rolf aamot “tonal image films • 1968-1991” compact disc

• actio (20:50) 1980
  
• kinetisk energi part 1 & 2 (9:09) 1968
  
• nordlys (10:05) 1991
  
• progress (8:02) 1972
  
• viisuelt (19:06) 1971

prisma press release...

rolf aamot: tonal image films 1968-1991 cd rolf aamot (b.1934) is a norwegian electronic painter, graphic artist, film director and tonal image composer. since the early 60s he has worked with the relationship between image and sound and he is regarded as one of the pioneers of audio-visual art in scandinavia. aamot has collaborated with artists and composers such as bjørg lødøen, arne nordheim and bjørn fongaard and his work evolution, made together with nordheim in 1966 was the the first time the television was used as a creative medium in norway. in the 70s and 80s aamot continued this work in electronic and digital paintings. tonal image films 1968-1991 documents for the first time rolf aamot’s and bjørg lødøen’s tonal images, the audio part to the tonal image films he directed between 1968 and 1991. the music consists of abstract sounds and movements from different electronic sources, interacting with pre-recorded and prepared acoustic instruments and human voices. prisma records is proud to present the previously unreleased but highly original music of rolf aamot for the first time. available on cd from november 2011.

oren ambarchi “raga ooty b/w nilgiri plateau” long playing record

• raga ooty
  
  
• nilgiri plateau
  
• raga ooty (slight return)

bee mask “when 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

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 drinq — sorrel, 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

brast burn “debon” long playing record

• debon (1) (23:28)
  
  
• debon (2) (22:28)

john cage / david tudor / yuji takahashi / kenji kobayashi “john 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)

em 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.

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)

em 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.

john cage / david tudor / toshi ichiyanagi “john 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)

em 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.

matt carlson “all moments” long playing record

• a moment
  
• raindrop garden
  
• field electric
  
• reality club
  
  
• a lock against oblivion
  
• standing wave
  
• all moments

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.

the compass rose “the simulation district” c28 cassette

• natural industry
  
• liquid expanse
  
• men who can’t eject pt. 1
  
• morning greeting
  
• phantom of lights
  
  
• advertise
  
• men who can’t eject pt. 2
  
• yellow palisades
  
• the simulation district
  
• telepresence persons

ekhein press release...

ek56-the compass rose "the simulation district" c28 sophmore release by duo the compass rose. rumored to have taken nearly a year to complete following a move back to the states, jack gilbert and company have finally returned with a new album of data and voice. whereas the focus of the previous compass rose release "the plough horse" concerned the totality of all things, "the simulation district" seems to aim it's sights on what doesn't exist, what is invisible, and what is inevitable... plans for a debut lp in the works.

philip corner “italian 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

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.

gregor cürten / anselm rogmans “planes” compact disc

• planes i (18:06)
  
  
• planes ii (18:10)

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

aaron dilloway / jason lescalleet “grapes and snakes” long playing record

• shattered capsules
  
  
• burning nest

pan press release...

aaron dilloway / jason lescalleet 'grapes and snakes' (pan 30) aaron dilloway: synth and tapes recorded at tarker mills, oberlin oh jason lescalleet: synth, tapes, and dell xps recorded and mixed at glistening labs, berwick me ‘grapes and snakes’ is the first collaborative work of two of the most respected american underground experimental/noise artists, aaron dilloway and jason lescalleet. using purely analog synths and tape manipulation, they build a foggy psychoacoustic mass that lies between dynamic yet patiently treated tape-music and industrial howl. jason lescalleet's sound world occupies a space between noise, contemporary composition, and minimal electronics. using decidedly primitive tactics and equipment (e.g. antiquated reel-to-reel recorders, damaged tape, etc.), his work focuses on extreme frequencies and microscopic audio detail. he's been a member of due process, performed and recorded with keith rowe, joe colley, jason kahn, john hudak, bhob rainey and greg kelley (both separately and as nmperign), and most recently graham lambkin in their breadwinner project which has yielded unprecedented and glorious results in the electroacoustic music of today. he lives and works in the state of maine. phenomenal live performer and recording artist, aaron dilloway utilizes magnetic tape, synths, contact mic growls, and various other electronics and evocative sounds to create experimental noise and electronic sets that tend to start with a slow burn and build to mindmelting climaxes of intense energy and catharsis. a very physical and versatile performer who has shared the stage and collaborated with a who's who in noise and experimental electronic sound, audiences tend to walk away from aaron's sets completely dumbfounded. he is a former member of the band wolf eyes, and currently also works with his solo modular synth project spine scavenger and an ever-changing cast of sound artists under the name the nevari butchers. the lp is mastered and cut by rashad becker at d&m, pressed on 140g vinyl and it is packaged in a pro-press color jacket which itself is housed in a silkscreened pvc sleeve.

jean dubuffet “expériences musicales de jean dubuffet (ii)” double compact disc boxed set

• dimanche (5:49)
  
• sollenités (3:34)
  
• pousse l'herbe (10:52)
  
• trotte matin (10:24)
  
• diligences futiles (4:25)
  
• aggravation (6:24)
  
  
• pleure et applaudit (11:29)
  
• bateau coulé (9:26)
  
• cris d'herbe (6:38)
  
• delibérants (5:39)
  
• aguichements (7:09)

rumpsti pumsti (edition) press release...

jean dubuffet expériences musicales de jean dubuffet (ii) rumpsti pumsti (edition) nummer 13 2cd-box collecting 11 pieces from jean dubuffet's 'expériences musicales' (recorded in 1961) for the first time on cd. including 32 page illustrated booklet with liner notes and texts by jean dubuffet and ilhan mimaroglu in english & french. jean dubuffet (1901-1985) was a french painter, sculptor, lithographer and writer. he was one of the main protagonists of 'art brut' (a term he invented in 1945). the musical experiments of jean dubuffet, recorded in 1961, form a set of 20 pieces. they were released the same year as a box containing six 10” vinyl-records in an edition of 60 copies. in 1991 nine of those 20 pieces were reissued on the cd "expériences musicales de jean dubuffet ou la musique chauve" (circé / mandala / fondation dubuffet). this new double-cd set, subsequently titled "expériences musicales de jean dubuffet (ii)", collects the remaining 11 pieces from the original box and thus makes the reissue of dubuffet’s musical experiments complete and available to the public again. as for the previous cd, the original master tapes preserved by the dubuffet foundation were used, and we have not tried to artificially ‘enhance’ the sound quality of these recordings. dubuffet’s music is contained as raw and uncompromising as he recorded it more than 50 years ago. we also decided to publish again the main text about dubuffet’s musical experiments written by himself in 1961, but it is here completed by ilhan mimaro lu’s account of his discovery of dubuffet’s music. the turkish composer, who lived in new york, was in contact with the artist since 1965 and helped a lot for the diffusion of dubuffet’s music in the usa. (from the booklet editorial)

nick edwards “plekzationz” 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)

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.

nick edwards “plekzationz” 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)

esplendor geométrico “1980-1981 prehistoric sounds • necrosis en la poya and more” triple seven inch single record and compact disc boxed set

• moscú está helado (3:46)
  
  
• unidad de control (2:34)
  
• horno fundidor (3:14)
  
  
• necrosis en la poya (4:04)
  
  
• p.i.e. (0:52)
  
• negros hambrientos (3:28)
  
  
• zyhra mansi (2:29)
  
• absoluta seguridad (1:50)
  
  
• bloques hostiles (1:39)
  
• dynamotron (7:15)
  
  
• pradillo 12 (4:28)
  
• el expreso de tistutin (6:13)
  
• final (3:28)
  
  
• moscú está helado
  
• unidad de control
  
• horno fundidor
  
• motores
  
• el obrero trabaja con alegría
  
• necrosis en la poya
  
• p.i.e.
  
• negros hambrientos
  
• zyhra mansi
  
• absoluta seguridad
  
• bloques hostiles
  
• dynamotron
  
• pradillo
  
• el expreso de tistutin
  
• final

geometrik press release...

esplendor geometrico 1980-1981 prehistoric sounds: necrosis en la poya and more box release date 2012-07-15 label geometrik ref.: gr2125 genres industrial available now! special deluxe edition, limited to 1000 numbered copies of a hard cardboard box set which includes three 7” singles (each with its own sleeve), a cd in slim cardboard sleeve, an 8-page booklet, and a card. it contains the first material recorded by esplendor geométrico between 1980-1981. one of the singles included their first demo, recorded after their formation, with three tracks of industrial-minimal-tecno pop among which is the well known “moscú está helado”. this demo was sent in 1980 to the german label ata tak, run by der plan, who chose “moscú…” for their legendary compilation “fix planet!”. the second single is a facsimile reissue of “necrosis en la poya”, originally released in 1981 and which already shows eg’s shift towards harsher industrial rhythms. finally, the third single includes four tracks recorded in 1981 soon after “necrosis…”. three of them are previously unreleased and were found recently on an old, lost reel tape. the cd includes the ten tracks from the singles plus another five extra tracks from the same period, originally released on the cassette “esplendor geométrico 1980-1981”. the 8-page booklet features texts, designs and period photos. all tracks have been remastered and the artwork is by juan carlos sastre, professional designer, founding member of eg and also author of the tracks lyrics (móscú está helado, negros hambrientos…).

esplendor geométrico “el acero del partido b/w héroe del trabajo” long playing record

• el acero del partido i (5:28)
  
• el acero del partido ii (7:21)
  
• el acero del partido iii (6:07)
  
• el acero del partido iv (5:23)
  
  
• héroe del trabajo i (7:21)
  
• héroe del trabajo ii (6:07)
  
• héroe del trabajo iii (5:23)

geometrik press release...

esplendor geometrico el acero del partido / héroe del trabajo lp release date 2012-08-28 label geometrik ref.: gr2126 genres industrial reissue on vinyl (limited to 700 numbered copies) of the first, and for many fans the best, esplendor geométrico album: an industrial classic from de eighties (1982). with the cover and insert of the original first edition! already devoid of aggressive lyrics and even titles for their tracks, the sound begins to acquire a personality of its own, not fully mature but with an astounding austerity nonetheless. repetitive litanies infected by impossible machine sounds, noisy buzzes, organized metallurgy and newscasts from the east europe, that glare by moments. a great classic!

franco falsini “cold nose” long playing record

• cold nose 1 (10:30)
  
• cold nose 2 (6:36)
  
  
• cold nose 3 (15:32)

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 1970’s. 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.

morton feldman “crippled symmetry: at june in buffalo” double compact disc set

• crippled symmetry (1) (44:10)
  
  
• crippled symmetry (2) (44:47)

frozen reeds press release...

morton feldman – crippled 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 musicians’ “butterfly-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.

mark fell “sentielle 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)

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.

mark fell “sentielle 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

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.

luc ferrari “presque 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)

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 rien n°1, le lever du jour au bord de la mer (1967–1970) 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 rien n°2, 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 rien n°4, la remontée du village (1990–1998) 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.

bernard gagnon “musique électronique (1975-1983)” long playing record

• gwendoline descendue! (1980-81)
  
• sea lunch (1979)
  
• totem ben (1983)
  
• improvisation (1983)
  
  
• dictée (1981)
  
• nous sommes tous des cré basile (1983)
  
• gololo-mashta (1975-1980)

lee gamble “diversions • 1994-1996” twelve inch single record

• pandemonium institute
  
• emu
  
• m25 echo
  
• razor
  
  
• helicopter
  
• digbeth
  
• dti
  
• 3,4 synthetics
  
• dollis hill
  
• rufige

pan press release...

lee gamble 'diversions 1994–1996' (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.

robert hampson “signaux” long playing record

• signaux 1 (17:56)
  
  
• signaux 2 (18:02)