msp recorded 2003-2010 in northampton, ma, new york, ny, cleveland, oh, and philadelphia, pa.
edited and mixed at tranquility base, february 2011.

for the last few years, chris madak has been on a tangled and cryptic path toward the full realization of his bee mask alterego. now, for the first time there seems to be light at the end of the tunnel - a chance for old plans to come to fruition and for new ideas to blossom into the unknown. "elegy for beach friday" is a personal selection of highlights from a slew of limited cassette and cdr editions recorded between 2003 and 2010, re-imagined, reedited, and remastered, offering both a cross-section for the uninitiated and a fresh enigma for the already-enchanted.

the original documents will age on the shelves of those fortunate enough to have been in the know, and for the rest of the world, we now have this double lp retrospective of chris' favorite time-stopping microcosmic suites, woven together over four instantly classic sides of wax. here, the full range of bee mask's sonic palette has been carefully compressed into a dazzling and infinitely dense time capsule of mind-altering martian sound fields and psychedelic dimension bending, bridging the worlds of nikola tesla and lamonte young and giving us the ideal soundtrack for our collective walk down a dirt road into the gaseous cloud of our final days.

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threads:
electro-acoustic-composition
modern-composition
modern-psych
minimalism-drones
machine-music
live-electronic
analogue-synth

 best of 2011 !!! 
spectrum spools (austria) #sp 005 lp

bee maskelegy for beach friday” double long playing record set

  • deducted from your share in paradise (4:20)
  • fallen tree thursday and the half-crushed arc of the sky taking tea in the pastoral index (3:14)
  • causes and cures (2:08)
  • ...so that we each wander through a true elysium (3:43)

  • askion kataskion lix tetrax damnameneus aision (5:33)
  • elegy for beach friday (2:29)
  • the book of stars vibrating (3:01)

  • in the karst interior (4:03)
  • stop the night (10:11)

  • how to live in a smashed state (2:27)
  • scarlet thread, golden cord (7:35)
june 2011 release ; epic, sprawling, gatefold double-lp collection covering chrisbee maskmadak’s finesttape-scene” moments from over the past 8-odd years, finally done the fidelity / spec-justice(s) earned via this immaculately formed record-object ...

as much of this music has remained elusive , even to the trained scavenger / hardcore fan (such as myself) this set is a real revelation ; giving context to these originally context-free (i.e. “untitled”, for the large part) pieces & framing them as a coherent whole, this set goes further than any other towards the eventual unlock of chrismaster-concept(s) ...

given the delicate dynamic-builds & deep sonic ruminations contained within these signals, the upgrade to world / d&m-classboutiquevinyl has revealed many, many extra value-added layer(ing)s & sly production tricks lost in their initial issue(s) ... the packaging is lovely as well, with the sparse / mildly gross cover hiding some very classy spot-varnish(es) & in fact most of the credits in the gatefold are rendered in spot as well (you’ll need direct sunlight & perhaps a little patience to decode them all) ...

one of my favorite records of the year thusfar & inarguably the best place to start in yourpersonal journey towards “the singularity” ; highly recommended !!!

ps. to show chrisrange & frequent distancing from straight “synth music” tropes, i’ve decided to put up the entirety of the fourth side, heading from sparse temple bell klang into some rather gnarly cracked electronics into a deep pwm rumble, into some garbled telephony, return, fade, then out with a short, quiet, melodic cluster ...
spectrum spools press release ::

sp 005 / bee mask
elegy for beach friday
2lp

synthesizers, percussion, piano, guitar, tape, electronics, and max/msp recorded 2003-2010 in northampton, ma, new york, ny, cleveland, oh, and philadelphia, pa.
edited and mixed at tranquility base, february 2011.
cut at dubplates & mastering, may 2011

for the last few years, chris madak has been on a tangled and cryptic path toward the full realization of his bee mask alterego. now, for the first time there seems to be light at the end of the tunnel - a chance for old plans to come to fruition and for new ideas to blossom into the unknown. "elegy for beach friday" is a personal selection of highlights from a slew of limited cassette and cdr editions recorded between 2003 and 2010, re-imagined, reedited, and remastered, offering both a cross-section for the uninitiated and a fresh enigma for the already-enchanted.

the original documents will age on the shelves of those fortunate enough to have been in the know, and for the rest of the world, we now have this double lp retrospective of chris' favorite time-stopping microcosmic suites, woven together over four instantly classic sides of wax. here, the full range of bee mask's sonic palette has been carefully compressed into a dazzling and infinitely dense time capsule of mind-altering martian sound fields and psychedelic dimension bending, bridging the worlds of nikola tesla and lamonte young and giving us the ideal soundtrack for our collective walk down a dirt road into the gaseous cloud of our final days.


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first in stock on
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threads:
1970s-electronic
1980s-electronic
electro-acoustic-composition
analogue-synth
musique-concrète

 best of 2011 !!! 
faitiche (germany) #faitiche 005 book
maas media verlag (germany) #maas media vol. 43 book

ursula bognersonne = blackbox” book and compact disc set

  • sonne = blackbox (1972)
  • jubiläum (1984)
  • nach europa (1977)
  • trabant ( 1970)
  • or dor melanor (1981)
  • uranotypie (1978)
  • strahlungen (1974)
  • der chor der oktaven (1975)
  • illusorische planeten (1974)
  • permutationen (1982)
  • shepard monde (1971)
  • signalfluss (1980)
  • homöostat (1985)
  • refrain für einen formanten (1972)
  • de planetarium influxu (1976)
november 2011 release ; cd version of the 2nd bogner release, issued as a slip-case cd tucked inside a nice cardboardblackbox” with a lengthy softcover book (published by maas media) covering a series of musing(s ; by folks like momus, tim tetzner, & andrew pekler) & quite elaborate documentation of bogner’s working methods & idiosyncraticscoringsystem(s) ...


... the jury’s long since returned on the case of whether this music was made by faitiche label-head jan jelinek or not (although considering their ... considerable ... investment in the material, i’m starting to thing that both andrew pekler & tim tetzner are both involved) ... but regardless of all of that, he’s gone to insanely great lengths to make music in the here & now that perfectly captures a certain just-post-atomic age approach to electronic music composition that crystallized the wonder & jerry-rigged appeal of it all ... and for this, we’ll excuse the wig & stare blankly at the ceiling when pressed outright for confirmation or denial ...


faitiche press release ::

faitiche in collaboration with maas media presents: sonne = black box / edition in a black card box, including cd (sonne = blackbox, voice and tape music by ursula bogner, compiled by andrew pekler) and book (english / german texts by momus, kiwi menrath, jürgen fischer, bettina klein, tim tetzner, andrew pekler & an introduction by jan jelinek), 126 pages with numerous photographies, drawings and compositional instructions

sonne = blackbox (voice and tape music by ursula bogner)

i was pleasantly surprised when faitiche invited me to investigate the ursula bogner archives and assemble a collection of her works for this second volume of recordings. my delight was all the greater when during my research i came upon a cache of materials (tape recordings, notes, graphic scores) which bring to light two previously unheard but overlapping aspects of bogner's music: her experiments with tape manipulation and her use of the voice as a sound source.

auditioning these recordings, i heard work that was bold and playful - music in which, to my ears, the raw spirit of exploration is pleasantly tempered by a tendency towards what one might call an emotive register. in particular, i was struck by the sheer variety of bogner's work and the various ways the voice was utilized. in addition to more conventional modes of melodic and harmonic singing, i heard voices which are stretched, layered and treated in order to become textures or to take on the tonal quality of other instruments. i found most intriguing two pieces (jubiläum and shepard monde) where the apparent confluence of bogner's tape and voice experimentation are most distinctly audible - with fragments of vocals looped into cyclical structures forming rhythmical frameworks into which further elements are gradually introduced

among the archive materials i found no definitive evidence to either prove or disprove my suspicion that the voice heard in these pieces is ursula bogner's own - the recording notes which accompanied some of the tapes make no mention of any vocalist(s) whatsoever. nonetheless, despite the sometimes radical transformations to which it is subjected, the main voice heard throughout the 15 year period in which these pieces were made retains a certain timbral consistency which suggested to me that it belongs to the same person. playing a few excerpts from these recordings for bogner's son sebastian confirmed what i had surmised: it is indeed the composer's voice we are hearing. possible exceptions may be the loops of doo-wop singing in or dor melanor and the fragments of pop harmony vocals and liturgical chant which are cut up in der chor der oktaven.

yet voice was not the only material used by bogner in her tape experiments. indeed, the sound sources are as varied as their compositional functions. for instance, the repeating electric guitar motif of trabant is accentuated by sped-up, slowed-down and reversed versions of itself and seems to me to elegantly mirror the two (electronically treated and pure) singing voices that it accompanies. also remarkable is illusorische planeten, where severely processed percussion forms a jagged landscape onto which a choir of voices and electronic tones descend only to become entangled in the thistly environment before managing to lift off again. elsewhere, we hear among other things, piano trills, splashing water, wind, chimes and orchestral strings or, as in the second half of nach europa, a complex soundscape of presumably electronic origin which undergoes a range of metamorphoses via tape manipulation.

of particular interest to me are the recording notes that accompanied some of the tape reels from which these pieces are taken. these are printed forms intended to facilitate the work of studio engineers and archivists by providing space for technical information pertaining to recording and compositionintriguingly, ursula bogner used these sheets not only for technical notes but also to jot down fragmentary ideas, associations and perhaps the sources of inspiration for the music on the tapes.

here are a few examples of her recording notes along with a few of my own (entirely subjective) thoughts on their possible meanings:


de planetarum influxu 
mesmerization. attempt to implent a fluidic structure. does there exist a tonal equivalent of hypnosis?
the reference seems to be to franz mesmer's theory of animal magnetism, a magnetic fluid supposedly found in the bodies of living beings. experiments which attempted to channel this ethereal medium in order to cure various diseases led to the theory's discretization but also contributed to the emergence of modern hypnotherapy.

illusorische planenten 
counter-earth, hidden behind the sun. (the word 'superseded' circled and underlined) all is arranged antithetically, conditions for symmetry not possible. music of the ellipses.
a reference to the counter-earth?  according to classical greek astronomy, the planet 'antichton' was supposed to exist hidden behind the sun and act as a counterbalance to our earth. and could 'music of the ellipses' be a pun on 'music of the spheres',  the phrase adjusted to more accurately reflect astronomical reality?

uranotypie 
uranium 92. platin transmutation. uranus epsilonring. white swan 92 uranotypie. uranyl ferricyanide.
uranium, discovered in 1789 (by a berlin chemist) was named after the then recently discovered planet uranus. bogner seems to be playing here with the number 92, the atomic number of uranium in the periodic table. uranotypie and uranyl ferricyanide may possibly refer to the use of radioactive uranium in photographic printing processes in the late 19th century. the meaning of the 'white swan' remains a mystery.

trabant
unlike duplicates fly away in unsteady orbits. satellites of the self.
a subjective interpretation: might the 'unlike duplicates' be the looped variants of the guitar motif that forms the rhythmic and harmonic basis of this piece? does the unsteady orbit represent the role of the voice in relation to the music? does the 'self' and 'satellites' refer to the way bogner here doubles and applies electronic treatments to her voice?

nach europa
telescopic discovery of cyclopic decent. dim star, slower than the eye. to break through the clouds.
this piece starts from a simple rhythmic motif and gradually builds up momentum by accumulating layers of harmonic texture until finally bursting forth into a swirling, dissonant and murky sound world. taken together with the text, the music suggests to me a journey to and eventual arrival at some obscure and distant world. does not the sudden cutting out of the rhythm track halfway through sound uncannily like 'splashdown' in some alien ocean?


in addition to the tapes, recording notes, graphic scores and drawings ursula bogner also left behind a filing system of index cards which she used to record thoughts, concepts, text fragments, and word games. at least three of the tracks which appear here are referred to by index cards.

here are two examples:


or, dor, dor, dor, dor
or, dor, dor
melanor


(ursula bogner, 1972)

the relation between the three typed words of the index card and the song in which they are intoned - in ursula bogner's characteristically solemn yet offhand voice – remains unknown.

sonne = blackbox

(ursula bogner, 1972)

in this case also it is not known whether the titular index card predates the music or whether the card was used to record the name of an already finished piece. at any rate, the sung text – as yet not found on any of the cards - is as follows:

ist denn die sonne eine blackbox? (is then the sun a black box?)
ob man die nacht abschaffen kann? (could the night be abolished?)
auf dem uranus, herschels planet? (on uranus, herschel's planet?)
mit schäfermonden rings umrannt? (encircled by shepherd moons?)
solarwinde (solar winds)


i hope that this collection will be of equal interest to newcomers as well as to those already familiar with ursula bogner's work as it both broadens and sharpens the image we have of her and the intriguing artist persona she has left for us to ponder.

- andrew pekler



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first in stock on
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threads:
free-jazz
free-improvisation
guitar-themed
concert-recordings

 best of 2011 !!! 
cien fuegos (austria) #cf 001 lp

peter brötzmann / han benninkein halber hund kann nicht pinkeln” long playing record

  • musik am abend • 1-5 (21:17)

  • musik am nachmittag • 1-5 (23:00)
november 2011 release ; ... just what i needed to break out of the slump of sub-par novice micro-korg dabblings (give me expert micro-korg dabblings any day of the week, i’m down) :: a series of pitch-perfect reissues of classic fmp sides, done in the properboutiquespec, recreating the (always amazing ; almost moreso than his playing, i’ve long admired brotzmann’s design sensibilities, merging punk-like block-print texts with high-contrast photography, often of his paintings and/or brutalist, post-brancusi sculptures) original covers & adding not a damn thing to the already-perfect look / feel / sound of the things (well, other than contemporary mastering & record pressing ; improvements both) ...

... originally issued by gebers as fmp 0420 in 1977, this lp features brötzmann & bennink as recorded first at a “workshop at the akademie” on april 8th & 9th 1977, then in concert at “quartier latin” on march 26th & 27th the same year ... han makes his debut here on guitar (or maybe banjo ? hard to tell ... sounds not unlike a sonny sharrock / syd barrett hybrid either way ; listen to the sound-sample) before switching to piano, then finally to drums ; brötzmann limits his palette largely to saxophone & clarinet, sticking mostly to upper-register, bit-reed embouchures (that said, there’s a fair bit of growl, esp. when he switches to bass clarinet) ...

the music is hot, fiery, on fire, & blazing ... heat-oriented. occasionally light, whimsical, even, but mostly going directly for the jugular ... fan-fucking tastic.
cien fuegos press release ::

brötzmann / bennink - ein halber hund kann nicht pinkeln


format: lp
label: cien fuegos
itemnumber: cf001

official release date 02.11.2011

03.08.11: introducing: cien fuegos

we are proud the announce the launch of our new label cien fuegos which will be specialised on vinyl reissues of alltime favorites. all the releases will be on 180g vinyl, with heavy cardboard cover and in limited edition

the first releases will be out in autumn 2011:

- brötzmann / bennink: ein halber hund kann nicht pinklen cf001
- brötzmann / van hove / bennink: tschüs cf002
- brötzmann / van hove / bennink: balls cf003


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 $29.01

back in stock as of
may 6th, 2014

first in stock on
november 17th, 2011


threads:
free-improvisation
free-jazz
concert-recordings

 best of 2011 !!! 
cien fuegos (austria) #cf 002 lp

peter brötzmann / fred van hove / han benninktschüs” long playing record

  • two birds in a feather - to bobby few
  • ein bisschen jazzbesen
  • claptrap
  • lotteduflotte
  • töfftöff
  • zigan, zigan (live at quartier latin, berlin)

  • petit blues fourré - pour g.r. de lille
  • r.w.sch.
  • b- klarinetten
  • bierhaus wendel
  • tschüs
november 2011 release ; ... zigging back to fmp 0230, the second in the cien fuegos reissue series reprodcuces this 1975 lp by the trio of brötzmann, fred van hove, and han, heard in the studio & at berlin’s storiedquartier latin” on september 13th & 14th, 1975 ...

van hove’s accordion diversions are a treat (not so much his vocals on the mercifully terse closing number) as are han’s detours into more “sculpturalavenues (yes, he’s “playing” the floors, the walls, probably leaves the studio for a bit for a bike ride, keeps “playing” far off-mic) & brötz’s deep outer-bass saxophone riddling(s) at tail-end of the b-side are just dynamite ...
cien fuegos press release ::

brötzmann / van hove / bennink - tschüs

format: lp
label: cien fuegos
itemnumber: cf002

official release date 02.11.2011

03.08.11: introducing: cien fuegos

we are proud the announce the launch of our new label cien fuegos which will be specialised on vinyl reissues of alltime favorites. all the releases will be on 180g vinyl, with heavy cardboard cover and in limited edition

the first releases will be out in autumn 2011:

- brötzmann / bennink: ein halber hund kann nicht pinklen cf001
- brötzmann / van hove / bennink: tschüs cf002
- brötzmann / van hove / bennink: balls cf003


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 $12.61

back in stock as of
april 16th, 2014

first in stock on
march 2nd, 2011


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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 $20.01

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march 12th, 2013

first in stock on
november 17th, 2011


threads:
modern-composition
musique-concrète
electro-acoustic-composition
1960s-electronic

 best of 2011 !!! 
edition rz (germany) #rz 01013 cd

jani christoujani christou (1926-70)” compact disc

  • enantiodromia für orchester (12:11) 1965-1968
  • praxis für streichorchester und klavier (9:42) 1966-1969
  • epicycle (tape version) (9:41) 1968
  • anaparastasis iii "the pianist" for ensemble, tapes and one actor (11:17) 1969
  • mysterion (prolog und sprechertext, zuspielbänder) (5:10) 1965-1968
  • anaparastasis i "the baritone" für bariton, kammerensemble und kleinen chor (10:55) 1968
  • praxis for 12 für 11 streichinstrumente und 1 pianisten (9:03) 1966
2001 release ; ... superb collection of greek composer jani christou’s late 60’s work, including the tape-pieceepicycle(a proto-aktionist / schimpfluch touchstone ala logothetis’ “fantasmata 1960” ... listen to the clip in the sound-sample) ...
edition rz press release ::

ed. rz 1013 cd
jani christou (1926 - 70)
enantiodromia, praxis, epicycle, anaparastasis iii "the pianist", mysterion, anaparastasis i "the baritone", praxis for 12

enantiodromia for orchestra (oakland s.o.; ltg. gerhard samuel)

praxis for string orchestra and piano (rundfunkorchester hannover, ndr; piano: georges pludermacher; ltg. michel tabachnik)

epicycle (tape version, jani christou)

anaparastasis iii "the pianist" for ensemble, tapes and one actor (actor: grigoris semitekolo; ensemble "musik unserer zeit", ltg. theodore antoniou)

mysterion (prolog und sprechertext, zuspielbänder)

anaparastasis i "the baritone" for baritone and chamber ensemble and small choir (baritone: spyros sakkas; ensemble "musik unserer zeit", sinnhofer quartett, chor des bayerischen rundfunks, ltg. jaroslav opela)

praxis for 12 for 11 string instruments and 1 pianist (orchestra da camera dell'academia, klavier und ltg. piero guarino)


the christou release was also available on lp (ed. rz 1006) which did not contain the last two recordings (praxis for 12 and anaparastasis i). the lp is out of print, only the cd (ed. rz 1013) is currently available.

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 $18.48 
... on closeout for only ::
 $11.44 

back in stock as of
january 25th, 2013

first in stock on
july 5th, 2012


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 
... on closeout for only ::
 $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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 $158.01

back in stock as of
may 13th, 2014

first in stock on
december 12th, 2011


threads:
1980s-electronic
beat-research
analogue-synth
electro-acoustic-composition
psych-prog
machine-music

 best of 2011 !!! 
editions mego (austria) #emego dome12345 lp
dome (austria) #dome 12345 lp

dome1-4+5” quintuple long playing record boxed set

  • cancel your order (lewis/gilbert) a, b
  • cruel when complete (a.m.c./gilbert) b, c
  • and then… (lewis/gilbert) a
  • here we go (lewis/gilbert) c
  • rolling upon my day (lewis/gilbert) c

  • say again (lewis/gilbert) a
  • linasixup (lewis) c
  • airmail (lewis/gilbert) a
  • ampnoise (lewis/gilbert) a, c
  • madmen (lewis/gilbert) a

  • the red tent i
  • the red tent ii
  • long lost life
  • breathsteps
  • reading prof. b

  • ritual view
  • twist up
  • keep it
  • g. lewis + b.c. gilbert. august 1980.

  • jasz (gilbert/lewis) d, e
  • ar-gu (gilbert/lewis) d, e
  • an-an-an-d-d-d (gilbert/lewis/a.m.c.) a
  • ba-dr (gilbert/lewis) e, f
  • d-d-bo (gilbert/lewis) e
  • na-drm (gilbert/lewis/a.m.c.) b

  • ur-ur (gilbert/lewis) e, f
  • danse (gilbert/lewis) d
  • dasz (gilbert/lewis) c, e
  • roos-an (gilbert/lewis) c, e

  • to speak (gilbert/lewis/drinkwater)

  • to walk, to run (gilbert/lewis)
  • to duck, to dive (gilbert/lewis)
  • this (gilbert/lewis)
  • seven year (gilbert/lewis)
  • atlas (gilbert/lewis)

  • virtual sweden (v.s. #1)
  • plosive pluck
  • because we must (version 1)
  • carpo
  • vertical seeding (v.s. #2)
  • crossh
  • making a meeting (excerpt)

  • gebar
  • virtuous speed (v.s. #3)
  • liver & lungs
  • because we must (version 2)
december 2011 release ; ... coming in at 2011’s 11th hour, this epic concatenation of the entirety of dome (aka wire’s bruce gilbert & “edvard graham lewis) ’s recorded output is as mouth-watering & feature-laden as these things get (all three era albums in newly remastered, high-spec form with new art, plus the 4th from a few years later & the late 90’s “comeback” set, along with reproductions of the posters that came w/ the original issues, a huge booklet, and a matchbox) ...

... a perfectly logical link in the “studio as instrumentethos that brought us faust, then this heat, i’ve long held dome’s canon of early-80’s alien electronic pop music as something of a high-water mark in a continuum that eventually led to flying lizards (actually, they were contemporaneous), art of noise, etc ... nice to have everything in one handy desk-reference set !!!

editions mego press release ::

dome12345 /  dome
1-4+5
5lp box

dome
b.c. gilbert & g. lewis

floating-point re-master by russell haswell, august 2011
cut at dubplates & mastering by rashad becker, august 2011
new artwork and layout: dave coppenhall

editions mego are proud to release the complete recorded works of dome in a deluxe vinyl box set that that also includes newly designed artwork by david coppenhall, reproductions of the original atelier koninck posters that accompanied dome 1 and dome 2, insert with sleeve notes by howard jacques and neil martinson as well as unseen photos from the period. if that wasn't enough it also contains a matchbox to put matches in to shake along to your favourite dome tune!

with the demise of the group wire in 1980, founder members bruce gilbert and graham lewis joined forces to create dome. with the assistance of engineer eric radcliffe and his blackwing studio dome took the ethic of using the studio as a compositional tool and recorded and released three dome albums on their own label in the space of 12 months: dome (july 1980), dome 2 (october 1980) and dome 3 (october 1981). a final fourth album, will you speak this word: dome iv was released on the norwegian uniton label in may 1983.

these albums represent some of the most beautifuly stark and above all timeless exercises in studio experimentation from early 1980s alternative music scene.

with the re-activation of wire in 1985 it was thought that all dome activity had ceased. whilst no new recordings appeared dome utilised any spare time to secretly record new pieces. in 1989 dancer/choreographer michael clark commissioned them to record a piece for his new ballet because we must. in the same year they also performed live in rotterdam and amsterdam.

in 1999 wmo commissioned dome to record new pieces to accompany the recordings from 1989. this compilation, entitled yclept, would be the final recordings, to date, that dome have made.

dome 1-4 appearing on vinyl for the first time in over 30 years, whereas the recordings making up yclept (dome 5) appear for the first time on vinyl.


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back in stock as of
february 11th, 2014

first in stock on
september 7th, 2011


threads:
1980s-electronic
beat-research
analogue-synth
psych-prog
minimalism-drones

 best of 2011 !!! 
aguirre (belgium) #zorn 14 lp
north star productions (usa) #nsp-2004a lp

jd emmanueltrance formations i • ancient minimal meditations” long playing record

  • part i: morning worship (5:26)
  • part ii: midday attunement (12:33)

  • part iii: evening devotional (7:12)
  • part iv: midnight meditation (10:27)
september 2011 release ; endlessly delayed, now finally available :: jd emmanuel’s best 80’s tape, re-mastered and issued on vinyl as a co-release between his own north star productions & pieter eykensapropos aguirre ...

... originally issued in 1986 (under the name “daniel emmanuel”) this largely eschews the straight riley-lineage “time-lag-isms” of “wizards”, instead working a rhythmic approach (anchored by killer stereo-field drum-machine thump & pulsing ostinatos) that incorporates channel-hopping live-played portamento-heavy synth filigree rendered in perfect stacked fifths over burbling lfoedaccompaniment” that enables one to reach their zenith in a far more enjoyable way than any number of mid-80’s pina chestnuts ...

... if meditating to the “terminator” soundtrack sounds like a perfectly sensible way to pass the time, then you may have just found your new favorite record (it’s in my top 20, for sure) ; highly recommended !!!
aguirre press release ::

zorn14 jd emmanuel - ancient minimal meditations lp

re-issue of the amm tape recorded between 1981 and 1985 by jd emmanuel, a new age composer who has received a lot of praise from people like lieven martens, wolf eyes.  

these recordings signify emmanuel's praise to the course of the day. starting off slowly, with morning synth meanderings, walking through midday, running in the evening and closing the day with midnight meditation.

somewhere hidden in the deepest part of the self is that special place, where one can go within to the most ancient part of one's self and connect with the origin of self. ancient minimal meditations reaches into that special place of creation of the self and its oneness with the creator of all.


ecorded using three sequential circuits pro-one synthesizers and a yamaha sk-20 poly-synthesizer.

* limited to 400 copies
* full color thick cardboard sleeve
* 160 gr. vinyl
* 100% analogue sound
* mastered by jd emmanuel

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march 26th, 2014

first in stock on
may 17th, 2011


threads:
digital-musics
beat-research

 best of 2011 !!! 
editions mego (austria) #emego 116 lp

mark fellmanitutshu” double long playing record set

  • acids in the… thin razor, attack noise hat, linn (2:29)
  • acids in the… primes version (0:51)
  • manitutshu (a new algorithm)… latelybass and newelectro, attack pulse hat (5:42)

  • acids in the… razor experiment (0:51)
  • manitutshu... parameter set 2, linn hi tom, jazzorg, vortex study performance overdub, and synthesis reminiscent of duet emmo (6:23)
  • acids in the… stochastic energy pause with thin razor, attack noise hat, linn (1:47)

  • manitutshu... first algorithm test (3:41)
  • occultation… razor simple acid pause version with lfo to cutoff (1:47)
  • materialisation epic razor chord and latelybass version with found voice (3:26)

  • occultation of... mat steel extended remix (14:57)
may 2011 release ; ... love the whole pretext here ; personally, if ni were to market a product that produced music that sounded anywhere near this interesting (on a rhythmic, yes, but mostly timbral scale) i’d consider upgrading my komplete set for the first time since it began gathering dust in the mmssoftware ghetto” ::





... anyways, mark’s recent flurry of activity continues here, with a series of pieces recorded just two months back (good job on the concept-to-market follow-through peter !!!) merging the a-rhythmic chatter of “ul8” ‘s best moments with a kind of “product demosensibility that’s fairly prescient given the contempoary reality of “that new shiny bit of kit that will jump-start my career(any of you that are friends with richie devine on facebook know that there’s just an insane amount of this sort of thing being launched every week ; very little of it seems not to pander to a 1998clicks ‘n’ cutsaesthetic that you’d think we’d have all moved on from by now) ...

comes in a b/w double-wide sleeve w/ a 6-panel fold-out poster (see below ; via mmshand modelgm) ...
editions mego press release ::

emego 116 / mark fell
manitutshu
2 x 12" vinyl

release date 27.05.2011

total running time: 42 minutes
45rpm

in january 2011 mark was invited by erik wiegand (aka errorsmith) to make some presets for his new software synthesizer which he was building for native instruments. after developing about 40 sounds*, mark decided to rework his ul8 project by extending the pattern generating systems used in its construction, which he then connected to the sounds produced in erik's synthesizer. the result is this double 12" single, featuring 9 tracks and a remix from mark's friend and colleague mat steel.

the project ships with an a1 full colour poster. recorded rotherham (uk) and sheffield (uk) march 2011. mastered by lupo at dubplates and mastering (de) march 2011.

* unfortunately ni rejected all of mark's presets and none were used for the final distribution.

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march 26th, 2014

first in stock on
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threads:
digital-musics
beat-research
minimalism-drones

 best of 2011 !!! 
editions mego (austria) #emego 133 lp

mark fellperiodic orbits of a dynamic system related to a knot” long playing record

  • this side (23:16)

  • that side (23:16)
november 2011 release ; ... stood, rather dumbfounded (fresh off a plane from europe, still fully jetlagged & dis-oriented) while mark laid waste to a particularly unruly set of week-night dance-club patrons a few weeks back, pealing off an impeccable set of this exact music, deafeningly loud on a proper club p.a. ...

it was probably my single favorite set of music i’ve heard this year (it’s been a hell of a year !!!) ; its restorative powers were myriad (maybe i’m thinking of the mojitos at the middlesex) ... while the mms stereo can offer nowhere near the levels of “bumpinbass™” as said, the “home game” is just as good ...

damn, these records are gratifying ...
editions mego press release ::
emego 133 /  mark fell
periodic orbits of a dynamic system related to a knot
lp

total running time 46m 32s

the music here came about in various ways – one section is an outtake from my recent multistablity album and is reworked here, another began as a quadraphonic piece composed for and performed at supersimetria: new languages in computer music (curated by anna ramos and roc jiménez de cisneros in barcelona 2011), others were taken from live versions of previously released and unreleased tracks. the idea was to bring these together in an almost-live-album format. the album features three presets taken from yamaha’s four operator frequency modulation synthesisers of the late 1980s — jazzorg, latelybass and rich strg #3modified to produce numerous descendants. the project was entirely written, mixed, and edited with midi. no audio recordings were present, with the following exceptions: the sound of a mac mini failing to mount a dvd, recorded with the internal microphone on a macbook pro (this provided a rhythmic template for the patterns that follow it) ; and a short section of pi saw flute played by jan hendrickse. the project was written in transit during a house and studio move, and exclusively produced using the internal speakers on a macbook pro. due to time constraints, the mastering session with lupo at dubplates and mastering was unattended.

the cover image is of my partner’s arm after cutting the pampas grass in our front garden in preparation for the house’s new occupier.

thanks to paul emery for early advice and comments about the structure of this album, jan hendrickse for pi saw flute, lupo at dubplates and mastering, and finally peter rehberg for his support of this project.

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march 26th, 2014

first in stock on
may 4th, 2011


threads:
digital-musics
beat-research
analogue-synth
machine-music

 best of 2011 !!! 
editions mego (austria) #emego 111 cd

mark fellul8” compact disc

  • the occultation of 3c 273 [i] (5:37)
  • the occultation of 3c 273 [ii] (7:26)
  • the occultation of 3c 273 [iii] (3:05)
  • the occultation of 3c 273 [iv] (1:51)
  • the occultation of 3c 273 [v] (3:11)
  • vortex studies [i] (8:00)
  • vortex studies [ii] (2:39)
  • vortex studies [iii] (3:42)
  • vortex studies [iv] (1:22)
  • vortex studies [v] (2:53)
  • vortex studies [vi] (0:33)
  • vortex studies [vii] (3:39)
  • acids in the style of rian treanor [i] (1:06)
  • acids in the style of rian treanor [ii] (2:06)
  • acids in the style of rian treanor [iii] (2:44)
  • acids in the style of rian treanor [iv] (2:30)
  • acids in the style of rian treanor [v] (2:02)
  • acids in the style of rian treanor [vii] (1:56)
  • acids in the style of rian treanor [viii] (5:06)
  • death of a loved one (3:34)
november 2010 release ; four suites of discrete electronic pieces, each aiming to “replicate the simple monosynth and drum machine equation” ... love how this (along with the 4 or 5 other discs that have seemingly been released all at once) music hints at new-wave / minimal-synth / proto-techno energies, yet stays as alien & rhythmically unresolved as hecker & farmers manual’s best output ...
editions mego press release ::

emego 111 / mark fell
ul8
cd

written and recorded in whitby, york and rotherham (uk) during summer 2010 by mark fell.

mastered at dubplates and mastering berlin in 2010 by lupo.
packaged in 4 panel digipack with silver foil print

middle sized member of the ul range, the ul8, a three unit system, embodies the good looks and high performance associated with celestion designed products. utilising the hd1000 pressured dome tweeter and an 8 inch mid/bass driver, which together a similar sized a.b.r. combine to give an overall frequency response of 30 hz to 28 khz. the mid / bass drivers large magnet system perfectly controls the excursions of the specially processed bextrene cone assembly with its 1.5 inch voice coil. designed to a precise specification, the ul8 achieves highly realistic music reproduction.


this project takes its name from the celestion ul8 speaker. my older brother bought a pair of these when i was starting comprehensive school, and between his 10cc and supertramp records i first encountered electronically synthesized sound at high volumes. i soon noticed a pattern emerging in my musical tastes which excluded guitars or drums. instead i favoured almost exclusively the electronic textures and rhythms of the human league, fad gadget and other synthesiser based music of that period. i was quite curious about this prejudice and would try to work out why kraftwerk sounded so much better than a rock band of the time.

so began my interest in the texture of synthetic sound - there was something much more beautiful (and perhaps more emotionally charged) about a sustained square wave than any guitar solo. i began search out and replay sections of music which dropped to a single sound - these, for some reason, were the best. this interest increased when, a few months later, my parent's next door neighbour (a technician in the electronics department at sheffield university) let me borrow his analogue synthesiser on semi-permanent loan. and, following that, i managed to convince my dad to buy me a cheap second hand boss dr55 drum machine.

many years later mat steel and i used the ul8 speakers, now relegated to an attic in a rented house, to work on early abandoned 12" projects (circa 1993). finally my brother gave in to demand and let me have the speakers which now sit in my front room. although these are of little use in a studio context, they still provide an adequate and often rewarding listening experience. the tracks here replicate the simple monosynth and drum machine equation; and have, to a large extent, been made with and for the ul8.

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threads:
concert-recordings
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musique-concrète

 best of 2011 !!! 
editions mego (austria) #emego 110.1 lp

fenn o’berglive in japan • part one” long playing record

  • kyoto 1 (16:57)

  • tokyo 1 (20:01)
october 2010 release ; ... first in a necessary (if spartan) pair of lps, here covering a pair of late 2009 concerts given by jim o’rourke, peterpitarehberg, and christian fennesz on jim’s chosen home turf ...

this simultaneously hits most of my pleasure-centers while making me feel a twinge of nostalgia for the by-gone days in which setting up a computer in front of an audience was considered a renegade act, as opposed to the de facto norm it’s become for any kind of electronic music performance (in increasingly excuse-oriented steps away from any sort of real-time component) ... hearing these guys fly by the seat of their collective pair of pants, even this late in their communal game, is a real treat ...
editions mego press release ::
emego110.1 / fenn o'berg
live in japan part one
lp

kyoto 1 recorded 27.10.2009 at club metro, kyoto.
tokyo 1 recorded 24.10.2009 at superdeluxe, tokyo

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threads:
concert-recordings
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musique-concrète

 best of 2011 !!! 
editions mego (austria) #emego 110.2 lp

fenn o’berglive in japan • part two” long playing record

  • kyoto 2 (17:38)

  • nagoya 2 (18:08)
october 2010 release ; ... second in the pair :: the opening pulse-chime into reckless pointillist abandon is a goddamn beautiful thing :: so much so i’m going to put up the majority of that whole stretch as the sound-sample as it’ll do more than my words ever will to assuage you into gripping this (& the other) fine side(s) ...
editions mego press release ::
emego110.2 / fenn o'berg
live in japan part two
lp

kyoto 2 recorded 27.10.2009 at club metro, kyoto.
nagoya 2 recorded 26.10.2009 at club quattro, nagoya

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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 !!! 
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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threads:
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minimalism-drones

 best of 2011 !!! 
edition rz (germany) #rz 04008-09 cd

harley gaberthe winds rise in the north” double compact disc set

  • the winds rise in the north (part 1) (27:19)
  • the winds rise in the north (part 2) (25:19)

  • the winds rise in the north (part 3) (26:33)
  • the winds rise in the north (part 4) (24:19)
2007 release ; cd issue of the 1976 titanic-label double-lp of harley gaber’s epicthe winds rise in the north” ...

recorded “in keene valley(i.e. “in the summer home of miss henrietta gibson”) during june 21-27 , 1976 & performed there by a group of string players including malcolm goldstein, stephen reynolds, linda cummiskey, kathy seplow, & david gibson, this 100+ minute piece works an endless reconfiguring of sliding, micro-tonal string glissandi into one of the finest capturing(s) of claustrophobic, inner-cranial movement on record, made all the more powerful by gaber’s retirement from composition months after this piece’s completion (after which he “played tennis” for a few decades, returning briefly to writing in 2003, only to end his own life this past june) ...

... to many, this is one of the holy grails of minimalism in music in the 20th century ; it’s certainly a piece that should be talked about a hell of a lot more than it is (perhaps its rigorous adherence to a largely a-tonal / temporal / morphous form keeps it locked far away from the “palatable minimalism of glass / reich / riley et.al) ... either way, it’s a heavy piece that’s powerfully trance-inducing ; one’s emergence from which always shapes everyday realities in an unsettling way ...
edition rz press release ::

edition rz reissues the winds rise in the north by american composer harley gaber, originally released on titanic records in 1976.

interpreters:
linda cummiskey (violin)
malcolm goldstein (violin)
kathy seplow (violin)
stephen reynolds (viola)
david gibson (violoncello)

questions:

how endlessly the heavens turn.

and yet the earth remains at rest.

do the sun and the moon quarrel as to their positions?

who rules over and orders all these things?

by whom are they in harmony?

who effortlessly causes and maintains them?

is there, perhaps, some hidden tension

that prevents them from being other than as they are?

must the heavenly bodies move as they do, powerless to do otherwise?

look how the clouds drop the rain!

and how the rain rises again to form the clouds!

who moves them to this abundance?

who effortlessly produces the primary orb and stimulates it?

the winds rise in the north and blow to the east and west.

others move upward uncertainly.

whose breath moves them?

who effortlessly causes them to blow?

what is the cause?

-- chuang tzu


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 $11.44 

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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:
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1970s-electronic
analogue-synth
experimental-instruments
electro-acoustic-composition
live-electronic
machine-music
modern-composition

 best of 2011 !!! 
die schachtel (italy) #ds23 cd

grupo npsnuove proposte sonore • 1965-1972” compact disc

  • ricerca 4 (5:48) 1965/1968
  • funzione 4 (2:48) 1965/1968
  • modulo 4 (3:53) 1965/1968
  • interferenze 2 (4:36) 1965/1968
  • masse 1 (3:15) 1965/1968
  • masse 2 (2:39) 1965/1968
  • freq mod 2 (6:31) 1968/1972
  • insiemi (7:40) 1968/1972
  • filtro 1 (6:36) 1968/1972
  • hardlag ii (5:33) 1968/1972
august 2011 release ; cd version of the grupo nps lp, comes in a gorgeous foil-stamped silver box with a 36-page booklet in italian & english ...


... needless to say, but it’s great to be back on track with die schachtel, who are here picking up their “silver series” of lp’s after a good few-yearsbreak ...

this edition issues some of the earliest electronic music from italy, composed at two different facilities (in padova & varsavia) by a changing cast of composers & artisans revolving around teresa rampazzi ... utilizing an array of crude laboratory test equipment & recording devices, this music is anything but a series of stuffy, academic affairs, largely concerned with raw analogue tone-clustering & audio-rate fm / am-type processes, issued under clinical / technical names that absolutely drip with machine-shop chic ...

absolutely eye-opening stuff & easily one of my favorite reissues of the year of any stripe / style ; the production spec & attention to detail is everything you’d expect from a ca. 2011 die schachtel vinyl edition ... highly recommended !!!
die schachtel press release ::

gruppo nps
nuove proposte sonore 1965 - 1972
ds 23 cdbox 2011

the nps - nuove proposte sonore (new sound proposals) group was founded in padua (italy) in 1964 by the composer teresa rampazzi together with the visual artist ennio chiggio. working with analogical devices they produced some of the most compelling electronic music of the period, and they soon became one of the most reputed electronic music centers in italy, together with the s 2 fm by pietro grossi in florence and the smet by enore zaffiri in turin.

with the departure of chiggio, the years 1969-1970 tranformed it in a female-only collective (teresa rampazzi, serenella marega and patrizia gracis). the two periods were characterized by different instrumentation, and it is surprising how they were able to achieve great results with some simple means. at least in the beginning.

in the first period they used a couple of two-tracks tape recorders (sony 777 and sony 521), an eico low frequency generator, a radio station to produce long wavelengths frequencies, a mixer, an oscillator, a revox, and a self-built loudspeaker. they had to use the stairwell as an echo chamber.

in the second one, when the studio was more established, they had six manually-controlled oscillators as well as six modulated ones, a white noise generator, an octave-band filter and a variable one, an amplitude modulator, a noteswitch, a reverb, a 10-channels mixer, a unit for audio signal routing, four tape recorders, a stereo sound system and a frequency meter (during the last years they also bought a 2500 arp synthesizer).

deluxe silver cd-box, silver-foil design, complete with a 36-pages booklet in italian and english.

edition of 500 copies

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threads:
concert-recordings
experimental-instruments
analogue-synth
harsh-noise

 best of 2011 !!! 
editions mego (austria) #emego 115 lp

russell haswellin it (immersive live salvage)” long playing record and digital versatile disc set

  • budapest, march 29, 2010, part 1 (uhj)
  • zurich, march 24, 2010, part 2 (uhj)
  • berlin, april 1, 2010, part 2 (uhj)
  • encore from bologna, march 27, 2010 (uhj)

  • encore from nantes, march 21, 2010 (uhj)
  • encore from luxembourg, april 8, 2010 (uhj)
  • london, april 10, 2010, part 4 (uhj)
  • hamburg, april 6, 2010, part 3 (uhj)
  • encore from hamburg, april 6, 2010 (uhj)

  • milan, march 25, 2010, part 1 (5.1)
  • leeds, march 17, 2010, part 2 (5.1)
  • encore from brighton, march 18, 2010 (5.1)
  • birmingham, march 12, 2010, part 2 (5.1)
  • amsterdam, april 8, 2010, part 2 (5.1)
  • brussels, april 9, 2010, part 2 (5.1)
  • encore from manchester, march 11, 2010 (5.1)
  • geneva, march 23, 2010, part 3 (5.1)
  • lyon, march 22, 2010, part 3 (5.1)
march 2011 release ; killer combo-pack, presenting a series of extracts from russell haswell’s opening sets during autechre’s “oversteps” tour presented in either “c-formatstereo (the lp) or ambisonically-derived 5.1 multi-channel (the dvd ; audio-only) ...

this is a complete aside from his more known computer-music & field recording work, with all sounds sourced to an array of small electronics laced with light-sensors & various contact mic’s ... i.e. in & of the “cracked everyday electronics” mould & quite hectic / brazen / amazing ...
editions mego press release ::
emego 115 / russell haswell
in it (immersive live salvage)
5.1 dvd (dolby digital + dts, 'audio only') + uhj lp

approximate total time (dvd + lp) = 1:28:38.31

uhj vinyl lp cut by rashad becker at dubplates & mastering, berlin, january 2011
5.1 dvd encoded & authored by ian robinson & sophie elder at ascent 142, london, january 2011

a 5.1 surround dvd (dolby digital + dts, audio only) + ambisonic uhj vinyl lp (stereo compatible) set.

following an invitation from autechre to support them on their 2010 european 'overstepper' tour (30 concerts, 15 countries), russell haswell filled a pelicase with a contact mic, crystal mic, electronics w/ light sensors, fx pedals, sos whistle, various multi-color headlamps w/ flashing modes, and boarded the tour bus.

each night, while performing his solo free improvisation, haswell also recorded as many gigs as possible with a surround recorder. selections from these live recordings are presented  in surround on this unique package containing a uhj lp* and 5.1 dvd, housed in a 12" sleeve.

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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:
analogue-synth
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electro-acoustic-composition
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 best of 2011 !!! 
spectrum spools (austria) #sp 009 lp

hive mindelemental disgrace” long playing record

  • elemental disgrace i (15:24)

  • elemental disgrace ii (16:08)
october 2011 release ; ... crushing, indelible music from greh holger, his first release in many, many years after burning his bridges & re-locating to los angeles a few years back ...

... all that aside, john’s assertions (below) are accurate ; without greh’s stream of releases from 2003 on essentially re-framing the synthesizer as the go-to sound-producing box in the noise world, we wouldn’t have any of the “synth-renaissance” stuff from the last odd-decade, including emeralds, et.al ...

... needless to say, but greh’s in fine form here ; his meticulously carved granite walls of ms-20 gristle are reproduced in arguably the most hi-fi fashion ever, thanks to the (i know, i know, redunant to even bring it up) expert-level d&m cut (this really does sound like a million bucks ; listen to the sound-sample) ...
spectrum spools press release ::

sp 009 / hive mind
elemental disgrace
lp

release date 18.10.2011

elemental disgrace is an album that needs to happen now. finally, the next phase has arrived - a stunning double side-long record of some of the u.s. best underground synthesizer music we have heard here at the spectrum spools headquarters.

whatever rise to the synthesizer came later on in the 00's is hardly of any concern to greh holger and his hive mind project. having released private press cassettes of solo synth works as far back as 2002, hive mind exists as enigmatic in world of new-jack synthheads and the tidal wave of neo kosmische that goes with it by flying far under it’s radar.

the silence is now broken and here we are treated to some of the most unique sounds spectrum spools has yet presented. no blisscapes to be found here. no soaring latched arpeggios, no cosmic vistas. not a single melody. this is two sides of ancestral ruin in its clearest and most focused presentation. the brutality of the earth and the harsh reality of all that it holds. unknowable sounds - that of the dawn of the earth, or perhaps the sound of its demise. a toxic swamp of chemicals and mutated organisms left behind long after man has wiped himself away for good. field recordings from the end of the world.

while others are racing for the stars, hive mind’s tectonic plate shifting and brutal rumble will give you a brand new way to look at modern synthesizer composition. with a focus on textural sounds and shifting frequency registers, this album gives the listener the a full range of listening possibilities with infinite replay value.

it’s worth noting that spectrum spools as a label would not exist without hive mind. an inspiration and a pioneer in the modern u.s. synthesizer circuit, it’s with pleasure and honor to release elemental disgrace into the world.

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 best of 2011 !!! 
type (uk) #type 096 lp

indignant senilityconsecration of the whipstain” double long playing record set

  • waking extirpation (15:16)

  • color absolution (17:12)

  • no one (elapsed) (15:45)

  • i work for the whip (15:06)
november 2011 release ; ... 2ndproper album from patdj yo-yo dietingmaher’s indignant senility, rife with creaking drones & a gorgeously rendered multi-fidelity approach (most sounds were re-broadcast through speakers & re-recorded with microphones ; this approach makes a huge difference in the overall “power” of the music, lending a sort of “all directions at onceclaustrophobia that would have been lacking in a direct-board capture of the same approach) ...

... four lengthy sides (which play at 45rpm, btw) ; each concerned with a different momentum of crackling interference & barely trace-able background ghost-whisper ...

my favorite work of pat’s by a mile ; highly recommended !!!
type press release ::
consecration of the whipstain by indignant senility

desecrated and haunted offerings from the pacific northwest's most splintered mind.

pat maher’s outsider sounds have emerged in many different forms; the syrup-laced rap remixes of dj yo-yo dieting, the ketamine house of diamond catalog and of course the wheezing industrial ambience of indignant senility. consecration of the whipstain is maher’s second widely available album under the indignant senility moniker, and its long-form abstractions place him a step apart from his peers. where plays wagner took a selection of thrift store charity records as source material, consecration… works with a wider palette and sees maher roughly paste together clattering percussion, wretching environmental sounds, opium drones and much more to emerge with a sound that owes more to iannis xenakis and lustmord than to the contemporary set.

maher’s noise roots have always given him a rougher, more abstract edge than others in the genre, but this album finds his shadowy ambience chiseled into four pitch-perfect explorations of his very particular alternate timeline. recorded through amplifiers and microphones to give the music a chance to breathe, the fuzzy pictures slowly come to life and offer a shocking amount of depth and variety. at times it sounds like a decaying sound strip from a 30s suspense reel, with all the crackle and flicker you’d expect to come alongside that. maher’s sounds take us into places we might not want to go, but there’s no denying that once you’re there it’s hard to wrench yourself free.

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mimaroglu music sales best of 2011
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