.home..artists..labels..new..restocks..best..faq.
.soon.
... thanks for everyone's patience during the move !!! while it did take about a week longer than scheduled to get even the most basic elements of mms up & running again (i.e. records back on the shelves [in order !!!] ; packing & shipping bench upright & operational) we can safely say that things are finally getting back to normal around here ...

... we're just about caught up with invoicing & shipping orders placed during our closure & we've started opening up the dozens of boxes of new titles that arrived in our absence, updating the site here to show all of the new arrival & restock activities over the past few weeks (scanner & stereo are still boxed up, so full workups are still pending) ...

... as a token of appreciation to everyone that helped us out by placing a "closeout" order in the days leading up to the move (and due to a number of requests for more time to properly investigate / strategize a more thorough sweep of the dwindling list of titles on offer) i've extended the exhaustive "closeoupacolypse" one final time until the end of the spring ; this should afford everyone the proper resources to make their final selections ...
mimaroglu music sales best of 2012
 ( - )  p ::  (1)  2  3  y :: 2013   (2012)   2011   2010   2009   2008   2007  ( + ) 
... while we largely kept our heads down during the greater part of 2012 (geoff began a post-grad program, i spent the latter half of the year commuting between cambridge & melbourne) there was much to celebrate in the world of new releases of both new music & archival classics ...

... below you'll find a complete listing of everything that's still in stock and/or in print that landed here @ mms during the calendar year 2012 that we (both) dug, that sold well, that didn't sell well (despite our enthusiasm) ...
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 $23.51

back in stock as of
february 18th, 2014

first in stock on
august 28th, 2012


threads:
concert-recordings
guitar-themed
minimalism-drones
modern-composition

 best of 2012 !!! 
bo’weavil (uk) #weavil 48 lp

oren ambarchiraga ooty b/w nilgiri plateau” long playing record

  • raga ooty

  • nilgiri plateau
  • raga ooty (slight return)
august 2012 release ; ... killer lp of mostly noisier work from oren :: hiding behind the somewhat ... garish (sorry buddy) cover lies a trio of pieces that take the acoustic drone as sort of launching-off point for extended studies in electronic interfence, with the a-side coming closer to yasunao tone’s buffer-override studies than anything else & the opening b-side gambit the kind(s) of high-harmonic-contentexcited string” work of arnold dreyblatt et.al ... before returning to the gainedwall of grind” of the opening number ...
bo’weavil press release ::
raga ooty / nilgiri plateau lp
oren ambarchi

oren ambarchi is an electronic guitarist and percussionist with longstanding interests in transcending conventional instrumental approaches. born in sydney in 1969, he has been performing live since 1986. his work focuses mainly on the exploration of the guitar, "re-routing the instrument into a zone of alien abstraction where it's no longer easily identifiable as itself. instead, it's a laboratory for extended sonic investigation". (the wire, uk).

raga ooty unearths three previously unreleased works (each titled with reference to the area in south india where his mother was born) from oren ambarchi’s archive, showcasing the rawer side of his solo work between 2006 and 2011. the side-long raga ooty unspools a twisting, skittering thread of gritty guitar harmonics over a bed of buzzing tambura drone, creating the same paradoxical impression of simultaneous stasis and forward propulsion achieved by minimalist masters such as henry flynt, to whom this work is dedicated.

the nilgiri plateau generates an 8 minute wash of gleaming overtones from a 12 string acoustic guitar played with motors, continuing the experiments first made public on the 2007 stacte motors lp. the closing raga ooty (slight return) returns to the distorted guitar harmonic hysterics of the opening piece, this time elaborated over a wash of ambarchi’s signature leslie cabinet tones, building relentlessly over the course of 12 minutes recorded live in basel late last year.

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 $20.01

back in stock as of
february 21st, 2014

first in stock on
november 14th, 2012


threads:
analogue-synth
electro-acoustic-composition
minimalism-drones
machine-music
beat-research
live-electronic

 best of 2012 !!! 
spectrum spools (austria) #sp 023 lp

bee maskwhen we were eating unripe pears” long playing record

  • frozen falls
  • moon shadow move
  • the story of keys and locks

  • pink drinq
  • fried niteshades
  • unripe pears
  • rain in coffee
november 2012 release ; ... the clarion calls are sounding :: a new lp from chrisbee maskmadak, putting forth a series of gorgeous vignettes involving mechanized rhythm-sets (getting closer into “linear”, i.e. “usable” tempi & sub-divided formations), push-button sampler bash, and all kinds of carefully articulated synthesizer squiggle (getting into some, frankly, mentalhoover-as-power-electronicsvoids ; listen to the sound-sample) ...

... with each passing missive, it’s getting clearer & clearer that chris is a real phenom ; the production qualities herein are impeccable, crystal-clear & the underlying conceptual framework(s) are thought-provoking, unique ... excellent stuff ; highly recommended !!!
spectrum spools press release ::

sp 023 / bee mask
when we were eating unripe pears
lp

release date 19.11.2012

that old saw about dancing and architecture notwithstanding, i am like most people who make records in that i do not especially relish the task of writing about them. (better to focus on putting one's pants on both legs at a time and using one's sèvres china every day, if you ask me.) that's not to say that writing about records is a worthless or futile undertaking — far from it; however, as artists ideate in their media of choice, they implicitly challenge the assumption that the written word is the privileged medium of ideation — or at least they do so to the extent that their work succeeds. this truism aside, i seem to have drawn the proverbial short straw, and so it falls to me to tell you something useful about when we were eating unripe pears, a record which i recently completed, and which will be released shortly (perhaps by the time you read this, even) by spectrum spools.

the seven pieces on this lp were developed over a period of about five years; rain in coffee is built on a hyperborean trenchtown-era demo, while pinq drinqsorrel, for the record, and neither guava nor antacid as certain wags have already ventured — was reanimated directly from the cutting room floor, eleventh hour twenty-twelve. as a whole, they should probably be considered the proper "sequel" to canzoni dal laboratorio del silenzio cosmico, extending that record's preoccupation with the dream interiors of post-1965 fellini and synthesizing (pun very much not intended) it with elegy for beach friday's fascination with the lush and abject facets of advanced gastronomy and the embrace of the recursive, solipsistic, simultaneously expansive and claustrophobic universe of the sampler on vaporware/scanops.

however, in direct contrast to each of those prior works, when we were eating unripe pears draws more deeply on formal ideas from the history of records than any bee mask release to date. toward this end, most of its constituent tracks were hammered into their finished shapes "on the road" throughout 2011 and 2012. those of you who heard me on tour in the united states, canada, australia, and japan, and particularly at voice of the valley, the bunker, and labyrinth played a part in the process of shaping this material and so may well experience the shock of the familiar.

when we were eating unripe pears was recorded in cleveland and philadelphia between 2007-2012. it was edited and mixed at tranquility base in summer 2012, mastered and cut by rashad becker at dubplates and mastering, and pressed by pallas group. mark price did the photography and layout. special thanks are also owed to jason anderson, katherine brady, matt carlson, john elliott, lawrence english, daniel lopatin, and alex moskos, without whose perspectives this would be a very different and much lesser beast.

chris madak, philadelphia, october 2012



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back in stock as of
september 12th, 2012

first in stock on
march 16th, 2012


threads:
nww-list
psych-prog
minimalism-drones
guitar-themed

 best of 2012 !!! 
phoenix (uk) #ash 3021 lp

brast burndebon” long playing record

  • debon (1) (23:28)

  • debon (2) (22:28)
february 2012 release ; ... grey-area (wasn’t johan from tiliqua working on a “legit” multi-disc box of the voice records stuff ???) vinyl issue of this incredible 1975outsider psychnugger, purportedly recorded (alongside the karuna khyalalomoni 1985” set) by one toshiyuko nemoto ...

... clearly indebted to amon düül (the beginning of the b-side almost comes across as a cover of “love is peace”) & the more studio-bound end of krautrock (faust, specifically ... although the searing leads throughout are pure karoli) this is one of the great “rarepsych records (from any country) worthy of the hushed tones in which its name if oft spoken ...

(nicely done issue, btw - sounds cracking) ...
phoenix press release ::
ash 3021lp
brast burn
debon
phoenix records (uk)

phoenix records reissues on lp brast burn's debon -- a classic of japanese kraut obscurity originally released in 1975 on voice records.

brast burn are often linked with karuna khayal, with many aficionados concluding that they were actually the same band. whether this is true or not remains an unsolved mystery, but one thing is for sure: brast burn's one and only recorded outing left an indelible stamp on those who were to follow.

nurse with wound's steve stapleton thought highly of debon and included it on his "legendary list" that appeared on the sleeve of his band's 1979 debut album. featuring orchestrated fuzz guitar, echo-drenched percussion, reverbed bass, zithers, assorted taped sounds and vocals that are simply inspired, debon is an album that's a must for headphones and for devotees of the likes of faust and can.

a rare musical experience and a vital addition to any record collection. features the original lp artwork.

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back in stock as of
january 28th, 2014

first in stock on
september 5th, 2012


threads:
modern-composition
concert-recordings
harsh-noise
anti-music
1960s-electronic
live-electronic

 best of 2012 !!! 
em records (japan) #em 1104 cd
edition omega point sound art series (japan) #op-0008 cd

john cage / david tudor / yuji takahashi / kenji kobayashijohn cage shock • vol. 1” compact disc

  • toru takemitsu - corona for pianists (9:34)
  • christian wolff - duo for pianist & violinist (12:09)
  • john cage - variations ii (19:16)
august 2012 release ; ... first in the trilogy, with tudor & yuji takahashi’s reading of takemitsu’s “coronaleading things off, followed by a spirited run through christian wolff’s “duo for pianist & violinist” by tudor & violinist kenji kobayashi ... finally ending with a noisy-as-hell cage / tudor run-through of “variations ii(listen to the sound-sample, keeping in mind the pre-psychedelic era in which these “men in suits” conjured up such a willful racket to presumably minds-blown japanese audiences) ...
em records press release ::

catalogue# : em1104cd (op-0008)
artist : david tudor, john cage, yuji takahashi, kenji kobayashi
title : john cage shock vol. 1
media : cd

+ all tracks are previously unissued
+ joint production of omega point + em records
+ tribute to the john cage centenary and the 50th anniversary for his first japan tour
+ many scarce photos
+ japanese - english liner notes including a commentary by toshi ichiyanagi
+2 x 12" lp, quality pressing + a large size liner
+ lp only bonus track

in october 1962 john cage and his great interpreter/co-visionary david tudor visited japan, performing seven concerts and exposing listeners to new musical worlds. this legendary "john cage shock", as it was dubbed by the critic hidekazu yoshida, is the source of this series of releases, three cds and a "best hits" double lp compilation. recorded primarily at the sogetsu art center in tokyo on october 24, 1962 (with two performances from october 17 at mido-kaikan in osaka), all recordings in this series are previously unreleased. a major historical trove, unearthed.

the performances on this tour featured cage and tudor with some noteworthy japanese musicians playing pieces by cage and a number of other composers. volume 1 begins with toru takemitsu's corona for pianists (1962), played by tudor and yuji takahashi, an indeterminate piece scored using transparencies, a sign of cage's influence on younger japanese composers of the era. following this is duo for violinist and pianist (1961) by christian wolff, written specifically for david tudor and violinist kenji kobayashi. the final piece, a near-twenty-minute realization of variations ii (1961), is a rare example of the rougher side of cage, work that presaged much of the live electronic music and noise of the following decades, an aspect of his oeuvre which is woefully under-represented on cd. cage and tudor, using well-amplified contact microphones on a piano, deliver an electrifying performance, alternating distorted stretches of harsh 60s reality with bountiful silences.

volume 2 lifts off with a fiery example of tudor's piano virtuosity, his mastery of dynamics well evident in a performance of klavierstück x (1961) by karlheinz stockhausen. the titular shock of this series is delivered even more forcefully with the next piece, cage's 26'55.988" for 2 pianists and a string player (1961), which was first performed the year before in darmstadt by tudor and kobayashi, a combination of two of cage's solo pieces. the performance here, from osaka, has a slightly altered title and the composition becomes a seismic quartet with the addition of toshi ichiyanagi and yoko ono, with the four performers providing acutely-angled blasts of sound.

the final cd of the series features cage's 0'00" (1962), also referred to as 4'33" no.2, performed by the composer, with daily activities such as writing and drinking coffee amplified by contact microphones into sonic abstraction, following the score's directions: "with maximum amplification (no feedback), perform a disciplined action". next is composition ii for 2 pianos (1960/61) by michael von biel, lovely and sparse, performed by tudor and ichiyanagi. the disc closes with ichiyanagi's piano music #7 (1961), performed also by tudor and ichiyanagi, beds of silence disrupted by pianistic stabs, music box madness, traffic recordings, percussive thumps, tape manipulations and more.

the "john cage shock" series features truly historical recordings, all previously unreleased, of compositions by an amazing roster of international composers. the intensity of these performances by cage, tudor, ichiyanagi, kobayashi, ono and takahashi has remained hidden and unheard for half a century, but remains undiminished. these three cd’s, as well as the special double lp (including a vinyl only bonus track), feature rare photos plus japanese and english liner notes.


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 $22.01

back in stock as of
january 28th, 2014

first in stock on
september 5th, 2012


threads:
modern-composition
concert-recordings
harsh-noise
anti-music
1960s-electronic
live-electronic

 best of 2012 !!! 
em records (japan) #em 1105 cd
edition omega point sound art series (japan) #op-0009 cd

john cage / david tudor / toshi ichiyanagi / kenji kobayashi / yoko ono john cage shock • vol. 2” compact disc

  • karlheinz stockhausen - klavierstück x (19:39)
  • john cage - 26'55.988" for 2 pianists & a string player (22:41)
august 2012 release ; ... second in the trilogy, featuring a realization of stockhausen’s “klavierstück 10” by tudor (by whom it was intended to be premiered the previous year ... even though the honor eventually went to frederic rzewski) followed by an aktion-heavy quartet-reading of cage’s “26'55.988"” by the composer, tudor, yoko ono, and her then-husband toshi ichiyanagi ...
em records press release ::

catalogue# : em1105cd (op-0009)
artist : david tudor, toshi ichiyanagi, kenji kobayashi, yoko ono
title : john cage shock vol. 2
media : cd

+ all tracks are previously unissued
+ joint production of omega point + em records
+ tribute to the john cage centenary and the 50th anniversary for his first japan tour
+ many scarce photos
+ japanese - english liner notes including a commentary by toshi ichiyanagi
+2 x 12" lp, quality pressing + a large size liner
+ lp only bonus track

in october 1962 john cage and his great interpreter/co-visionary david tudor visited japan, performing seven concerts and exposing listeners to new musical worlds. this legendary "john cage shock", as it was dubbed by the critic hidekazu yoshida, is the source of this series of releases, three cds and a "best hits" double lp compilation. recorded primarily at the sogetsu art center in tokyo on october 24, 1962 (with two performances from october 17 at mido-kaikan in osaka), all recordings in this series are previously unreleased. a major historical trove, unearthed.

the performances on this tour featured cage and tudor with some noteworthy japanese musicians playing pieces by cage and a number of other composers. volume 1 begins with toru takemitsu's corona for pianists (1962), played by tudor and yuji takahashi, an indeterminate piece scored using transparencies, a sign of cage's influence on younger japanese composers of the era. following this is duo for violinist and pianist (1961) by christian wolff, written specifically for david tudor and violinist kenji kobayashi. the final piece, a near-twenty-minute realization of variations ii (1961), is a rare example of the rougher side of cage, work that presaged much of the live electronic music and noise of the following decades, an aspect of his oeuvre which is woefully under-represented on cd. cage and tudor, using well-amplified contact microphones on a piano, deliver an electrifying performance, alternating distorted stretches of harsh 60s reality with bountiful silences.

volume 2 lifts off with a fiery example of tudor's piano virtuosity, his mastery of dynamics well evident in a performance of klavierstück x (1961) by karlheinz stockhausen. the titular shock of this series is delivered even more forcefully with the next piece, cage's 26'55.988" for 2 pianists and a string player (1961), which was first performed the year before in darmstadt by tudor and kobayashi, a combination of two of cage's solo pieces. the performance here, from osaka, has a slightly altered title and the composition becomes a seismic quartet with the addition of toshi ichiyanagi and yoko ono, with the four performers providing acutely-angled blasts of sound.

the final cd of the series features cage's 0'00" (1962), also referred to as 4'33" no.2, performed by the composer, with daily activities such as writing and drinking coffee amplified by contact microphones into sonic abstraction, following the score's directions: "with maximum amplification (no feedback), perform a disciplined action". next is composition ii for 2 pianos (1960/61) by michael von biel, lovely and sparse, performed by tudor and ichiyanagi. the disc closes with ichiyanagi's piano music #7 (1961), performed also by tudor and ichiyanagi, beds of silence disrupted by pianistic stabs, music box madness, traffic recordings, percussive thumps, tape manipulations and more.

the "john cage shock" series features truly historical recordings, all previously unreleased, of compositions by an amazing roster of international composers. the intensity of these performances by cage, tudor, ichiyanagi, kobayashi, ono and takahashi has remained hidden and unheard for half a century, but remains undiminished. these three cd’s, as well as the special double lp (including a vinyl only bonus track), feature rare photos plus japanese and english liner notes.


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 $22.01

back in stock as of
january 28th, 2014

first in stock on
september 5th, 2012


threads:
modern-composition
concert-recordings
harsh-noise
anti-music
1960s-electronic
live-electronic

 best of 2012 !!! 
em records (japan) #em 1106 cd
edition omega point sound art series () #op-00010 cd

john cage / david tudor / toshi ichiyanagijohn cage shock • vol. 3” compact disc

  • john cage - 0'00" (18:09)
  • michael von biel - composition ii for 2 pianos (6:12)
  • toshi ichiyanagi - music for piano #7 (14:59)
august 2012 release ; ... third & final of the cd editions from the combined em / omega point brain-trust covering john cage & david tudor’s october 1962 tour of japan ...

... here, the duo, abetted by toshi ichiyanagi, perform a trilogy of pieces (including ichiyanagi’s ... chaoticmusic for piano #7” - just take a long listen to the sound-sample to your left) that skirt the divide between mid-century “moderncomposition and the exact sort of rampant unconventionalism(s) that comprised cage’s stock-in-trade ...

... as with the dvd of the “nine eveningsperformance(s), this is incredibly eye-opening stuff, revealing a quite transgressive set of performances that, until now, had all remained un-issued ... highly recommended !!!
em records press release ::

catalogue# : em1106cd (op-0010)
artist : john cage, david tudor, toshi ichiyanagi
title : john cage shock vol. 3
media : cd

+ all tracks are previously unissued
+ joint production of omega point + em records
+ tribute to the john cage centenary and the 50th anniversary for his first japan tour
+ many scarce photos
+ japanese - english liner notes including a commentary by toshi ichiyanagi
+2 x 12" lp, quality pressing + a large size liner
+ lp only bonus track

in october 1962 john cage and his great interpreter/co-visionary david tudor visited japan, performing seven concerts and exposing listeners to new musical worlds. this legendary "john cage shock", as it was dubbed by the critic hidekazu yoshida, is the source of this series of releases, three cds and a "best hits" double lp compilation. recorded primarily at the sogetsu art center in tokyo on october 24, 1962 (with two performances from october 17 at mido-kaikan in osaka), all recordings in this series are previously unreleased. a major historical trove, unearthed.

the performances on this tour featured cage and tudor with some noteworthy japanese musicians playing pieces by cage and a number of other composers. volume 1 begins with toru takemitsu's corona for pianists (1962), played by tudor and yuji takahashi, an indeterminate piece scored using transparencies, a sign of cage's influence on younger japanese composers of the era. following this is duo for violinist and pianist (1961) by christian wolff, written specifically for david tudor and violinist kenji kobayashi. the final piece, a near-twenty-minute realization of variations ii (1961), is a rare example of the rougher side of cage, work that presaged much of the live electronic music and noise of the following decades, an aspect of his oeuvre which is woefully under-represented on cd. cage and tudor, using well-amplified contact microphones on a piano, deliver an electrifying performance, alternating distorted stretches of harsh 60s reality with bountiful silences.

volume 2 lifts off with a fiery example of tudor's piano virtuosity, his mastery of dynamics well evident in a performance of klavierstück x (1961) by karlheinz stockhausen. the titular shock of this series is delivered even more forcefully with the next piece, cage's 26'55.988" for 2 pianists and a string player (1961), which was first performed the year before in darmstadt by tudor and kobayashi, a combination of two of cage's solo pieces. the performance here, from osaka, has a slightly altered title and the composition becomes a seismic quartet with the addition of toshi ichiyanagi and yoko ono, with the four performers providing acutely-angled blasts of sound.

the final cd of the series features cage's 0'00" (1962), also referred to as 4'33" no.2, performed by the composer, with daily activities such as writing and drinking coffee amplified by contact microphones into sonic abstraction, following the score's directions: "with maximum amplification (no feedback), perform a disciplined action". next is composition ii for 2 pianos (1960/61) by michael von biel, lovely and sparse, performed by tudor and ichiyanagi. the disc closes with ichiyanagi's piano music #7 (1961), performed also by tudor and ichiyanagi, beds of silence disrupted by pianistic stabs, music box madness, traffic recordings, percussive thumps, tape manipulations and more.

the "john cage shock" series features truly historical recordings, all previously unreleased, of compositions by an amazing roster of international composers. the intensity of these performances by cage, tudor, ichiyanagi, kobayashi, ono and takahashi has remained hidden and unheard for half a century, but remains undiminished. these three cd’s, as well as the special double lp (including a vinyl only bonus track), feature rare photos plus japanese and english liner notes.


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 $16.81

back in stock as of
september 3rd, 2013

first in stock on
september 21st, 2012


threads:
analogue-synth
free-improvisation
beat-research
machine-music
live-electronic
modern-psych

 best of 2012 !!! 
nna tapes (usa) #nna 050 lp

matt carlsonall moments” long playing record

  • a moment
  • raindrop garden
  • field electric
  • reality club

  • a lock against oblivion
  • standing wave
  • all moments
september 2012 release ; ... long-awaited follow-up to matt carlson’s “particle languagelp (draft, 2011) as well as the landmark 50th release on nna tapes (way to go toby & matt !!!) ...

... as said was perhaps the single most zeitgeist-defining album of contemporary music we “workedlast year, the existence of new set of “live-playedanalogue modular synthesizer music is a major cause célèbre ... while the tone here is vastly more streamlined & dareisayaccessible” than “particle” ‘s often entirely abstract patch-cable wizardry, the adherence to consistently melodic modules & straight-tempi simply shows us another side of carlson’s formidable vocabulary on his chosen dot.com modular & voice / vocoder arsenal ...

... amazing record ; highly recommended !!!
nna tapes press release ::

nna050: matt carlson all moments lp

nna is proud to present our 50th release, matt carlson’s all moments long-playing record. where 2011 s particle language lp acted as a study in texture and density within experimental synthesizer music, all moments finds carlson engaging with the more traditional musical materials of melody, harmony, and rhythm, calling to mind his work as one half of portland, or duo golden retriever. the pieces on this record range from shorter pop études to longer, more open improvisatory synth studies, retaining a sense of playfulness and expressiveness within a highly focused and calculated framework.

recorded to four-track cassette and primarily hand-played with very little-to-no auto arpeggiation, all moments captures an often-overlooked warmth and human quality in electronic music, emphasized further by carlson’s use of modal and tonal vocal studies, electronically transformed by his use of the vocoder. the result is a well-rounded collection of colorful, exuberant electronic music.

mastered and cut by lupo at dubplates & mastering, berlin. artwork by jason traeger.

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... on closeout for only ::
 $17.16 

back in stock as of
august 23rd, 2012

first in stock on
april 2nd, 2012


threads:
sound-art
fluxus
site-specific
experimental-instruments
modern-composition
field-recordings

 best of 2012 !!! 
38% off !!!
ricerca sonora (italy) #rs1 lp

philip corneritalian air: wind, water & metal • aria italiana: vento, acqua & metallo” long playing record

  • ear wave” (16:58) 1994

  • gong/ear” (11:57) 1990
  • i respiri/the breaths” (8:38) 1992
february 2012 release ; ... sublime, “art-gallery” edition from the italian ricerca sonora imprint, covering three of fluxus artist philip corner’s 90’s sound-works, each involving site-specific explorations of instrumental interference (gong, alp-horn) recorded outside in “the elements” ...

comes as a deluxe, full-color lp edition with two inserts (detailed below) ; highly recommended !!!
ricerca sonora press release ::

ricerca sonora
presents

philip corner
italian air: wind, water & metal lp
 
label: ricerca sonora
cat.: rs1
format: vinyl lp
edition: 300 copies
 
edition of 300 copies. single cover with 2 inserts.

ricerca sonora proudly presents, as its first release (rs1), a new philip corner album titled italian air: wind, water & metal (aria italiana: vento, acqua & metallo).
 
philip corner (b. 1933) studied composition with henry cowell and otto luening and musical analysis with oliver messiaen. during the 1960s and 70s he was an active member of fluxus, a founder (along with james tenney and malcolm goldstein) of the tone roads chamber ensemble, the resident musician and composer for the judson dance theatre, and co-founder of gamelan son of lion (with barbara benary and daniel goode).
 
"italian air: wind, water & metal" presents three previously unpublished compositions by philip corner recorded in various locations.

on side 1 "ear wave" (venice, october 1994) is a long piece for korean cymbal in water: an ecstatic composition recorded and played outdoor by phil corner; acousmatic interjections of metallic resonances and subtle water sounds; you can listen the distant sound of the midnight bell of san marco in venice.

on the second side the track "gong/ear" recorded in june 1990 (s.andrea di rovereto, italy) phil corner plays gong together with rain and thunder for an abstracted and strongly emotional track.

followed by i respiri/the breaths an avant-garde composition for alphorn and gong recorded in 1992 (at teatro scandicci).
 
philip corner is truly the equal of john cage in bringing us to examine what we call music and how we understand music-making.

in few words, philip corner is one of the most important figure of the american avant-garde.

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threads:
film-video
analogue-synth
electro-acoustic-composition
minimalism-drones
live-electronic
machine-music
musique-concrète
lo-fi

 best of 2012 !!! 
imminent frequencies (usa) #if17 cs

rick corrigansoundtracks for brakhage” c34 cassette

  • four percussive movements (boulder, blues and pearl’s and...)
  • requiem (crack glass eulogy)

  • memory suite (visions in meditation iii: plato’s cave)
march 2012 release ; ... had initially misread this as a series of tributes to the late colorado-an film-maker’s work ... but it is, in fact, a tape of the actual soundtracks to three of brakhage’s films (specifically, “visions in meditation #3: plato’s cave” from 1990, “crack glass eulogy” & “boulder blues and pearls and...” from 1992) made during a particularly prolific phase in the early 90’s ...

... corrigan & brakhage’s partnership dates back to the mid-80’s (brakhage is credited with “tapes” on corrigan’s group architects office’s 1986 audiofile tape) ; first contributing music to the “faustfilmseries in 1987 & continuing to do so over the next half-decade ... the music heard here all fits comfortably within the musique concrète tradition, with long stretches of hypnotic, repetitive electronic sound left to unfold in natural, unfettered ways ...

... an eye-opening issue of time-obscured experimental electronic music ; highly recommended !!!
imminent frequencies press release ::

if17 - rick corrigan - "soundtracks for brakhage"

c34 edition of 150

three electronic soundtracks by rick corrigan composed for films by the visionary filmmaker stan brakhage. during the mid 1980s rick corrigan was part of the colorado-based experimental ensemble architect’s office when he befriended local film legend stan brakhage. in the years that followed they would collaborate on numerous film projects and live performances in and around boulder, colorado.

the three soundtracks presented here were made between 1990-1992 and were composed on a variety of synthesizers and electronic instruments. over the course of each piece corrigan uses various techniques to create a wide range of otherworldly sounds. layers constantly shift in texture and tone forming an aural mosaic. never redundant and thoroughly genuine, these are the sounds of an amazing electronic synthesis.

transferred from the original cassette masters and featuring artwork created from brakhage's original 16mm films.

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... on closeout for only ::
 $10.92 

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november 27th, 2012


threads:
1970s-electronic
guitar-themed
psych-prog
minimalism-drones
electro-acoustic-composition
analogue-synth

 best of 2012 !!! 
38% off !!!
entr’acte (uk) #e138 cd

gregor cürten / anselm rogmansplanes” compact disc

  • planes i (18:06)

  • planes ii (18:10)
november 2012 release ; ... a major service being done via this spot-on reissue of the 1974private krautrocklp planes” ...

... composed and recorded by the duo of anselm rogmans (credited with “vocals, tapes, organ, synthesizer”) and gregor cürten (ditto “organ, synthesizer, guitar”) the two side-length pieces of pure drone absorption hit many a lofty peak in their exploration of held-chord organ sizzle, popol vuh-esque guitar chime & all kinds of “psychstasis(es) that make this an attractive proposition ...
entr’acte press release ::

gregor cürten & anselm rogmans
planes
cd (e138)

recorded on 11 may 1974 without interrupting the course of the music.
composed by gregor cürten & anselm rogmans.

initially released in 1974 as a private press lp, this is the first official reissue of planes, produced in close collaboration with gregor cürten. remastered from the original master tapes by giuseppe ielasi.

with thanks to ian middleton and clive graham

edition of 300 copies

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november 29th, 2012


threads:
1970s-electronic
analogue-synth
beat-research
electro-acoustic-composition
library-music
machine-music
musique-concrète

 best of 2012 !!! 
mordant music (uk) #mm054 lp

tod dockstader electronic vol. 1 ” long playing record

  • jigjag (1:11)
  • floating up (1:40)
  • glider (2:10)
  • howl stomp (1:40)
  • steam megawatt (1:27)
  • snap sail (2:20)
  • i.c. arabian (2:10)
  • pile readout (1:15)
  • pond dance (1:53)
  • holiday meltdown (1:23)
  • seance (1:15)
  • old dark clock (1:25)

  • soprano aloft (1:06)
  • powerdown (1:06)
  • signal powerdown (1:06)
  • snap prance (1:18)
  • night wolves (1:48)
  • bottle dervish (2:13)
  • frog march-by (1:24)
  • sun surges (1:20)
  • blackhole dropout (2:05)
  • sundrift (3:30)
  • soft aurora (2:02)
september 2012 release ; ... vinyl repro (albeit re-designed to include a likeness of his current-day self) of the first of the two tod dockstader boosey & hawkeslibrarylp’s, about which ::


... recent claims made re: dockstader’s absence from the public eye since releasing the last of his owl-label lps in the mid 60s are somewhat off ...

in 1979 & 1981, respectively, this and anothercompanion” volume were released on the boosey & hawkes library music label ; consisting of a spate of sound-queues made by mr. dockstader for production / documentary use ... i will say this ; this sounds like no other dockstader recording you’ve heard ... personally, i think it’s amazing and way ahead of its time, but i could understand if others out there are a bit befuddled by the music on the lp in question ; mostly short (<2 minutes) rhythmic / melody-oriented modular-synth studies coming across like a paleozoic aphex twin (and i know people often say “x sounds like aphex twin” as that’s the sole reference point they have in discussing contemporary experimental electronic music ... give me the benefit of the doubt [you’ve probably gathered that my vocabulary re: electronic music is slightly more ... verbose] ... still ... this really does sound like “afx”-era aphex twin ; quite a bit - staggeringly so given the 15-odd-year divide) there are a couple of “fat brass synth-fanfares for sci-fi” kind of queues, but for every one of those there’s a drifting filtered white-noise beast or high-resonance/q oscillating beat with crazy atonal triplet-feel melodies that just hits home ...

definitely one for the completists (dockstader fans are known for not resting until they’ve heard every sound carefully “organised” by the master) although there’s enough here for casual early-electronic music fans alike ... if anything, this would be a great creel pone to bridge the gap between fans of contemporary melodic / “into depeche mode ???electronic dance music that find all of the cold, emotionally-distant abstract concrète that i’m always going on about here a bit daunting ...
mordant music press release ::
mm054
tod dockstader
electronic vol. 1
vinyl lp

september 2012

cardboard box, aldwych ... the boosey & hawkes tape bakery ... an occasional mm haunt ... 1979 resuscitated ... commissioned plasm portrait ... tod dockstader's synth-based library production music lives again with the first of two bulbous volumes ... to this day td remains a gargant of free-spirited nocturnal composition ... shards of avant garde on the trunk line ... vibrations inc.




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november 14th, 2012


threads:
1980s-electronic
analogue-synth
electro-acoustic-composition
modern-composition

 best of 2012 !!! 
dead-cert (uk) #vcr 003 lp

dariush dolat-shahielectronic music, tar and sehtar” long playing record

  • sama (tar and electronic)
  • shabistan (sehtar and electronic)
  • hur (tar and electronic)

  • zahab (tar and electronic)
  • razm (tar and electronic)
november 2012 release ; ... spot-on reissue (externally virtually indistinguishable from the original) of this obscure 1985 folkways lp fusing electronic music (buchla zaps & concrète noises) with traditional persian folk instrumentation ...

... aside from being one of my all-time favorite lp’s (an album-length of my own exploration of similar themes for egyptian oud, serge modular synthesizer, and concrète sound begun in 2005 following “multiples” was scrapped after i heard this lp, quite by chance, realizing its vision & execution to be far superior [not to mention authentic, academic, and actually successful]) this suite of music by iranian-american composer dariush dolat-shahi has been held in high regard by those in the know for its careful tread in integratingtraditionalfolk instrumentation (his own tar & sehtar playing) with (largely) rhythmic electronic accents created at the columbia-princeton electronic music center, merging the two (seemingly) disparate avenues in an entirely sensitive (dolat-shahi’s adherence to the iraniandastgah” is documented in the liner notes) & quite fruitful way, yielding a set of pieces that should appeal just about anyone who has a decent clutch of both ocora and ina-grm lp’s ...

ps. i’ve ocr’ed the liners from the original folkways issue below (in lieu of a nonexistent label press-release / one-sheet) ; please take the time to read through it, esp. the nice curt breakdown of persian / sufi / islamic music structures & cultural frameworking(s) ...
dead-cert press release ::

folkways records fts 37464
dariush dolat-shahi electronic music, tar and sehtar

the music on this record was realized at the columbia-princeton electronic music center, and premiered at the carnegie recital hall, december 1983.
cover design, illustration and photography: sudi sharaf-shahi / type design: sandy campbell
folkways records fts 37264 / © 1985 folkways records and service corp., 632 broadway, new york, ny 10012, u.s.a.


there could not be a more seemingly disparate compositional scenario as a work for tar or sehtar and electronic music: one a mystically primitive instrument whose musical performance heritage is one of improvisational spiritualism; the other a highly technical, modern medium founded in accoustical science in direct defiance of any traditional notion of performance. yet, in the skillful work of dariush dolat-shahi, a common, basic mandate of each instrument is profoundly explored. that premise is the unity of thought and substance in expression, that is, that musical elements determine the structure of the composition itself.

the tar and the sehtar are the two most popular native plucked-string instruments in the persian musical tradition. the sehtar dates back as far as the 8th century b.c., the tar, considerably younger, first appeared in the early 18th century. the tar is a double-bellied instrument with a face of sheepskin membrane; its six strings are usually tuned in pairs. the 26 frets are movable along the long neck, allowing the performer a wide range of mictrotonal pitches. the tar is plucked with a small metal plectrum held between thumb and forefinger. by contrast, the sehtar is a smaller instrument, both in size and tone. it is a pear-shaped instrument made entirely of wood; the modern version of the instrument has four strings. like the tar, the frets of the sehtar are movable along its slender neck. the delicate timbre of the sehtar demands a small and intensely attentive audience and is therefore ideal for the intimate, spiritual settings of traditional persian music.

not only does the structure of the instrument imply a performance technique based on the improvisation of melodic elements, but the settings of persian musical structures also implies an emphasis on a spiritual, rather than strictly rational, melodic progression. persian music is organized in 12 dastgah (scales), each dastgah provides 20 to 50 melodic formulas or gousheh. during a performance, the musician selects, by a process somewhat more spiritual than rational, the goushehs and dastgah upon which to base his improvisational explorations.

because of anti-musical islamic strictures, persian art music never truly developed as a concert or public art, in the western sense. its traditional instruments are delicate in timbre, performance was confined to the royal court of the privacy of one’s home. under islamic rule, only music for holy wars, sacramental ceremonies and the chanting of the koran was approved. significantly, in direct opposition to the islamic clergy, mystic orders developed outside the legal and official framework of islam, the sufis. the sufis believed that only through music could one attain true union with god, could bring a clarity of thought and a balance of mind to the soul.

in the tradition of the sufis’ sacred concert gatherings, the memories of which dariush dolat-shahi admits as a distinct influence on his work, this composer seeks to attain the balance of electronic abstraction and traditional spiritualism. another important influence was the epic poetry of eleventh century poet-historian ferdowski, in whose metered mythologies is contained one of the earliest histories of persia before the arab conquest of 636 a.d. as in traditional persian musical bases, harmony is less important than melodic and rhythmic activities, the more primary musical instincts, which are improvised from a consciousness that combines the intellect and the intuition. the electronic elements of the work, in contrast to their usual role of an opposing abstraction, here serve only to complement and underscore the creations of the performer. the very structure of the work, the relationship between the electronic and human elements, become a metaphor for the balance, in the realm of higher consciousness, between the rational and the spiritual elements of the soul. the unity of thought and substance is ultimately achieved.

dariush dolat-shahi began his study of persian traditional and folk music at age 10 at the teheran conservatory of music. after earning his bachelor of music degree from teheran university, the dutch government awarded him a four-year fellowship to study at the amsterdam conservatory of music and at the institute of sonology in utrecht. in the netherlands, dolat-shahi studied principally with ton de leeuw, jos kunst, g.m. koenig, and f.c. weiland. following a brief term as assistant professor at teheran university, dolat-shahi came to the united states to pursue his doctoral studies at columbia university, studying with wen chung, davidovsky, ussachevsky and arel, dolat-shahi received his doctor of musical arts degree in 1981. now a new york city resident, dr. dolat-shahi has participated in many international events, including the edward van beinum foundation and the gaudeamus festival in the netherlands, the international festival of computer and electronic music in new york, and the 1983 27th biennial conference for traditional music at columbia university. his commissions and performances have included those of the teheran symphony orchestra, the persepolis festival of arts, the english chamber orchestra, the utrecht symphony orchestra and the netherlands radio philharmonic orchestra. in reviewing on of his performances, tim page of the new york times characterized the work of dariush dolat-shahi as tremulously beautiful.

- rachel s. siegel.



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threads:
beat-research
electro-acoustic-composition
live-electronic
electro-acoustic-improvisation
machine-music
digital-musics

 best of 2012 !!! 
editions mego (austria) #emego 145 cd

nick edwardsplekzationz” compact disc

  • chance meets causality uptown (16:24)
  • (no) escape from '79 (15:14)
  • inside the analog continuum (15:48)
  • a pedant's progress (15:39)
september 2012 release ; ... mr. edwards’ work as ekoplekz has eluded me thusfar (despite trying in earnest to track down physical evidence of it on many, many occasions) ... this newly recorded (spring 2012) quartet of side-length extrapolations is something of a revelation ; rooted in the “live electronic” tradition (word is ... he does the whole thing in-situ w/ a scant assortment of table-top electronics) inasmuch as the early-mid-80’s uk wave (cabaret voltaire, 23 skidoo, this heat ... def. frames of reference here) ...

... of all of the artists currently mining the darker back-alleys of club-footed electronic music’s sordid past(s), this is arguably the best example of a perceived “nostalgia” for a thing (sheffield, ca. 1973-78) being firmly supplanted (again, purely contemporarily) by a present-tech stab at the same approach(es) ... the timbral densities & grid-locked pulsing(s) of this music, as it’s presented here, could really only have been done over the past few years (speaking purely in terms of the advancement of portable audio-production solutions) ; edwards is a str8-magician at weaving through portals of form, yielding a narrative arc that’s both momentum-pushing and/or halting ...

... one of my favorite records of the year thusfar, without a doubt ; highly recommended !!!
editions mego press release ::

emego 145 / nick edwards
plekzationz
cd

release date 04.09.2012

part 1: chance meets causality uptown
decomposed (in dub) at dromilly vale, march 2012

part 2: (no) escape from '79
escape velocity miscalculated at westerleigh works, march 2012

part 3: inside the analog continuum
gutter-broken at fountain square, april 2012

part 4: a pedant's progress
spontaneously combusted live in the zone, direct to 2-track tape, 25th april 2012

mastered and cut by rashad becker at dubplates and mastering, berlin, june 2012

initially inspired by industrial, dub reggae, krautrock, radiophonics and the nascent sounds emerging from techno, hip hop and ambient, nick edwards began recording experimental electronic music in his teens. using analogue synths and a basic home recording set-up, he unveiled his first (and until now, only) album under his own name on a self-released cassette in 1994.

then, following numerous obscure projects and collaborations under various guises, edwards eventually came to prominence as a music blogger, writing the influential gutterbreakz blog from 2003-2009. he then returned to music making with the critically acclaimed ekoplekz solo project, releasing work at a relentless pace across various labels, including punch drunk, mordant music, further, perc trax and public information.

for his debut emego release, edwards finally steps out from behind the ekoplekz mask, although (as the album title might suggest) the music contained within acts as both showcase for, and summary of, the sonic obsessions that have driven the ekoplekz sound over the past two and a half years.

working with primitive hardware and cassette four-track technology, edwards still draws strength from his formative influences (cabaret voltaire, king tubby, suicide, radiophonic workshop, etc) whilst striving to carve out his own defiantly raw, lo-fi, analogue identity.


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first in stock on
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threads:
live-electronic
electro-acoustic-composition
electro-acoustic-improvisation
machine-music
digital-musics
beat-research

 best of 2012 !!! 
editions mego (austria) #emego 145 lp

nick edwardsplekzationz” double long playing record set

  • chance meets causality uptown (16:24)

  • (no) escape from '79 (15:14)

  • inside the analog continuum (15:48)

  • a pedant's progress (15:39)
september 2012 release ; ... mr. edwards’ work as ekoplekz has eluded me thusfar (despite trying in earnest to track down physical evidence of it on many, many occasions) ... this newly recorded (spring 2012) quartet of side-length extrapolations is something of a revelation ; rooted in the “live electronic” tradition (word is ... he does the whole thing in-situ w/ a scant assortment of table-top electronics) inasmuch as the early-mid-80’s uk wave (cabaret voltaire, 23 skidoo, this heat ... def. frames of reference here) ...

... of all of the artists currently mining the darker back-alleys of club-footed electronic music’s sordid past(s), this is arguably the best example of a perceived “nostalgia” for a thing (sheffield, ca. 1973-78) being firmly supplanted (again, purely contemporarily) by a present-tech stab at the same approach(es) ... the timbral densities & grid-locked pulsing(s) of this music, as it’s presented here, could really only have been done over the past few years (speaking purely in terms of the advancement of portable audio-production solutions) ; edwards is a str8-magician at weaving through portals of form, yielding a narrative arc that’s both momentum-pushing and/or halting ...

... one of my favorite records of the year thusfar, without a doubt ; highly recommended !!!
editions mego press release ::
emego 145 / nick edwards
plekzationz
2lp

release date 04.09.2012

part 1: chance meets causality uptown
decomposed (in dub) at dromilly vale, march 2012

part 2: (no) escape from '79
escape velocity miscalculated at westerleigh works, march 2012

part 3: inside the analog continuum
gutter-broken at fountain square, april 2012

part 4: a pedant's progress
spontaneously combusted live in the zone, direct to 2-track tape, 25th april 2012

mastered and cut by rashad becker at dubplates and mastering, berlin, june 2012

initially inspired by industrial, dub reggae, krautrock, radiophonics and the nascent sounds emerging from techno, hip hop and ambient, nick edwards began recording experimental electronic music in his teens. using analogue synths and a basic home recording set-up, he unveiled his first (and until now, only) album under his own name on a self-released cassette in 1994.

then, following numerous obscure projects and collaborations under various guises, edwards eventually came to prominence as a music blogger, writing the influential gutterbreakz blog from 2003-2009. he then returned to music making with the critically acclaimed ekoplekz solo project, releasing work at a relentless pace across various labels, including punch drunk, mordant music, further, perc trax and public information.

for his debut emego release, edwards finally steps out from behind the ekoplekz mask, although (as the album title might suggest) the music contained within acts as both showcase for, and summary of, the sonic obsessions that have driven the ekoplekz sound over the past two and a half years.

working with primitive hardware and cassette four-track technology, edwards still draws strength from his formative influences (cabaret voltaire, king tubby, suicide, radiophonic workshop, etc) whilst striving to carve out his own defiantly raw, lo-fi, analogue identity.

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first in stock on
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threads:
psych-prog
analogue-synth
minimalism-drones
1970s-electronic
guitar-themed

 best of 2012 !!! 
spectrum spools (austria) #sp 014 lp

franco falsinicold nose” long playing record

  • cold nose 1 (10:30)
  • cold nose 2 (6:36)

  • cold nose 3 (15:32)
february 2012 release ; ... in perhaps the most apropos reissue move of 2012, emeraldsjohn elliott has here issued a picture-perfect version of this forgotten chestnut of italian home-school prog :: the debut solo album by sensations’ fix guitarist franco falsini ...

... right off the bat, the similarities to the multi-layered synth & guitar-echo stylings of emeralds are unmistakable ; not just the slowly unraveling tonal creep, but the whole laid-back, anthemic, pentatonic feel throughout ... much of the production & general sensibility remind me heavily of countryman franco battiato’s first few lp’s (especially “pollution” & “fetus”) ... but there’s a certainlonely,” late-night sound that recalls the “privatechamber music of luciano cilio as well ...

... very nicely done reissue, cut from the original master tapes ; highly recommended !!!
spectrum spools press release ::

sp 014 /  franco falsini
cold nose
lp

release date 20.03.2012

franco falsini is an italian musician and producer perhaps best known for his work with his space/prog rock group sensations' fix, who released seminal albums in the 1970s. his music was primarily crafted with impressive guitar technique (proven to be way ahead of his time), various synthesizers, and unorthodox recording methods to churn out beautiful experimental psychedelic sound.

cold nose was his debut solo outing, originally released on polydor in 1975 as a soundtrack to a film that has never been widely released and only seen by very few people. falsini applied many experimental methods to his recording process, including a mechanism borrowed from the bio-electronic meditation society, which would monitor his brain activity in the studio. only when his brain would produce alpha / theta waves would he begin to write and commit his music to tape. composed in three suites of spiraling and kaleidoscopic proto-ambient, psychedelic rock, falsini had created a masterpiece that today stands as one of the all-time treasures of the italian progressive music scene of the 1970's. throughout the recording we are treated to gentle washes of ems and minimoog synthesizers laced with floating guitar line melodies that break out into sky-high guitar leads. cold nose is a rare and gorgeous organic creation, glowing with colorful pulses and morphing algorithms.

spectrum spools is pleased to present the first pressing of the album in over 30 years, remastered by falsini to his specifications from the original tapes and cut to vinyl at dubplates and mastering, berlin.

original record jacket scans by devon dagworthy.

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first in stock on
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threads:
modern-composition
minimalism-drones
concert-recordings

 best of 2012 !!! 
frozen reeds (finland) #fr 001-2 cd

morton feldmancrippled symmetry: at june in buffalo” double compact disc set

  • crippled symmetry (1) (44:10)

  • crippled symmetry (2) (44:47)
august 2012 release ; ... finally available is this gorgeously presented (really ; it’s one of the nicest contemporary cd editions i’ve seen, on par w/ editions rz or col legno on a production / design scale) recording of feldman’s “crippled symmetry,” performed by the trio for which he composed it in 1983 ...

... it’s interesting to compare & contrast this 2000 recording w/ the one made exactly 10 years prior by the same musicians (the one featured on the hat artwhy patterns? / crippled symmetry” set) ; naturally, having lived inside the piece for twice as long the trio adopt a decidedly more nuanced stride from the onset, slowly unraveling the quizzical & vexing lines from the score at a more confident gait ... plus, personally, i love having the disc-break at exactly the half-way point in the proceedings (a real intermissions) ...

... this should be considered the definitive recording of this canonic late feldman work ; highly recommended !!!
frozen reeds press release ::

morton feldmancrippled symmetry: at june in buffalo

in 2000, eberhard blum, nils vigeland, and jan williams came together once more as the feldman soloists to perform crippled symmetry, the trio feldman composed for them, on the 25th anniversary celebration of the festival he founded. the recording of this concert is now finally available on cd, and is destined to become the reference release of this work.

required listening for all fans of feldman’s rich, hypnotic world of enigmatic harmony and mnemonic echo. mastered by denis blackham, and presented in a card package which unfolds to reveal the musiciansbutterfly-like arrangement on stage.

this turned out to be one of the best performances that we had ever given together. the rare and indescribable magic moment of occasion and ambience seems to have inspired us. the recording of the concert belongs to my most valued sound documents. when i listened to it for the first time, my immediate reaction was: this performance ought to be available on cd. now, ten years later, it is.

- eberhard blum


the feldman soloists:

eberhard blum (flute, alto flute, bass flute)
jan williams (glockenspiel, vibraphone)
nils vigeland (piano, celesta)

double cd set in slim card package.
catalogue number: fr1/2

all photographs used in the release are courtesy of: morton feldman papers, music library, university at buffalo, the state university of new york.

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threads:
beat-research
digital-musics
machine-music

 best of 2012 !!! 
editions mego (austria) #emego 143 cd

mark fellsentielle objectif actualité” compact disc

  • soa-1 (7:43)
  • soa-2 (8:43)
  • soa-3 (6:37)
  • soa-4 (7:19)
  • soa-5 (8:27)
  • soa-6 (10:14)
  • soa-7 (5:14)
september 2012 release ; ... posited as a series of “reworkings” of the sensate focus materials, this actually nestles somewhere between said & the reckless beatings of “periodic” era mark, with the trill-oriented aleatoric midi-mappings coming closer to an apoplectic ear-smatter than anything “club-ready” ...
editions mego press release ::

emego 143 / mark fell
sentielle objectif actualité
cd

release date 10.09.2012

this recording contains 7 remixes by mark fell of the first three 12 singles released on the record label sensate focus in 2012. these were called 10, 5 and 3.3.... the first of these, 10, was itself a reworking of materials from an earlier project by fell and terre thaemlitz, released on comatonse recordings in 2012.

the 7 remixes were written and recorded in june 2012 at the upper lounge, chatham street (uk) using a macbook pro running digital performer, fm8 (featuring manipulated dx100 and tx81z presets), battery and razor; monitored and mixed with sennheiser hd 25 headphones. here hand claps are constructed from the roland tr707 clap, two copies of which are detuned and panned hard left and right, with an additional yamaha rx11 clap 2 panned centrally; kick drums have been constructed with the roland tr707 kick 1 pitched up with bass content attenuated, overdubbed with samples from vinyl derived, it is assumed, from the roland tr909. two hi hats are used: the yamaha rx11 closed hat 1, and a sample from bassmental's 2 daye revisit (kerri chandler remix), released on nite grooves, 1994.

recommended contextual materials include: can you feel it (dubby dub marc kinchen remix) by chez damier, released on kms, 1992; hard to get by choo ables, released on e-sa records, 1993.

additional dj notes for playback synchronisation: track 1 has a tempo of 137 beats per minute with a rhythmic loop of 30 units each lasting 109.49 milliseconds. track 2, 126 bpm with 31 units each lasting 119.05ms. track 3, 113 bpm with 17 units each lasting 88.5ms. track 4, 128 bpm with 60 units each lasting 117.19ms, with inserted pauses of between 4 and 80 units. track 5, 128 bpm with 16 units each lasting 117.19ms. track 6, 128 bpm with 64 units each lasting 117.19ms. track 7, 125 bpm with 31 units each lasting 120ms.

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first in stock on
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threads:
digital-musics
beat-research
machine-music

 best of 2012 !!! 
editions mego (austria) #emego 143 lp

mark fellsentielle objectif actualité” double long playing record set

  • soa-1
  • soa-2

  • soa-3
  • soa-4 (1)

  • soa-4 (2)
  • soa-5

  • soa-6
  • soa-7
september 2012 release ; ... posited as a series of “reworkings” of the sensate focus materials, this actually nestles somewhere between said & the reckless beatings of “periodic” era mark, with the trill-oriented aleatoric midi-mappings coming closer to an apoplectic ear-smatter than anything “club-ready” ...
editions mego press release ::

emego 143 / mark fell
sentielle objectif actualité
2lp

release date 10.09.2012

this recording contains 7 remixes by mark fell of the first three 12 singles released on the record label sensate focus in 2012. these were called 10, 5 and 3.3.... the first of these, 10, was itself a reworking of materials from an earlier project by fell and terre thaemlitz, released on comatonse recordings in 2012.

the 7 remixes were written and recorded in june 2012 at the upper lounge, chatham street (uk) using a macbook pro running digital performer, fm8 (featuring manipulated dx100 and tx81z presets), battery and razor; monitored and mixed with sennheiser hd 25 headphones. here hand claps are constructed from the roland tr707 clap, two copies of which are detuned and panned hard left and right, with an additional yamaha rx11 clap 2 panned centrally; kick drums have been constructed with the roland tr707 kick 1 pitched up with bass content attenuated, overdubbed with samples from vinyl derived, it is assumed, from the roland tr909. two hi hats are used: the yamaha rx11 closed hat 1, and a sample from bassmental's 2 daye revisit (kerri chandler remix), released on nite grooves, 1994.

recommended contextual materials include: can you feel it (dubby dub marc kinchen remix) by chez damier, released on kms, 1992; hard to get by choo ables, released on e-sa records, 1993.

additional dj notes for playback synchronisation: track 1 has a tempo of 137 beats per minute with a rhythmic loop of 30 units each lasting 109.49 milliseconds. track 2, 126 bpm with 31 units each lasting 119.05ms. track 3, 113 bpm with 17 units each lasting 88.5ms. track 4, 128 bpm with 60 units each lasting 117.19ms, with inserted pauses of between 4 and 80 units. track 5, 128 bpm with 16 units each lasting 117.19ms. track 6, 128 bpm with 64 units each lasting 117.19ms. track 7, 125 bpm with 31 units each lasting 120ms.

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july 31st, 2013

first in stock on
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threads:
musique-concrète
field-recordings
modern-composition
minimalism-drones

 best of 2012 !!! 
recollection grm (austria) #regrm 005 lp

luc ferraripresque rien” double long playing record set

  • presque rien n°1, le lever du jour au bord de la mer (21:11)

  • presque rien n°2, ainsi continue la nuit dans ma tête multiple (21:37)

  • presque rien avec filles (13:54)

  • presque rien n°4, la remontée du village (16:00)
december 2012 release ; ... luc ferrari’s towering / canonicpresque rien(i.e. “almost nothing”) suite, issued here in its complete form on audiophile 45rpm pressings ...

... presented as a series of meticulously constructedfakeenvironments (the first, presenting a “fishing village waking up” is perhaps the most effective, presenting a seemingly banal series of non-events that unfolds in a hyper-realistic way over 20 minutes) these pieces are amongst the most conceptual & controversial work(s) to come out of the whole musique concrète school of thought (perhaps presenting said in its most logical incarnation) ...

... simply put, the contemporary, high-spec issue of this major / seminal work is a very big deal ; the p.t.b. over at the grm / emego really couldn’t have done a better job at re-presenting this suite w/ all of its original-era signifiers & aesthetics in tact ... highly recommended !!!
recollection grm press release ::

regrm 005 / luc ferrari
presque rien
2lp

release date 03.12.2012

digital transfer: jonathan fitoussi
cut by rashad becker at dubplates & mastering, berlin, october 2012
layout: stephen o'malley
translations: valérie vivancos
coordination grm: christian zanési & françois bonnet
executive production: peter rehberg
remerciements : brunhild ferrari, david jisse / la muse en circuit

presque rien1, le lever du jour au bord de la mer (19671970)
following the complete disappearance of abstract sounds, we can regard this piece as a sonic snapshot and the culmination of an evolution. this is a realistic rendering (as faithful as possible) of a fishing village waking up. the first idea of minimalism.

presque rien2, ainsi continue la nuit dans ma tête multiple (1977)
description of a landscape at night that a soundman attempts to define through microphones, but the night surprises the "hunter" and creeps inside his head. it then becomes a double description: the inner landscape transforms the outer night and by composing it, adds its own reality (a fantasy of reality) or, perhaps, a psychoanalysis of his 'nightscape'?

presque rien avec filles (1989)
within paradoxical landscapes, a photographer / composer is hidden whilst girls are having a sort of picnic on the grass. without being aware of it, they offer him the spectacle of their intimacy.

presque rien4, la remontée du village (19901998)
i always hesitated before releasing a presque rien. for instance, it took two years for the first one to come out and things went on this way. the fourth one, took nine years of hesitating. but here it is. perhaps because this is a real presque rien fake where reality and lies mix. this is the ascent into the old town of ventimiglia.


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threads:
musique-concrète
electro-acoustic-composition
1960s-electronic
1970s-electronic
minimalism-drones

 best of 2012 !!! 
recollection grm (austria) #regrm 004 lp

beatriz ferreyra / philippe carson / edgardo canton / francis régnier / mireille chamass-kyroutraces one” long playing record

  • beatriz ferreyra - l’orvietan (12:58) 1970
  • philippe carson - turmac (9:45) 1961

  • edgardo canton - i palpiti (7:59) 1966
  • francis régnier - chemins d'avant la mort (4:20) 1968
  • mireille chamass-kyrou - etude 1 (5:09) 1960
september 2012 release ; ... a simply stunning compilation of some of my personal favorite entre les fissuresmusique concrète pieces, each done by an early member or “visiting artist” to the grm during michel philippot’s, luc ferrari’s, bernard baschet & françois vercken’s, then finally françois bayle’s durations as director(s) ...

... selected by the grm’s christian zanési & françoiskassel jaegerbonnet, the goods on display here really can’t be beat ... starting with beatriz ferreyra’s epic 13-minute festival of overdriven vocal drones & crisp electronics “l’orvietan” straight through mireille chamass-kyrou’s crackly xenakis-esque bleep-pointillism masterpiece “etude 1,” it’s clear that a stab at providing an alternate chronology to the more storied work of the tried & true grm composers has been made (a tactic that, clearly, i can get behind) ...

... this series has exceeded even my already lofty expectations ; some of the finest music ever made, now available in boutique, perfectly executed editions with a great clarity in sound & image ... highly recommended !!!
recollection grm press release ::

regrm 004 / various artists
traces one
lp

release date 04.09.2012

digital transfer: jonathan fitoussi
cut by rashad becker at dubplates & mastering, berlin, june 2012
layout: stephen o'malley
translations: valérie vivancos
coordination grm: christian zanési & françois bonnet
executive production: peter rehberg

beatriz ferreyra - l’orvietan (1970)

work composed of two separate movements, the first drawing from electronic sounds, the second from concrete ones. these two sources do not meet, they equally tend towards sound antagonism and a complementarity of spirit.


philippe carson - turmac (1961)

this work was created from the sounds of machines of the stuyvesant factories (holland). three movements follow one another: first, the spell of rhythms and a build-up that gradually removes the listener from the mechanical reality. a more animated movement follows, full of contrasts. the third part is a long crescendo in terms of intensity, density and thickness, which results in a paroxysm.


the noise environment of the workplace is thus transposed, ennobled and magnified

- j. roy. 1961.



edgardo canton - i palpiti (1966)

for some time i thought that gaetano donizetti had written an aria called i palpiti… but apparently this is not the case. nevermind. this piece acquired an evocative value linked to the pleasure the music of this composer gives me. just like the fervent prima donna donizetian choirs, anything that lives, also pulses, shivers and quivers. these are the qualities of life i have tried to convey here.

- edgardo canton


francis régnier - chemins d’avant la mort (1968)

chemins d’avant la mort is one of the few works created by francis regnier at the grm, where he was technical coordinator. it is a short piece, composed as a gesture, a dramatic blast stretched between two sound lines rising from and returning to silence.


mireille chamass-kyrou - etude 1 (1960)

etude 1 consists in three sequences, the first two each develop a single sound object. the one that generates the first sequence is characterized by an asymmetrical crescendo-decrescendo and a material whose grain constantly fluctuates. the second sequence multiplies a sound object reduced to its attack in tiny elements divided into three zones that differentiate the overall density and size of the elements: giant molecules, more defined constellations and fine dust sound. they gradually condense in the third sequence as a kaleidoscopic stretto.


© 2012 recollection grm.
released in association with editions mego
courtesy of ina-grm.

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april 15th, 2014

first in stock on
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threads:
electro-acoustic-composition
beat-research
machine-music
minimalism-drones
digital-musics
plunder-phonic

 best of 2012 !!! 
pan (germany) #pan 33 ep

lee gamblediversions • 1994-1996” twelve inch single record

  • pandemonium institute
  • emu
  • m25 echo
  • razor

  • helicopter
  • digbeth
  • dti
  • 3,4 synthetics
  • dollis hill
  • rufige
october 2012 release ; ... pan debut from uk composer lee gamble, composed in a transformative, “musique concrètestyle solely out of snippets & fragments from “pirate radio” broadcasts during the o.g. mid-90’sjungle” era ...

... anexcellent record (both in concept & sound ; this really is one of the most well-produced sets of contemporary electronic music i’ve come across, done major justice via the high-spec pan treatment) ... one of the best records of the year, afaic ; highly recommended !!!
pan press release ::

lee gamble 'diversions 19941996' (pan 33)

'diversions 1994-1996' is made up entirely from samples from the collection of lee gamble's jungle cassette mixtapes. the audio has been subjected to analog and digital deformations, whilst trying to extract, expand upon and convey particular qualities emblematic of the original music. the effect is that of a musical body scan, all that is solid melts into air. sounds are unearthed, dissected on the operating table, melted and unlocked, evoking sonics not unlike the heavy dub processes of jah shaka and scion in a ina grm frame of mind or bearing a similar methodological approach with what explored mark leckey in his piece "fiorucci made me hardcore". it can be heard as a memory of a period of music and for some could work as a cued recall', which is a form of memory retrieval.

lee gamble started out as a teenager dj-ing on pirate radio and on the emerging jungle scene, however his own approach to music has taken a more experimental direction. exploring the outer realms of abstraction through digital synthesis / resynthesis, lee has described his current compositional process as: …the configuration of material (ex nihilo) via various digital synthesis methods, prompts further disfigurations and reconfigurations. what you then have left is often the detritus or debris of an idea. phantasms of both previous and current musical, pseudo-scientific and sculptural influences are manifest as new material abstractions, created from the digital blank canvas. this abstraction allows several interests to appear in the works simultaneously. he is a also a founding member of the uk-based cyrk collective and has curated/co-curated several cyrk events. he has also produced and curated three radio series for london based radio station resonance104.4fm and he continues to dj. lee has released his computer compositions on the entr’acte label and has collaborated with composer john wall and artists yutaka makino and bryan lewis saunders. 'diversions 1994-1996' e.p is is the beginning of a longer-term collaboration with pan which also includes a full length album later this year.

the 12" is mastered and cut by rashad becker at d&m. it is pressed on 140g vinyl which itself is housed in a silk screened pvc sleeve with artwork by kathryn politis & bill kouligas.

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february 25th, 2014

first in stock on
october 18th, 2012


threads:
electro-acoustic-composition
analogue-synth
musique-concrète
minimalism-drones

 best of 2012 !!! 
editions mego (austria) #emego 148.1 lp

robert hampsonsignaux” long playing record

  • signaux 1 (17:56)

  • signaux 2 (18:02)
october 2012 release ; ... first in a pair of lp’s from main’s robert hampson, showcasing his electro-acoustic work ...

... this one offers two pieces of impeccable analogue synthesizer mapping(s), composed for a multi-channel performance at a planetarium in poitiers last year ; on par with such keening high-frequency blasts of analogia as guy reibel’s “granulations-sillages” & pierre henry’s “mise en musique” this takes a decidedly lesswhiz-bang approach to the form, favoring a subtler, slow unveil of automated analogue stems ...

... awesome record, miles beyond the vast majority of what’s repped as “next-levelsynthesizer baptism(s) these days (in terms of pure timbral vastness & tightly controlled evolution) ... highly recommended !!!
editions mego press release ::
emego 148.1 / robert hampson
signaux
lp

release date 01.10.2012

analogue electronics system recordings
recorded and mixed at thirst

sleeve photography: grebo gray
layout: david coppenhall

mastered by rashad becker @ dubplates and mastering
dmm cut at optimal

after the percussions cd+dvd, robert hampson returns with 2 vinyl lps released simultaneously, but sold separately. on signaux hampson sets up a rich tapestry of needle like high frequencies and subtle bass spreads, expertly woven into two side long pieces.

signaux 1 is a 2 channel mix of a 8 channel diffusion at planétarium ecm mendes france, poitiers in 2012. whereas signaux 2 is a new composition, made specifically for this release. no computer manipulations are used. a computer is only utilized as a recording and editing device for the compositions.

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february 25th, 2014

first in stock on
october 18th, 2012


threads:
analogue-synth
guitar-themed
electro-acoustic-composition
minimalism-drones

 best of 2012 !!! 
editions mego (austria) #emego 148.2 lp

robert hampsonsuspended cadences” long playing record

  • suspended cadences (three) (20:01)

  • suspended cadences (four) (19:59)
october 2012 release ; ... first in a pair of lp’s from main’s robert hampson, showcasing his electro-acoustic work ...

... altogether a bit busier & noisier than its “signauxcounterpart, the two pieces here stem from “live in the studio improvisations on processed guitar & analogue synthesizer that recall roland kayn’s epic swarms of electronic light, slowly shifting across ancient sands ...

... killer stuff, not too far removed from the elegantsmall symphoniesrobert was unleashing during his main days ... highly recommended !!!
editions mego press release ::
emego 148.2 / robert hampson
suspended cadences
lp

release date 01.10.2012

improvised analogue electronics system and guitar recordings
recorded and mixed at thirst

sleeve photography: grebo gray
layout: david coppenhall

mastered by rashad becker @ dubplates and mastering
dmm cut at optimal

suspended cadences (released simultaneously, but sold separately as signaux) is a series of live improvisations for analogue electronics and guitar lasting a duration of 20 minutes each.

each performance is given a number and it can be based either in concert or the studio. two variations of the same theme are presented here. (three) is a majestic uplifting high velocity stormer of a set, which shows hampson’s improvising skills coming into full force. if (three) is the the upper then (four) could be seen as the downer, with its far more concentrated and inward looking affair. another worthy addition to his recent very busy canon of work. no computer manipulations are used in the performances. a computer is only utilized as a recording device in the studio environment to record a direct to stereo mix. the concert performances will not be recorded at any time.

this vinyl album features the first two studio based performance titled (three) and (four). previous concert performances have been:

suspended cadences (one) performed at instants chavirés, paris, october 27th 2011
suspended cadences (two) performed at le batofar, paris, december 8th 2011

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february 21st, 2014

first in stock on
march 27th, 2012


threads:
analogue-synth
modern-composition
field-recordings
electro-acoustic-composition
musique-concrète
machine-music
live-electronic

 best of 2012 !!! 
spectrum spools (austria) #sp 012 lp

head boggleheadboggle” long playing record

  • fluorescent star (1:48)
  • analog banjo (0:40)
  • harpsichord rococo (3:49)
  • digital disco (1:07)
  • moon age (2:31)
  • ambiantemusique (4:04)
  • dream diary (1:42)
  • basso profundo #9 (1:10)
  • big box of evil (3:09)

  • wassermusic (7:38)
  • ni (1:18)
  • europa astrobiology lander (3:31)
  • moon village valances (3:44)
  • serge demo and synthisized (1:20)
  • rain of crystal olivine (3:19)
march 2012 release ; ... very pleased to finally be able to present you all with a round, black object with derekhead bogglegedalecia’s music on it (he’s long overdue) ...

... rising from the ashes of the latter-day bay-area freaknik scene (best typified by caroliner’s grux’s regular “godwaffle noise pancakes” series ... in which, yes, audiences are treated both to a noise concert ... and waffles) derek has, over the last half-decade, somehow managed to defy the odds & shed his concept from any / all wackyconnotations, chipping & preening away at the raw, sometimes unfocused ice-block of his early energy-relatable concepts, growing them into an elegant, crystal swan of live, in-situ ems synthi, often de-tuned barrel-house piano, tape and/or “concrètecombination-ings ...

... right off the bat, the fidelity & spec on display here (even vs. the very recent spate of “automatic” -leaning issues on his own greedmink tape-imprint) is top-notch, trading in the hazy, ferrite-warped ranges for a stab at a transparent clarity that greatly benefits the music ; a catch-all of the exactunheralded” approaches to early electronic sound championed by creel pone et.al & an almost dada / surrealism-leaning sense of décollage ...

... when presented with the prospect of the spectrum spools canonization (let’s face it, john’s work in mapping this post-no fun universe of electronic musiciansis not too removed from an alan lomax / mo asch approach) derek did notturn tail and run” ; he delivered easily his most consistent & wow-oriented set thusar ... this is a killer record & should be of interest to anyone who’s currently reading this page, for one reason ... or another ... highly recommended !!!
spectrum spools press release ::

sp 012 /  head boggle
headboggle
lp

release date 20.03.2012

we are beyond excited to present you with the highly anticipated vinyl debut of the head boggle project. the world has been waiting for this day to come, and finally a full-length long player has arrived.

recorded at his apartment studio, "headboggle" is the manifestation of derek gedalecia's acoustic / electronic research utilizing the "kitchen sink" in every sense of the idiom: moogs, harmonica, banjo, harpsichord, irish harp, ems synthi, violin, drums, clavinet, serge modular, field recordings and more! what makes "headboggle" so special is the careful arrangement of sound, with painstaking attention to composition and sound direction. disorienting magic is a key trait of the head boggle sound, one which captivates and commands repeated inspection. like any great focused album effort, there is a narrative arc - from the introductory "flourescent star" with it's dizzying, fractured crackle and bizarre piano float to the tension packed, information-overloaded squabble and squawks of the "dream diary" and "europa astrobiology lander" tracks. "headboggle" is a dedicated and devotional effort - one with precision and prodigious vision.

equal parts françois bayle and tod dockstader in the best possible way, it's still hard to pin such a multifaceted talent to any kind of descriptor. derek has been honing his sound for years with loads of releases on almost every essential tape and cd-r label out there. here we have his finest set of compositions yet in hi-fidelity, tight and tediously packed, forming his most concise release to date. the head boggle debut has raised the bar for classical electronic composition with the greats, a feat of rare occurrence.

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 $4.68 

new to stock as of
march 6th, 2012


threads:
analogue-synth
modern-psych
electro-acoustic-improvisation

 best of 2012 !!! 
30% off !!!
greedmink limited (usa) #gm 21 cs

head boggleserge in dualmono • part two” c20 cassette

  • serge in dualmono • part two (1)
  • serge in dualmono • part two (2)
  • serge in dualmono • part two (3)

  • serge in dualmono • part two (4)
february 2012 release ; ... further explorations of a “vintage 4-panel serge modular system” recorded during fall / winter 2011 by derekhead-/-bogglegedalecia ...

... three shorter bits on the a-side ; essentially pairs of mono improvisations cut arbitrarily into a great stereoimage(many happy accidents !!! tons of confluence) ; a longer take on the b-side is allowed more room to sizzle, and that it does (unmistakable are the topologies of oscillator / filter unique to the serge systems ; quite elegant while easily attaining the gnarl of any number of cloistered, stinger-equipped insects) ...
greedmink limited press release ::

head-boggle serge in dualmono.

dualmono / split-channel pieces created on a vintage pre-sts serge modular system.

this is pt2 of the same session featured in the companion cassette on tusco/embassy.


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