jonathan halper “leaving my old life behind b/w i am a hermit” seven inch single record

• leaving my old life behind
  
  
• i am a hermit

taniwha’s press release...

russell haswell “in 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)

jim haynes “the decline effect” double long playing record set

• ashes
  
  
• terminal
  
  
• half-life
  
  
• cold

the helen scarsdale agency press release...

jim haynes the decline effect the helen scarsdale agency : hms 021 : 2lp release date : september 20, 2011 parapsychology introduced the notion of the decline effect as a statistical phenomenon of diminishing results whilst investigating extra-sensory perception and psychokinesis. where initial findings might substantiate proof of such abilities, further studies would almost always demonstrate the contrary. as such, this ontological disappearing act stands in allegorical parallel to the entropic art of jim haynes and frames his 2011 opus of the corroded drone and a compacted disintegration of sound.  this san francisco bay area artist has long defined his work through the pithy phrase: "i rust things." the decline effect continues his investigations with electroacoustic decay through four bodies of evidence left behind from ephemeral aktions, shipwrecked electronics, re-engineered field recordings, and transmissions from the ether. haynes composes through all of these sources through a patient suturing of sympathetic elements, whether they be textural, tonal, visceral, heavenly, sodden, or monolithic. here, embers foretelling a nuclear winter gently waft upon industrial chorales amassed from an army of fidgeting motors; the sulfur-laden hiss from volcanic vents erupts from an organic thrum into boiling crescendos of environmental noise; geiger counter palpitations stream along a leaden sea of modulated radio noise; a warm explosion of sun-bleached distortion caresses the evanescent halos from an undulating mesmerism inexplicably not sourced from a guitar and / or digital patch authored by christian fennesz. haynes' broken minimalism orbits somewhere near the work joe colley, g*park, nurse with wound, and bj nilsen.  the 2lp of the decline effect is strictly limited to 350 copies, comes in a handsome gatefold sleeve. zener cards not included.

head boggle “unsounds and domo live” c35 cassette

• pink lloyd
  
• crunch saddle mxi
  
• dode pansere
  
• pontone
  
• one rockers
  
  
• head boggle domo live

nna tapes press release...

nna020: head boggle "unsounds and domo live" c35 derek gedalecia's latest creation brings us mutated electronic music from the extreme far out. a seemingly endless stream of synthetic gurgles, gulping, and goop in chaotic bursts of unpredictability includes a live audience / soundboard recording that delivers in the masterful live hb style.

florian hecker “2/8 bregman 4/8 deutsch 7/8 hecker 1/8 hõller” double ten inch single record set

• untitled (1)
  
• untitled (2)
  
  
• untitled (3)
  
• untitled (4)
  
  
• untitled (5)
  
• untitled (6)
  
  
• untitled (7)
  
• untitled (8)

presto!? press release...

p!? 018 - florian hecker "2/8 bregman 4/8 deutsch 7/8 hecker 1/8 hõller" 2 x 10" total time: 40' 21" limited edition: 500 layout: tina frank vinyl cut: rashad becker release date: 01/11/11 written and produced by florian hecker, except gelbgrün by carsten höller presto!? is happy to announce the release of "2/8 bregman 4/8 deutsch 7/8 hecker 1/8 hõller", a double 10” vinyl set produced and compiled by florian hecker with a contribution by carsten höller. the title "2/8 bregman 4/8 deutsch 7/8 hecker 1/8 hõller" indicates the percental inputs of the eight pieces, intertwines practical, theoretical and conceptual proportions and its audible dramatizations. 6/8 of the pieces are untitled, 2/8 and are titled ‘gelbgrün’ and ‘updown’, 8/8 play on 45 rpm. for further information also see: arnheim, rudolf and grundham, uta. 2001. the intelligence of vision: an interview with rudolf arnheim. in cabinet 2: 95-100. bregman, albert s. and mcadams, stephen. 1979. hearing musical streams. in computer music journal 3, no. 4 (december): 26–43. cambridge, massachusetts: mit press. bregman, albert s. 1994. auditory scene analysis. cambridge, massachusetts: mit press. deutsch, diana. 1974. an auditory illusion. in journal of the acoustical society of america 55: 18- 19. – 1986. an auditory paradox. in journal of the acoustic society of america 80: 93. gibson, james j. 1966. the senses considered as perceptual systems. boston: houghton mifflin. kubovy, michael and van valkenburg, david. 2004. from gibson’s fire to gestalts. in: neuhoff, (ed.) ecological psychoacoustics. london: elsevier academic press, p 114. mackay, robin. 2010. these broken impressions. in gaensheimer, susanne (ed.) florian hecker. event, stream, object. cologne: verlag der buchhandlung walther könig: 11-12. moore, brian c. j.. 1977. introduction to the psychology of hearing. cambridge: university press cambridge. roitmeister, carl and schneider, eckhard. 2008. carsten höller: carrousel. cologne: verlag der buchhandlung walther könig.

tim hecker “ravedeath, 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)

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.

tim hecker “ravedeath, 1972” double long playing record set

• 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)

kranky press release...

artist: tim hecker title: ravedeath, 1972 catalog #: krank 154 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.

hive mind “elemental disgrace” long playing record

• elemental disgrace i (15:24)
  
  
• elemental disgrace ii (16:08)

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.

indignant senility “consecration 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)

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

• music for a distance (39:53) 2003-2009
  
• music in a corner (6:53) 1983

western vinyl press release...

rolf julius music for a distance release date: february 22, 2011 catalog number : wv 83 format: cd packaging: cardboard wallet music for a distance is the second release in the small music series. the title of the work in relation to the cover images (abstract photographs of julius’ wife resembling landscapes merging into a distant horizon) suggests a work of uncommon poetic perception and inspiration. with the opening track "music for a distance," julius achieves a sensitive balance of unpredictability and deliberate design, at times resembling a symphony of insects, complete with crickets and cicadas and rustling leaves. listening closely, you can hear old fractured melodies float by only to be hidden again under a thunderous sky and rain. “music for a distance” began as a 2003 live performance of “musik für eine weite ebene” (music for a wide plain) at the donaueschinger musiktage in germany. over the next 6 years julius continued to refine the piece in the studio, in addition to live performances of the piece in europe, asia, and north america. the dense and nocturnal closing track, “music in a corner” was composed for an installation at moma ps1 in new york in 1983. though different in proportion and point of view, it nevertheless captures the stillness of the horizon that would inspire “music for a distance” many years later. • julius' pioneering work “dike line” (1979), was presented at the ground breaking collective exhibition “f r augen und ohren” in 1980, together with works by john cage, nam june paik, joe jones, bill fontana, harry bertoia, and david tudor. • julius' works have since been shown in countless major exhibitions and important musuems around the world, such as new york's ps1 (1983), the 1985 paris biennial, documenta 8, kassel (1987), the hamburger banhof, berlin (1998), pittsburgh's mattress factory (2001), the centre pompidou, paris (2004), the two editions of sonambiente, berlin (in 1996 and 2006), museum bochum (2006), national museum for modern art, japan (2007), as well as in various galleries and non-profit spaces in berlin, paris, tokyo, bordeaux, san francisco, montpellier and barcelona. • in 2005, in berlin, julius was awarded the prestigious hannah-höch-preis for an outstanding artistic life's work. • a selection from julius’ music for the ears (wv75) was featured on the popular npr show radio lab.

greg kelley / olivia block “resolution” compact disc

• pinholed and perpetual light, part 1 (11:08)
  
• looking through bone (9:28)
  
• how much radiance can you stand? (8:06)
  
• some old slapstick routine (8:24)
  
• pinholed and perpetual light, part 2 (9:05)

erstwhile press release...

gottfried michael koenig “gottfried michael koenig (*1926)” double compact disc set

• zwei klavierstücke • i. klavierstück 1 (8:18) 1957
  
• zwei klavierstücke • ii. klavierstück 2 (5:55) 1957
  
• suite »materialien zu einem ballett« (20:48) 1961
  
• streichquartett (10:04) 1959
  
• »terminus x« (11:46) 1967
  
• »funktion grün« (8:25) 1967
  
• »funktion gelb« (12:42) 1968
  
  
• blatt 1 (0:42)
  
• blatt 2 (0:42)
  
• blatt 3 (0:21)
  
• blatt 4 (0:45)
  
• blatt 5 (0:36)
  
• blatt 6 (0:36)
  
• blatt 7 (0:37)
  
• blatt 8 (0:32)
  
• blatt 9 (0:36)
  
• blatt 10 (0:21)
  
• blatt 11 (0:38)
  
• blatt 12 (0:31)
  
• blatt 13 (0:35)
  
• blatt 14 (0:31)
  
• blatt 15 (0:44)
  
• blatt 16 (0:34)
  
• blatt 17 (0:36)
  
• blatt 18 (0:37)
  
• blatt 19 (0:44)
  
• blatt 20 (0:46)
  
• blatt 21 (0:35)
  
• blatt 22 (0:34)
  
• blatt 23 (0:40)
  
• blatt 24 (0:39)
  
• blatt 25 (0:29)
  
• blatt 26 (0:38)
  
• blatt 27 (0:30)
  
• blatt 28 (0:27)
  
• blatt 29 (0:41)
  
• blatt 30 (0:47)
  
• blatt 31 (0:26)
  
• blatt 32 (0:44)
  
• blatt 33 (0:41)
  
• blatt 34 (0:49)
  
• blatt 35 (0:43)
  
• blatt 36 (0:36)
  
• blatt 37 (0:33)
  
• blatt 38 (1:00)
  
• blatt 39 (0:37)
  
• blatt 40 (0:56)
  
• blatt 41 (0:46)
  
• blatt 42 (0:48)
  
• blatt 43 (0:19)
  
• blatt 44 (0:43)
  
• blatt 45 (0:46)
  
• blatt 46 (0:39)
  
• blatt 47 (0:52)
  
• blatt 48 (0:24)
  
• blatt 49 (0:26)
  
• blatt 50 (0:38)
  
• blatt 51 (0:40)
  
• blatt 52 (0:45)
  
• blatt 53 (0:52)
  
• blatt 54 (0:34)
  
• blatt 55 (0:27)
  
• blatt 56 (0:49)
  
• blatt 57 (0:46)
  
• blatt 58 (0:38)
  
• blatt 59 (0:53)
  
• blatt 60 (0:51)

edition rz press release...

ed. rz 2003/4 double cd gottfried michael koenig 2cd set with electronical and software-generated compositions by pioneer g.m. koenig cover design: ott + stein, berlin; scan: christine berkenhoff performers: jan marc reichow, lasalle quartet, trio recherche two piano pieces 1957 (wdr 1995) 14:13 [ jan marc reichow, piano ] suite "materialien zu einem ballett" 1961 (wdr 1961) 20:48 streichquartett 1959 (wdr 1961) 10:04 [ lasalle quartet: walter levin, 1. violin; henry meyer, 2. violin; peter kamnitzer, viola; jack kirstein, violoncello ] terminus x 1967 (institut for sonology in utrecht 1967) 11:46 funktion grün 1967 (institute for sonology in utrecht 1967) 8:25 funktion gelb 1968 (institute for sonology in utrecht 1968) 12:43 60 blätter for string trio 1992 (wdr 1996) [ trio recherche: melise mellinger, violin; barbara maurer, viola; lucas fels, violoncello ]

thomas lehn / marcus schmickler “live double séance [antaa kalojen uida]” long playing record and digital versatile disc set

• live double séance (1) (23:24)
  
  
• live double séance (2) (23:24)
  
  
• live double séance (dvd) (46:48)

stephan mathieu “to describe george washington bridge” ten inch single record

• to describe george washington bridge
  
  
• in them a giant diverted himself

matthew mullane “vdsq • solo acoustic volume four” long playing record

• once was, is once again (part i)
  
  
• once was, is once again (part ii)

geoff mullen “accidental guitars” long playing record

• accidental guitars (1)
  
  
• accidental guitars (2)

rel press release...

geoff mullen - accidental guitars - rel018 edition of 350 geoff mullen presents a new side of his ever-changing and open language, dealing here with his rawest material to date, and in many ways finding himself in a homecoming to the guitar. on ‘accidental guitars’ geoff expands his instrumental language with his unique variety of invented, accident-prone technique. re-contextualized live performances are filtered through an intuitive sense of form and pretexts, leaving us with an intense, jarring, pointed, and textural compositional language. with little more than an electric guitar, he conjures abstract formations and clattering percussive tones that are starkly contrasted with tape hiss and sudden echoplex’d delay. sustains calm the mood throughout and create a beautiful and oddly soothing atmosphere that seems to move in all directions at once. the music on ‘accidental guitars’ has an ability of creating form out of being lost, and achieves a lucidity through this sense. this record is a unique document, finding geoff between forms and excepted styles, and seeing him off, once again, in another new and exciting direction in his music.

benjamin nelson “heat field modulation for pathetic string and electronics” compact disc-recordable

• heat field modulation for pathetic string and electronics (29:04)

benjamin nelson “life in blue and gray” compact disc-recordable

• life in blue and gray (28:42)

no ufo’s “soft coast” long playing record

• evidence / century park (5:22)
  
• vertigo (0:52)
  
• punx on the promenade (2:23)
  
• broken glass (0:32)
  
• freeze • drift (4:14)
  
• untitled 1 (2:05)
  
  
• cajmere dreams (1:19)
  
• archer heights (1:36)
  
• 00_00_2010 (4:39)
  
• duck egg (0:56)
  
• untitled ii (0:08)
  
• fog in the pavilion (2.6)
  
• soon come happy (0:58)
  
• why be something you're not (4:55)

spectrum spools press release...

sp 011 /  no ufo's soft coast lp here at spectrum spools, one of the many missions is to make sure great, under-documented, and limited offerings get a chance to see a wider release. no ufo's debut cassette,"soft coast" (2010, nice up int'l), is surely no exception. it was said about the swell maps "a trip to marineville" that the album had been obviously crafted by true music lovers who were record collectors. it seems that konrad jandavs' debut as no ufo's was calculated and carefully pieced together to spawn a whole new universe from the omniverse of collective musics, a feat which many attempt but few succeed. lazy comparisons to neu! and other such kraut-oriented material have bubbled up here and there, but jandavs' vision, as with any great recording artist, is all his own; a new perspective from looking at musics past and present. "soft coast" began jandavs' short, yet potent string of collaged "cosmic trash" which gripped the underground tape scene. since he's just seen the drop of his new "mind controls the flood" ep on public information and has future releases planned, it seems wrong to let this one slip thru the cracks any longer. a killer debut out of the blue, more than deserving of wider recognition, now available on vinyl.

charlie nothing “outside / inside” long playing record

• outside (20:54)
  
  
• inside (11:35)

bill orcutt “a new way to pay old debts” compact disc

• lip rich (4:46)
  
• sad news from korea (l. hopkins) (2:50)
  
• pocket underground (1:40)
  
• too late to fly (6:49)
  
• my reckless parts (3:34)
  
• street peaches (2:11)
  
• a new way to pay old debts (6:11)
  
• cold ground (4:36)
  
  
• high waisted (3:23)
  
• big ass nails (3:07)
  
  
• all the creatures of the ocean are alive (2:42)
  
• more salt (3:29)
  
• chicken wing (4:22)
  
• poor black math (1:25)

editions mego press release...

emego 119 / bill orcutt a new way to pay old debts cd tracks 1-8 were originally released as a 12” lp record ‘a new way to pay old debts’ (pal-002. 2009) tracks 9 & 10 appeared on a 7” single (pal.001, 2009). tracks 11-14 are previously unissued. everything recorded may & june 2009 at 24th & york, san francisco. bill orcutt: 4 string kay, voice total running time 51:35 and now for something completley different ..... editions mego is suitably chuffed to announce a cd reissue of bill orcutt’s acoustic hardcore blues stormer ‘a new way to pay old debts’, previously released on palilalia in 2009. for many one of the highlights of recent years with its unique visionary take of solo guitar playing. at the heart of orcutt’s sound is a vintage acoustic kay guitar equipped with a dearmond pickup. after the neck was broken and subsequently repaired, the guitar was downtuned so as to withstand the tension of the strings, and played with the a and d strings removed. this all lends itsellf to an intense set of raw, blues-influenced songs that sound heavier than most of the guitar records in your collection put together !! in addition to the orginal album this cd reissue contain 2 tracks from the high waisted 7” (also previously released on palialia), as well as 4 unreleassed tracks.

bill orcutt “how the thing sings” compact disc

• no true vine (1:12)
  
• the visible bosom (6:03)
  
• lost they book (2:39)
  
• how the thing sings (4:13)
  
• till i get satisfied (3:29)
  
• heaven is closed to me now (3:30)
  
• a line from ol'man river (13:45)

september 2011 release ; cd version ... i’m glad bill stayed with emego ; despite the apparent disconnect between his work & that of ... pretty much everyone else on the label, there’s an undeniable irreverence that somehow ties in ... whatever it is that he does with the general “personality” of peter’s whole universe ... to wit :: ... anyways ; much like the “way down south” set (of which, i’m told, we have the last extant copies ; pick one up for your teenage nephew as a graduation present - he won’t mind at all) this begins as a conversation already-in-progress, continues unabated (with only scant breaks for catching-of-breath, etc) for entire side-lengths in a manner that is both exhilarating and quite impressive from a stamina-perspective ... in particular, “a line from ol'man river” builds from a grain of sand into a continent-spanning desert utilizing only that most basic building block :: the great idea, singularly executed ... this music will be playing in my heaven, whether i’m deathless or not ... highly recommended !!!

editions mego press release...

emego 128 / bill orcutt how the thing sings cd recorded spring 2011 in the liviing room, san francisco. cut at 45 rpm at d+m, berlin, august 2011 yet another essential cracking new set of songs from bill orcutt, showcasing a further development of his unique visceral acoustic style. the language that orcutt uses looks familiar at first glance, but cut deeper and its myriad of twisted audio thats both full on and drenched in melancholy, usually in the same gasping breath. while a lot of it is the classic face melting style, some quieter segments counter balance on the title track as well the epic closet ‘a line from ol’man river’ and ‘heaven is closed to me now’

jim o’rourke “old news no. 5” double long playing record set

• pedal & pedal (15:54)
  
  
• detain the man to whom (20:20)
  
  
• it's not his room anymore (19:05)
  
  
• mother and who (16:32)

old news press release...

jim o'rourke old news no. 5 2lp 1 recorded live at super deluxe, tokyo, 2010 2 recorded at steamroom, chicago, 1992 3 recorded at steamroom, tokyo, 2010 4 recorded at steamroom mobile, london, 2003 introducing a nearly regular series of vinyl albums documenting analog synth and tape works (both studio and live) from the depths of jim o’rourke’s archive, spanning a near quarter century of active duty in the field. old news #5 kicks off with pedal and pedal, a refined beauty of a live set at tokyo’s super deluxe, to only be followed by a massive blast from the past in the shape of the monstrous detain the man to whom, recorded in 1992. record two delivers the genuine weirdness of studio session its not his room anymore, backed with the ripping mother and who, which is an alternative version of what would become o’rourke’s live set at the 2003 all tomorrows parties festival in uk. available only in this format.

jim o’rourke “old news no. 6” double long playing record set

• all that's cold is new again • part 1 (19:14)
  
  
• all that's cold is new again • part 2 (17:48)
  
  
• all that's cold is new again • part 3 (15:50)
  
  
• all that's cold is new again • part 4 (18:09)

old news press release...

old news 6 jim o'rourke old news no. 6 2lp recorded at steamroom, tokyo, 2009-2011 hot on the hells of old new #5 comes #6. a new 70+ minute electronic piece split over four sides. two years in making, ‘all that’s cold is new again’ was partly commissioned by christian zanesi for grm’s présences électronique festival in paris. an intense and rewarding listen rich in detail and of full of some classic o’rourke hooks and turns, which he has masterfully developed over the last two decades. this one is for peter f. available only in this format.

red horse “red horse” long playing record

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