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

... note that no new titles will be posted herein ; for all new arrival and restock activity please head over to the site linked above ...
previous record label:
 airport war 
there are 77 titles on alga marghen in stock.
they are listed below.
next record label:
 algamars 
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 $28.51

new to stock as of
july 22nd, 2014


threads:
sound-poetry
psych-prog
plunder-phonic
playback-music
electro-acoustic-composition
modern-composition

alga marghen (italy) #alga vocson87 lp

anton bruhin11 heldengesänge und 3 gedichte” long playing record

  • prolog
  • tember gordas
  • fonka gersu
  • argons tod am leman
  • signal
  • alwarts neigungen

  • naskan
  • tagorli froil
  • balgus ambambalgus
  • zichtels wunsch
  • gankwast
  • de mudge

    - drei gedichte 1
    - drei gedichte 2
    - drei gedichte 3
    - finale
june 2014 release ; ... originally issued in 1977 by the adolf hürlimann verlag as a double 10art edition”, this set of sound poetry (with errant harmonica and, oddly, trombone playing by radu malfatti) cut-ups (also, incidentally, recorded by bruno spoerri in zürich) has remained the most elusive of bruhin’s recorded output, now issued in its entirety via alga marghen’s vocson series ...
alga marghen press release...
a n t o n   b r u h i n
"11 heldengesänge und 3 gedichte"
(cat no. plana-b 25vocson087)
lp record

edition limited to 350 copies

11 heldengesänge und 3 gedichte" was privately published by anton bruhin in 1977 as a luxury 2x10" box. this unique and imaginistic sound poetry work has been issued on lp by alga marghen for the vocson series and is now available for distribution for the first time ever.

it's a sound poem which takes us into a medieval world of minstrels and errant knights, a phantasmagoria in text and sound. it is also a modern document of the not-yet-existing electronic sampling art in the 1970s.

anton bruhin wrote:

in the heldengesänge i conceived each hero speaking a different invented dialect and coming from a different fictional geographical region. i also wanted to give each hero his own music as a companion. i have used various musical materials and played a variety of instruments, but also taken parts from existing musics and manipulated them.

like an anthropologist anton bruhin presents this fictional culture inventing its language and music as well as drawing its objects… a hat, a cup, an arm, a flag, a wurst… everyday-life artifacts from an ancient time catalogued with scientific precision. in "11 heldengesänge und 3 gedichte", a masterpiece by anton bruhin, all is artificial and nothing is real… exactly like in our contemporary world.

edition limited to 350 copies, including a large lp-size folded insert with the full heldengesänge and gedichte texts as well as a selection of original graphic works.

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 $25.01

back in stock as of
july 22nd, 2014

first in stock on
august 23rd, 2012


threads:
sound-poetry
playback-music
plunder-phonic

alga marghen (italy) #alga vocson86 lp

ulises carriónthe poet’s tongue” long playing record

  • “hamlet, for two voices”
  • “aritmetica”

  • “three spanish pieces”
  • “poema”
  • “first spanish lesson”
  • “45 revoluciones por minuto”
august 2012 release ; ... fairly straight-forward set of late-70’s sound-poetry aktions from the proprietor of the “other books & soshop, all recorded at the instituut voor sonologie in 1977 (inc. the proto-plunder-phonic “45 revoluciones por minuto”) ...
alga marghen press release...
u l i s e s c a r r i o n

"the poet’s tongue"
(cat no. plana-c 24vocsona086)
lp record
edition limited to 270 copies

ulises carrión's audio works clearly reflect his passion for language, its structures, sounds and meanings. he greatly enjoyed grammatically dissecting languages and trying to understand and explore their structures. his many initiatives and projects bear witness to his boundless obsessions with communication and circulation of works and ideas as a cultural strategy.

this lp includes hamlet for two voices (1977) in which two voices read out the names of the characters in the shakespearean play as they appear in the script, audibly representing the structure of the roles the characters perform. poema (1977) orally represents the structure and spatial characteristics of a poem, by listing all its structural elements: words, paragraphs and verses, etc. the lp also includes aritmetica, three spanish pieces, first spanish lesson as well as the legendary 45 revoluciones por minuto, the grooviest track ever created within the context of conceptual art.

all pieces, recorded at the instituut voor sonologie in utrecht between september and october 1977, have in common their refusal of discursiveness. they are not meant to be true or beautiful. each piece is a series of vocal units that unfolds according to simple rules. their beginning and end are arbitrary – they could go on infinitely.

they should go on.
they go on.

first lp ever issued by ulises carrion who in 1975 created the legendary bookshop-gallery other books & so, the first space dedicated exclusively to artists’ publications such as artists’ records, books, magazines, postcards.

edition limited to 270 copies.

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 $28.51

new to stock as of
july 22nd, 2014


threads:
sound-poetry
electro-acoustic-composition
musique-concrète
playback-music
plunder-phonic
live-electronic
1950s-electronic
1960s-electronic

alga marghen (italy) #alga vocson85 lp

maurice lemaîtrepoémes et musiques lettristes et hyperphonie” long playing record

  • quattre lettries sur des themes rock

    - demos
    - soas seti sok e sepli
    - take diki dok
    - hh hh hh

  • lettre rock
  • epitre a tristan tzara
  • i wanna go home mister
  • marche des grands barbares blancs
  • salut a velemir khlebnikov
  • valse japonaise
  • l'equipee sauvage
  • improvisation
  • roxana

  • l'arrivee des lettristes a bruxelles
  • le depart des lettristes a bruxelles
  • l'alcove
  • l'ascension du phenix m.b.
june 2014 release ; ... a selection of recordings (some gorgeous / manic tape-collage & early plunderphonic experiments) ranging from 1953 to 1968 made by the lettrism architect, including his pieces from the 1971phonetische poesie” compilation, the “futura: poesia sonora” box on cramps, the “audio by visual artiststellus tape, and much more ...
alga marghen press release...
m a u r i c e   l e m a i t r e
poémes et musiques lettristes et hyperphonie
(cat no. plana-l 24vocson085)
lp record

edition limited to 240 copies

alga marghen proudly presents an exceptionally wild sonic art and poetry document, maurice lemaître poémes et musiques lettristes et hyperphonie recorded between 1952 and 1968.

what does lemaître contribute to the isouian poetic creation? what… music as background to “lettries”? these are heretic hyperphonies forming such a specific corpus in the lettric sphere. neither isou, nor pomerand, dufrêne, wolman, or spacagna achieved what lemaître did… lemaître dares the unthinkable: neo-yéyé rhythmic muzak destroyed by "lettries" disseminated with the biggest care.

one more treasure: the very "pop music" oriented lemaître with his "i wanna go home mister" blues, here in a version with a borderline insane companion: isidore isou. never a bluesman, thanks only to his irradiant genius, has ever been such a stoned sideman as isou.

this record includes an improvisation held at the museum of modern art, paris, 1961, in the context of a reading by isidore isou. also included on this lp is a previously unreleased torrid "concerto" titled "l'alcove" for a lettrist male chorus and female solo orgasms, followed by "l'ascension du phénix m.b.", a sound collage from 1967 (predating more than 10 years m.b. first primitive concrete music assemblages under the name sacher pelz). no need of yoko ono's loops for another "revolution 9"… one year before lemaître cuts the tape with a scalpel, leaving the cuts exposed: home revolution in between two manifestos and three hypergraphic paintings.

offer yourself the joy of listening to these recordings that alas lemaître, whose hearing stops  precisely at 250hz, can no longer have the pleasure to taste.

edition limited to 240 copies, with liner notes by frederic acquaviva and a fantastic front cover drawing by maurice lemaître.

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 $69.01

back in stock as of
july 22nd, 2014

first in stock on
february 18th, 2014


threads:
sound-poetry
printed-matter
free-improvisation

alga marghen (italy) #alga vocson74 book

bernard heidsieckpoème-partition x” book and compact disc set

  • poème-partition “x” (41:50) 1960
  • poème-partition “x” with/avec larry rivers (16:55) 1982
may 2009 release ; ... expanded edition of this seminal sound-poetry work, now issued as a 96-page book (printing the entire score !!!) with a cd tucked into the back cover ... includes a never-before-releasedimprov” version of the piece recorded with painter larry rivers on sax (just down the hall from jean tinguely & niki de saint-phalle’s studio, where tinguely had apparently served the two dinner consisting of “grilled meat, skewered on one of his rotating sculptures” - listen to the sound-sample) ...
alga marghen press release...

b e r n a r d   h e i d s i e c k
"poème-partition x"
(cat no. plana-h 1vocson074)
book + cd

edition of 350 numbered copies

"poème-partition x" was created by bernard heidsieck during 1960 and recorded in october the same year. a few excerpts of the 1st and 4th movements were performed on november 22nd, 1960 at the quatre saisons gallery in paris, during the festival of avant-garde art. "poème-partition x" might be considered heidsieck's first major work, whose duration (more than 40 minutes long) never allowed the author to give a public reading of it. its destination was a record (released by alga marghen in 1996, starting the vocson lp series, 36 years after its creation)!

alga marghen is proud to now present this new edition of "poème-partition x", extended to the cd format and included in a luxury 96 pages hardbound book, limited to 350 numbered copies. the book reproduces for the first time the complete score, a visual wonder and a major experimental printed work. bernard heidsieck memories of an historic lecture at the jean tinguely atelier is included as an introduction, as well as his testimony on ian sommerville and brion gysin's "dream machine". also on the cd is a lecture of extracts of "poème-partition x" accompanied by the saxophone of the american painter larry rivers. this recording from 1962 was not included in the lp edition and is here presented for the first time.

in august 1962, bernard heidsieck went with john ashberry, the american poet, to dinner at the studio of jean tinguely and niky de saint phalle. larry rivers had a studio in the same place and was also there. tinguely prepared grilled meat, skewered on one of his rotating sculptures. after dinner rivers returned to his studio and began to play, alone and for himself. he earned his living, at the time, by playing sax at an after-hours jazz club. so, while he was playing bernard heidsieck joined him in his studio and suggested that they do an improvisation together. something that heidsieck had never done before, and have never done since! larry rivers immediately accepted, and an appointment was set up at heidsieck home, for a few days later. august 6th, 1962. a dinner party was organised for the same guests who had been at tinguely's place and this unique 17 minutes improvisation was recorded, but untill now never released. it was, however, presented at the first fylkingen text-sound composition festival in stockholm in 1968.

luxury hardbound edition limited to 350 numbered copies.

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 $94.01

back in stock as of
july 22nd, 2014

first in stock on
february 18th, 2014


threads:
sound-poetry

alga marghen (italy) #alga vocson70 lp

françois dufrêne / guy schraenenoeuvre désintégrale” quadruple long playing record boxed set

  • crirhythme pour un double anniversaire dedicated to ginette and anouj (18:26) 1969
  • osmose-art: köchel que j’aime (9:37) 1969
  • osmose-art: le cheval lié à l’art rose (12:31) 1969

  • est-ouest (8:19) 1967
  • tête à terre et ventre au ciel (9:27) 1965
  • eryximaque suite choréographique au tombeau de pierre larousse (7:18) 1965
  • les joyeux sisyphe (7:40) 1976
  • sature, nain! (crirhythme) (7:05) 1974
  • cacochyme (crirhythme) (1975) 2:12
  • sature, nain! (crirhythme) (7:04) 1975

  • lecture-collage 1: la ressource du petit peuple & tenilom de jean molinet (18:57) 1965
  • lecture-collage 2: dit du vieux marin by coleridge (10:20) 1975
  • belles nuisances, hantez nos nuits (10:48) 1970

  • séquences (crirhythme) (20:26) 1968
  • comptinuum (extrait i) (2:07) 1958-1970
  • la guitare en long (8:57) 1969
  • postcryrhythptum (2:12) 1974
  • comptinuum (extrain ii) (10:57) 1958-1970
... deluxe 4lp boxed set (same form-factor as the recent “avant marghen” sets; a sturdy/screenprinted outer-box with 12” x 12” slices of foam holding the records - each with their own printed sleeve/inner sleeve - in place) offering a king’s ransom in classic 60s / 70s sound-poetry & voice/tape-manipulation studies by françois dufrêne - unyielding throat-scrape of as-yet uncharted dimensions ; highly recommended !!!
alga marghen press release...
f r a n ç o i s d u f r e n e
"oeuvre desintegrale"
(cat no. plana-d 19vocson070)
4lp boxset

edition of 345 copies

alga marghen presents one of the most impressive sound poetry anthologies ever published, introducing you to the sound works of the nouveau realiste artist francois dufrene. his work, along with that of gil j wolman and brion gysin, was a strong influence for experimental poets like henri chopin, bernard heidsieck and ake hodell.

françois dufrene could be considered the younger of the first generation sound poets. already in the lettrist group when he was only 16 years old, with his own style marked by an hyper-powerful voice. in 1953, at the age of 23, he became ultra-lettrist, starting his first crirhythms by overpassing the alphabet in the perspective of the physical improvised scream. with the crirhythms sound poetry enters for the first time in the factory of projective sounds. in the beginning dufrene uses the tape recorder only to document his creations. these recordings show him that through the tape machine his poems could reached deeper and wider creative dynamics. since the mid-1950s the tape-machine becomes for him a poetical and experimental tool and dufrene fully develops its potentials with stereophonic recordings as well as with the superimposition of his crirhythms. the loudspeakers amplifies sounds while the microphone captures even the most detailed concrete sound produced by his voice. the physical tempest he produces is a real concrete electronic sound attack. dufrene produced primitive, brutal poems opening the path of vocal sounds to contemporary composers: it's known that pierre henry was deeply inspired by dufrene. the anthology presented here includes 10 crirhythms from different periods dating from 1965 to 1976.

also included is "osmose-art", a long piece from 1969 divided in two suites where dufrene superimposes his crirhythms to classical music. a similar technique was applied a few years earlier adding jazz music (specially drum and percussion pieces) to poems marked by strong lettristic esthetic. two of those "lecture-collage" dating from 1965 are presented here, as well as two "comptinuum" from his early on-progress works started in 1958.

françois dufrene also developed unique performances, with live reading of his written text. the most famous is tombeau de pierre larousse, published in 1958. this is a work half way between the written text and the sound poem whose unity is achieved through dufrene performing it. it's a masterpiece of synthesis of active poetry. "eryximaque, suite choreographique au tombeau pierre larusse" is also included in this anthology.

apart from the crirythmes that henri chopin issued on his revue ou disc magazine (the complete ou anthology is available from alga marghen as a 4cd set) and a few short pieces issued on obscure sound poetry anthologies in the end of the 1960's, françois dufrene work is practically unavailable. this 4lp anthology, conceived by the same author and privately issued as a 3 cassette edition in the mid-1970s, includes only previously unpublished sound works that finally fully documents the creativity of such a radical artist.

de-luxe heavy boxset edition limited to 345 copies.

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back in stock as of
july 22nd, 2014

first in stock on
february 18th, 2014


threads:
sound-poetry
electro-acoustic-composition
1970s-electronic

alga marghen (italy) #alga vocson65 lp

gherasim lucatwo poems” long playing record

  • autres secrets de vide et du plein (17:16) 1971

  • crimes sens initiales (16:45) 1972
march 2009 release ; ... two pieces (both recorded at ems stockholm in april ; 1971 and 1972, respectively) by the romanian sound-poet gherasim luca ...

trance-inducing work, with luca overdubbing multiple passes of repeated text-fragments, resulting in swarms of bubbling voice-patterns in varying depths of complexity and clarity (listen to the sound-sample for one of the sparser passages) ...

yet another piece of the historic sound-poetry puzzle picked up & put in place by emanuele carcano’s alga marghen ; highly recommended !!!
alga marghen press release...
g h e r a s i m   l u c a
"two poems"
(cat no. plana-l 18vocson065).
lp record

edition of 385 copies

alga marghen proudly presents an lp edition including two experimental sound works by gherasim luca, created in close connection to sten hanson who invited the rumenian artist at fylkingen in the very beginning of the 1970s and made him discover the possibilities of the advanced ems electronic music studio of stockholm. the two recordings presented here are quite unique as they are the only poems by gherasim luca created through the use of electronic manipulations.

as henri chopin wrote some years later in his legendary "poésie sonore internationale" book, ghérasim luca made a big impression at the third stockholm festival in 1970. luca was born in bucarest in 1913. before leaving to israel he had a leading role among the roumanian surrealist group. he eventually moved to paris where he lived untill the end of his life in 1992. gherasim  luca work is very personal, giving his poems a very uncommon and ironic character. again henri chopin underlines that  "in his recordings, which are not many, he superimposes his very warm voice, marked by his roumanian accent; it's a sound wonder. in fact luca is not a sound poet. he is more a speaker who managed, without complex, to enter into the fylkingen studio vortex. on 4 tracks and with 32 loudspeakers, thanks to his superb voice and his instinctive knowledge of the electronic studio which amplifies words, he gives great pleasure to the listener, even if the latter can not understand french".

autres secrets du vide et du plein (april 1971) and crimes sens initiales (april 1972) were both recorded one track at the time on a 4 track tape and afterwards subjected to electronic treatments. they were recorded in sweden at ems and first performed at the 1971 and 1972 text-sound festivals of stockholm.

edition limited to 385 copies, also including the reproduction of a worderful drawing by gherasim luca on the front cover, a photo portrait of the author by gilles ehrmann from 1959 and an essay by henri chopin.

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 $19.51

new to stock as of
february 18th, 2014


threads:
1980s-electronic
plunder-phonic
modern-composition
guitar-themed
psych-prog

alga marghen (italy) #alga tes15 cd

monofonic orchestramusicdesign” compact disc

  • chips (5:31)
  • mi / 6 studi sull’ansia (6:36)
  • la / reprise (4:39)
  • telemania (12:45)
  • just another way (10:50)
  • short piece 1 (0:41)
  • short piece 2 (0:58)
  • short piece 3 (0:59)
  • short piece 4 (1:05)
  • short piece 5 (2:01)
  • short piece 6 (2:31)
  • short piece 7 (3:13)
  • my way (7:14)
december 2009 release ; ... neat disc of late-70s / early-80s music from one maurizio marsico, coming in amidst the era’s sardonic minimal-synth regime (the atatak & vanity reps below are on-par) & more “adultcompositional exercises ...
alga marghen press release...

m o n o f o n i c o r c h e s t r a
"musicdesign"
(cat no. plana-m 15tes.075)
digipack cd

monofonicorchestra is not a disc recorded in mono / is not ambient music / is not funky / is not experimental music / is not funny / monofonicorchestra is not avant-garde / is not pop / is not op / is not dada / monofonicorchestra is not fashion / is not hard-core / is not horror / is not frigidaire was writing maurizio marsico at 10h20 on wednesday, december 23rd, 1981.

a country: italy. several countries: italies. late seventies, early eighties. the ether of punk is in everyone's nose and disco virus invades even the most reticent legs. new-wave for sure rules the underground. neo dandyism attitude applied to the italian post-rock era; dolce vita with a dreamed revolution in the background.

united countries of italy! bologna and the confusional quartet, gaznevada, the stupid set. not to forget the naif orchestra from florence and all trans-borders adventurous navigators such as piermario ciani, vittore baroni (lieutenant murnau, trax), the members of the musical theatre magazzini criminali. the vivid eclecticism of the above mentioned is to be compared to the aesthetic manifesto of the atatak crew from düsseldorf (der plan, daf, tödliche doris, pyrolator). or the vanity label japanese explorers (tolerance, aunt sally, normal brain, bgm, rna organism). these bands were not leading the italo disco movement neither were they really punk or industrial nor waving cold-wave banners. they went off the industrial darkness adolescent like romanticism to assert humor, may it be black, as a revolutionary weapon throbbing over the ruins of radicalism.

it's getting cold in here. the dreams have moved toward conscious needs: the desperate hope of having fun. and so is the monofonicorchestra. the music of maurizio marsico is repetitive music. mi. la. short pieces 1, 2, 3, 4, 5,... every record marsico makes is a conceptual sequence of drawings. casual casio-jazz cartoon soundtrack like. there is nothing to decipher here, it's all given already, all referenced. the appearances are pleasant and you get trapped into the depth of some cynical easy listening rhizome where znr merges with steve reich and blue gene tiranny. indeed, it has something of the lovely music elegance.

first pressing limited to 500 copies with full color digipack sleeve. also including a 12 page full color booklet with original graphics, photos as well as liner notes by samon takahashi.

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new to stock as of
february 18th, 2014


threads:
art-punk
plunder-phonic
1980s-electronic
beat-research
digital-musics

alga marghen (italy) #alga tes14 cd

modern shitmodern shit will make you ill” compact disc

  • untitled (1) (3:22)
  • untitled (2) (0:29)
  • untitled (3) (3:31)
  • untitled (4) (0:10)
  • untitled (5) (1:59)
  • untitled (6) (0:38)
  • untitled (7) (1:25)
  • untitled (8) (0:17)
  • untitled (9) (1:50)
  • untitled (10) (0:40)
  • untitled (11) (2:13)
  • untitled (12) (1:08)
  • untitled (13) (0:42)
  • untitled (14) (0:35)
  • untitled (15) (1:46)
  • untitled (16) (0:56)
  • untitled (17) (2:25)
  • untitled (18) (0:34)
  • untitled (19) (5:11)
  • untitled (20) (0:56)
  • untitled (21) (0:54)
  • untitled (22) (2:38)
  • untitled (23) (0:33)
  • untitled (24) (0:04)
  • untitled (25) (3:04)
  • untitled (26) (2:26)
  • untitled (27) (0:58)
  • untitled (28) (1:53)
  • untitled (29) (2:40)
  • untitled (30) (2:03)
  • untitled (31) (0:05)
  • untitled (32) (1:49)
  • untitled (33) (1:08)
  • untitled (34) (3:15)
  • untitled (35) (0:57)
  • untitled (36) (2:30)
  • untitled (37) (0:53)
june 2008 release ; ... the “reissue(actually; those quotes are justified for once; this was never really available in the first place...) of amos & lepke b (the homosexuals) ’s modern shit tapes (remixes of by-the-hour production work the pair engineered in the early 80s) ...

this was previously only available in a pricey two-pack the the “artcoustics” book ; the disc now available by its lonesome. much linn-drum boom/bap, cut with plunderphonic audio snippets & tape-speed manipulations. kind of amazing, actually ; esp. given the time-period in which this music was executed ...
alga marghen press release...
m o d e r n s h i t
"will make you ill"
(cat no. plana-m 14tes.071)
digipack cd

edition of 500 copies

after surfacing briefly in 2007 in a very limited number of copies on slim-jewel-box together with the "artkoustics" catalogue, alga marghen is now proud to presents the final edition of modern shit, a very singular chapter in the amos/it's war boys/milk from cheltenham/homosexuals history. directly taken from the original it's war boys catalogue, here is one of the most obscure sonic works of the early 1980s, modern shit! first "issued" on tape (cat no. $21) this work circulated only privately among the close friends of the label and was never officially distributed. actually it represents one of the most intense and experimental outputs of this creative london period.

the idea was to create a contemporary "non-stop", vaguely in emulous contradiction to product by people like cerrone and biddulph (1970's disco queens). lepke and amos, the two minds behind this project (and 2/3 of the milk from cheltenham adventures), each constructed a half hour near-continuous non-stop using only the foulest materials. in those days they had their 8-track studio in a mouldy basement below brixton road, south london and they happened to occasionally record some awful wannabee pop bands. it was a truly horrible experience but with a good side. almost as soon as the idiots left the studio, lepke and amos would start re-mixing their music, often stealing and sticking it (suitably mangled) onto new tracks, the basis material for modern shit!

the cd is presented in a new digipack edition with full colour cover. final edition of 500 copies.

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new to stock as of
february 18th, 2014


threads:
free-improvisation
free-jazz

alga marghen (italy) #alga tes13 cd

quartettoorganic, playco 1969” compact disc

  • fattoria degli animali (9:34)
  • parodia della festa (7:00)
  • tubi sonori in scale (6:21)
  • disturbi di violino (10:12)
  • avanti! para babà (3:24)
  • babà-fui-pà (2:03)
  • pugno chiuso (12:05)
  • conchiglia (12:55)
june 2008 release ; ... late 60s ayler-esque euro free jazz/improv from this “quartetto” led by n.a.d.m.a.’s davide mosconi ... fairly full-on energy-blat ; ranging from surprisingly scrape-oriented spots (mirroring the later “new direction unit” recordings of masayuki takayangi - only sub in cello/violin for guitar) to dirge-tempo wail ... entirely impressive.
alga marghen press release...
m o s c o n i / g a r d e n g h i / c r i s t o f o l i n i / b o n o r a
(pre-n.a.d.m.a.)
"organic, playco 1969"
(cat no. plana-b 13tes.067)
digipack cd

the stable "quartetto" that pianist davide mosconi, saxophonist enzo gardenghi, percussionist marco cristofolini, and cellist and violinist gustavo bonora brought to life beginning in the late '60s constituted the core of what would, in the early years of the next decade, become the larger improvising ensemble nadma. the group was also an elegant and accomplished expression of the musical objectives of its members.

the rich yields that davide mosconi cultivated from his exploration of improvisation and the visionary creativity that revealed influences from parallel planes throughout his œuvre, originated in his formative years. in the life story of mosconi before the formation of the "quartetto", it emerges that his first musical affirmations arose as he was completing his studies as a photographer. mosconi furthered his training as a photographer in new york from 1964-68, including stints as assistant to richard avedon and hiro. prior to his definitive return to italy, he spent 1968 in mexico, a lengthy visit documented splendidly in his photographs. during his stay there, he may have been the first european musician to meet conlon nancarrow and encounter his music. from nancarrow mosconi learned the workings of the ampico player piano. only much later indeed, in the early '80s, when györgy ligeti championed his works, was this now-legendary american composer rediscovered internationally.

the "quartetto" represented, at last, a solid foundation with which davide mosconi succeeded in realising his own notion of improvisation, aided by musicians who shared his ideal of a continuous, fluid music and thus of a pliable expression that superseded the limits of existential consciousness. in 1968-69, the group launched an uninterrupted series of private events, studio sessions and live concerts at venues that ranged from offhand happenings to alternative clubs to concert halls.

it is possible to reconstruct rather faithfully the activities of davide mosconi's "quartetto" due to a vast amount of material documentation and a conspicuous number of archive recordings. the first recording sessions date from february 14, 1968, and from april of this same year, both made at the playco studio in milan and both featuring the lineup of davide mosconi, marco cristofolini and enzo gardenghi, with the additional presence of bassist giorgio buratti for the february recordings. the majority of these early playco recordings, however, date from various months of 1969 until october, after the group solidified its roster with gustavo bonora. in several reel tapes dating back to this era, the collective name is often given not as "quartetto", but, alternately, as "organic" or "organic orchestra", designations that foreshadow the "natural arkestra" moniker later associated with nadma.

if one excludes the live recordings from the auditorium san fedele and circolo lepetit concerts of november and december 1969, the best evidence of the musical art of the "quartetto" is found on the reel labeled "organic 1969 playco", heard in its entirety on the present cd. examination of the various tapes that document the playco sessions of 1969 show that this reel is the only one with any consistent identification of the titles of individual tracks, as well as the only one to show signs of careful editing, perhaps indicating intended use as a "demo". there are tracks that focus concretely on timbral resources and instrumental gesture ("tubi sonori in scale" and "disturbi di violino") and pieces that have decidedly parodistic moments ("parodia della festa" and the "diptych" of "avanti! para babà" and "babà-fui-pà"). at least two classics of the "quartetto" playlist are also to be found: the opener "fattoria degli animali", whose title manifestly evokes george orwell's dystopic novel, with its onomatopoeic sounds at the onset; and "pugno chiuso", the last of the pieces to be recorded and the one which gustavo bonora later called the purest emblem of the musical art of the "quartetto". this latter work is a perfect example of an enragé performance praxis that was then unparalleled in the italian improvised-music scene. the album's sign-off does not stem from the same sessions. it is instead an edited extract from the circolo lepetit concert of december 1, 1969, and as such is a most effective taste of the informal and symbiotic potency that distinguished the live "quartetto" experience: the merging of individual instruments into a unified whole.

this cd is included in a beatiful digipack full colour sleeve with photos and liner notes. also included is a 12 page booklet with an essay titled "before nadma: davide mosconi and the quartetto" by gabriele bonomo as well as the testimonies by enzo gardenghi and gustavo bonora.

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threads:
free-improvisation
psych-prog

alga marghen (italy) #alga tes10 cd

n.a.d.m.a.paura” compact disc

  • paura (7:39)
  • raga marco (14:23)
  • homage to amilcar cabral (13:04)
  • untitled (28:23)
  • 6-7-5 (8:32)
... extremely loose 1973 italian free-psych session, “led” by pianist davide mosconi ...
alga marghen press release...
n . a . d . m . a .
"paura"
(cat no. plana-n 10tes.060)
digipak cd

nadma was officially born between august and the beginning of september 1972 during the time spent in a little village in the tuscan-emilian apennines. the identity and musical orientation of the collective centered on the convergence of heterogeneous interests and sentibilities coming from avant-garde jazz experiences liberated by post-free curents, from classical studies, or from musicians also active as visual artists, who had cultivated an instrumental practice utilising spontaneous expression. all the group members assimilated and creatively incorporated the most progressive influences of afro-american music and the contemporary neo-avant-garde, but shifted noticeably in the direction of the contemplative and ecstatic vitality of non-european, especially african, musical cultures. the natural arkestra da maya alta was, and still is, known to a limited group of devoted listeners on the merits of the only record released by rca in 1973.

the group, which represented one of the most innovative entities among the collectives of improvisers active in those years, perfectly expressed its musical virtues in a limited number of periodic live events. the concerts took place mostly in milan during 1973-74. the cd starting this series, "paura", is named after the first track of the nadma concert at circolo lepetit in milan in march 1973, presented here in its entirety. in this concert, the very first live concert preserved on tape, nadma already performs a well-established repertoire, integrating and expanding upon the material of the rca lp.

davide mosconi himself documents the aesthetic and existential horizons of nadma in a typed text and handwritten notes presented here, which also include biographical data about all members of the group. the 16 pages booklet also includes and essay by gabriele bonomo as well as orignal documents and photos.

n . a . d . m . a . series

a history of improvised music produced in italy during the 1960s and 70s, or of creative music as at the time it would have been defined in order to incorporate all those experiences that pushed the improvisational practice of jazz toward buondaries closer to avant-garde music, would only be partially complete without a proper appreciation, and timely revaluation, of the nadma phenomenon and of the various groups which followed and preceeded this experience. nadma itself was born as an extention of a previous "quartetto", which was founded by davide mosconi and marco cristofolini in 1968 with the fundamental contributions of gustavo bonora and enzo gardenghi. the distinguished legacy of the group has been hidden from view to nearly everybody until now. the discovery and classification of the original reel tapes owned by mosconi enabled the compiing of a large group of recordings which traces the creative activities of the "quartetto", of nadma and of the various offsprings that followed. a complete series of cds will document those activities.

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threads:
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alga marghen (italy) #alga tes09 cd

jacques berrocalcatalogue” compact disc

  • catalogue (1:32)
  • maladresses (39)
  • no more dirty bla blaps (2:56)
  • poubelle (14)
  • tango (3:36)
  • incontrolâblslâöoo (1:16)
  • baghdadaprémidi (1:08)
  • rideau (1:44)
  • terminal 1 (1:28)
  • solo (55)
  • bien sûr (1:05)
  • faits divers (1:58)
  • friedrich trass (1:42)
  • signe particulier (2:52)
  • jonction (3:13)
  • r.a.s. (4:06)
  • néon (20)
  • vous venez de quiter le secteur quest des sources; des a present logez la partie septentrionale des mousses quie bordent la clariere profonde (28)
  • vous etes bien sur la partie septentionale des mousses qui bordent la clairiere profonde (48)
  • un generique (1:39)
  • no connexion (1:11)
  • lonely woman (4:21)
  • sin titulo dos (54)
  • time (1:14)
  • a satanic prayer (420)
  • 17h30 (51)
alga marghen press release...
jacques berrocal: (2), trombone (1, 15), toys (1), tapes (1), voice (3, 14, 16, 17, 21, 23, 24, 25), strings (4), brass (4), percussion (4, 16), toy piano (5), saw blades (7), metallophone (7), cornet (8, 13, 15), gargling (12), cap gun (12), plastic accordion (13), pocket trumpet (18, 19, 22), trumpet (20, 25, 26), electronics (20, 25), words (21, 23, 25), television (21, 23)
jacques remus (1): bathroom, shower, spice bread
daniel deshays: (2), background (12)
michel potage: voice (3, 14), dance (6), presenter/audience (8)
jean-françois pauvros: bass (3, 14), guitar (3, 14, 17, 24)
jean-pierre amoux: drums (3, 14, 17)
roger ferlet: strings (4), brass (4), percussion (4), trombone (8)
claude parle: accordion (5, 13)
georges berrocal: introduction/presenter/audience (8)
annick mevel: clarinet (8, 16), voice (13)
claude giverne: alto sax (8)
philippe jaquet: tuba (8)
gérôme boivin: violin (8, 13)
philip pochan: cello (8)
didier breland: guitar (8)
gaby bizien: drums (8)
mohamed: presenter/audience (8)
yves rochard: orchestrator/director (15)
erich dutertre: voice (16)
alain velluet: guitar, spatial sounds (16)
j. chance: alto saxophone (22)
j. willett: guitar (22)
r. anderson: bass (22)
m. evans: drums (22)
holly anderson: speaking (24)
jonathan kane: drums (24)

original release tracks (1-17) recorded by daniel deshays at marly etc. studios and a a music gandolfi studios in 1979, except (4), recorded by henry bussiere in february 1973

bonus tracks recorded: kranjska gora, slovenia, september 1983 (18); tallinn, estonia, april 2004 (19); paris, 1986 (20); new york city, march 1996 (21); baltimore, maryland, march 1996 (22); the riviera hotel, havana, march 2003 (23); new york city, april 1992 (24); the gromada hotel and the franciscan and visitandine churches, warsaw, february 2002 (25); the margé hotel and the umayyades mosque muezzin prayer, damascus, october 2002 (26)

edited by daniel deshays

original release produced by jean-loup passek

re-release produced by emmanuelle carcano
artistic direction by daniel deshays
photos by zaza estier, marion/guigon, christophe gillet, and michel potage

released in 1979 in a limited edition on his own davantage label, catalogue, with its overt theatricality is every bit as wild as the previous paralleles. not really jazz, not rock, having nothing to do with contemporary music either, catalogue is a kind of sonic postcard which features not the group of the same name but instead numerous berrocal associates including potage (co-founder of the davantage label in 1976), parle, ferlet, pauvros and recording engineer daniel deshays, plus many musicians from the french underground collective scene of the 1970s. not content with manhandling a toy piano on tango (which features mind-blowing accordion from parle), abusing an arsenal of instruments including saw blades, pistols, shower attachment and even gingerbread, berrocal pushes his own voice way over the edge on incontrolablslaooo and faits divers, moving from a 60-a-day smokers cough to a terrifying sequence of gargles and vomits. the grungy free rock of no more dirty bla blaps, the portsmouth sinfonia-like spoof dixieland of rideau, the distressing punk of signe particulier and all manner of fields recordings and cut-ups in berrocals artaudian theatre style, combining the excesses of glam and punk cold-wave to post-1968 situationist perspective. with the same creative attitude documented through the mythic davantage label (1976-1979) berrocal later accumulated an extensive archive of unreleased recordings, some of which finally surface now on this new edition. catalogue represents the most experimental and complex of berrocals records, as historical as contemporary modern, classic and at the same time as fresh and strange as if it had been recorded last week. during the same year steven stapleton frequently travelled to paris to meet jaques berrocal and discuss a possible collaboration. in 1980, berrocal travelled to london with his pocket trumpet and tibetan oboe and recorded with stapleton, heman patak and john fothergill on nwws second album, but thats another story."

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threads:
art-punk
lo-fi

alga marghen (italy) #alga tes08 cd

milk from cheltenhamtriptych of poisoners” compact disc

  • the man who cried (2:20)
  • where is the money to come from? (0:56)
  • mr. fridge (1:38)
  • international questionnaire (0:42)
  • what about air war (2:15)
  • do the ready can (2:07)
  • decisions (0:57)
  • snappy fingers (2:44)
  • the plan must rule (1:12)
  • el toro saldrà cuando suena el clarin (6:40)
  • our dictator (1:08)
  • invitation to action (2:56)
  • das elefantenkalb (4:01)
  • air - sound - light (1:36)
  • passport to happiness! (1:56)
  • triptych of poisoners (2:18)
  • krazy golf (2:10)
  • can a vacuum cleaner really work quietly? (0:50)
  • the geek (3:39)
timely reissue of this 1983 project/lp (originally released on the legendary “it’s war boys” imprint) featuring the homosexuals’ lepke b and xentos “fray” bentos. zonked uk diy art-punk of little compare. splendid.
alga marghen press release...
milk from cheltenham

triptych of poisoners

featuring:
victorr lounge
lepke buchwalter
salamander

producer:
xentos bentos

executive producer:
emanuele carcano

they've come together from the 4 corners of the world...

lepke is the man who does the impossible everythime he picks up a tin, carton, bottle or instrument. the first person with enough originality to adopt 'anything' to his own idiosyncratic style; still without peers in this world. retired to an obscure basement until the commercial success of the teaming with 'milk' brought him back full time' to music scene.

lounge makes rhythms that by this time need no words of praise with a wallop. that when felt, makes the usual praise words disintegrate, a mix of inestimable ability with feeling as wild as it is rare; this is probably the most compelling, impelling, propelling rendezvous of his talent on disc today.

salamander has that certain something that most people can never have even if they practice for an eternity. most important in his ~influence most endearing in his emotional impact and most convincing in his new found authority. usten him career around the bends and twists of 'crazy golf' where the rest of us would be just leaving the starting post. on this hearing he is a force to be reckoned with.

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threads:
plunder-phonic
musique-concrète
electro-acoustic-improvisation
sound-art
playback-music

alga marghen (italy) #alga tes06 cd

anton bruhinrotormotor” compact disc

  • orax (3:23)
  • lange töne (10:35)
  • versuchpilz 6 (10:13)
  • paul is 35 (9:44)
  • rotormotor (28:17)
alga marghen press release...
3 excerpts from the mc-10 zyklus

lange töne october 27, 1976 10'35"versuchpllz 6 april 16, 1977 10'13"paul is 35 april 4, 1977 . 09' 44"

ch-phon, tuning whistle, mouthharp, bell, piano, voice and other instruments.

recorded on 2 cassette recorders with loudspeakers.

1st layer: record music on cassette 12nd + 1st loyer: replay cassette 1 over loudspeaker, record simultaneously new music plus the music of cassette 1 on cassette 2 in recorder 2.3rd + 2nd + 1st loyer: replay cassette 2, record simultaneously new music and the music of cassette 2 on cassette 1 in recorder 1.
4th + 3,d + 2nd + 1st layer: same procedure reversed, ping-pong recording.the loudspeaker of the cassette-player has a narrow frequency range. the replay develops a loss of sound quality. the replay and the re-recorded layer sounds more muffled. than the new additional recorded music. the latest recorded layer sounds the most clear and present. i do not recall how many layers these recordings ares made of, it's difficult to make it out by listening, but there may be easily 6 or more layers.

a plane, seen from its side shows the shape of a line. the frontal view of a line shows the shape of a spot. the spatial impression (illusion) of a stereo replay is produced by the leftright panorama.

the spatial illusion while listening to a monoaural replay results of this line which moves away from the listener's position into the depth of space. the listener percieves it as a spot moving fore and back from his ears (that means brain).

another excerpt from the mc-i0 zyklus titled wochenwende, zurich, march 8, 1977, has been issued on anton bruhin's inout cd (alga morghen, plana-b 3tes.015, 1998)rotomotor ein motorisches idiotikon
zurich, written in 1976/77 28'17"

readingrecorded at etienne conod's sunrise studio. first issued in 1978 (sunrise lp 078-1962)

rotomotor is a poetic idiotikon of the swiss-german dialect.
(idiotikon = dictionary of dialect, idiom)
instead of the straight alphabetical order the words are here organised according to the similarity of their sound or rather their letters.
each word differs from the previous one by just one letter.
three possibilities result:- one letter is added.- one letter in cancelled.- one letter is replaced by a different letter.(sch, ch and a few other legatures = 1 letter)the choice of the word which follows the previous one was intuitively made.
rotomotor draws a winding path if compared to the straight alphabetical order. this path may ocasionally cross itself. if possible each word appears only one time; in a few cases a word may appear two or even three times.

in 1977 i read a 10 minutes excerpt of rotomotor during the radio program titled dichte® lesung 77. for this reading i used a delay equipment which repeated the signal after more or less 0.6 seconds. each new word is superimposed to the echo of the preceding word. on one hand this echo generates the rhythm of the performance, on the other it supports the acoustic metamorphosis of the words.

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threads:
psych-prog
free-improvisation
concert-recordings

alga marghen (italy) #alga tes05 cd

jac berrocalparallèles” compact disc

  • parallèles (8:29)
  • post-card (3:56)
  • galimatias (3:02)
  • rock’n’roll station (5:22)
  • bric - à - brac (24:14)
  • villa povera naturale (1:22)
  • shorten (1:44)
  • occupé (6:01)
  • lisylis pavillion (2:38)
  • cryptéa iv (4:24)
alga marghen press release...
jacques berrocal has been very active since the beginning of the 1970s. no one in france could mix jazz, improvisation, rock'n'roll, punk, no wave, spoken words and industrial music like him. he also had a central position in the creation of d'avantage, a collective record label that issued some of the most particular sessions of the mid-late seventies. at the same time he was working on never ending sessions for records that were never issued. jac and his band were the apostles of the non-urgency, enjoying recording in unusual situations, with no rules, improvising on undefined structures or using non-musical material mixed with ethnic instrumental solos.

in 1976 d'avantage issued a wonderful record lp titled parallèles featuring, among the others, bernard vitet, roger ferlet, pierre bastien, michel potage, daniel deshays, with the intervention of vince taylor, the dark diamond of rock'n'roll who inspired david bowie's ziggy stardust. just a couple of years later berrocal collaborated with steven stapleton to create the first nurse with would record lp.

parallèles features very different styles; acoustic solo and duo for trombone and cornet as well as a large ensemble 25 minutes long piece dedicated to the futurist russolo (again, two years later, mr.stapleton dedicated his first nww record to the same italian artist).

also to mention are 'post-card', recorded in a pigsty in 1976, and the legendary 'rock'n'roll station', a mini-concert for voice (vince taylor), double bass (roger ferlet) and bicycle (jac berrocal). the remastered cd also includes five previously unreleased tracks that were actually left out of the original record: 'villa povera naturale' (1972) is a short piece for pocket trumpet and various concrete elements; 'occupè' by michel potage is an excerpt taken from an lp that d'avantage never issued; 'shorten' and 'lisylis pavillon' are the first experiments using electronics and 'cryptea iv', taken from the sessions of the early futura lp.

thirty years later jacques berrocal is still there, where nothing is waiting for him, totally outside the rules, out of fashion thus indémodable. a digipack cd edition including a folded insert with very nice original photos and scores.

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first in stock on
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threads:
lo-fi
modern-composition
field-recordings
playback-music

alga marghen (italy) #alga taub7/8 lp

arnulf meifert / franziska meifert / marion myra meifert / klaus holzmannincredible familiar music • absolute relative music” double long playing record and book set

  • incredible familiar music (1)

  • incredible familiar music (2)

  • absolute relative music (1)

  • absolute relative music (2)
alga marghen press release...
-record 1-

m a r i o n   ,   f r a n z i s k a   &   a r n u l f   m e i f e r t
“incredible familiar music
issued by die taubnessel
(cat no. 07)
lp record
edition limited to 150 numbered

“our daughter marion myra is 13 now and in full puberty. looking, no, listening back she can’t identify with herself as a little child doing these recordings. but i can: a childlike joy in all that is moving and sounding inspired me since many years. so from time to time we took several objects, which are not used as instruments normally like lids of pots or toys, together with regular instruments like guitar and violin, flute and drums, african balafon and indonesian metalophon, not to forget the yamaha porta sound pss-190 from the garbage pail, in short: all what was suitable for several musical family encounters. the beginning of our selection (with the tiny top on battery basis which was done after that performance) and the end of it (me playing the violin the first time in my life) already lead to “absolute relative music (die taubnessel 8).

doing these recordings it really was “a child’s play” for two grown-ups and a three to nine year old kid, definitely marvelous, a work of fancy. following our subtle intuition, we just needed flair and empathy. so, i guess, equalizing the levels of sound intensity, your own noises like washing dishes or whatever, may just fit in while listening to our music. try it…”

arnulf meifert, hohengebraching, 2012

-record 2-

f r a n z i s k a   &   a r n u l f   m e i f e r t
“absolute relative music
issued by die taubnessel
(cat no. 08)
lp record
edition limited to 150 numbered
 
silence and deliberateness are luxury today. most relevant music now is speedy and noisy, fuel and gas for the rot-machine called modern civilization. all has become a style and is designed for a special audience. recording our musical pieces was just "fun", we had no intention, we will not repeat it. we had and have no ambition to be avant or post or what else. in fact i can't play violin or piano, i cannot read any notes. as a drummer, i'm an old-fashioned self-taught person and have no intention to change that at age 69. same thing with my wife franziska, playing guitar and flute quite a little... our music has no concept, no plan, no composition, it's all improvised and a form of communication and, as far as that, "primitivistic". music is communication, with others or oneself: you whistle in the woods or in a street at night when you're afraid, you shout with joy or squeak in your orgasm.

of course my few months with "faust" 1971 were a good apprenticeship after my drumming 60ies with all kinds of jazz and soul music. then for 35 years i had other things to do, with the exception of "panisches liederbuch" 1988 for the 50th birthday of günter brus.

on that afternoon in spring 2008, some years after we did “incredible familiar music, we had only a few hours before going to the movies. we put a very old recording machine on the table of our living-room, a tape-recorder so technically simple that you had to press the trigger all the time for moving "fast forward" or "rewind"... we began to play our first piece, then i had the idea to counterpoint it with a machine piece on tilo ettls apparatus and just went on with the a/b alternation of mechanical sound and unplugged music on several instruments, toys etc. till it was time to go”.

arnulf meifert, hohengebraching, 2012

the two meifert & family record lps (taubnessel 7&8) come as a 2lp set, also including a book by klaus holzmann, edited by arnulf meifert and including an essay by franziska meifert. the first anthology ever issued of drawings by this controversial artist, published by comme des filles in collaboration with das hohe gebrechen.

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threads:
modern-psych
outsiders-deviants
harsh-noise
free-improvisation

 best of 2009 !!! 
alga marghen (italy) #alga taub6.5 lp
die taubnessel (italy) #die taubnessel 6 1/2 lp

slashdeathkein mitleid” one-sided long playing record

  • kein mitleid (14:48)
december 2008 release ; entirely terrifying outing, the second release by the trio of kommissar hjüler, mama bär, and original faust drummer arnulf meifert ...

consider this the “goofus” pairing with “unrein bis zum abend / reise ins diesseits’” “gallant” ; after a long (and partly/largely hilarious) intro-loop (listen to the sound-sample), the trio break it down a bit via some lovely whisper / glockenspiel / guitarvibes” before the loop rears its ugly head, only to be replaced with a long section of remko scha-esque hammer-guitar (with errant breaking objects) before a kind of phased-out free-drum psych ushers us into ... the loop again ...

those in tune with the radiations emitting from the hjüler/bär kocmoc will understand ... the rest of you : this is a limited-to-115 lp, released on the new alga marghen sub-label die taubnessel ...
alga marghen press release...
s l a s h d e a t h
"kein mitleid"
(cat no. die taubnessel 6 1/2)
1-sided lp record

after completing the "unrein bis zum abend / reise ins diesseits" lp recordings, arnulf meifert decided to be available for the slashdeath project, this time under the direction of kommissar hjuler and in collaboration with mama baer. what resulted is a kind of death-metal-pastiche or -parody, spontaneously realized with nearly no instruments at all. quite noisy and primitive screams with percussive cymbal ostinato!

black cover with no info at all, except "slashdeath" print and hand glued title in plastic scotch lettering. edition limited to 115 copies.

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threads:
modern-psych
outsiders-deviants
free-improvisation
modern-composition
sound-poetry

alga marghen (italy) #alga taub6 lp
die taubnessel (italy) #die taubnessel 6 lp

arnulf meifert / kommissar hjüler / mama bärunrein bis zum abend b/w reise ins diesseits” long playing record

  • unrein bis zum abend (12:17)

  • reise ins diesseits (13:25)
december 2008 release ; first release by the trio of kommissar hjüler, mama bär, and original faust drummer arnulf meifert ...

... essentially two side-length text-sound pieces ; with meifert and mama bär reciting various texts (johann fischart, frenziska meifert, “the old testament,” “christian hate speech,” etc ...) over a bed of guitar, drums, “noises” and yamaha porta sound pss-130 (“out of garbage can, thanks alois!”) played by kommissar & arnulf ...

on a blind listen, i’d more likely assume this was some late 60s / early 70s wdr horspiel (mauricio kagel, etc ...) than anything contemporary ... whether this is the result of careful planning or a true artifact of this particular trio’s respective assembly-methods is not important ; the damn thing sounds amazing ...

further evidence of hjüler & bär’s inspired vision ...
alga marghen press release...

a r n u l f m e i f e r t
with k o m m i s s a r h j u l e r & m a m a b a e r
"unrein bis zum abend / reise ins diesseits"
(cat no. die taubnessel 6)
lp record

a record of extreme poetry and sound.

arnulf meifert was the first drummer in the legendary german group faust (he is only present on "faust", the first lp issued by polydor). later and for many years he was companion of vienna actionist guenter brus, whose 50th birthday was celebrated with the publication of the "panishes liederbuch" lp (the now mythical first lp issued by die taubnessel back in 1988).

for the recordings of this new project meifert met kommissar hjuler and his wife mama baer, also experimental musicians, but nearly two generations younger. they have been working together for just a few hours, so everything had to be totally improvised. nevertheless meifert brought some texts with him, fascinated by confrontations of word and music. these texts range from the old testament to renaissance artistry and christian hatespeech from the 20th century, ending with a modern guide for the voyage from death to rebirth.

the impressive and singular cover artwork was done by klaus holzmann, an upcoming austrian artist. two letters showing the discussion between meifert and hjuler after the meeting are also included. edition limited to 280 copies.

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threads:
musique-concrète
experimental-instruments

alga marghen (italy) #alga planoohm lp
planam (italy) #alga planoohm lp

michel vogelronde matutinale à amillis / berenice” long playing record

  • ronde matutinale à amillis

  • berenice
alga marghen press release...
m i c h e l v o g e l
"ronde matutinale à amillis / berenice"
……………….
(cat no. planoohm)
lp record
edition limited to 270 copies

planam proudly presents the second lp by the artist and sound sculptor michel vogel.

born in 1941 in strasbourg, france, michel vogel artistic activities start in 1960 when, as a painter under the materic influences of antoni tapies and jean dubuffet, his mineral and sound experimentations built a universe influenced by free jazz, extra-european music and olivier messiaen. his researches develop with new sculptures and the creation of his own resonating metal instruments. his friends of the minimalist group, and specially the fluxus artists, supported and pushed him to carry on his acoustics explorations while his sonic creations get closer to the music of john cage, philip corner, morton feldman and giacinto scelsi.

after the deep cosmo night music of “une petite music de nuit” (vogel first lp) planam decided to issue two more early-morning oriented realizations, or “ronde mattinale à amillis” and “berenice”. these alfa-wave improvisations for ‘prepared’ gongs and self-built metal instruments, selected in direct collaboration with the artist, will make you enter into luminous sonic dimensions.

edition limited to 270 copies with full colour space cover and inner sleeve.

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february 18th, 2014


threads:
experimental-instruments

alga marghen (italy) #alga planohm lp
planam (italy) #planohm lp

michel vogelune petite musique de nuit” long playing record

  • une petite musique de nuit (1)

  • une petite musique de nuit (2)
may 2009 release ; gorgeous lp of improvisations from sound-sculptor michael vogel, featuring two side-length pieces of rubbed / scraped metal & deep, gong-like sonorities reminding me heavily of the work of harry bertoia, christopher tree, and other storied seekers-of-the-beyond ...

comes in an outrageously good-looking full-color sleeve (rife with detailed nebulae) inside another full-color inner-sleeve ... mystical, and highly divine ...
alga marghen press release...

m i c h e l   v o g e l
"une petite musique de nuit"
(cat no. planohm)
lp record

edition limited to 300 copies

planam proudly presents the first lp by the artist and sound sculptor michel vogel. born in 1941 in strasbourg, france, michel vogel artistic activities start in 1960 when, as a painter under the materic influences of antoni tapies and jean dubuffet, his mineral and sound experimentations built a universe influenced by free jazz, extra-european music and olivier messiaen. his researches develop with new sculptures and the creation of his own resonating metal instruments. his friends of the minimalist group, and specially the fluxus artists, support and push him to carry on his acoustics explorations while his sonic creations get closer to the music of john cage, philip corner, morton feldman and giacinto scelsi.

for this first project planam selected, in direct collaboration with the artist, an improvisation for large size gongs "prepared" with metal rods, little gong, chinese cymbal, caoutchouc ball, titled "une petite musique de nuit". recorded live with no over-dubbing the night of january 18th, 2002. a very deep and alfa-wave oriented listening that will make you discover very intimate as well as stellar new sonic dimentions.

edition limited to 300 copies, with full colour space cover and innersleeve.

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february 18th, 2014


threads:
modern-psych
free-improvisation
lo-fi
guitar-themed
harsh-noise

alga marghen (italy) #alga planazaum lp
planam (italy) #planazaum lp

the no-neck blues bandlanguid red marchetti” long playing record

  • languid red marchetti (1)

  • languid red marchetti (2)
september 2009 release ; primal, grainysound imaging through improvisation” that ranks as one of the no-neck blues band’s first recordings, executed back in 1994 (believe this was back when excepter’s john fell ryan was still in the fold, along with dave nuss, keith connolly, et.al) ...

any qualms as to nnck’s appearance here amongst the hallowed halls of the alga marghen / planam catalogue were laid to rest as i set the needle in the groove ; this is straight grime-oriented free improv, recorded raw & in-the-red with many “harsh” blasts of feedback & dragging, claustrophobic string work (i’d forgotten how good these guys were early on !!!) ...
alga marghen press release...

n o   n e c k   b l u e s   b a n d
"languid red marchetti"
(cat no. planazaum)
lp record

edition limited to 340 copies<br>

recorded close to the group's inception in 1994, “languid red marchetti is the nnck sound in its empirical form, rhythmically a-linear and fundamentally abstract. while nnck would go on to become a seven piece performing group, recording and touring extensively, this recording documents a smaller group of four original members engaged in the hermetically sealed sonic exploration which best locates their aesthetic origins. 

from the group's statement on languid red marchetti: "a proto-intuitive latihan of feedback + pre-scaffold juxtaposition of layers which would come to constitute edifice, and eventually dwelling. where we would soon occupy this sound, it here was a force in and of itself, its directionless propulsion compounding into substance and landscape".

this deluxe edition planam lp comes with a nnck generated essay on sound imaging through improvisation and is packaged in a full color jacket depicting "the hypothetical dissolve / corruption + subsequent inevitable repetition of suprematism".

edition limited to 340 copies, with full-color cover, infra-suprematist inner sleeve and ultra-liner notes insert by keith connolly.


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threads:
musique-concrète

alga marghen (italy) #alga planarie nº 2 lp
planam (italy) #alga planarie nº 2 lp

luc ferrari / erik mvisitation” long playing record

alga marghen press release...
e r i k m & l u c f e r r a r i
"visitation"
…… …… …...
(cat no. planarie n°2)
1-sided lp record
edition limited to 350 copies

visitation, created on april 1st, 2011 is a very unique kind of collaboration between two french sonic artists, master luc ferrari and erikm.

here is erikm direct testimony about this new work: “when the sun set on april 1st, 2011 i heard through the windows of my house the repetitive song of a night bird. «madeleine» brought me immediately back to luc ferrari s electroacoustic piece «presque rien n° 2». i became curious about comparing the bird that was officiating in the garden of cap15 (in the north area of marseille) with the bird of «presque rien». my curiosity triggered the desire to play luc s piece in the acoustic space of my house. with my rudimentary recorder i moved inside and outside the house moving back and forth between both spaces. i played with the depth of field, the beat between these two birds separated by 34 years and immersed myself in these acoustic events. this ursprung or temporal klein bottle was recorded and edited in one single sequence shot”.

very hard to confront with one of the all-time masterpieces of modern creation as luc ferrari’s “presque rien n° 2… but listening to this piece you immediately get the impression of a prefectly accomplished work, published now on lp on your favorite label. so here is the first ever lp by erikm, elegantly released with “presque rien” iconic mouth picture on the sleeve; dedicated to brunhild ferrari and to natacha muslera.

edition limited to 350 copies.

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threads:
sound-art
sound-poetry
site-specific
guitar-themed
minimalism-drones
lo-fi

alga marghen (italy) #alga planamsnew lp
planam (italy) #planamsnew lp

vito acconci / new humansdisallow” long playing record

  • vito acconci / new humans - untitled (14:29) 2007

  • new humans - sympathy for the devil (6:18) 2007
  • new humans - waiting game (18:36) 2007
september 2009 release ; ... the first side here is a collaboration between storied contemporary artist / architect vito acconci & the new humans trio, wherein nh’s guitar feedback & panasonic-esque thump are augmented by acconci’s smutty text piece ...

on the flip there’s a good 6 minutes of crackle (at first i thought it was a pressing error !!!) somehow corresponding to godard’s film of the stones recording “sympathy for the devil”, then a good 18 of 60-cycle hum emanating from one of their amplifiers ...
alga marghen press release...
v i t o   a c c o n c i   /   n e w   h u m a n s
"disallow"
(cat no. new planams)
lp record

edition limited to 300 copies

disallow is an art-record presenting the recording of a collaborative performance by poet-artist-architect vito acconci and new york group new humans. taking place within the sculpture installation disassociate by artist mika tajima at elizabeth dee gallery, new york, the release also includes the complete aural components that were present during the exhibition and live performances.

for the public performances and private sessions within the exhibition, sculptures in the space were reconfigured to create divided recording spaces drawn structurally from jean luc godard’s sympathy for the devil, an experimental film documenting the contentious making of the rollings stone’s legendary song and its parallel politics. during this improvised public performance with new humans, vito acconci read permutations of text from a set of seminal audio works from the 1970s, recombining lines and phrases on the move against new human’s acute and minimally deadpan sonic and rhythm progression.

vito acconci has been a vital presence in contemporary art since the late 1960s; his confrontational and ultimately political works have evolved from writing through conceptual art, bodyworks, performance, film, video, multimedia installation and now architecture and design.

new humans is a new york-based noise band and moniker for artist mika tajima’s collaborative music, art, and actions. nh’s recent releases continue a working use of piercing drones, sheer static, and low bass frequencies. members are currently howie chen, mika tajima, and eric tsai.

the release also includes two subtle sound pieces by new humans that were the ongoing sound elements in the disassociate installation in which the performances and recordings occurred. the first, a popular song stripped leaving only the minimal register of static noise, it now resembles the anonymous crackling prelude of a vinyl record. the second, the humming drone produced by a guitar amp in waiting becomes substance without performance.

edition limited to 300 copies with full-color sleeve.

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december 10th, 2013


threads:
modern-psych
electro-acoustic-improvisation
experimental-instruments

alga marghen (italy) #alga planamsexmass lp

gol / mik quantius / dave nussbruxelles” long playing record

  • the flight is verdant and pink
  • every day is ok
  • my old langours, returning
  • are cradled on the air

  • in the secret shade
  • sexmas
  • freinds without a doubt
alga marghen press release...
g o l   /   m i k   q u a n t i u s   /   d a v e   n u s s
"bruxelles"
.. .. .. .. .. .. .. .. .. .. .. .. ..
 (cat no. planam sexmass)
lp record
edition limited to 300 copies

drinking belgian beer in a moisty cellar after an exhausting night might be the best situation to jump on the instruments that surround you and gig over and over again until you barely find the way to gather your legs together and improve the tricky exercise of wasted walking. this is what seems to have happened that frozen night of september 19th, 2009 when dave nuss (no neck blues band, sabbath assembly) wrung from his amolvacy concert and accompanied by mate mik quantius (embryo) accepted gol’s perverse invitation to pursue the darkness of brussels abusing of the aforementioned liquid.

warped and deep bass lines support the disturbed vocalisms and spontaneous words of mister quantius shaped by a shamanistic percussive nuss while the crispy electronics and whatsoever instruments by the french gol combo reach out for a "blues" extravaganza that says it all with lyrics such as "i have sex on christmas" or "tomorrow maybe not".

gollaboration no.5, recorded at 2 am by yann leguay. lp cover and insert with drawings by mattia denisse giving a hint of this twisted and skittish psychedelic must have.

one-time pressing edition limited to 300 copies.

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threads:
modern-psych
machine-music
live-electronic
harsh-noise
electro-acoustic-composition
electro-acoustic-improvisation

alga marghen (italy) #alga planamoussse lp

decimusdecimus #4” long playing record

  • decimus #4 (1)

  • decimus #4 (2)
alga marghen press release...
d e c i m u s
"4"
…..
(cat no. planamoussse)
lp record
edition limited to 250 copies

planam presents you the new pat murano solo project of abrasive atmospheric aggressions. founding member of no neck blues band, pat murano also established the k salvatore highly enigmatic duo in the mid 1990s together with jason meagher (also of nnck fame and more recently head of the black dirt studios) as well as the black malkuth beast.

decimus has existed as an entity for some years, privately kept secret in the abyss of new york darkest creation. available now in very limited quantities, decimus 4 is the sixth chapter of the decimus sodality, half way through the complete endurance.

and lo, at the cusp of the portal infinity eclipses the senses seret! satan! the golden calf was gilded here

synthetic meditations on the zodiac as envisioned by decimus magnus ausonius (310-395). sixth in a series of twelve decimus lps. silkscreened edition of 250 lps released by planam. “multis terribilis timeto multos”

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february 18th, 2014


threads:
contemporary-classical
electro-acoustic-improvisation
analogue-synth
experimental-instruments
free-improvisation

alga marghen (italy) #alga planamoffe lp
planam (italy) #planamoffe lp

instant coffee!instant coffee!” long playing record

  • don’t buy dope from strangers
  • clumsy dumpster
  • coming to with a gag on

  • dark garage
  • holy pot, holy can
  • at ypres more than 300, 000 died; killed more efficiently thanks to improvements to technology.
march 2010 release ; neat catch-all experimental instrument / electro-acoustic improv trio-date shared by renowned improv bassist lisle ellis (member of what we live & partner of paul plimley’s on many a recording), jaunties / dramatics / leprechaun catering member & megaphone proprietor jason willett, and matmos / phase chancellor’s martinm.c.schmidt ...

it’s a crunchy, aktion-heavy affair, with a grainy wash of mutant electronics being the only constant from piece to piece ...
alga marghen press release...

i n s t a n t   c o f f e e !
"instant coffee!"
(cat no. planaffe)
lp record

edition limited to 380 copies

a bizarre love triangle strung between the baltimore noise scene, contemporary electronics and the new york jazz world, instant coffee play improvised music which spontaneously assembles itself into song shapes that blossom, catch fire, explode and distort in ways that are unpredictable and disorienting.

a trio comprised of lisle ellis, m. c., schmidt and jason willett, the band members boast some unusually chequered pasts. lisle ellis in one of the foremost bassists in modern jazz, and having played with the likes of cecil taylor, fred frith and john zorn, he’s now exploring the electroacoustic combination of traditional jazz techniques with realtime computer processing. m. c. schmidt has been one half of the conceptually oriented electronic provocateurs matmos since 1997, and has made music with bjork, the kronos quartet, terry riley and zeena parkins; in this band he plays a perverse array of percussive objects and many recalcitrant synthesizers. jason willett is a baltimore veteran of avant and out music both on the fringes of rock and noise; he has been in too many bands to mention, but was a longtime member of half japanese and collaborator with jad fair, and also plays in harsh free noise ensembles such as leprechaun catering. in these sessions, jason plays contact-mic-ed rubber band and an improbable cluster of custom electronics created by noted baltimore instrument maker peter b.

you would expect the results to fall into a bermuda triangle between jazz, electronic music and noise, but in fact instant coffee’s sound rages further afield: unexpectedly lovely ambience, murky italian movie soundtracks, humid mirages of drone that take sharp turns towards rhythm, and a closing brush with mittel-european mournful lyricism. there are no noodly solos and no tedious, predictably looped grooves: this music stakes itself on a casually surreal series of dissolves from one form to another.

edition of 380 copies with hand printed coffee front cover.

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threads:
electro-acoustic-composition
musique-concrète
digital-musics
analogue-synth

alga marghen (italy) #alga planamkrk2 lp
planam (italy) #planamkrk2 lp

klaus röderkristallisationen 2” long playing record

  • frozen sounds (4:22) 2002
  • kristallisation 7 (14:37) 1997

  • kristallisation 5 (4:07) 1993
  • life-music 1 (13:42) 1999
march 2010 release ; second volume of klaus röder’s electro-acoustic music, here focusing on more contemporary work ... the opening “frozen sounds” is a nice blurt of grainy guitar static, and “kristallization 7” is a fine digital-concrète etude ... but i’ve got to hand it to “kristallization 5” ’s mix of “children’s chimes”, digital-fm timbres, and pointillist synthi-bleep (listen to the sound-sample) ...
alga marghen press release...
k l a u s   r o e d e r
"kristallisationen 2"
(cat no. planam krk2)
lp record

edition limited to 420 copies

planam proudly presents the second lp production by klaus röder featuring two more pieces from the electronic kristallisationen series, or kristallisation 5 (1993) for microphone recordings of children chimes (played by children), yamaha tx 802 digital synthesizer and ems synthi a analog synthesizer, kristallisation 7 (1997) for microphone recordings and computer sounds, as well as frozen sounds (2002) for electric guitar sounds and computer sounds and the more concrete life-music 1 (1999) for microphone recordings in the zoo of wuppertal, computer sounds and yamaha tx 802 digital synthesizer.

klaus röder is the archetype of the challenging challenger – the perfect outsider. nothing bad about it – true geniuses often are hiding behind their uncompromising ethic. "ethic in the attic" would define the home-studio work of this ex-kraftwerk banned banned banned auf die autobahn. the independent, time-stretching composer klaus röder is by necessity an inventor. systems, machines, treatments, everything is (hand)made to provoke, to induce a musical result not only technically superb but loaded with the author's intimacy: humour, sound elements of a private life, a kid giggling,... indeed a highly emotional and poetical approach.

klaus röder mixes and plays with outside influences – cut-up, musique concrète, psychedelia, plunderphonics, pop, even blues! – in order to create a patchwork-like but coherent corpus over nearly 40 years of compositional activity. his music blends the warmth of strings and of humanity with the icy matter of electrical components and seems to have just one borderline: that of our ears.

edition limited to 420 copies with full-color sleeve.

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threads:
electro-acoustic-composition
electro-acoustic-improvisation
musique-concrète
analogue-synth
experimental-instruments
digital-musics
plunder-phonic
1980s-electronic

alga marghen (italy) #alga planamkrk lp
planam (italy) #planamkrk lp

klaus röderkristallisationen” long playing record

  • zehn zu elf zu zwölf - 10:11:12 (10:48) 1980
  • kristallisation 4 (10:14) 1991

  • hänschen blues (3:59) 1993
  • potpourri (13:21) 1985
may 2009 release ; first in a pair of lps from alga marghen issuing archival materials from german electro-acoustic composer klaus röder, ranging from over a 15-year period ...

i came across röder’s two 70s self-issued lps a few years back & was completely floored ; his “crystallisations(extensively edit-oriented musics, often using a single sound-source) display a kind of micro-assemblage prowess that pre-dates the likes of squarepusher et.al by a few decades (seriously, the rhythmic scale of some of that stuff is almost hard to believe) ... not knowing much about röder, i was surprised to learn that he was the guitarist on kraftwerk’s “autobahn(briefly touring with the band that year before rolf & florian cleaned house & hired wolfgang flür & karl bartos) ... what a life !!!

the four pieces here range from minimalpulse generator” studies (listen to the sound-sample ; excellent) to karplus-strong heavy mutating digital-fm-synth glorp, to basil kirchin-esquevoices of childrenconcrète to a lengthy plunderphonicisation of 70s & 80s german pop music ...

comes in a photo-collage sleeve with three separate inserts, reprinting his sketches & graphic scores ...
alga marghen press release...

k l a u s   r o e d e r
"kristallisationen"
(cat no. planam krk)
lp record

klaus roeder is guitar virtuoso an electronic music artist who studied with kelemen and joined kraftwerk for their famous "autobahn" lp.

he often works with very small sound particles, whose sound comes from different sources like tearing paper, the voice, a musical instrument, synthesizer or computer sounds. sound structures are built by joining together those sound particles and by mixing those structures roeder forms chords. then the process of crystallization begins. usually crystallization means that small parts are deposited around a germ and form a growing crystal. the shape of the complete crystal is a consequence of outer influences. a series of sound crystals forms then the complete musical composition.

side 1 presents two electronic music works: "10: 11: 12" (1980) for self-built impulse generator is an obscure, very minimal and abstract pulsating piece, while "kristallisation 4 (1991) for computer sounds and yamaha dx 802 might be considered one of the peaks of klaus roeder "kristallisation" series. side 2 introduces us to a different formal result of roeder crystallisation process: the short "haenschen blues" (1993) for children singing and crying, yamaha tx 802 controlled by selfmade programs for atari st is a both playful and sinister electronic assemblage anticipating the peak of this record, "potpourri" (1985) a collage of short sound particles from german pop hits of the 1970s and 1980s. in the perspective on sound collages (from battiato "ethika fon ethica" to bladder flask first lp, from nww most surrealistic works to john oswald classic plunderphonics) "potpourri" might be more close to the brut masterpiece "inout" by anton bruhin, only constructed in a more advanced and scientific way.

edition limited to 300 copies, also including a series of inserts with the diagrams and schedules of the 4 compositions presented on this lp.

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new to stock as of
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threads:
musique-concrète
modern-psych

 best of 2010 !!! 
alga marghen (italy) #alga planamk6 lp
planam (italy) #alga planamk6 lp

k-salvatorethe kermes infestation” sextuple long playing record boxed set

  • quartz wisdome (1)

  • quartz wisdome (2)

  • undo the pipes of norseland (1)

  • undo the pipes of norseland (2)

  • the bread of affliction (1)

  • the bread of affliction (2)

  • the hotel of power (1)

  • the hotel of power (2)

  • alpha trinidad (1)

  • alpha trinidad (2)

  • gratis (1)

  • gratis (2)

alga marghen press release...
k - s a l v a t o r e
"the kermes infestation"
……2
(cat no. k planam 6)
6lp record box
edition limited to 145 copies

planam proudly presents k-salvatore the kermes infestation 6lp box masterpiece. this is the first ever available edition as the elusive self published triple tape on sound@one was originally released in 1996 in an invisible edition of just 10 copies. pre-dating the glorious four impossible puns” double lp on siwa these recordings represent one of the most solid and estreme accomplishments in a parallel to no neck blues band early era universe.

k-salvatore is the enigmatic entity created by no neck blues band founding members pat murano (decimus, key of shame, malkuth, raajmahal, kelippah records) and jason meagher (black dirt studio and records).

during the summer of 1995, k-salvatore purchased 10 copies of an instructional audio cassette package on remainder at a local barnes and noble. the group then endeavored to replace the originally contained instruction with their own. over the course of the remainder of that summer, jason meagher and pat murano met once a week to record six continuous improvisations. one for each side of the package. once completed the 10 copies were distributed amongst friends and family for study.

akin to a 5+ hour kidnapping ordeal that culminates, not with freedom restored, but instead disembowlment in a sad man's bathtub.

available now on 6 lps with individual silkscreened sleeves in a hand colored and silkscreened heavy box, in a numbered edition of 145 copies only.

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new to stock as of
december 10th, 2013


threads:
plunder-phonic
digital-musics
electro-acoustic-composition

alga marghen (italy) #alga planami lp

giuseppe ielasi / andrew peklerholiday for sampler” long playing record

  • yalta
  • ribadeo
  • parghelia
  • neringa

  • vegas
  • olgino
  • oga
  • yallingup
  • maly losjin
alga marghen press release...
g i u s e p p e   i e l a s i   /   a n d r e w   p e k l e r
"holiday for sampler"
……………………
 (cat no. )
lp record
edition limited to 250 copies

in april 2011 giuseppe ielasi and andrew pekler met for a three day recording session at pekler’s studio in berlin. in a comfortable atmosphere and with a minimum of preparation, the two artists endeavored to find common musical ground through their shared interests in sample manipulation, layering the texture and improvisation. some months later ielasi auditioned the recordings and then mixed down his favorite passages. to a few of these selections pekler then added an overdub or an edit, but for the most part “holiday for samples is a document of real-time interaction.

the title holiday for sampler and the holiday resort names of the individual track titles (side a: yalta / ribadeo / parghelia / neringa. side b: vegas / olgino / oga / yallingup / maly losjin) are an oblique reference to both the pleasures of leisure travel and to the interplay of the familiar and the foreign, themes at the center of ielasi’s and pekler’s artistic practice.

one-time pressing edition limited to 250 copies, mixed and mastered by giuseppe ielasi and with cover artwork by andrew pekler.

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 $25.01

new to stock as of
february 18th, 2014


threads:
modern-psych
electro-acoustic-improvisation
free-improvisation
modern-composition

alga marghen (italy) #alga planamesm lp
planam (italy) #planamesm lp

dendoshidendoshi 2” long playing record

  • dendoshi 2 (1) (16:55)

  • dendoshi 2 (2) (18:07)
december 2008 release ; controversial first evidence of a one-off meeting between raymond dijkstra, timoaf ursinvan luijk, and the no-neck blues band’s dave nuss & keith connolly ...

first, in raymond (and timo)’s words ::

the record dendoshi 2 was released without the agreement or even without the knowledge of raymond dijkstra and timo van luijk.

i completely distance myself from this release, which goes against everything i stand for artistically.

in 2006 we, (van luijk and i) met dave nuss and keith connolly of the no neck blues band. they told us they were in a creational gap, and were eager to work with us, to find new creational pathways. end 2006 we played two times. end 2008 i got an email from them a 'dendoshi' record was released on planam. they had without agreement (of van luijk and i) given permission to publish the music, and have applied a theory to the music, a theory which was not involved on any given moment of the project. (in reality, the music was totally improvised on a fully equal basis.) the fact alone that they bring it now as if the music was based on this theory, i find it artistically fake, and without any artistic integrity.

i believe in artistic purity. it is either the truth, or a fraud. unfortunately, the record dendoshi 2 is a fraud, since the theory applied to this music is a lie. which makes the release and the whole project without any artistic value. this is the reality in which this release must be seen.

i have never given permission to release this music  in this physical form. and i don't have any artistic connection to the theory as now applied to the music. moreover, it goes against everything i stand for artistically.

the fact that nuss and connolly have given permission to release this music without our permission, and applied a fake theory to it, proves that they are without any artistic integrity. i can only feel sorry for them, and distance myself completely from this music release.

raymond dijkstra, january 2009
co-signed by timo van luijk.

then, alga marghen / planam organizer emanuele carcano’s statement ::

i send you this email to let you know that the planam responsible do not agree with the contents concerning the dendoshi2 edition as presented on the email you received from raymond dijkstra and timo van luijk.

planam would have appreciated the group to eventually inform the publisher about their decision to send out a pseudo-official communication. as a matter of fact planam did not receive this same communication from a part of the group and would like to underline that he consider this action a very unprofessional one.

as a publisher i will not enter the eventual problematic dynamics of the group.

sorry for this misunderstanding. i will keep you updated about this matter. at the same time i send you my positive feelings about continuing working on the distribution together.

very best regards. planam

nuss and connolly have yet to issue missives ...

all of this aside, let’s assess this edition on the merits of the music played / contructed / presented here ... personally speaking, i think it’s excellent ; there’s a focus and attention to detail often lacking from the no-neck axis’ myriad shadow-outings ... dijkstra’s woozy pump-organ styling act as a leitmotif throughout ; a solid precipice scaled by the other members of the group, each leaving their respective spike-prints via haphazard guitar / percussion / electronic augmentation ...

lp comes in a gold-ink sleeve, with connolly’s “fake conceptlogo on the cover, along with a pack of four photo-stills, some involving known iconography (vermeer’s “girl with the pearl earring,” for example, apparently from timo’s basement) , each emblazoned with, again, connolly’s cryptic symbol ... completely lovely ; the armchair enthusiast of any/all involved parties will immediately see the merits here, despite 1/2 of the creator’s misgivings ... highly recommended !!!
alga marghen press release...

d e n d o s h i
"dendoshi 2"
(cat no. planamesm)
lp record

dendoshi is keith connolly (no neck blues band), raymond dijkstra (asra), dave nuss (no neck blues band) and timo van luyk (af ursin, in camera). dendoshi: "he who comes to propagate the ceremony" or "missionary" (japanese). there had actually been a previous incarnation of dendoshi (hence dendoshi 2), which was a large group performance in new york which concentrated on elucidating the memories of a dead tree which had been re-contextualized as a sculptural exhibit.

some thematic reference: the name "dendoshi" originates from the work of japanese filmmaker kyoshi kurosowa, whose films also inspired the content of the first performance. when the opportunity presented itself for connolly, dijkstra, nuss and van luyk to come together to make a session, it was the perfect opportunity to realize dendoshi not as a one-off performance on a theme, but as a recurring ritual in development. the resulting music widened the conceptual reflection of the band, bringing to mind the history and ideas of franz mesmer. mesmer, the eighteenth century austrian spiritualist healer, was among the first to put forth the theory of what he termed "animal magnetism", regarding a universal fluid which permeates all matter and can be influenced by the will, not dissimilar to some of eliphas levi's concepts. what seemed to set mesmer apart was an attention to mood and atmosphere, an aesthetic component to what were scientifically quite dubious theories, which lent to his work an aura of portent - thus the parallel with the music captured as dendoshi 2. reflecting the qualities that all four musical sensibilities had in common, the album is a statement upon the ephemeral nature of atmosphere and will, and the relation of reverie to oblivion as opposed to ecstacy.

the symbol, or mark on the front cover created by connolly came intuitively and without revision. it's applied function is that of distinction rather than that of protection or as a seal. it was first applied to the photograph by clarence h. white form 1904, where the first resonant depiction, or personification, of reverie and oblivion as applied to dendoshi was found. by applying the mark connolly is ceremonializing the image, thus rendering it distinct from its original form, not as an appropriation, but as a recognition. the other images followed, and each of them was recognized instantly without having to search. the last was vermeer's image from van luyk's basement, and upon recieving this the series of 4 inserts was complete. there is a trace of fear and a sensation of suspended time in these images which suits the music very well.

edition limited to 300 copies on gold cover.

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new to stock as of
january 21st, 2014


alga marghen (italy) #alga planam wtf2 lp

die welttraumforscherdie singende sternlaterne / folklore des weltalls 1982” long playing record

  • kleiner stern
  • der held will geld
  • der tod ist ganz normal
  • fliegeleicht
  • kometen-paule's melodie
  • monika?
  • besuch im mumintal
  • sterne in totenboot
  • klavier mit dir
  • mondfolklore 1
  • sonne mond und sterne
  • kleiner stern-dub. das ende

  • hallo hallo hallo
  • dienstagabendlied
  • mondfolklore
  • nierenpark plunderhuegel
  • klavierspots
  • bettina in neuenburg
  • sanft wie ein tod
  • neue heimat
  • kometentanz
  • das totenschiff
alga marghen press release...
d i e w e l t t r a u m f o r s c h e r

"die singende sternlaterne / folklore des weltalls 1982
….. ….. ….. ….. ….. …..
(cat no. planam wtf2 / tree046)
lp record

edition limited to 350 copies

planam very proudly presents you "die singende sternlaterne / folklore des weltalls 1982" by die welttraumforscher. this record includes the first time lp edition of the mysterious swiss electro-dada artist’s second cassette as well as previously unreleased material. issued in conjunction with christian pfluger first comprehensive retrospective "ein sommer in der wirklichkeit" (i.e. "a summer in reality") at kunsthaus langenthal and the corresponding monograph "songs, signs, explorations" presenting drawings, music, lyrics, films and other rare material.

when die welttraumforscher set out on 14 july 1981 no one could have realized that their journey would not be over soon. for more than thirty years now, swiss christian pfluger has been working on drawings, texts, films and songs for the fascinating universe of the imaginary trio, which is well populated with figures like leguan rätselmann or kip eulenmeister and his astronauts of the spirit. in the course of that journey, among other things, over 35 music cassettes, lps and cds have been released, presenting minimal songs that the welttraumforscher themselves call bretzelberg pop and space folklore.

after the now sold out "herzschlag erde / verdunkelt die sinne" planam and a tree in a field records have now re-issued the welttraumforschers' second cassette, including the previously unreleased album "folklore des weltalls 1982" (not to be confused with the 1989 "folklore des weltalls" which is a different story).

translator’s note: the expression “welttraum” in “die welttraumfroscher” is a play on the words “weltraum” (universe), “welt” (world) and “traum” (dream). die welttraumforscher can both be read as “the explorers of the universe” as well as “the explorers of the dream of the world”.

edition limited to 350 copies.

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 $25.01

new to stock as of
february 18th, 2014


threads:
modern-psych
guitar-themed
electro-acoustic-improvisation

alga marghen (italy) #alga planam kos lp

key of shames/t” double long playing record set

  • untitled (1)

  • untitled (2)

  • untitled (3)

  • untitled (4)
april 2011 release ; ... colossal, one-off set from patdecimusmurano & sightingsmark morgan (on electronics & guitar, respectively) issued, oddly, by alga marghen’s emanuele carcano in a hodge-podge edition of repurposed alga marghen sleeves, inverted & stenciled ...
alga marghen press release...
k e y o f s h a m e
"key of shame"
…. …. . …. ….
(cat no. planam kos)
2lp record
edition limited to 270 copies

key of shame is the most extreme entity to come out from two cult collectives of the new york underground, or no neck blues band and sightings. planam proudly presents their first recordings, four threnodies for judas iscariota as performer by mark morgan (sightings) and pat murano (nnck, decimus).

jesus answered and said “you will become the thirteenth, and you will be cursed by the other generations - and you will come to rule over them. in the last days they will curse your ascent…”.

atmospheric radical electronics at their highest peak. hand stenciled and silkscreened edition of 270 double-lps released by planam.

“and jesus replied ‘friend, do what you came for’. matthew, 26:50

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 $25.01

new to stock as of
february 18th, 2014


threads:
musique-concrète

alga marghen (italy) #alga planam ferragol lp
planam (italy) #alga planamferragol lp

luc ferrari / gol / brunhild meyer-ferrariexercices d’improvisation” long playing record

  • exercice 1
  • exercice 2
  • exercice 3

  • exercice 4
  • exercice 5
  • exercice 6
  • exercice 7
alga marghen press release...
l u c f e r r a r i by g o l with b r u n h i l d m e y e r - f e r r a r i
"exercices d’improvisation"
….. ….. …..
(cat no. planam ferragol)
lp record
edition limited to 350 copies

luc ferrari conceived this work in 1977 as a sequence of seven individually or collectively improvised exercises for tape and any instrument or group of instruments. never performed before, "exercices d’improvisation" have been released by the gol collective and issued now on lp by planam. the seven exercises follow each others in a suite of growing intensity where gol acoustic and electric instruments react to luc ferrari's tape, lively re-interpreted by brunhild ferrari: from a more meditative form, the music turns into free mental spiraling sections to finally culminate in a live musique concrete drama. the tracks were recorded at ferrari's atelier post-billig on april 12th and 13th, 2010, a few days before the world premiere performance at la maison rouge in paris.

"exercices d’improvisation" on one hand presents a new perspective on ferrari's music and on the other pays a panorama-like tribute to his rich and eclectic corpus; somewhere between "tête et queue du dragon" and "tautologos" with a touch of "danses organiques".

gol was formed in 1988 in paris by jean-marcel busson, frédéric rebotier, ravi sharda and samon takahashi. on this record gol play flutes, electric guitar, bass guitar, melodica, janotron, ocarina, nagara, electric guembri, vocoder and message box. this lp is the forth in the "gollaboration" series after records by gol with dumitrescu/avram, with charlemagne palestine and with charles hayward of this heat fame.

the front sleeve shows a four colour wild collage by the french artist, film-maker and ferrari's collaborator jacques brissot based on photo sessions done by myriam tirler who also shot the back cover and inner sleeve images presenting gol members and brunhild ferrari in kagel-exotica-like appearances. the edition limited to 350 copies also includes an insert with the complete score by luc ferrari.

please note: this previously unpublished work revealing a hidden part of luc ferrari poetics is not included in the ina 10cd boxset. only available on this lp edition.

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new to stock as of
february 18th, 2014


threads:
musique-concrète

alga marghen (italy) #alga planam cdg lp
planam (italy) #alga planam cdg lp

gol / charles haywards/t” long playing record

alga marghen press release...
g o l   /   c h a r l e s   h a y w a r d
……. …….
(cat no. planam cdg)
lp record
edition limited to 350 copies

for this new "gollaboration" the french combo gol confronts the british drums legend charles hayward for a rough/delicate and intense/mellow paradoxical music delight. the studio side compiles four improvised sessions exploring some possible oblique acceptations of the word "rock", while the live side recorded at 104, paris, in dec 2008 during the sonic protest festival, takes the encounters into the realm of psychedelia.

the apparently chaotic home-made electronics of gol find a perfect counterpoint in hayward's "this heat-ish" incomparable kickass-snare-cymbals style machinery of straightforward beats meet subtle and continuously reinvented variations. a touch of pop, gamelans from afar, an unexpected song underlined by a frenetic electric organ, make this lp a surprising journey into sonic explorations.

gol was formed in 1988 in paris by jean-marcel busson, frédéric rebotier, ravi sharda and samon takahashi. on this record gol play modified synths, modified organ, bass guitar, home-made electronics, sh101 and crackle box. this lp is the third in the "gollaboration" series after records by gol with dumitrescu/avram and with charlemagne palestine.

the very minimal sleeve features a four color reversible double front side with sinister photo portraits of charles hayward and the gol members. black and white inner sleeve with title tracks and liner notes. edition limited to 350 copies.

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 $28.51

new to stock as of
january 21st, 2014


threads:
electro-acoustic-composition
musique-concrète
machine-music

alga marghen (italy) #alga planalmanam lp

twig harpernew lost knowns” long playing record

  • new lost knowns (1)

  • new lost knowns (2)
september 2013 release ; ... nice to see an “art world legitimizing” edition from nautical almanac head twig harper, reprising the ideas behind his “diamond disc” series (essentially, laserdisks cut with home-lathe equipment, creating semi-playing, a-centric audio experiences) ...
alga marghen press release...
t w i g   h a r p e r

new lost knowns
…. . …. . …. . …. . …. . ….
(cat no. planalmanam)

lp record
edition limited to 200 copies

in the beginning of what exactly was this beginning that has remained one of the mysteries ever since? in this beginning the year might or might not be 2011 and the whole practice could still be in-process now (though we firmly reject the meaning of the meaning as an open forma s we consider it more a time-binding). it is doubtful if this sonic process would have ever evolved beyond the animal stage suspended as it is in a fragile balance between sounding familiar to the nervous system and unfamiliar and alien. this process is wholly dependant upon the integrity of the system and its necessary environment… an extermination program created by working multiple channels, reducing mixes, removing sections, adding segments, layering inversions under continual growths and constant changes, until we can no longer recognize the original source or process itself. a very limited unit of sound and image biologically activated to act as communicable dizziness existing in the past present and future when listening to it. let’s turn it on. lp record and silkscreened sleeve are the access, your playback new “reality”.

edition of 200 copies which will turn your eyes and ears inside out, upward, backwards and in all directions.

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 $25.01

new to stock as of
december 20th, 2013


threads:
modern-composition
machine-music

alga marghen (italy) #alga nmn34-5 lp

walter marchettivandalia” long playing record

  • la secche del delirio

  • perpetuum mobile
alga marghen press release...
w a l t e r m a r c h e t t i
"vandalia"
(cat no. plana-m 34nmn.083-5)
lp record

alga marghen very proudly presents the only authorized reissue of all walter marchetti original recordings previously released by cramps records.

with vandalia walter marchetti is focusing his concrete and radical themes. action music!

the lp, titled vandalia, includes “perpetuum mobile” (1981) and “le secche del delirio” (1989). both pieces were never available on vinyl before. the lp sleeve reproduces a photo of the “perpetuum mobile” performance at musicalia in 1981. the full color inner sleeve reproduces a “musica da camera” installation and the original vandalia layout.

all texts are published both in english and italian.

first included in a 5lp box set together with other 4 lps titled “la caccia”, “in terram utopicam”, “per la stete dell’orecchio” and vandalia, this lp is also available now, separately from the complete box set, in a very limited number of copies.

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 $25.01

new to stock as of
december 20th, 2013


threads:
modern-composition
electro-acoustic-composition
field-recordings

alga marghen (italy) #alga nmn34-4 lp

walter marchettinatura morta” long playing record

  • natura morta (prima parte)

  • natura morta (seconda parte)
alga marghen press release...
w a l t e r m a r c h e t t i
"natura morta"
(cat no. plana-m 34nmn.083-4)
lp record

alga marghen very proudly presents the only authorized reissue of all walter marchetti original recordings previously released by cramps records.

“a very simple sequence of piano accidents, according to robert ashley the one of the most beautiful piano music ever recorded.

the lp includes natura morta (1980), never available on vinyl before. the lp sleeve reproduces a photo of the performance at milanopoesia in 1988, as well as the text “in my music. the full color inner sleeve reproduces a photo of the natura morta installation.

all texts are published both in english and italian.

first included in a 5lp box set together with other 4 lps titled “la caccia”, “in terram utopicam”, “per la stete dell’orecchio”
and “vandalia”, this lp is also available now, separately from the complete box set, in a very limited number of copies.

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 $25.01

new to stock as of
december 20th, 2013


threads:
modern-composition
field-recordings

alga marghen (italy) #alga nmn34-3 lp

walter marchettiper la sete dell’orecchio” long playing record

  • da nulla e verso nulla

  • song for cage
alga marghen press release...
w a l t e r m a r c h e t t i
"per la sete dell’orecchio"
(cat no. plana-m 34nmn.083-3)
lp record

alga marghen very proudly presents the only authorized reissue of all walter marchetti original recordings previously released by cramps records.

the lp includes per la sete dell’orecchio(1981), previously privately issued on the lp with the same title as well as “song for john cage” (1985), never available on vinyl before. the lp sleeve reproduces the “song for john cage” score. the full color inner sleeve reproduces the original per la sete dell’orecchio lp layout.

all texts are published both in english and italian.

first included in a 5lp box set together with other 4 lps titled “la caccia”, “in terram utopicam”, “natura morta” and “vandalia”, this lp is also available now, separately from the complete box set, in a very limited number of copies.

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 $25.01

new to stock as of
december 20th, 2013


threads:
modern-composition
1960s-electronic
1970s-electronic
electro-acoustic-composition

alga marghen (italy) #alga nmn34-2 lp

walter marchettiin terram utopicam” long playing record

  • j'aimerai jouer avec un piano qui aurait un grosse queue (per pianoforte a quaranta mani)

  • adversus (homemade electric music)
  • osmanthus fragrans (homemade electric music)
alga marghen press release...
w a l t e r m a r c h e t t i
"in terram utopicam"
(cat no. plana-m 34nmn.083-2)
lp record

alga marghen very proudly presents the only authorized reissue of all walter marchetti original recordings previously released by cramps records.

walter marchetti is one of the most original and controversial pre-fluxus authors. in this work he frees all of his sophisticated poeticism.

the lp includes the same materials as the original 1978 cramps lp titled “in terram utipicam”, or “j’aimerais jouer avec un piano qui aurait une grosse queue” (1974/75) as well as the estreme electronic pieces “adversus” (home-made electric music) (1966) and “osmanthus fragrans” (home-made electric music) (1973). the lp sleeve reproduces the original scores of “j’aimerais jouer” and “adversus”, photos of the performance at the venice biennale. the full color inner sleeve reproduces photos of various marchetti performances as well as the original in terram utopicam lp layout.

all texts are published both in english and italian.

first included in a 5lp box set together with other 4 lps titled “la caccia”, “per la sete dell’orecchio”, “natura morta” and “vandalia”, this lp is also available now, separately from the complete box set, in a very limited number of copies.

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 $25.01

new to stock as of
december 20th, 2013


threads:
modern-composition
experimental-instruments

alga marghen (italy) #alga nmn34-1 lp

walter marchettila caccia” long playing record

  • parte prima

  • parte seconda
alga marghen press release...
w a l t e r m a r c h e t t i
"la caccia"
(cat no. plana-m 34nmn.083-1)
lp record

alga marghen very proudly presents the only authorized reissue of all walter marchetti original recordings previously released by cramps records.

the recording of la caccia, one of the most radical in the neo-avantgarde panorama for 35 years, is divided in two tracks: versione all’aria aperta” and versione per uno spazio chiuso”. the sound is generated by hunting calls for birds and other animals. according to steven stapleton, this is one of the best records ever published.

the lp includes the same materials as the original 1974 cramps lp titled la caccia (1965). the lp sleeve reproduces the orginal scores, photos of both the 1965 zaj performances and of marchetti recording la caccia. the full color inner sleeve reproduces the original la caccia lp layout.

all texts are published both in english and italian.

first included in a 5lp box set together with other 4 lps titled “in terram utopicam”, “per la sete dell’orecchio”, “natura morta” and “vandalia”, this lp is also available now, separately from the complete box set, in a very limited number of copies.

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 $146.01

new to stock as of
february 18th, 2014


threads:
modern-composition
experimental-instruments

alga marghen (italy) #alga nmn34 lp

walter marchettiil divano dell’orecchio” quintuple long playing record boxed set

  • parte prima

  • parte seconda

  • j'aimerai jouer avec un piano qui aurait un grosse queue (per pianoforte a quaranta mani)

  • adversus (homemade electric music)
  • osmanthus fragrans (homemade electric music)

  • da nulla e verso nulla

  • song for cage

  • natura morta (prima parte)

  • natura morta (seconda parte)

  • la secche del delirio

  • perpetuum mobile
alga marghen press release...
w a l t e r   m a r c h e t t i
"il divano dell’orecchio"
(cat no. plana-m 34nmn.083-1/5)
5lp box set

lp edition limited to 350 copies.

alga marghen very proudly presents the only authorized reissue of all walter marchetti original recordings previously released by cramps records. a 5lp box set including “la caccia”, “in terram utopicam”, “per la sete dell’orecchio”,  “natura morta” and “vandalia”.

“the most amazing thing about music is its exterior aspect. high, vertical, translucent, almost turgid, maybe a bit too monolithic. one should, in any case, give a lot of attention to the large number of interstices which lead to the centre of the ear, wherefrom sounds spread out through a dense network leading to more circuits which direct these same and their relationships directly to the brain, in a logic of musical articulation which is nothing less than frightening. even if, to attentive listening, dominating all is the eye of silence”.

lp1 includes the same materials as the original 1974 cramps lp titled “la caccia” (1965). the lp sleeve reproduces the orginal scores, photos of both the 1965 zaj performances and of marchetti recording “la caccia”. the full color inner sleeve reproduces the original “la caccia” lp layout.

lp2 includes the same materials as the original 1978 cramps lp titled “in terram utipicam”, or “j’aimerais jouer avec un piano qui aurait une grosse queue” (1974/75), “adversus” (home-made electric music) (1966) and “osmanthus fragrans” (home-made electric music) (1973). the lp sleeve reproduces the original scores of “j’aimerais jouer” and “adversus”, photos of the performance at the venice biennale. the full color inner sleeve reproduces photos of various marchetti performances as well as the original “in terram utopicam” lp layout.

lp3 includes “per la sete dell’orecchio” (1981), previously privately issued on the lp with the same title and “song for john cage” (1985), never available on vinyl before. the lp sleeve reproduces the “song for john cage” score. the full color inner sleeve reproduces the original “per la sete dell’orecchio” lp layout.

lp4 includes “natura morta” (1980), never available on vinyl before. the lp sleeve reproduces a photo of the performance at milanopoesia in 1988, as well as the text “in my music. the full color inner sleeve reproduces a photo of the “natura morta” installation.

lp5, titled “vandalia”, includes “perpetuum mobile” (1981) and “le secche del delirio” (1989). both pieces were never available on vinyl before. the lp sleeve reproduces a photo of the “perpetuum mobile” performance at musicalia in 1981. the full color inner sleeve reproduces a “musica da camera” installation and the original “vandalia” layout.

all texts are published both in english and italian.

too true: in all music there are, in effect, a lot of sounds henceforth…more than that, too many; everything that we listen to has become heavy beyond measure, completely unbearable. rather than chasing it we should look for how to escape from music. everything in it is monolithic, frozen, and the notes of music which slowly, more or less, are thickening around the listeners wrap them all in dripping blankets of death.

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threads:
live-electronic
minimalism-drones
guitar-themed
electro-acoustic-composition
electro-acoustic-improvisation
musique-concrète
1970s-electronic

alga marghen (italy) #alga nmn33 cd

luc ferrariéphémère i & ii • tape & undetermined instrumentation” compact disc

  • éphémère i “l’ordinateur ça sert à quoi?” (27:03) 1974
  • éphémère ii “lyon 75” (51:35) 1975
may 2010 release ; entirely incredible, newly-unearthed set of luc ferarri’s 70’s live electronic work !!!

... beginning with a 27-minuteclarion call” of detuned pulse-wave droning, concrète voices, stray guitar notes, and scattered orchestral percussion, the piece really kicks into high gear in it’s second realization, merging ash ra tempel / popol vuh-lineagepsychguitar phasing with luc’s electronic ür-drone to absolutely devastating effect ... when the (un-named ?) guitarist switches over to some surprisingly takoma-oriented finger-picking & slide work, the modular nature of the piece becomes apparent & even at it’s extended length, the pacing never gets stagnant, always finding new potential avenues to explore ...

personally speaking, this is the reissue of the year thusfar - once again i’m awe-struck by luc ferrari’s range & ridiculously prescient vision ; highest recommendation !!!
alga marghen press release...

l u c   f e r r a r i
"ephemere i & ii"
(cat no. plana-f 33nmn.081)
digipack cd

presented here for the first time, "ephemere i & ii" (for tape, or to be played with various instruments) are two previously unpublished masterpieces which represent for several reasons a very specific moment in the creative life and catalogue of luc ferrari.

even if luc ferrari's perfect skill in creating some of the most beautiful sonic works ever is now well known to the large audience appreciating his music, the undetermined character marking the two work present here for is quite surprising. luc ferrari was tempted in the mid-1970s by the idea of leaving the final realization of these pieces open to the performers intervention (a perspective he decided not to develop in future researches).

"exercises d’improvisation", a score conceived in 1977 and unreleased for almost 35 years (first recorded this year by the gol collective with brunhild meyer-ferrari for an lp soon to be issued on planam), directly comes from the two works presented here.

"ephemere i" (or "l'ordinateur ça sert à quoin?" i.e. "what's the use of computers") is a 27 minutes piece for tape only created in 1974, conceived as a kind of electronic drone superimposed by fragments of multi-language whispered voices that creates the thrilling effect of a "sea-like" continuum.

"ephemere ii" (or "lyon 75" after the only recorded realization) is a 51 minutes tape piece with guitar improvisation. the electronic repetitive structure reminds some of the most radical works of american composer terry riley, while the guitar sounds, first resulting as live manipulated pointillistic impulses, develop into a blues sonority superimposing the tape drone and creating a heavy psychedelic atmosphere of the most sublime kind. the end of this long suite lead us back into more abstract and live-electronic sonorities. this very intense work can be placed in a context between scored music and totally improvised music.

first press limited to 500 copies in tri-folded digipack sleeve. please note: these 2 previously unpublished pieces revealing a hidden part of luc ferrari poetics are not included in the ina 10cd boxset. only available on this cd edition.

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threads:
fluxus
modern-composition

alga marghen (italy) #alga nmn31 cd

dick higginsthe thousand symphonies” compact disc

  • symphony no. 163, allegro serioso (38:29)
  • symphony no. 163, andantino (5:42)
  • symphony no. 163, scherzo (5:16)
  • symphony no. 343, a salsa sympony (8:42)
  • symphony no. 367, andante allegretto (2:03)
  • symphony no. 357, largo (3:08)
  • symphony no. 357, presto con ritorneli (2:01)
  • symphony no. 342, in 4 movements (without pauses) (6:18)
  • symphony no. 609, the divers (2:31)
  • a sample page (4:40)
december 2009 release ; a contemporaryorchestralrealization (conducted by philip corner & featuring players such as miguel frasconi, malcolm goldstein, daniel goode, joseph kubera, charlie morrow, and peter zummo) of this series of fluxus touchstone pieces, conceived of in 1967 by dick higgins, then “executed” the following year by firing a machine gun at a blank stave to generate the “score(s)” ...

raucous, pointillist music, equal parts ensemble claustrophobia and free-jazz excess ...
alga marghen press release...

d i c k   h i g g i n s
"the thousand symphonies"
(cat no. plana-h 31nmn.077)
digipack cd

alga marghen presents the first edition ever issued of dick higgins music. fluxus founding member, in 1958 dick higgins studied composition and experimental music with john cage in his class at the new school for social research in new york together with, among others, la monte young, richard maxfield, toshi ichiyanaghi, george brecht, allan kaprow, al hansen, jackson mac low.

in the spring of 1968 geoffrey hendricks and robert watts told dick higgins of a project that was afoot at douglass college, where both were teaching at the time, to organize a show around guns. at that time the usa police seemed to have nothing better to do than to chase down teenagers for possessing miniscule amounts of marijuana and throwing them in jail, thus ruining their lives. dick higgins decided it would be more worthy if one could set all the policemen in the usa to composing symphonies themselves. so he proposed that the beautiful music paper be machine gunned and that symphonies be derived from the result. 

geoffrey hendricks arranged for captain toby of the south brunswick police to do this, which duly happened with a 9mm mp40 schmeisser submachine gun, filmed by alison knowles. a volunteer orchestra, conducted by philip corner and including charlotte moorman, performed nine of the resulting symphonies at douglass college on december 9th. the douglass concert was taped, but the only copy disappeared when the ars viva! gallery in berlin, germany, went bankrupt in 1984. the whole situation was documented with photographs in source magazine in 1970.

as philip corner, conductor of the recordings presented here, said: leave it to dick higgins to come up with the most spectacular way to generate a page of patternless notes. once over this dramatic gesture with machine-gun bullets leaves a stack of paper full of holes. i had not thought of this before but there must have been a conscious connection to the social turmoil of the 60's - all too unfortunately, come back around to high relevance these days.

first press limited to 500 copies with digipack sleeve, also including a 16 page booklet with full documentation presenting 2 texts by dick higgins from the 1960s as well as a philip corner testimony, original photos and original scores

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threads:
modern-composition

alga marghen (italy) #alga nmn30-4 cd

walter marchettivandalia” compact disc

  • perpetuum mobile (1981) (28:59)
  • song for john cage (1985) (12:03)
  • le secche del delirio (1989) (33:22)
alga marghen press release...
w a l t e r m a r c h e t t i
"vandalia"
(cat no. plana-m 30nmn.076-4)
compact disc

alga marghen very proudly presents the only authorized reissue of all walter marchetti original recordings previously released by cramps records.

with vandalia walter marchetti is focusing his concrete and radical themes. also including an homage to john cage. action music!

vandalia, includes “perpetuum mobile” (1981), “song for john cage” (1985) and “le secche del delirio” (1989). the 8 page booklet presents the photo of the “perpetuum mobile” performance at musicalia in 1981, the score of “song for john cage”, the photos of two “musica da camera” installations, as well as the reproduction of the original vandalia cd layout.

all texts are published both in english and italian.

first included in an lp sized 4cd box set together with other 3 cds titled “la caccia”, “in terram utopicam” and “natura morta”, plus the new book by walter marchetti titled “de musica inversa”, an instruction manual of both theory and practice for the proper and improper use of music, this cd is also available now, separately from the complete box set, in a very limited number of copies.

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threads:
modern-composition

alga marghen (italy) #alga nmn30-3 cd

walter marchettinatura morta” compact disc

  • natura morta (1980) (69:26)
alga marghen press release...
w a l t e r m a r c h e t t i
"natura morta"
(cat no. plana-m 30nmn.076-3)
compact disc

alga marghen very proudly presents the only authorized reissue of all walter marchetti original recordings previously released by cramps records.

“a very simple sequence of piano accidents, according to robert ashley the one of the most beautiful piano music ever recorded.

natura morta, includes the piece with the same title from 1980. the 8 page booklet reproduces original photos of the performance at milanopoesia in 1988, as well as the text titled “in my music.

all texts are published both in english and italian.

first included in an lp sized 4cd box set together with other 3 cds titled “la caccia”, “in terram utopicam” and “vandalia”, plus the new book by walter marchetti titled “de musica inversa”, an instruction manual of both theory and practice for the proper and improper use of music, this cd is also available now, separately from the complete box set, in a very limited number of copies.

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threads:
modern-composition

alga marghen (italy) #alga nmn30-2 cd

walter marchettiin terram utopicam” compact disc

  • j'aimerais jouer avec un piano qui aurait une grosse queue (1974/75) (22:32)
  • per la sete dell'orecchio (1981) (27:44)
alga marghen press release...
w a l t e r m a r c h e t t i
"in terram utopicam"
(cat no. plana-m 30nmn.076-2)
compact disc

alga marghen very proudly presents the only authorized reissue of all walter marchetti original recordings previously released by cramps records.

walter marchetti is one of the most original and controversial pre-fluxus authors. in this work he frees all of his sophisticated poeticism.

“in terram utopican”, includes “j’aimerais jouer avec un piano qui aurait une grosse queue” (1974/75) and “per la sete dell’orecchio” (1981). the 16 page booklet presents the original score of “j’aimerais jouer”, photos of the performances in milano and at the venice biennale, and the reproduction of the original in terram utopicam lp layout.

all texts are published both in english and italian.

first included in an lp sized 4cd box set together with other 3 cds titled “la caccia”, “natura morta” and “vandalia”, plus the new book by walter marchetti titled “de musica inversa”, an instruction manual of both theory and practice for the proper and improper use of music, this cd is also available now, separately from the complete box set, in a very limited number of copies.

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threads:
modern-composition

alga marghen (italy) #alga nmn30-1 cd

walter marchettila caccia” compact disc

  • la caccia (quartetto n. 2) (1965) (42:38)
  • adversus (home-made electric music) (1966) (12:04)
  • osmanthus fragrans (home-made electric music) (1973) (13:22)
alga marghen press release...
w a l t e r m a r c h e t t i
"la caccia"
(cat no. plana-m 30nmn.076-1)
compact disc

alga marghen very proudly presents the only authorized reissue of all walter marchetti original recordings previously released by cramps records.

the recording of la caccia, one of the most radical in the neo-avantgarde panorama for 35 years, is divided in two tracks: versione all’aria aperta” and versione per uno spazio chiuso”. the sound is generated by hunting calls for birds and other animals. according to steven stapleton, this is one of the best records ever published.

the cd includes la caccia (1965) as well as two estreme electronic zaj pieces, “adversus” (home-made electric music) (1966) and “osmanthus fragrans” (home-made electric music) (1973). the 16 page booklet presents the orginal scores, photos of both the 1965 zaj performances and of marchetti recording la caccia in the 1970s, photos of the concert at galleria multhipla in 1974, and the reproduction of the original la caccia lp layout.

all texts are published both in english and italian.

first included in an lp sized 4cd box set together with other 3 cds titled “in terram utopicam”, “natura morta” and “vandalia”, plus the new book by walter marchetti titled “de musica inversa”, an instruction manual of both theory and practice for the proper and improper use of music, this cd is also available now, separately from the complete box set, in a very limited number of copies.

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threads:
minimalism-drones
modern-composition
sound-art
live-electronic

alga marghen (italy) #alga nmn28 cd

charlemagne palestinesharing a sonority” compact disc

  • charlemagne palestine & terry jennings - short & sweet (11:13) 1974
  • charlemagne palestine & robert feldman - electronic and flute (5:56) 1967
  • fundamental d flat group (palestineconrad, & chatham) - db (32:05) 1974
march 2008 release - fourth in alga marghen’s “golden” series / survey of charlemagne palestine’s work, including three pieces recorded in 1967 & 1974 - most notably the only available recording of the short-lived fundamental d flat group (charlemagne palestinetony conrad, & rhys chatham) but also a mellow cale / riley-esque duet between palestine & terry jennings and an remarkable live-electronic duet with robert feldman ...

the “db” piece, recorded shortly after tony’s collaboration with faust, hits on a bunch of similar touchstones & is worth the price of admission alone ... highly recommended !!!
alga marghen press release...
c h a r l e m a g n e p a l e s t i n e
sharing a sonority
with terry jenning, tony conrad, rhys chatham, bob feldman
(cat no. plana-p 28nmn.068)
digipack cd
edition of 1000 copies

alga marghen proudly presents a new chapter in the documentation series of charlemagne palestine historical works. this cd of previously unavailable recordings not only presents you charlemagne palestine activities in 1974, collaborating with some of most important experimental artists and composers from either the new york loft scene and cal arts. but also features world premiere recordings of terry jennings and the fundamental d flat group.

"short & sweet" is the title of a breathtaking duo for piano and sax performed on april 24th by charlemagne palestine and terry jennings. the two composers happened to play together in very private concerts at cal arts, but never recorded those sessions, untill a special day when charlemagne happened to have a little taperecorder around. the recording was considered lost for more than 30 years when finally a copy was found thanks to tony conrad. the piano part reminds some of the early pieces by charlemagne palestine titled piano drones (as the one pre-dating of a couple of years this duo and presented on the "continuous sound forms" cd issued on alga marghen. the liner notes of the same cd mention this duo with terry jennings at the time considered lost). terry jennings’ soprano sax is very elaborated and decorative (reminding the only other recording ever issued by this important outsider and la monte young friend, or the sax and cello duo with charlotte moorman present in "cello anthology" 4cd boxset issued on alga marghen).

around 1967 charlemagne was experimenting mainly with voice and electronic. he also occasionally recorded piano and sax improvisations with his friend bob feldman. this cd featured a very special duo by palestine and feldman playing electronic and flute. the two artists met in 1961 when bob feldman worked in a jazz record shop in the times square subway station. palestine didn’t know much about jazz and feldman guided him through the new progressive jazz styles of the times. later at the intermedia center of nyu where they had a buchla synthesizer (you can listen to charlemagne palestine electronic music studies as presented in "in-mid-air" cd issued on alga marghen). charlemagne and bob feldman experimented there between jazz raga and electronic. very little was recorded. this is one rare duet that dates probably from around 1967 (bob feldman also plays with charlemagne palestine and tony conrad in the historic recording of "alloy" for wbai in 1969 released on golden1 cd on alga marghen).

the last track on this cd is the first 30 minutes recording from april 22nd, 1972 by the fundamental d flat group performing in db. during one trip back to nyc from cal arts, charlemagne palestine was invited by tony conrad (together with rhys chatham) to albright college in new jersey for a sunday afternoon concert. that was the first and last time the fundamental d flat group played in public (tony conrad: violin, horn, string drone. rhys chatham: flute, organ, string drone. charlemagne palestine: voice, pipes, snifter). although the piece lasted all afternoon the first 30 minutes were the only portion recorded during the performance. the fundamental d flat group invite you to listen and meditate in the mode of db. to hear one one is to enter the deepest realm of knowledge of the sound current. the ear, the understanding, and the core of the spirit resonate to the mode of the single tone and its harmonic family. you read, and hear, and feel the empathy of human spirit. the body will channel the knowledge of the single note stronger and stronger, the more you hear. welcome to the fundamental d flat group.

this cd is included in a beatiful digipack full colour sleeve with photos and liner notes. the edition presents some of the best recordings ever issued by charlemagne palestine, a highlight in the alga marghen catalogue and a unique chance to listen to the core of charlemagne palestine golden research real, unedited, original sonorites.

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threads:
modern-composition
sound-art

alga marghen (italy) #alga nmn26 cd

walter marchettiutopia andata e ritorno” double compact disc set

  • disc 1 l’andata (70’)

  • disc 2 il ritorno (70’19”)
a single contemporary work from walter marchetti spread out over two discs - the first fusing a recording of a piano-recital with naturally ocurring sound-events (a thunder/lightning storm) - the second “reverses the direction and literally destroys itself

i don’t believe i will ever cease to be amazed by marchetti’s continuous stream of sound-art acts/antics. this stuff is pure gold.
alga marghen press release...
w a l t e r m a r c h e t t i
"utopia andata e ritorno"
alga marghen - plana-m 26nmn.059
tri-folded digipak 2 cd set

music: the foundation of that presence in which we find ourselves shows itself as pure negatin. everyting is founded on a demonstration of its own negativity: as awareness of its being negative, and does not look for an escape into a future presence, that is an objective future. but, accepting its negativity, makes of this self-negation the real act, the true reality - the true foundation, the real and actual continuity: this is music's sense.

"utopia andata e ritorno" is the title of the new composition by walter marchetti, recorded in milano in 2005. it has two parts, each one cd long. the first part, "l'andata", puts together two former recordings of marchetti. the recording of a real storm and a recital for solo piano. this is not the first time that marchetti mixes a piano solo recital with the recording of a natural live event, thus creating a "piano concert". the second cd, "il ritorno", reverses the direction of the first record and literally destroys itself.

in the first part of this work, marchetti puts music successfully in the place it has to have today: on the road to renewal in contact with reality, a reality that is a synonym for vacuity, that is the interdependence of phenomena, music, reality, technology. there is nothing mimetic or anecdotical in this work. the storm is a real storm and the solo piano recital is a modern work of pure music, without the excesses that the society expects of a piano recital from composer and virtuoso player. pure music, in the best sense of the word. "l'andata" is one of the great works of music of our time, or, as josé luis castillejo remarked, "it may be the best modern piano concert since brahms".

in the second part, "il ritorno", sound waves are deformed when one tries a reverse hearing and the turn around trip becomes an aural nightmare. of course, avant-gardism has made us accustomed to noises and silences and to the arbitrary idea that anything is music. "il ritorno" announcs the end of musical avant-gardism and its technocratic aspirations. it points the end of music avant-gardism because it exposes the technological manipulation not only of technology beyond its powers, but also the manipulation of both music and sound. "il ritorno" is such a problematic work also because its subject is failure and impossibility.

three-folded digipack 2cd edition. it includes a 32 pges booklet with essays by water marchetti, gabriele bonomo and josé luis castillejo. first edition limited to 500 copies.

in extremis.

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

alga marghen (italy) #alga nmn25 cd

philip cornermore from the judson years (early 60s) instrumental-vocal works vol.2” compact disc

  • everything max has: as an “afterward” (1964) 17’28”
  • big trombone (1963) 09’08”
  • homage to revere (1962) 07’06”
  • punkt (1961) 11’10”
  • passionate expanse of the law (1959) 15’45”
  • expressions in parallel (1958) 08’56”
the second of two discs covering further dips into philip corner’s tape-archive of recorded material from the new york of the late 1950s and early 1960s (with a brief flash-forward to 1971.) featuring corner’s work for instrumental ensembles, solo instrumentalists, & vocalists.

participants include: max neuhaus, james fulkerson, dick higgins, malcolm goldstein, as well as many others.
alga marghen press release...
more from the judson years, early 60s: instrumental-vocal works (volume two)

not everything i did in those days was at the judson memorial church

yet not to forget that extraordinary place where so much of the new and exciting performances...and exhibitions... at that most interesting time in new york, took place. an unusual young pastor, al carmines, set up the place for those things. there was a theater there; and a place for the first happenings. an art gallery ......and later the famous dance theater.

there was my first performance when back to the city after military service. from korea. may 1961. the concert was in early 1962. january 2nd, to be exact. handwritten change on typescript: yoko ono's studio --- changed at last moment to judson church. a lot of players; and a lot of pieces. announced. (not nearly all of them done, actually, then, there.)

almost not done at all. meeting yoko again. but fleeting - maybe at a subway stop. the concerts done at her place during my year away. some of my old friends, like toshi ichiyanagi, and dick maxfield. and a lot of new names from california. dick higgins and alison knowles the connection between my old new york and this new scene. george maciunas and his ag gallery----about to close. final concerts by candlelight. otherwise i'd have been organising my concert there.


other re-connections to old associates: john herbert mcdowell, malcolm goldstein. new ones: jim tenney, carolee schneemann, malcolm's wife the dancer arlene rothlein, jackson mac low, a-yo.

but yoko herself was pulling out of the place. not to be found. and the loft permission useless in the face of an adamant landlord's refusal.

the creation of the dance theater: my involvement with it from the beginning/ would come later. (that participation documented on the alga marghen recording "on tape from the judson years - cd: as most of my electronic music at that time was made for dancers; and the majority of them associated with the judson.)

so here are the performance pieces i was making in this period, working with live musicians. a good number of these performances were also for and with dancers.. ..but not all.

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

alga marghen (italy) #alga nmn24 cd

philip cornermore from the judson years (early 60s) instrumental-vocal works vol.1” compact disc

  • passionate expanse of the law (1959) 05’36”
  • air effect (1961) 08’10”
  • om emerging (1971) as prelude to lovely music (1962) 21’51”
  • as pure to begin (1963) 08’26”
  • music reserved until now (1963) 14’33”
  • composition with or withouth beverly (1962) 11’50
the first of two discs covering further dips into philip corner’s tape-archive of recorded material from the new york of the late 1950s and early 1960s (with a brief flash-forward to 1971.) featuring corner’s work for instrumental ensembles, solo instrumentalists, & vocalists.

participants include: malcolm goldstein, james fulkerson, alison knowles, charlotte moorman, david berhman, dick higgins, joe jones, nam kune paik, chieko shiomi, and many others.
alga marghen press release...
more from the judson years, early 60s: instrumental-vocal works (volume one)

not everything i did in those days was at the judson memorial church

yet not to forget that extraordinary place where so much of the new and exciting performances...and exhibitions... at that most interesting time in new york, took place. an unusual young pastor, al carmines, set up the place for those things. there was a theater there; and a place for the first happenings. an art gallery ......and later the famous dance theater.

there was my first performance when back to the city after military service. from korea. may 1961. the concert was in early 1962. january 2nd, to be exact. handwritten change on typescript: yoko ono's studio --- changed at last moment to judson church. a lot of players; and a lot of pieces. announced. (not nearly all of them done, actually, then, there.)

almost not done at all. meeting yoko again. but fleeting - maybe at a subway stop. the concerts done at her place during my year away. some of my old friends, like toshi ichiyanagi, and dick maxfield. and a lot of new names from california. dick higgins and alison knowles the connection between my old new york and this new scene. george maciunas and his ag gallery----about to close. final concerts by candlelight. otherwise i'd have been organising my concert there.


other re-connections to old associates: john herbert mcdowell, malcolm goldstein. new ones: jim tenney, carolee schneemann, malcolm's wife the dancer arlene rothlein, jackson mac low, a-yo.

but yoko herself was pulling out of the place. not to be found. and the loft permission useless in the face of an adamant landlord's refusal.

the creation of the dance theater: my involvement with it from the beginning/ would come later. (that participation documented on the alga marghen recording "on tape from the judson years - cd: as most of my electronic music at that time was made for dancers; and the majority of them associated with the judson.)

so here are the performance pieces i was making in this period, working with live musicians. a good number of these performances were also for and with dancers.. ..but not all.

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 $19.51

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february 18th, 2014


threads:
modern-composition

alga marghen (italy) #alga nmn23 cd

max neuhausfour realizations of karlheinz stockhausen’s zyklus” compact disc

  • karlheinz stockhausen - zyklus (1963) 09’49”
  • karlheinz stockhausen - zyklus (1964) 12’41”
  • karlheinz stockhausen - zyklus (1965) 11’17”
  • karlheinz stockhausen - zyklus (1968) 11’23”
four different recordings of max neuhaus interpreting stockhausen’s “zyklus” - much like the fontana mix-feed disc; all four realizations are quite different, having been performed a year or so apart... one can trace the progression of neuhaus’ vision throughout (the disc is conveniently sequenced chronologically)
alga marghen press release...
karlheinz stockhausen, no. 9 zyklus for one percussionist

zyklus was written in 1959 and is one of the first solo pieces to utiliize such a large number of percussion instruments (twenty one). all the notes are written out specifically with respect to loudness (shown by one of twelve sizes of notes), the instrument to be played (by a symbol for the instrument), the pitch on that instrument (by a staff of some sort), and when the note occurs in time (by correlating time with horizontal space on the page).

however, in the case of many of these notated groups of notes the performer is given specific choices in their juxtaposition. these decisions can he made either before or during the performance. the performer begins with any note, plays through the complete piece, and ends with the note he began with. if the score is placed in one position, the performer's main playing area moves gradually in a clockwise direction; if it is turned upside down, so to speak, the playing area naturally moves counter-clockwise. these recordings include performances in both directions and with various starting points.

when i first started to learn to play zyklus there were only three other percussionists in the world who could play it - one japanese, one french, and a german, christoph caskel. it was the latter who did the first performance. stockhausen's idea was that a performer would play the piece spontaneously, making its complex decisions on the fly. no one played it that way; it was too difficult. everyone wrote out his own version of the score and played from it. i decided to play it for my graduation recital from manhattan school of music. coming from the world of jazz i also wanted to take up the challenge of playing it spontaneously.

at that time percussionists gmerally played only one instrument at a time. playing twenty one simultaneously was unheard of. i quickly realized that the only way to do it, in fact, was to think of all of them together as just one instrument, one multi-surfaced bank of timbre. actually playing this huge group of instruments as if they were one was quite another matter. the challenge was gaining control over the large number of surfaces. in order to be able to do a pianissimo on a surface behind your back, without looking, you have to have a precise kinaesthetic sense of exactly where the surface is. in order for this to happen, the instruments always had to have the same spatial relationships. i had to find a way that they were always in the same position every time i sl't them up; otherwise i would never find them with just my hands. i invented some special frames which allowed me always to place the instruments in the same precise relationships and that were possible to take apart and light enough to transport.

i also had to invent some new techniques. for example several times in the work you have a trill on the vibraphone at the same time as you're playing fast riffs on other instruments. how do you trill on the vibraphone and riff on other things at the same time? you do the trill by taking two mallets in one hand; you put one under the vibraphone bar, one on top, and quickly move them up and down. you play the riffs with two sticks in the other hand. it sounds simple, but nobody had ever thought of that before.

i decided to travel to europe and go to darmstadt where stockhausen was teaching. i wanted to talk to him about the piece. when i met him, he was interested in my idea that the twenty one instruments had to be physically formed into one instrument and in the fact that i had done so much work on it already. six months later, when he was preparing his first us tour, he remembered our conversations and asked me to perform zyklus on the tour. i was twenty three. it was a big opportunity.

lie came over to new york to hear me play it, but he wasn't satisfied with my improvised version. it was too long. i was determined to teach myself how to do it for this tour. i had another six months. i got it down to seven minutes; and i was still improvising, not writing it out.

the first concert of the tour was in new york, and zyklus was the first work on the program. the whole music world was there to see who this german composer was. just before i went out to play, though, stockhausen went out on stage and made an announcement disavowing responsibility for me, implying that a young american could never do justice to his music. it backfired on him. i was ready to play that piece, and i played it like nobody had ever heard it before. the applause afterwards was tumultuous.

m.n.

...

stockhausen, neuhaus, zyklus

this compact disc, with its four realizations by the solo percussionist max neuhaus of karlheinz stockhausen's zyklus, is of interest in itself, because it sounds cool, but also for the larger careers of both stockhausen and neuhaus. the stockhausen score and its realizations mark a time in music and in both men's careers when the roles of composer and pcrformer were blurring, and when neuhaus' latent ambition as a composer, or architect of sound, was taking shape.

stockhausen, born in 1928, is a strange case, but a strange case who has composcd some wonderful music. he started as an ambitious young man of the german avant-garde scene of the 1950's, and zyklus, composed at the end of that decade, can be heard as an example of that era's fascination with fragmentation and disjunction, yet with a powerful coloristic component that was to prove prescient.

in the 60's. after zyklus had been composed, stockhausen evolved into almost a full-bore hippie, capped by stints in northern california. his music of that decade, extending into the early 70's, remains his most powerful and beautiful, blending the freedom and mysticism of california counter-culture (although it was never purely popular in any commercial sense) with the grand tradition of european artmusic. since the 70's, stockhausen has been obsessed with his seven-part operatic cycle licht; what posterity will make of these cosmic musical grab-bags remains to be seen.

stockhausen claims to have written the first notated score for solo percussionist with zyklus, although he was actually beaten to that mark by john cage, with his 27'10.44", neuhaus suggests that stockhausen's graphic notation here also owes much to earle brown's pioneering works from the early 1950's. in any case, the notation for zyklus gives the performer considerable latitude, within strict teutonic limits. hence the four different realizations here, each a separate and equally legitimate response to the suggestion proposed by stockhausen's notation, represent an early example of neuhaus making his own compositional choices.

he had a good head start, to be sure, given his early interest in jazz improvisation. in a scnse, the system set up by stockhausen's score, which points directions and sets limits, is rather like the tune and chord changcs of jazz, or the rules neuhaus invents for himself in his own later sound-works, whether on the radio or the internet. and his ample use of electronic instruments to supplement pure percussion in other works also points in the direction on which he was to embark in the early 70's.

the result is a technical tour de force, less evident from a purely aural cd than it would be from a dvd, let alone from having attended one of these performances. each of these four recordings is a document of a true solo performance, one person and two hands, with no additional live help and no overdubbing (not that the technical constraints of the mid-60's, with editing limited to what could be accomplished with scotch tape and a razor blade, would have permitted much in that regard).

this cd also offers four different kinds of beauty, four proofs that the latitude that stockhausen allowed, when capitalized on by a performer with creative imagination, could validate stockhausen as a composer and an entire aesthetic of freedom and control.

john rockwell, new york city, 2004

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threads:
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alga marghen (italy) #alga nmn22 cd

max neuhausthe new york school. nine realizations of cage, feldman, brown” compact disc

  • earle brown - four systems - for four amplified cymbals (1964) 04’54”
  • earle brown - four systems - for four amplified cymbals (1965) 10’12”
  • earle brown - four systems - for four amplified cymbals (1968) 05’02”
  • morton feldman - the king of denmark (1965) 07’12”
  • morton feldman - the king of denmark (1968) 06’12”
  • john cage - 27’10.554” - realization ‘64 (1965) 08’52”
  • john cage - 27’10.554” - realization ‘65 (1965) 09’31”
  • john cage - 27’10.554” - realization ‘65 (1965) 09’32”
superb recital disc, covering multiple realizations/recordings of three key pieces: earle brown’s “four systems - for four amplified cymbals”, morton feldman’s “the king of denmark”, and john cage’s “27’10.554”” by max neuhaus. the cage piece(s), speficially, are an eye-opening barrage of tape-edits and precise anti-motor-rhythm extrapolation - unlike any other piece of his from the era, rivalling only earle brown’s “octet” in its density of pointillist sound...
alga marghen press release...
the new york school

the term "new york school" refers in music to a circle of composers in the 1950's who orbited around john cage: morton feldman, earle brown, christian wolff and david tudor above all. their music paralleled the music and events of the fluxus group, and drew its name from the new york school of mostly abstract expressionist painters who had got their start in the 40's: robert motherwell, jackson pollock, willem de kooning, mark rothko, franz kline et al. (there was also a new york school of poets, among them frank o'hara, john ashbery and kenneth koch.)

what brought these artists together - and together they were, since they often shared neighborhoods and even collaborated - was a faith in the liberation of the unconscious and an excitement drawn from the street energies of manhattan. among the composers, cage exerted his benign influence through his interest in rhythm and percussion, through his meditative philosophy and contemplation of eastern religions, througb the patronage he could offer via the merce cunningham dance company, and through his generally, genially energetic personality.

this compact disc offers multiple realizations by the solo percussionist max neuhaus of scores by three key members of the new york school: brown, feldman and cage. neuhaus' own comments of their scores and his way of interpreting them can be found elsewhere in this booklet. in general terms, all three composers notated their scores in ways that invited individual interpretation.

hence they conformed to the ethos of the 60's - not to the blend of hippie mysticism and pop commercialism that defined that decade toward its end, but to a broader notion of personal liberation, in which the individual artist (both the individual composer and the individual performing musician, in this case) was liberated to express himself. conventional notation in the western tradition was giving way to symbolic, even graphic evocations of the sounds the composer heard in his ears - and yet the scores urged performers to surprise the composers, too. graphic notation in particular, of course, was a way for composers to reach out to painters - to become painters. graphic scores became a feldman specialty for a while, although that of the king of denmark looks more like chinese calligraphy.

it was no accident that max neuhaus came of age as a solo percussionist in this era. had he been born earlier than 1939, he would have played in the more conventional percussion ensemble pieces popular in the 1930's. but in the 60's he was allowed to express himself, to revel in timbral color (including the use of electronics, as in the amplification of the cymbals in the brown performances) and in giddy dialogue between notated composition al intention and performer expression. each of the realizations on this disc is a valid response to the scores, yet each is different, almost a new piece of music, as much by neuhaus as by cage, feldman or brown.

john rockwell, new york city, 2004

...

i was born in east texas, in a town called beaumont on the border of texas and louisiana. my father had just received his doctorate in chemical engineering and was doing his apprenticeship with the texas company (texaco) in a then dirty little oil town nearby called port arthur. my mother detested this place so much that when she became pregnant with me she got out a map to look for another place nearby to give birth. there she found a town wirh a french name that translated into 'pretty mountain' only ten miles away. she made my father promise to get her there before i was born. early in the morning on august 9th 1939 she went into labor in the middle of a thundersrorm, and dad dutifully got her there in time in his '37 ford. i exited at four a.m. little did she know that bob rauschenberg and janis joplin had been and would be born, respectively, back in port arthur.

at the age of fourteen i innocently decided i wanted to be the best drummer in the world. at that time i was fascinated by gene krupa, his sense of time, in that great solo on benny goodman's carnegie hall concert recording of sing sing sing. a drummer's role in a big band like that is building time, the rhythmic framework the rest of the band rides on. krupa's sense of time made me ecstatic, almost intoxicated. my family was living just outside new york city then. krupa had set up a drum school on west fifty fourth street. i started taking the train to the city every saturday to take a lesson from him.

it turned out that i was too in awe of him to learn anything. for me, it was like sitting next to a god. all i could do was stare at him. shortly, i left and started studying with one of the teachers who worked at the school, a black musician named 'sticks' evans. sticks was an excellent studio musician, one of those who moved around manhattan al day playing any and everything, at the drop of a hat.

he had set up his own saturday drum class in a basement on lenox avenue in harlem. i was the only white kid. they sent another kid, wilber, to meet me at the subway every week so i would get there in one piece. sticks collected old manhattan classified telephone books, the yellow pages about four inches thick. part of his method was to give each of us a pair of very heavy parade drum sticks and not let us go home until we had each beat our way through a telephone book, until there were only scraps of paper remaining.

fine control depends on having a great deal of strength, and this was an exeellent method of building it. he gave me my hands. i was fifteen. i had to stop studying there after a year because my family moved back to texas, but i returned the next summer and continued.

when i graduated from high school i wanted to play jazz, but my family insisted i go to college. the compromise was that i would attend the manhattan school of music. juilliard was their first choice, hut it was obvious to me that manhattan was the only place for a percussionist to go hecause paul price was there directing a percussion ensemble. juilliard was only producing orchestra musicians.

my first year there i still thought i would he a jazz musician, that i was just going through the conservatory to satisfy the parental pressures. but then i discovered and became intrigued with a whole area of music, which i had known nothing about before.

a group of composers, who were more interested in timbre than melody and harmony, began to turn to our percussion ensemble to play their work. percussion is the world of timbre. we were excellent players and excited to learn to play this new music. thus at nineteen, i hegan working with composers like harry panch, henry cowell, lou harrison, as well as those living in new york - john cage, morton feldman, earle brown. these, along with christian wolff, later came to he known as the new york school. they were the cutting edge of american contemporary music in the fifties.

in this process i discovered that works for one percussionist also existed and decided to learn to play them. after five years, i came out of manhattan school a solo percussionist, an unknown profession at the time. i had grown out of my fascination with jazz and solely building time.

m.n.

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alga marghen (italy) #alga nmn21 cd

henri pousseur / michel butorpaysages planétaires” triple compact disc set

  • lavish box-set !! three discs and a giant booklet !!!
disc one (66:47)
  • carillon brabançon 1’20”
  • labra d'or 10’02”
  • océan papouindien 10’03”
  • pacific sandwich 7’03”
  • gamelang celtibère 20’00”
  • états zuni 18’10”
disc two (75:20)
  • mélatlantide 16’34”
  • caspertzienne antillaise 12’06”
  • caraïbes ouralocéaniennes 28’34”
  • mongolie tropicale 18’06”
disc three (74:42)
  • chamanes sahéliens 12’44”
  • andes afro-nippones 14’39”
  • ethiopie brésilienne 9’44”
  • dallage arabesque 15’46”
  • alaskamazonie 5’54”
  • canadacathay 7’06”
  • vietnamibie 8’49”
lavish boxed set of latter-day ethno-electroacoustic music, containing 3 discs (each in a slimline case with individual artwork) and a large booklet/libretto. this certainly harkens back to the pair’s wergo-era output (specifically, the “votre faust” 3lp box / board-game)

utterly fantastic, a titanic undertaking glowing with classic-era sensibility.
alga marghen press release...
seize paysages planétaires musique ethno-électroacoustique (2000) 210

[pièces principales d'un programme sonore de 16 heures, « le village planétaire vu de nivelles », comportant en outre 9 carillons et 8 sonneries, 8 plages de divers textes entremêlés, et de longs moments - la majorité - de « silence coloré », programme destiné à un complexe architectural conçu par philippe samyn et construit au nord de nivelles, où il n'est cependant toujours pas installé.]

réalisation, avec l'assistance de denis pousseur, au studio « crossed lines », bruxelles.

chaque pièce peut être jouée séparément, et des ensembles bien balancés peuvent naturellement être sélectionnés.

par ex : création des numéros 14, 4, 5, 15, 8 et 16 à l'université de cologne, département de musicologie, le 16 novembre 2001. (dans la publication discographique, les 16 paysages sont précédés d'un « carillon brabançon »; leur numéro d'ordre est donc décallé d'une unité chacun.)

...

sixteen planetary landscapes ethno-electroacoustic music (2000) 210'

[ principal parts of 16 hours a sound program, " the planetary village seen of bubbles ", comprising moreover 9 chimes and 8 ringings, 8 beaches of various intermingled texts, and long moments - majority - of " coloured silence ", program intended for an architectural complex conceived by philippe samyn and built in the north of bubbles, where it is however still not installed. ]

realization, with the assistance of denis pousseur, with the studio " crossed lines ", brussels.

each part can be played separately, and of the well balanced sets can naturally be selected.

by ex: creation of numbers 14, 4, 5, 15, 8 and 16 at the university of cologne, department of musicology, november 16, 2001. (in the discographic publication, the 16 landscapes are preceded by a " chime brabançon "; their sequence number is thus décallé of a unit each one.)

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threads:
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minimalism-drones
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alga marghen (italy) #alga nmn19 cd

charlemagne palestinein mid-air (golden 3)” compact disc

  • sine wave study (1965) 03’44”
  • open-closing (1965) 03’37”
  • seven organism study (1968) 07’50”
  • negative sound study (1969) 23’47”
  • tymbral for pran nath (1970) 15’18”
alga marghen press release...
late night recordings at the n.y.u. intermedia center.
buchlas 100 & 200 systems.

the first time i heard electronically generated sounds probably came from the machines that i encountered in ordinary daily urban life the refrigerator electric motor electrical generator and the hammond electric' organ but it was especially the sounds of motion race cars motor cycles war planes rocket ships that first excited my sonic imagination as a young teenager then i heard the electronic musics of tod dockstader alwyn nikolais pierre henry & schaeffer poeme electronique of varese and xenakis and gesand der junglinge of stockhausen

i immediately bought a cheap reel to reel tape recorder took a class on tape music manipulation and started to cut and paste recording tape making collage sound experiments and fooled with reverb tricks and bass / treble tone knob filterings trying to create already an electronicesque language of my own at first i used my own voice and the bells of my carillon and sounds i recorded around the house as my sound sources then one day i experienced at an electronic music studio what electronically produced sound waves looked and sounded like through an oscilloscope and began studying helmholtz's on the sensation of tone

i started to dream of an expressive continuous evermoving everchanging sound form an enormous sonorous 3-dimensional sculptural canvas in mid-air using electronically produced sounds at first i began experiments with simple sine tone generators emitting the purest sound waves without any overtones then gradually with access to moog buchlas and arps i constructed sounds using the sine / sawtooth / square wave oscillators in a fluid everchanging mix of adding or filtering overtones and white noise to create sonorities constantly changing timbres and weight

i experimented in this way from 1964 till 74 in nyc and then california finally i assembled my own drone machine of 16 ultra stable oscillators designed by serge tcherepnin and 4 band pass filters designed by donald buchla and began to travel presenting spectral continuum searches for the golden sonority day week month long journeis of harmonies and their overtones in constant evolution and transformation in space untill the late seventies when i stopped composing & performing for nearly 15 years

when i resumed in the nineties my jamaica heinekens soundscape was made using arp and rubery oscillators and filters in holland and performed many sonorities in progress these last years with several simple yamaha synthesizers and now i am constructing a small electronic studio at home in bruxelles around the analog oberheim matrix 12 and expander that i bought just before the end of analog in the late eighties

electronic sound forms continue to have a major place in my compositional palette..

..charlemagne palestine

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alga marghen (italy) #alga nmn17 cd

philip cornergong+” compact disc

  • metal meditations with listening center (1974) 29’02”
  • gong! (1974) 23’02”
  • pulse polyphony (1974) 10’39”
... superlative set of deep metal drones laced with environmental sound(s) from composer philip corner ; the second piece, especially, conjures up some deep demons ; the devil is most certainly in the details ; the harmonic buildup of massive metal overtones captured here is truly divine ...
alga marghen press release...
gong

(these are forms of kinds of metal meditation”s)
they are the more-elaborated performing plans
for/on this “prototype of all rich resonances, so,
are musics assuming long-resounding & more-than-single-pitched
large-surfaced (likely) lower-tone-favoring metals,

(some possible substitutions, for some: piano.....low clusters and selected sonorities.
colors controlled from pedal. struck by soft stick(s) - or from keyboard.
richly rung preparations.

clusters of bells, chimes, etc. (may ring together well)

consider the possible superimpositions of amplifications patterning, using the
electronics with these ideas as each score makes appropriate such extension.

in a part these are like professionals’
things
yet can be always taken in the amateur sense......
of these pages each can be a single piece. or mix them.
controls in idea and technique offer interest to skilled percussion-
ist exploration,
concert presentation;
concentration of sensitivities make accessible to ritual participat-
ion, solitary
or in commune.
(not then pieces but wholes --- of hours and days)

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threads:
electro-acoustic-improvisation
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free-improvisation
experimental-instruments
concert-recordings
sound-art

alga marghen (italy) #alga nmn15 cd

musica elettronica vivaspacecraft • unified patchwork theory” compact disc

  • spacecraft (41:16) 1967
  • unified patchwork theory (33:52) 1990
june 2008 release ; a new, remastered version of this 2001 alga marghen title !!!

two recordingss from different groupings of allen (sic) bryant (homemade synth), alvin curran (electric perussion, trumpet, voice, sampler, synths), frederic rzewski (amplified glass and springs, piano), richard teitlebaum (moog, synths), ivan vandor (sax), steve lacy (soprano sax), and garrett list (trombone, voice, electronics) ... recorded in köln in 1967, then again 23 years later in zürich ...

despite the gap between the two recordings, little has changed, stylistically.

one of the 5 best alga marghen discs, imho. highly recommended !!!
alga marghen press release...
m. e. v.
musica elettronica viva
"spacecraft / unified patchwork theory"
(cat no. plana-m 15nmn.038)
digipack cd

the mev group was formed in september 1966 by alvin curran, richard teitelbaum, frederic rzewski, allan bryant, carol plantamura, ivan vandor, and jon phetteplace. in the beginning they performed compositions by themselves and others which involved the use of electronic sound produced in real time, or "live" electronic music. in the summer of 1967 they began to work more with improvisation and less with determinate structures. mev focus more on interpreting the moment, rather than constructing repeatable programs; creating meaningful rituals, not images; becoming involved with the process, the operation, and not with the result of it, or its effects on people. mev music is highly eclectic, resisting ready classification by combining elements of improvised music, computer music, world music, jazz and classical composition, without being clearly definable as any one of them.

for the realization of "spacecraft", recorded in koln in 1967, mev were frederic rzewski (amplified glass and springs), alvin curran (electric percussion, trumpet, voice), richard teitelbaum (moog synthesizer), allen bryant (homemade synthesizer), ivan vandor (alto saxophone). in the collective work of mev "spacecraft" it was stereotypes that formed the material for the improvisation. the player imagined himself as trapped within a labyrinth, whose corridors were lined with images, learned formulas, taken from the past. this was the space which he occupied, and it was indeed a trap, but then it was also all that he had. it was occupied space, he was in it, but didn't identify with it, and the work was to transform it into created space, to make it his. he had to penetrate through the walls of the labyrinth, through the images, whether by magic, all at once, or over a longer duration, by work, in order to come out into the open, to discover a new space which was neither his nor another's, but everybody's. the secret of the labyrinth is that the way out is not left, right, forwards, or backwards, but up: to get free one must fly. to fly is to risk falling, to acept this risk. as long as you are afraid to take this risk, you'll never get off the ground, you'll run around bashing into walls and going through the movements of flight, uselessly flapping and flopping. you will fall into stereotypes. if you accept this, however, if you open yourself to whatever is happening, suspend judgement and fall into it completely and with grace, then you will fly, and it will be transformed.

"spacecraft" is a composition, in the sense that it is based on a particular combination of ideas. in order to play "spacecraft" it was necessary to be more or less familiar with these ideas. the performers all knew each other. every performance was the moment of a continuous process. this process then came to an end, as it were, and the rather esoteric techniques used in the maintaining it were abandoned in favour of others which were more open, more accessible to the casual visitor or listener.

this cd also includes " unified patchwork theory ", recorded in zurich at rote frabrik by mev including frederic rzewski (piano), alvin curran (sampler, synths), richard teitelbaum (synths), steve lacy (soprano sax), garrett list (trombone, voice, electronics).

this cd is included in a beatiful digipack black and white sleeve with photos and liner notes. also included is a 8 page booklet with an essay by frederic rzewski titled "plan for spacecraft", as well as "some mev memories" by richard teitelbaum and the chronology the "spacecraft" performances in europe in 1967.

new edition remastered by giuseppe ielasi.

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alga marghen (italy) #alga nmn13 cd

charlemagne palestinealloy (golden 1)” compact disc

  • holy 1 & holy 2 (1967)
  • alloy (1969)
... so the listing is a little misleading on this one ... the first track is a full-on straight drone piece for 20 minutes, holy 1. the second track is the same drone with extra sonorities (aka holy 2) mixed in, thus holy 1+2 ... the third track is merely the holy 1 + 2 tape played in a large room (possibly the merce cunningham space?) with added accompaniment from tony conrad, robert feldman, deborah glaser palestine and cp himself ...

... regardless of what the hell is actually on this cd, it sounds like: holy 1: the bones of a large whale being bowed from inside, holy 1+2: same whale, resisting, alloy: whale, now transplanted to chelsea piers, field documentation of whale on microcassette & accompaniment by a-list of factory hangers-on/”drone music” ...
alga marghen press release...
holy 1 & holy 2recorded in new york city n.y.u. intermedia center (1967)late night electronic sonoritiesalloytony conrad, robert feldman, deborah glaser palestine, charlemagne palestinerecorded live at free music store, radio station wbai, new york city (1969) “holy 1 and holy 2 were both recorded in nyc in 1967 i was reading helmholz - and listening to a lot of ethnic world music but i was also very immersed in the late night new york soundscapemy friend saxophonist bob feldman and i would often take long long walks 2 or 3 o'clock in the morning from battery park at the lowest point in manhattan to where we lived on 87th street and riverside drive and absorb the spacial sound diversity and beauty that such a big city could only express very late at night then other nights when i composed i worked also at night.from midnight to 7 or 8 in the morning with a mattress on the floor i would build up a sound oscillator by oscillator then add ever so slightly to the oscillators input tiny increments of white noise that would gr adually make the sounds thicker and thicker untill they were immense sacred machines humming like gargantuan tibetan bees making all the room and objects in it resonate while outside all was quiet and sleeping i worked like a painter with a palette and a canvas and i mixed and added and mixed and added over entire nightsi played them very very loud mixing adding and then lying on the mattress and listening and fine tuning finally at a certain point after several nights the sonority seemed ready to record i'd put on the tape prepare the tape machine with the proper level as not to overload it and i'd record the texture. holy 1 & 2 were done in this waylater on i was asked by gus solomons a choreographer at new york university to create a texture for a new dance work he wanted to present and as he was a student of merce cunningham he had the same habit of asking a composer to create a work without ever hearing it until the performance we just agreed on how long it would be we chose something lik e 70 minutes and in 1968 i brought both holy 1 & 2 to the theatre to decide which one to use for the dance and found that for me at that moment each one was too thin played alone for such a big open space and finally tried the 2 sonorities together they fit strangely but wellso i used them both and after that i played them sometimes separately together and sometimes and so holy 1 & 2 became a work itself then in 1969 tony conrad asked me to make some carillon music for his: film "coming attr actions we were seeing each other regularly for that when the free music store of radio station wbai asked me to create a piece for an event they were preparing to broadcast live on radio 1 so i asked tony my saxophonist friend bob feldman my then-wife and sopr ano debor ah glaser to collabor ate on a workthat i would organise around an instrument that i invented at that time called an alumonium made from pieces of aluminium siding attached with fishing wire each a different length thus different pitch when you hit them and a spanning sound as well if you hit them a special way and they'd begin to spintony played an instrument that he invented the long string drone that was a long string attached to a long wooden structure and amplified bob played the chimes and a conch deborah sang and played chimes and i sang also played the chimes and some percussion instruments that we found lying around the hall where we playedthe piece became alloy and the sound that begins played through loudspeakers in the hall 'were holy 1 & 2 from 1968...charlemagne palestine

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alga marghen (italy) #alga nmn12 cd

philip corner3 pieces for gamelan ensemble” compact disc

  • gamelan (24:31) 1981
  • the barcelona cathedral 1st (19:23) 1978
  • belum (third version) (33:24) 1992
... gorgeous set of slow-moving music for the gamelan-ensemble “son of lion” composed by philip corner ...
alga marghen press release...
gamelan was composed in 1975 and this version recorded at wesleyan university, middletown, connecticut on february 28, 1981.
“the barcelona cathedral, 1st” was recorded in new york city in 1978.
“belum (third version) was composed in 1991 and recorded in new york city on february 29, 1992.

gamelan. the name of the first one. 1975. we were at livingston college, barbara benary and i, where she had just constructed the earliest instruments of "son of lion" and was just beginning the introduction of new compositions......she invited me to write one. of course i did. (we now refer to it as "number i", but - as i had no idea then to do another, it is not, properly, numbered.) its opening gong stroke and long resonance, has through several revivals over the years come to seem to us like a "classic". this piece is the link to my earlier works, particularly those of struck resonant instruments (like ''metal meditations" and "gong!") which are intensely focused on the immediate presence of the sounds. what is added here is a counting, although so long a length dissolves again in the intuitive. as parts add, each new one higher, each one half the previous time, the interlocking parts clarify the proess. all in --- all ten of them, from 64 seconds to 1/8 ----- they continue so, with just touches of ebb and flow in intensity.

(c) 1975

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concert-recordings

alga marghen (italy) #alga nmn11 cd

rumori alla rotonda” compact disc

  • john cage “duo” (1958) 07’25”
  • walter marchetti “gamapîrt” (1959) 04’22”
  • morton feldman “piano piece 1” (1954) 02’41”
  • juan hidalgo “ciu music quartet” (1959) 11’04”
  • leopoldo la rosa “musica per pianoforte e 3 timpani” (1959) 04’58”
  • john cage “music for piano” (1956) 06’14”
  • juan hidalgo “offenes trio” (1959) 04’49”
  • morton feldman “piano piece ii” (1954) 02’18”
  • walter marchetti “doppio” (1959) 05’10”
  • leopoldo la rosa “rímak” (1959) 12’16”
... fantastic compact disc documenting an historic concert which took place at the rotonda del pellegrini, milan, on january 21st 1959 featuring john cage, juan hidalgo, and walter marchetti ...
alga marghen press release...
live recording at the rotonda del pellegrini, milan, january 21st, 1959.performers:john cage, piano (3, 6, 8)juan hidalgo piano (4), celesta (10)leopoldo la rosa piano (5, 10)walter marchetti celesta (2)pina lercari viola (1, 4, 10)franco carabelli flute (1, 7, 10)giordano cappello oboe (2, 10) english horn (7)stelio licudi bass clarinet (9, 10)evadro dall’oca bassoon (4, 7, 10)giacomo polverino trombone (2, 9, 10)stanislao massara trombone (4, 9, 10)domenico torrebruno timpani drums (5, 10)qintín gonzáles, jesús gonzáles cuatros, maracas, claves, guitarra (10)

...

gabriele bonomo

cage, feldman, hidalgo, la rosa, marchetti: rumori alla rotonda milan, january 21, 1959.

among all of the events john cage porticipoted in during his long stay in europe, and more precisely in italy, that followed his controversial appearance at darmstadt ferienkurse on september 1958, the concert he held in milan on january 21, 1959, at the rotonda del pellegriniwith juan hidalgo, walter marchetti, and the peruvian composer leopoldo la rosa - perhops represents a less well-known episode, but not the least relevant one. the reasons of such an interest - reasons that justify the opportunity to present here, after forty years, the complete recording of the concert, and that restore the measure of the exceptionality of this rare document - cam be summarized, first of all, in the contrasting reactions catalyzed by this event, thus prefiguring the front of ill-matched attitudes in which the contradictory european reception of john cage's oeuvre began to crystallize.

featuring cage's intervention both as composer and performer of his awn work as well as of two piano pieces by morton feldman, the concert at pellegrini's rotonda moy be considered the first event of experimental music in europe in which the presentation of american and european composers - if one excepts the non-homogeneaus chorocter of david tudor recitals - consciously acted on an ogreeing and equal aesthetic horizon. it was exactly this peculiarity that tumed out to be differently meaningful for peaple who played 0n. active role in the concert on the one hand, and for those who recognized in it, from an extemal point of view, only the symptoms of a pemicious mixture as regards the kind of cultural phenomenology with which cage's experience was classified at the time of his first clamorous ochievements in europe. the concert, promoted by the 'club intemazionale universitario', was organized thanks to the initiative of juan hidalgo, walter marchetti, and leopoldo la rosa, to crown cage's impending deporture from milan, where he spent almost four months starting from november 1958 - accepting luciana berio's and bruno madema's invitation-to finish the tape of fontana mix at rai television 'studio di fonologia musicale'.

during this period cage was not lacking in other opportunities to perform his compositions, neither did he miss former occasions for presenting his music in italy with a certain continuity, perhaps mare frequently at that time than in other eurapean countries. after the first private performance, reserved to musicians and iriends, of fontana mix simultaneously played with aria written lor cathy berberian (milan, december 20, 195b), cage began a brief tour in italy with luciano berio and the same singer, with a concert programme repeated in rome (ridotta del t eatro elisea, january 5, 1959) and florence (circola leonarda do vinci, january 8, 1959), where they presented music for two pianos, winter music, and variations i, and the first public performance of aria with fontana mix. sytvana bussotti and heinz-klaus metzger, in conjunction with teresa rampazzi, afterwards organized a concert by cage at the circolo culturale 'ii pozzetto' in padua (february 7, 1959), where he performed variations i, music walk, excerpts from music for piano, besides an audition 01 the european premiere of the concert for piano and orchestra recorded in cologne, and metzger's opening lecture entitled the musical progress from schonberg to cage...

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alga marghen (italy) #alga nmn10 cd

robert ashleystring quartet describing the motions of large real bodies / how can i tell the difference?” compact disc

  • string quartet describing the motions of large real bodies (1972) 20’05”
  • how can i tell the difference? version one (1972) 20’32”
  • how can i tell the difference? version two (1973) 23’40”
one of robert ashley’s more classic pieces - a mass of crackling wood and strings resulting from an advanced live-electronic sound-modifying setup (detailed below.) rivals the new blockaders’changez les blockeurs” in its adoption of grating anti-musical timbres to yield finite goals. along with “wolfman”, essential.
alga marghen press release...
string quartet describing the motions of large real bodies was composed as the potential orchestra for an opera based on the text of in sara, menken, christ and beethoven there were men and women by the american poet, john barton wolgamot. the text in 'a simplified performance version with one voice and a synthesizer orchestra designed by paul demarinis was released by cramps records (nova musicha n.3).

the opera was never completed as a score or "plan", because i realized it would never be performed. it was clearly too complicated for anyone's idea of "opera".

string quartet describing the motions of large real bodies is an electronic orchestra of 42 sound producing modules, each made up of a "program input" (a sound) and a "controller~ input" (to determine how the sound will be changed.) the workings of these modules are intentionally not specified in the score, because it was clear in 1972, when the work was composed, that we were just at the beginning of a huge change in electronic instrumentation, a change that would involve computers and sound producing devices as yet undreamed of. the idea of the work as an orchestra for the opera suggests the possibility of an "infinitely" detailed relationship of the "controllers" in the sound producing modules to the variables in wolgamot's monumental text (depending upon the depth of an analysis of those variables, which are as yet undecoded by anyone who has seen the text.) as an independent work, an electronic orchestra piece of indeterminate duration and sound" caused by" the performance of a string quartet ensemble, it becomes simply a challange to the producer of the performance to make something unique and beautiful out of the resources at hand.

the technique of the string quartet is for each player to make a stream of intentional but unpremeditated (that is, random) very short sounds, pulses, somewhat like pitched clicks, but with the formants and overtones of a string instrument. (i got this idea~ from the rumor of a performance by the composer and violinist, takehisa kosugi.) these sounds go directly to a set of four loudspeakers, but at the same time they are delayed electronically within a range of five to two-hundred-fifty milliseconds, and those delayed sounds are designed tobe activated by the very brief coincidence of an original sound and a delayed sound. the operation of the networks as a result of the coincidence can, in the theoretical world of electronics, produce almost any sound imaginable. if the work is produced with a performer at each of six program-and-controller modules for each of seven networks ("ensembles" of the orchestra), the orchestra will consist of 42 electronics players and four string players.

in the performance realization recorded here few of those resources were available. the string instrument pulses. were prerecorded on a four track tape (using just one violin.) those pulses were delayed at just one time interval and were sent to just one network of program-and-controller modules, designed and performed on a large moog synthesizer by "blue" gene tyranny and sam ashley. so, an interaction between the string performers and the electronics performers is absent, as is the possibility of continuous performance decisions by six electronics performers within each of the seven networks and the consequent , interaction among those networks.

when the work was composed, the composer roger reynolds, tried to design a full set of delays and networks (but pre-programmed) on a~ computer at the university of california in san diego, but the computer could not handle the job. now, of course, there are computer "patching" programs that would make the job possible, but complicated. missing, though, in this possibility are the performing decisions of 46 individuals, which adds a degree of complication still probably beyond our~ means. such are dreams, when technology promises a "new world." sort of like 1492.

robert ashley, new york, june 1999

...

the recording of string quartet describing the motions of large real bodies was a success among my ~ friends, and at the time i was obsessed with the idea of "coincidence"~ (i had learned from a wonderful book called "the singing tree," given to me by a wonderful artist, hank bull, that coincidence was thought to be an "illusion" in the great philosophies of buddhism and hinduism~ i cannot give a correct reference to the book, because i loaned it and it never came back. so, the notion of "coincidence" as a main ingredient in the string quartet came into question.)

the hills and mountains separating san francisco bay from the pacific ocean are fined with a labyrinth of endless concrete tunnels constructed by the military in the 1930's in anticipation of the world war ii to defend san francisco bay from invasion. in 1972 these tunnels were a place of wonder aod adventure for the locals~ at the entrance of every tunnel is a huge steel door, hinges still working~ when the door is slammed, the reverberation through the labyrinth seems to last forever. it is one of the wonders of the world~ naturally, i ~ tried to record this phenomenon~ on the occasion of he recording, just as the reverberation seemed to die away, a motorcyclist, miles away in the tunels, started coming toward us~ the effect, which took minutes, was as if the reverberation had been reversed, as if the tape recording was running backwards~ when the motorcyclist finally exited the tunnel (we had opened the door to record the reverberation), there was a general feeling of relief that we had not become involved in some kind of magical time reversal. a perfect case of. coincidence as illusion.in version one of how can i tell the difference? i tried to create the drama of the recording of the reverberation and the motorcyclist, using the string quartet describing the motions of large real bodies as an "orchestra," in the way intended to be used in the opera. version one simply mixes the sounds of the string quartet with the harmonies of the string quartet and the recorded sounds of the reverberation of the, labyrinth and the recorded sounds of the motorcyclist in th~e labyrinth.

in version two of how can i tell the difference? a solo string player using the same playing technique as in the string quartet describing the motions of large real bodies opens and closes the sound "gates" to electronic reverberations and prerecorded sounds running continuously with the performance~ the opening and closing of the "gates" is the result of coincidences between the sounds produced by the solo string player~and the sounds from the prerecorded tapes. the technique of producing the result of those coincidences is based on an electronic circuit designed and built by paul demarinis. this magic box was invaluableto me for years. the circuit had two inputs, whose sensitivity to "coincidence" (between the input sounds) could be adjusted over a wide range of input voltages. any coincidence of sounds at the inputs could be used to activate instruments (e~g~, electronic ~ "gates") at any of eight outputs. i have forgotten now exactly what the elctronic set-up was (how many "gates", how many prerecorded tracks were available, how many "passes" were made on the multitrack machine), but it is clear from the recording that the coincidence-gating is the drama of the performance.

robert ashley, new york, june 1999

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alga marghen (italy) #alga nmn08 cd

ben pattersonearly works” compact disc

  • a simple opera (1995 lago di como version 13.4.1999) 15’51”
  • duo for voice and a string instrument (1961) 11’01”
  • variations for double-bass (1961) 11’22”
  • paper piece (1960) 17’05”
  • pond (1962) 05’24”
as of yet the only available recordings of ben patterson’s early fluxus sound-pieces, the majority performed on or of the acoustic double-bass & recorded in the early 1960s... the two contemporary book-end pieces are performed here by a small orchestra consisting of philip corner, walter marchetti, davide mosconi (of n.a.d.m.a. fame), and others...
alga marghen press release...
"a simple opera (lago di cama version}": i have included this new work for reasons which can be deduced from the sub-title and the libretto (see score reproduced in these notes.) fluxus historians may recognize similarities between this work and a 1960s opera by emmett wiliams. these similarities are intended, as my first version af this opera was a hommage to emmett williams on his 70th birthday.

"duo for voice and a string instrument": this duo was my most ambitious and last attempt to combine graphic notation and chance operations for the realization of a performance score. the complete set of materials necessary to realize a version of this work, consisted of two pages of instructions, three pages of a general universe of symbols and two transparencies (on which circular and rectangular contours were drawn) used to abstract sets of symbols (graphic notations) from the general universe in the preparation of a performance score (see pages reproduced in these notes). this work was first performed at galerie haro lauhus in cologne, germany, on may 14, 1961.

"variations for double-bass": within days after the first performance af "duo", i realized what interested me most about the work were my tentative experiments with "prepared double-bass". i immediately began working on a set of variations far double-bass. and then, unexpectedly, out of some unknown place, something new entered the process - humor! i still remember the joy and excitement of those next days, as the ideas fell into place. the piece was finished within a week and the first performance took place shortly there after on june 8, 1961, again at galerie haro lauhus.

"paper piece": this work cut the umbilical cord to all of my previous classical and contemporary musical training and experience. the process had begun during my first encounter with john cage at mary bauermeister's "contre festival" (may 1960 in cologne). three months later, my reaction to the first performance of stockhausen's "kontakte" made the completion of this process an urgent necessary. "paper piece" was completed in september 1960 and received its first performance at galerie lauhus, cologne on may 14, 1961. however, despite my reasonably precise instructions (see score repraduced here), beginning with the first fluxus festival concerts in 1962, "paper piece" grew a life of its own. it literally began enveloping and involving entire audiences in a wonderfully messy happening. now, nearly forty years later, this first studio recording returns to the acoustic origins of this work.

"pond": critics or historians searching for autobiographical references in my work should consider the following: 1)
as a "country boy" in a rural area outside pittsburgh, listening to the crickets, "caddidies" and frogs at a nearby pond, was what i considered "night-life"; and 2) i did not decide wheter to study music or herpetology until the last month before . entering the university of michigan. "pond" was first performed at nikolai kirke, capenhagen on november 26, 1962.

the photos of "duo" and "variations" are fram the "kleinen sommerfest" concert at galerie parnass on june 9, 1962 (see invitation reproduced here); this event has special historic significance in that it included the first public presentation by george maciunas of his fluxus manifesto and plans for the wiesbaden fluxus festival.

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alga marghen (italy) #alga mars 005 cd
algamars (italy) #alga mars 005 cd

henri chopinrevue ou • de-luxe edition” long playing record and ten inch single record and quadruple compact disc and five original artworks and two books boxed set

  • henri chopin - le discours des ministres (3:37)
  • henri chopin - la chanson du parlement européen (1:52)
  • henri chopin - beginning (3:10)
  • henri chopin - les saccades boréales hurlantes (7:25)

  • henri chopin - les raclements du maelström (2:56)
  • henri chopin - le corps est une usine à sons (10:48)

  • j.a. da silva - for h.c.
  • william burroughs - valentine day reading

  • brion gysin - poems
  • bernard heidsieck - passe-partout n°4
  • henri chopin - le soleil est mécanique

  • bernard heidsieck - poème-partition d4p, ou art poétique (7:49)
  • brion gysin - i am (3:02)
  • brion gysin - pistol-poem (2:15)
  • henri chopin - vibrespace (8:51)
  • françois dufrêne - batteries vocales (2:15)
  • françois dufrêne - paix en algérie (1:54)
  • françois dufrêne - ténu-tenu (1:26)
  • mimmo rotella - 7 poèmes phonétiques (5:26)
  • bernard heidsieck - poème-partition j (3:30)
  • bernard heidsieck - poème-partition h1 + h2, or le quatrième plan (2:36)
  • brion gysin - 3 permutations (4:22)
  • henri chopin - l'énergie du sommeil (5:05)
  • raoul hausmann - b b b b et f m s b w (1:09)
  • raoul hausmann - k' perioum (0:44)
  • raoul hausmann - poème sans titres (0:50)
  • raoul hausmann - oiseautal (1:40)
  • raoul hausmann - chanson, vali tali, baste (0:56)
  • bernard heidsieck - la convention collective (0:45)
  • bernard heidsieck - la cage (0:52)
  • bernard heidsieck - l'exercise: biopsie ii (0:39)
  • henri chopin - indicatif 1 (1:03)
  • henri chopin - la fusée interplanétaire (2:12)

  • françois dufrêne - triptycrirythme (12:27)
  • paul de vree - verokina (1:32)
  • paul de vree - ogenblik (0:41)
  • paul de vree - kleine caroli (1:08)
  • paul de vree - vertigo gil (1:52)
  • paul de vree - een roos a rose (0:42)
  • henri chopin - sol air (9:47)
  • henri chopin - 1st part "déchirure de l'air" (9:18)
  • henri chopin - 2nd part "brisure du corps" (8:04)
  • henri chopin - 3rd part "chant du corps" (4:44)
  • bernard heidsieck - quel âge avez-vous?: biopisie v (2:16)
  • françois dufrêne - dédié à h. chopin (3:38)
  • gil j. wolman - la mémoire (3:12)
  • henri chopin - le ventre de bertini (3:24)

  • françois dufrêne - haut-satur (june 1967) (2:58)
  • françois dufrêne - haut-satur (december 1967) (8:42)
  • françois dufrêne - haut-satur (november 1968) (1:23)
  • bob cobbing - marvo movie natter (4:10)
  • bob cobbing - spontaneous appealinair vontemprate apollinaire (3:09)
  • henri chopin - mes branches (5:48)
  • ladislav novák - la structure phonétique de la langue tchèque (2:12)
  • hugh davies - shozyg 1 & 2 (10:21)
  • sten hanson - don't hesitate do it, do it right now (2:55)
  • sten hanson - the glorious desertion (2:50)
  • henri chopin - 2500, les grenouilles d'aristophane (4:29)
  • bernard heidsieck - ravaillac, tu connais?: passe-partout n° 1 (4:10)

  • henri chopin - le rire est debout (8:00)
  • bengt emil johnson - (among) ii (4:50)
  • sten hanson - revolution (3:35)
  • sten hanson - railroad poem (2:14)
  • jacques bekaert - the day after (7:14)
  • j.a. da silva - audio-poem (1:44)
  • william s. burroughs - valentine day reading (10:00)
  • brion gysin - poems (3:25)
  • bernard heidsieck - chapeau!: passe-partout n° 4 (4:40)
  • henri chopin - la soleil est mécanique (5:06)
  • william s. burroughs - reading (8:51)
  • åke hodell - numro ba besch (4:19)
  • charles amirkhanian - each ' ll (2:57)
  • ladislav novák - two poems (1:43)
  • arthur rimbaud - le vrai sonnet des voyelles (1:39)
  • henri chopin - les mandibules du déjeuner sur l'herbe (5:23)
february 2013 release ; ... “de-luxe” edition of the “revue ou” set, including the full 4-disc version, plus a copy of henri chopin’s “the body is a sound factory” lp ... and an original 1972 10 pressing of “ou revue-disque 40-41” ...
alga marghen press release...
r e v u e   o u

de-luxe edition
(cat no. ou45 / algamars05)
lp + 10” + 4cd + 5 original artworks + 2 books + inserts in box set

edition limited to 30 numbered copies

after almost 7 years of work, algamars proudly presents the de-luxe edition of henri chopin's revue ou.the cloth hard-bound box includes the elaboration of all the elements of the alga marghen anthology, or 4 cds with the complete revue ou recordings (with new silkscreened sleeves), a 76-page book with full documentation on revue ou (with new silkscreened jacket), henri chopin “you got to laugh” booklet, henri chopin “for william burroughs” full color poster, 30 fold-out ou inserts (by henri chopin, bernard heidsieck, paul de vree, hugh davies, bob cobbing, jacques bekaert, john cage, tom phillips, arrigo lora-totino, michel seuphor, ben vautier, stefan themerson, richard orton, pierre albert-birot). this box also includes a numbered edition of henri chopin “the body is a sound factory & co” lp as well as an original ou revue-disque 10” no. 40-41. the following editions and artworks were specially created for this de-luxe edition: a previously unpublished book by henri chopin titled “la char des siècles” and 5 original art pieces: a signed dactylopoem by henri chopin, a signed collage by bernard heidsieck, a piece of hugh davies’ shozyg, a signed visual poem by sten hanson, a xerox art piece by bob cobbing.

since the end of the fifties, henri chopin, an explorer in the new recorded sound poetry field, has never ceased, through hid own work as well as through his publishing activities (revue ou, a magazine with record from 1963 to 1974) to defend the electronic exploration of the voice and the body. if henri chopin's revue ou is such a remarkable publication, then this is surely because it is one of the truly - and most authentically - 'contemporary' publications of its time. as chopin observes, he considered the sound poetry published on the records in ou to be a distinctively 'new form of art'. on one hand sound poetry constitutes an almost archetypal practice, but on the other hand sound poetry also emerges from the very sources of recording technology by means of its use of electro-magnetics.

as this collection of cds (remastered under the supervision of henri chopin) reissuing the complete revue ou records indicates, chopin's most striking achievement was to consistently identify and publish the first major works of many of the most visionary transatlantic artists exploring the new recording technologies of the fifties, sixties and seventies. far from attempting to establish any mono-dimensional 'movement', chopin characteristically championed a wide variety of those poets, writers and composers whom he perceived to be 'in movement', and whom he subsequently applauds as 'fabulous independents'. following an editorial logic of selectively eclectic inclusion, chopin's ou records published an astonishing diversity of inter-generational and international experiments. these include intense electronic readings by william burroughs and brion gysin; pioneering optophonetic works by the dadaist raoul hausmann; 'crirythmes' and vocalic improvisations by françois dufrene and gil j wolman; fragmentary poemes-partitions by bernard heidsieck; high-tech text-sound works by composers such as ake hodell and sten hanson; electronic abstractions by bengt emil johnson; phonetic poems by mimmo rotella; 'handy tech' performances on self-built electronic instruments by hugh davies; haunting tape-manipulations by ladislav novak; playful improvisations by bob cobbing with anna lockwood; dramatic monologues by paul de vree; electronic concrete music by jacques bekaert and - of course - chopin's dynamic orchestrations of the body's 'factory' of corporeal sounds.

chopin's writings equally consistently championed the 'electronic language revolution' facilitated by what he describes as 'technological means which extend the human body', thereby inaugurating an enormous expansion of human expression.

edition limited to 30 numbered copies (+ 5 a.p.), but only less than half of the copies available for distribution.

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 $270.01

new to stock as of
january 21st, 2014


threads:
modern-composition
minimalism-drones

alga marghen (italy) #alga mars 004 lp
algamars (italy) #algamars 004 lp

charlemagne palestinefour manifestations on six elements” double long playing record set

  • two perfect fifths, a major third apart, reinforced twice

  • fifths in the rhythm three against two for bösendorfer piano - one
  • fifths in the rhythm three against two for bösendorfer piano - two
  • fifths in the rhythm three against two for bösendorfer piano - three

  • sliding fifths for piano (1972)

  • three perfect fifths
    a major second part
    reinforced twice
february 2013 release ; ... art-edition of perhaps palestine’s most well-regarded lp, initially released by the sonnabend gallery in 1974 ...
alga marghen press release...
c h a r l e m a g n e   p a l e s t i n e

"four manifestations on six elements"
(cat no. magne 8 / algamars04)
2lp record

edition limited to 180 signed and numbered silkscreened copies
with original drawing by charlemagne palestine

one of charlemagne palestine most well-known works, "four manifestations on six elements" is presented here as 2lp record edition limited to 180 numbered copies, the first publication of algamars, the new sonic art division of alga marghen. the gatefold sleeve is silkscreened in one color and presents a signed drawing by charlemagne palestine on the front cover.

in 1973 charlemagne palestine was commissioned to make "four manifestations on six elements" by the sonnabend gallery in new york. as the gallery was well known for its presentation of conceptual art palestine decided to create a record similar to an exhibition space with four walls to expose on, each wall corresponding to a side on a double lp record.

"two perfect fifths, a major third apart, reinforced twice" (1973) is an electronic piece that deals with the search for the essence of timbre, sound color, through exploration of the inert chemical activity in the overtone series of tone fundamentals. in this genre of his work palestine feels akin to a kind of sound alchemy - blending elements over and over again through the years searching for the golden sound - the essence of the chord or harmonic structure itself.

in "one + two + three perfect fifths, in the rhythm 3 against 2, for piano" (1973) the elements introduced are now elaborated upon on the piano. the resonant bösendorfer allows palestine to create a more lively and complex variation of tones, intervals, overtones and rhythms. "one fifth" evolves by reinforcing the fundamentals of a fifth with their higher octave. each performance of this work is different as palestine reinterprets these simple elements listening within them for variations of amplitude, mixture and inertia at the moment of the performance. "one + two fifths" deals with the way a rhythmic sonority sounds when the sustain pedal of the piano in not used, thus focusing on its rhythmic aspect. gradually by adding the sustain pedal the external rhythmic pattern begins to internalize becoming an inert part of the whole timbral fabric - a piece expressing the battle of rhythm versus timbre for dominance. in "one + two + three" a third fifth is added - variations of melody and sonority reinforcements culminating in a rhythmic deceleration process ending the work.

"sliding fifths for piano" (1972) is an impressionistic version of the three fifths used in the entire work. the continuous liquid waterfall of pure romantic piano sound and color is a homage to debussy, ravel and monet.

"three perfect fifhts, a major second apart, reinforced twice" (1973) is the continuation of wall one. a pure and sonorous phenomenon.

edition limited to 180 signed and numbered copies in silkscreened gatefold sleeve, with an original drawing by charlemagne palestine on the front cover.

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new to stock as of
june 17th, 2014


threads:
electro-acoustic-composition
musique-concrète
site-specific

alga marghen (italy) #alga c.o.c.a. planam lp

crys cole / oren ambarchisonja henies vei 31” long playing record

  • sonja henies vei 31 • part 1

  • sonja henies vei 31 • part 2
alga marghen press release...
c r y s c o l e & o r e n a m b a r c h i
"sonja henies vei 31
………………………….
(cat no. c.o.c.a. planam)
lp record
first pressing limited to 150 copies

recorded during a week-long sojourn in norway, sonja henies vei 31 is a profoundly moving document of the personal and artistic union between crys cole and oren ambarchi.

abandoning their usual instrumental artillery, both performers make themselves vulnerable to the listener, undertaking a committed exploration of pure physical gesture. surrounding an explicitly intimate duo performance is a hazy collage of field recordings, tape hiss, metallic clinks and wandering voices.this forces the listener to hover in a disorienting psychological space between a confronting real world, and a swirling dream-world. while the latter’s abstraction cannot penetrate the former’s emotional directness, both environments function to obscure one another’s meaning. what is most affecting for the listener is how he/she inadvertently becomes part of the record’s scenery: a dreamer, narrator and voyeur in equal parts.

sonja henies vei 31 is a brave personal statement, a celebration of the idyllic, and a tragic theatre of emotional longing.

- james rushford, melbourne, 2014

due to the very intimate nature of these recordings the first pressing has been limited to 150 copies only.

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 $25.01

new to stock as of
june 17th, 2014


threads:
analogue-synth
guitar-themed
harsh-noise

alga marghen (italy) #alga amplan lp

marco fusinatospectral arrows: sydney” long playing record

  • spectral arrows: sydney (1)

  • spectral arrows: sydney (2)
... killer blast of modular-guitar shrapnelry from marco fusinato ...
alga marghen press release...
m a r c o f u s i n a t o
spectral arrows: sydney
……………………………
(cat no. amplan)
lp record
edition limited to 200 copies

“spectral arrows” is an ongoing series of long-duration performances for guitar and electronics. in “spectral arrows”, fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours. fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the working day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work. for the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole. even for those who stick it out, the extended duration, like in the late works of morton feldman, destroys the listener’s ability to retain and assess the structure of the performance. breaking with both the traditional form of the musical performance and, through fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of “spectral arrows” becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations traveling through air.

spectral arrows: sydney was recorded at artspace sydney in 2012 during “the color of the sky has melted”, a survey exhibition of fusinato’s recent projects. fusinato performed facing a large, purpose-built wall that bisected the exhibition space and displayed his double infinitives” series. fusinato’s sculpture “aetheric plexus”, which unleashes 13,000 watts of white light and a 105db blast of white noise when triggered by the audience was active in the space during the performance and provides an aleatoric counterpoint throughout the recording. the crushing volume and harshness of the performance is intensified throughout by the reverberant gallery space, which creates a swirling, almost psychedelic effect as fusinato’s sounds bounce from wall to wall.

spectral arrows: sydney, issued in an edition of 200 copies, condenses a six-hour performance into under forty minutes. compared to the rapid-fire cut-ups of “spectral arrows: rotterdam” (issued by de player in 2013), the pacing here is more measured. disorientating explorations of asynchronous stereo fields fade into periods of minimal drone, broken by the distant eruption of “aetheric plexus”; bottom-heavy oscillations give way to pointillist chatter; continuous streams of hum and crackle grow steadily until they form monumental aural sculptures.

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 $28.51

back in stock as of
february 18th, 2014

first in stock on
december 10th, 2013


threads:
sound-art
minimalism-drones

alga marghen (italy) #alga 46 lp

sounds of silence • the most intriguing silences in recording history!” long playing record

  • unknown artist - single side (0:10)
  • son of pete - disco party part 2 (3:01)
  • unknown artist - companion to tv (1:11)
  • andy warhol - silence (copyright 1932) (0:00)
  • unknown artist - b-side (2:04)
  • count backwards
  • the - b-side (3:41)
  • unknown artist - disque de silence, a-side (2:15)
  • john lennon & yoko ono - two minutes silence (2:00)
  • unknown artist - a-side (0:44)
  • unknown artist - a minute silence (1:00)
  • unknown artist - excerpt (1:00)
  • unknown artist - the sound of the one hand clapping (2:35)
  • maurice lemaître - le crochet (œuvre sup) (2:18)
  • ciccone youth - (silence) (1:04)
  • sly & the family stone - there's a riot goin' on (0:00)

  • crass - the sound of free speech (1:00)
  • unknown artist - testpressning (sic) (2:36)
  • unknown artist - excerpt (0:55)
  • whitehouse - birthdeath experience (2:02)
  • john denver - the ballad of richard nixon (0:07)
  • soulfly - 9-11-01 (1:00)
  • the west coast pop art experimental band - anniversary of world war iii (1:37)
  • robert wyatt - silence (0:30)
  • john lennon - nutopian international anthem (0:03)
  • orbital - are we here? (criminal justice bill?) (4:00)
  • the planets - a one minute silence (1:00)
  • valerie gee's car band - pensées et maximes de v.g.e (thoughts and sayings of v.g.e) (6:55)
  • afrika bambaataa & family - beware (the funk is everywhere) (silent version) (0:00)
  • yves klein, charles wilp - prince of space (excerpt) (0:35)
  • unknown artist - silent grooves (1:47)
alga marghen press release...
v v a a
"sounds of silence
(cat no. plana-va alga046)
lp record in gatefold sleeve
250 copies available for distribution

"sounds of silence" is an anthology of some of the most intriguing silent tracks in recording history and includes rare works, among others, by andy warhol, john lennon, maurice lemaitre, sly & the family stone, robert wyatt, john denver, whitehouse, orbital, crass, ciccone youth, afrika bambaataa and of course yves klein. in their own quiet way, these silences speak volumes: they are performative, political, critical, abstract, poetic, cynical, technical, absurd… they can be intended as a memorial or a joke, a special offer, or something entirely undefined.

the carefully chosen silences of this anthology are intrinsically linked to the medium of reproduction itself and reveal it's nude materiality. they expose their medium in all its facets and imperfections, including the effect of time and wear. at the most basic level, these silences are surfaces. and it is in their materiality that they distinguish themselves from the conceptual experiments of john cage with "4'33". from the 1950s silence has found a place in the economic structure of the record industry and since then it would increasingly be appropriated by a vast array of artists is a vast array of contexts. indeed, the silent tracks seems to know no boundaries.

the lp presents the silences as they were originally recorded, preserving any imperfection that the hardware conferred upon the enterprise, without banning the possibility to satisfying the ear. the liner notes provide historical background for each track, revealing the stated (or presumed) motivations for these silences, while providing novel sound correspondences or interferences.

this album is meant to be played loud (or not), at any time, in any place: a true aural experience!

only 250 copies available for distribution, in gatefold iconic sleeve.

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 $45.01

back in stock as of
june 17th, 2014

first in stock on
january 21st, 2014


 best of 2014 !!! 
alga marghen (italy) #alga 45 lp

eliane radigueopus 17” double long playing record set

  • etude

  • maquette
  • epure

  • safari

  • number 17
alga marghen press release...
e l i a n e   r a d i g u e

opus 17
(cat no. plana-p alga045)
2lp in gatefold sleeve

first press of 400 copies

alga marghen very proudly presents opus 17, a major turning-point in the sonic oeuvre of eliane radigue. finished in 1970 it was the last work composed with feedback materials. from that experimental period  opus 17  preserves the plastic character: a music made of rough sonic phenomena, at once harsh and granular, possessing a quality of materiality and tactility. its vibrations structure the air surrounding the listener with densities, thicknesses, indeed with palpable movement. her compositions are frames which let us hear these phenomena, open frameworks from the sonic installations of her endless musics (cf. feedback works 1969-70 lp issued on alga marghen) and here reinserted in the five scenes making up opus 17.

in 1970, in her studio of very rudimentary means, she developed a completely unique body of work centered on sounds produced by feedback. opus 17  has the quality of showing off the sum of the achieved techniques and methods. eliane radigue’s music has never been rooted in ideas but in practice, the intimate experience of things in the wild which she has known how to tame. this dialog both intense and poetic which she keeps up with the solid matter of sound finds a remarkable concretization in opus 17.

it is to be underlined that with opus 17 eliane radigue inaugurates a technique of composition which will be her footprint, her trademark: imperceptible transformations. for that she has developed a technique of meticulous mixings, based on the slow passage from one section to the next. imperceptible, all during the piece, we pass, ceaselessly and without noticing the changes, from one frequency flux to another. time is suspended, smoothed out, stretched. it is this technique which eliane radigue will be essentially using for all the electronic works to come and which she will never cease to refine and render always more subtile.

opus 17 is the great panoramic voyage through material sound, its electronic phenomena detailed as if in a microscope. could feedback really contain such a universe? “yes”, the work of eliane radigue answers, but that exploration was not that easy: one had to learn to listen. it required eliane radigue’s great demands on listening which led her to the discovery of such treasures. unknown wealth in a material often rejected as trivial.

as rhys chatham recalls: eliane radigue (...) had just moved to new york and had the idea of acquiring an analog modular synthesizer, which is why she worked at nyu in order to try out the possibilities of the buchla 100 series which we had there. one day, while gossiping, she invited me to her loft, which was just on the corner. she had me listen to a piece composed in france; the piece called opus 17. (...)  what i heard changed to course of my life as a composer. (...) that piece, impressive source of inspiration, gave the impression of being in a grand cathedral, both for the sensation of immensity of being in such a large cathedral, as for the effect of being so close to god”. this anecdote has its importance because it is evident when listening to the feedback works that eliane radigue had already put in place the essential part of her musical æsthetic.

opus 17 was created at the artistic center of  verderonne on may 23, 1970, for the fête en blanc (i.e. white festival) organized by the visual artists antoni miralda, joan rabascall, dorothée selz and jaume xifra.

previously unreleased, opus 17 is now issued on alga marghen in a first edition of 400 copies in gatefold sleeve.

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 $65.01

new to stock as of
january 21st, 2014


threads:
modern-composition
minimalism-drones
harsh-noise
lo-fi

alga marghen (italy) #alga 44 book

charlemagne palestinerunning and chanting and falling and ranting” book and compact disc set

  • body music 1 (11:12)
  • body music 2 (7:32)
  • island song (15:57)
  • running outburst (5:17)
  • tying myself up (5:09)
alga marghen press release...
c h a r l e m a g n e p a l e s t i n e

"running and chanting and falling and ranting"
(cat no. plana-p alga044)
book + cd

edition of 1000 copies

privately issued by the artist in collaboration with alga marghen, "running and chanting and falling and ranting" is quite a unique book presenting charlemagne palestine complete video production. “body music i” (1973) and “body music ii” (1974) were palestine’s first incursions into the video medium. they were followed, from 1974 until 1979, by a series of works that together form one of the seminal and most distintive bodies of conceptual, performance-driven video of that decade. as a composer, performer and visual artist, palestine has gained international recognition for his influential music, sound compositions and performances across six decades. his psychodramatic video works of the 1970s, which are less well known, transform and extend his sound and performance art into the electronic medium. throughout these pieces, palestine activates ritualistic movements and vocal expressions (hypnotic chants, screams, keening wails) as outward articulations of interior states. the very titles of these fervent enactments suggest extreme physical and psychological catharses, release and escape.

palestine’s video works of the 1970s are visceral, raw, urgent. while his video works must be seen in dialogue with palestine’s music and performances (his signature objects like stuffed animals, cognac, scarves appear across media), they also speak to the specific conditions of early video art practices and the wider alternative art scene and countercultural sensibility of the era. palestine’s unruly, unpredictable performance videos emerged in the context of an equally unruly and unpredictable landscape of art making in the 1970s. as art practices moved away from object-making towards an emphasis on process, the prevailing discourses of conceptual art and post-minimalism were manifested in the dematerialized gestures of body art and performance, and in hybrid forms such as installation, experimental music, expanded cinema, intermedia art, and video. the nascent video art scene was further cross-pollinated with generative ideas and influences that ranged from technology and television to cybernetic theory and political activism. the presiding spirit was one of experimentation, ad hoc and collective processes, and improvisation, a renegade ethos tracked in the decade’s underground art from counterculture to punk.

the book includes an essay by lori zippay titled “body music: charlemagne palestines video rituals”, a long interview by serpentine gallery director hans ulrich obrist as well as a compact disc with the full soundtracks of “body music i”, “body music ii”, “island song”, “running outburst” and “tying myself up”.

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back in stock as of
june 17th, 2014

first in stock on
january 21st, 2014


alga marghen (italy) #alga 41 lp

eliane radiguevice-versa, etc...” long playing record

  • mix i

  • mix ii
alga marghen press release...
e l i a n e r a d i g u e

“vice-versa, etc…”
(cat no. plana-r alga041)
lp record

edition limited to 400 copies

alga marghen very proudly presents the complete documentation of eliane radigue sound installations from 1969-1970. these previously unpublished recordings include the broad tectonic vibrations of “omnht“, the celestial voices of “usral”, “stress osaka” massive chant, the moving horizon in vice-versa, etc..., or the works of the feedback period finally revealed!

it is amazing that she could build such formidably organic sonic edifices in her home studio with the primitive machines given to her by pierre henry: three tape recorders, a mixing board, an amplifier, two loudspeakers and a microphone. eliane previously worked for him at the studio d'essai of the r.t.f. from 1955 to 1957, after having met pierre schaeffer almost by chance who invited her to learn the techniques of musique concrète. created 10 years after her studio d’
essai experience, the feedback works of eliane radigue immediately take a new direction from the explorations of musique concrète. her adventure is intuitively going towards flux, towards contemplative stasis - a music of continuous sounds, of apparently simple structures, which permits the revelations and expansion of rich acoustic phenomena. it is as if her musical work was in some way a martial art… as if she meditated for 10 years before striking the first blow, with an impressive precision!

this is the context in which eliane composed “omnht” in 1970 for the architectonic spaces of the visual artist tania mouraud titled “one more night”, presented at the gallery of the rive gauche in paris; “usral” (the title comes from a phonetic compression of ultrasounds slowed-down, in french “ultra-sons ralentis”), one of the first works by eliane radigue to be given in public as sound environment for a sculpture by marc halpern in the salon des artistes décorateurs at the grand palais of paris in 1969; “stress-osaka”, conceived when the artist was invited to create a sonic environment for the international fair in osaka in 1970.

there is no doubt that eliane radigue vocabulary is based on observing and entering into dialog with the fundamental behavior of sounds: pulsing, beating, sustained, very light, a subtle and delicate evolution. when she moved from feedback sounds to the arp synthesizer she naturally continued the same music. a continuity where the original use of feedback sounds stands out for its cruder and more savage inner character. one could say that somehow it’
s the very texture of the sounds, which leads the form of her compositions. at the same time this approach favors an intense sensuality in the listening.

first pressing of 400 copies also including a 16-page lp-size booklet with original photos, scores and liner notes as well as a second lp titled vice-versa, etc..., originally a small handmade box, signed and numbered, realized as a multiple on the occasion of a show at lara vincy’s gallery in 1970, which contained a reel of magnetic tape and the instructions for use. it indicates that all playback speeds are possible, forward or backward, as well as any combination of two channels, on several recorders, ad libitum… this lp presents two versions done by emmanuel hoelterbach following the indications of eliane radigue to the letter, respecting her composition methods.

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 $28.51

back in stock as of
june 17th, 2014

first in stock on
january 21st, 2014


alga marghen (italy) #alga 40 lp

eliane radiguefeedback works” long playing record

  • stress-osaka
  • usral

  • omnht
alga marghen press release...
e l i a n e r a d i g u e

"feedback works"
(cat no. plana-r alga040)
lp record

edition limited to 400 copies

alga marghen very proudly presents the complete documentation of eliane radigue sound installations from 1969-1970. these previously unpublished recordings include the broad tectonic vibrations of “omnht“, the celestial voices of “usral”, “stress osaka” massive chant, the moving horizon in “vice-versa, etc...”, or the works of the feedback period finally revealed!

it is amazing that she could build such formidably organic sonic edifices in her home studio with the primitive machines given to her by pierre henry: three tape recorders, a mixing board, an amplifier, two loudspeakers and a microphone. eliane previously worked for him at the studio d'essai of the r.t.f. from 1955 to 1957, after having met pierre schaeffer almost by chance who invited her to learn the techniques of musique concrète. created 10 years after her studio d’
essai experience, the feedback works of eliane radigue immediately take a new direction from the explorations of musique concrète. her adventure is intuitively going towards flux, towards contemplative stasis - a music of continuous sounds, of apparently simple structures, which permits the revelations and expansion of rich acoustic phenomena. it is as if her musical work was in some way a martial art… as if she meditated for 10 years before striking the first blow, with an impressive precision!

this is the context in which eliane composed “omnht” in 1970 for the architectonic spaces of the visual artist tania mouraud titled “one more night”, presented at the gallery of the rive gauche in paris; “usral” (the title comes from a phonetic compression of ultrasounds slowed-down, in french “ultra-sons ralentis”), one of the first works by eliane radigue to be given in public as sound environment for a sculpture by marc halpern in the salon des artistes décorateurs at the grand palais of paris in 1969; “stress-osaka”, conceived when the artist was invited to create a sonic environment for the international fair in osaka in 1970.

there is no doubt that eliane radigue vocabulary is based on observing and entering into dialog with the fundamental behavior of sounds: pulsing, beating, sustained, very light, a subtle and delicate evolution. when she moved from feedback sounds to the arp synthesizer she naturally continued the same music. a continuity where the original use of feedback sounds stands out for its cruder and more savage inner character. one could say that somehow it’
s the very texture of the sounds, which leads the form of her compositions. at the same time this approach favors an intense sensuality in the listening.

first pressing of 400 copies also including a 16-page lp-size booklet with original photos, scores and liner notes as well as a second lp titled “vice-versa, etc...”, originally a small handmade box, signed and numbered, realized as a multiple on the occasion of a show at lara vincy’s gallery in 1970, which contained a reel of magnetic tape and the instructions for use. it indicates that all playback speeds are possible, forward or backward, as well as any combination of two channels, on several recorders, ad libitum… this lp presents two versions done by emmanuel hoelterbach following the indications of eliane radigue to the letter, respecting her composition methods.

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 $25.01

new to stock as of
february 18th, 2014


threads:
sound-art
fluxus
site-specific
modern-composition
minimalism-drones
playback-music
field-recordings
harsh-noise

alga marghen (italy) #alga 39 lp

davide mosconi / inez klok / gustavo bonoraarchi” long playing record

  • archi (1)

  • archi (2)
alga marghen press release...
m o s c o n i   /   k l o k   /   b o n o r a
(n.a.d.m.a.)
"archi"
(cat no. plana-dig alga039)
lp record

edition limited to 330 copies

issued for an art event recently presented at the galleria milano in the first week of april 2012, the recordings on this lp edition represent a very specific and intimate moment in the creative sound production of davide mosconi with nadma associates inez klok and gustavo bonora.

for davide mosconi and for all the artists and musicians involved in the groups he founded (the legendary nadma, organic archestra, il quartetto, alea), improvising sessions were a daily practice that founded their very idea of music: a constant flux, a spontaneous research as important as life itself, mainly carried out in their private spaces and homes. sometimes, like in the case of archi, these sessions were recorded giving us the chance to appreciate their unique sound approach coming from avant-garde experiences liberated by post-free jazz currents, as well as from classical studies or from experiences in the visual arts.

archi (i.e. strings) features cellist and violinist gustavo bonora (a founding member of il quartetto, the core of what would become the larger improvising ensemble nadma), harpist inez klok (also member of the nadma as well as involved in aktuala) and davide mosconi. this improvisation was recorded on september 24th, 1974, one year after the publication of the only nadma lp by rca. the continuous, fluid music of archi perfectly succeeds in expressing the parallel influences of ecstatic afro-american ethnic music and of the contemporary neo-avant-gardes.

this trio, as well as nadma and the other entities organized around the key figure of davide mosconi, was surely one of the most innovative among the collectives of improvisers active in those years in europe (incus, fmp and icp) and usa (especially sun ra arkestra and post-esp derivative free spiritual artists on strata east), creating a sound which was then unparalleled in the italian improvised music scene.

one time pressing limited to 330 copies.

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 $25.01

back in stock as of
february 18th, 2014

first in stock on
december 10th, 2013


threads:
sound-art
fluxus
site-specific
modern-composition
minimalism-drones
playback-music
field-recordings
harsh-noise

alga marghen (italy) #alga 37.2 lp

philip cornercoldwater basin no. 2” one-sided long playing record

  • coldwater basin no. 2
june 2012 release ; ... second of the “coldwater basin” pieces by fluxus artist philip corner, resuscitated from its meager analogue tape existence, issued on deluxe (albeit, one-sided) vinyl ...
alga marghen press release...
p h i l i p c o r n e r

"coldwater basin no.2"
(cat no. plana-c alga037.2)
lp record

edition limited to 310 copies

re-emerging from deep fluxus celebrations in this 2012 summer, alga marghen realized that philip corner coldwater basin lp was instantly sold out. could there be a better decision than issuing an alternative version of this masterpieces from the glorious 60s, by master of ecstatic music philip corner? if you fluctuated over sonic landscapes with the first version, then coldwater basin no.2 will knock your socks off! more intense that whitehouse, more liquid than your wildest dreams.

remember? when you made these things at home, on the best equipment you or your other poor friends could find? and you had that japanese tape recorder with built-in mike; indeed that was the only piece of furniture on your tatami floor on the lower east side that summer of 1961.

coldwater basin no.2 by philip corner.

again, a home recording of water running from a faucet into a sink. new york city, the lower east side, sometime in the 60s.

with bill fontana still on microphone.

and i always dreamd of passing an entire night bathed in this… it was never long enough.

edition limited to 310 copies with front sleeve design and calligraphies by philip corner.

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 $28.51

new to stock as of
february 18th, 2014


threads:
analogue-synth
machine-music
live-electronic

alga marghen (italy) #alga 35 lp

michel potageoccupé” long playing record

alga marghen press release...
m i c h e l   p o t a g e   c o l l e c t i v e
"occupé"
(alga marghen cat no. plana-p alga035)
(d’avantage cat no. d’av07)
lp record

edition limited to 350 copies (black vinyl)

alga marghen presents one of the treasures of the french avant scene of the 1970s, published now for the first time. an ideal parallel to jac berrocal cult lp “paralleles”, the realization of these pieces recorded by daniel deshays and produced by d’avantage in 1977 that also conceived a very elaborated sleeve design, was mysteriously discontinued making this record one of the lost jewels of the french underground.

together with michel potage (voice and various instruments) and jac berrocal (trumpet, valve trombone, tibetal oboe, percussions), the same ensemble that recorded berrocal’s “paralleles”, or pierre bastien of nu creative methods fame (bass, tibetan reed instruments, trumpet, voice), the father of french free jazz bernard vitet (bugle, trumpet, reed instruments, violin, voice), roger ferlet (trumpet, slide trombone, voice), claude parle (accordion, reed instruments, voice), françoise achard (voice, chant, lao mouth organ, balano, rainstick), the legendary produced and sound engineer daniel deshays (voice), poet jean-marie gibbal (voice) and a ford break (engine, speed, brakes, light, etc.), everyone is here following michel potage vision and enters into a magic sound territory.

michel potage was co-founder with berrocal of the d’avantage label in 1976, he played in the first catalogue band (with jac berrocal and jean-françois pauvros), a performer close to julian beck’s living theatre on one side and to james change no-wave contortions on the other, musique concrete avant-gardist and poet of destroyed lyrism.

after 3 years of elaboration in close connection with the author, alga marghen conceived a new layout with original photos of the recording sessions and proudly co-released this production with d’avantage. the sound was restored from the original masters by daniel deshays.

edition limited to 385 copies (the first 35 copies are pressed on blue vinyl), including an lp-size 8-page booklet with complete lyrics and photos from the recording session.

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 $25.01

new to stock as of
february 18th, 2014


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

alga marghen (italy) #alga 28 lp

brunhild ferraritranquilles impatiences” one-sided long playing record

  • tranquilles impatiences (20:25)
may 2010 release ; gorgeous, flowing electronic work from the late luc ferrari’s wife & partner ...

before reading the libretto below, i was half-expecting a “travelogue” style piece (ala the “east-west news” compositions) but this is much closer to the pulsing, long-form poly-rhythmic drone-flourish of pieces such as jean-claude eloy’s “shanti” & even some of roland kayn’s 70s work ... highly recommended !!!
alga marghen press release...
b r u n h i l d   m e y e r - f e r r a r i
"tranquilles impatiences"
(cat no. plana-mf alga028)
lp record

edition limited to 300 copies

alga marghen proudly presents the first record edition ever by brunhild meyer-ferrari, a very refined and talented german composer, wife of luc ferrari with whom she collaborated for over 40 years in creating some of the most beautiful sound works ever created in the past decades.

first there was "et tournent les sons dans la garrigue" that luc ferrari composed in 1977 before "exercises d’improvisation" in the same year (a previous unreleased work, soon to be issued on the planam label). these two pieces "...conceived for individual or collective improvisation for any instrument or instrumental group..." are based on identical sound elements. "exercises d’improvisation" consists of a sequence of 7 separate tapes, while for "et tournent les sons dans la garrigue" luc ferrari mixed these tapes into one. listening to the separate tapes brunhild meyer-ferrari felt the irresistible desire to compose a new piece using ad libitum five of these seven tapes.

as she remarked: "impatiences represents for me those high-pitched rhythmic sounds, those imperturbable wriggling interfering with the low rhythms which are falsely quiet, because each of them is submitted to different and contradictory rhythms. i wished these to be perturbing enough to make the physical balance stagger by fractions of seconds".

edition limited to 300 copies, issued by alga marghen to celebrate the "oeuvres sonores 3" event conceived in collaboration with the new media department of centre pompidou and la mason rouge, fondation antoine de galbert in paris. this lp is the third in the "oeuvres sonores" series after the now sold out charlemagne palestine "sound i" lp and luc ferrari "danse" lp.

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 $25.01

new to stock as of
february 18th, 2014


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

alga marghen (italy) #alga 25 lp

malcolm goldsteinearly electronic / tape collage music” long playing record

  • sheep meadow (6:34) 1967
  • images of cheng hsieh (15:51) 1967

  • it seemed to me (5:42) 1963
  • judson #6 piece (6:43) 1963
  • illuminations from fantastic gardens (13:03) 1964
december 2008 release ; jaw-dropping collection of early electronic work from violinist/composer malcolm goldstein ...

the lp starts with “sheep meadow,” composed by feeding recordings of indigenous music(s) into an overloading tape recorder (eerily prescient of something like aaron dilloway’s “sounds of nepal” experiments) ... this is followed by “images of cheng hsieh,” a collage of room-tone events (footsteps, scrabbling objects, brushed metal) with short tape-interjections/juxtapositions (blasts of similar sounds, often suddenly jumping up 24db and/or played backwards & at varispeeds ; imagine a more through-composed tape piece comprised largely of the sort of mystery sounds heard on “changez les blockeurs” ; if that gives you any sort of indication) ...

on the b-side, “it seemed to me” hedges plundered opera-singing with the kind of spectrally-processed tones often heard emanating from milan’s rai during the same era (see: luigi nono’s tape music) ... “judson #6 piece” (listen to the sound-sample) ups the ante with a rich tapestry of constantly-changing synthesis & concrète-noises, not something i’d normally associate with goldstein, but imho the best piece on the record ... finally, “illuminations from fantastic gardens” is a chamber-piece largely involving the operatic recitation of nonsense sounds with occasional taped-counterpoint (ala milton babbitt’s “philomel”) ...

comes in a double-wide sleeve, with an 11” x 1112-page booklet (reprinting the score/minutiae of “illuminations from fantastic gardens”) with the lp in it’s own card-stock inner sleeve ... of the 7 titles in this december 2008 alga marghen batch, imho, this one takes the cake ... highly recommended !!!
alga marghen press release...

m a l c o l m g o l d s t e i n
"early electronic / tape collage music"
(cat no. plana-g alga25)
lp record
edition of 350 copies

alga marghen proudly presents an lp edition including some of the seminal electronic / tape collage pieces by malcolm goldstien, created in close connection to the sulphuric new york pre-fluxus environment of the early 1960s.

the 1960's, downtown new york city, rich with activities, doors opening upon a world fertile with possibilities: the delightful unknown. malcolm goldstein, first working at the columbia-princeton electronic music center, then joining the judson dance theater with dancers, musicians, poets, and visual artists all interacting in the common ground of improvisation / exploration. for the judson dance theater most of the music on this recording was created.

"sheep meadow" (1966), a collage of two musics, folk & court music, was realized on a very cheap single tape recorder that offered its own electronic distortion embellishments. it was created for an anti-war demonstration to be held in that meadow of central park, with a dancer on top of a flat-bed truck and with loudspeakers. "images of cheng hsieh" (1967) was for a dance by carol marcy at judson church, simultaneously with an instrumental ensemble performing from the calligraphic graphic score, the name cheng hsieh. "it seemed to me" (1963) was composed for a dance by arlene rothlein; a collage of traditional musics chosen by her to be incorporated with electronic sounds. "judson #6 piece" (1963) was for ruth emerson, using only electronic sounds. finally "illuminations from fantastic gardens" (1964), the only composition for a vocal ensemble on this recording, was composed for elaine summers' "an evening of fantastic gardens", a multi-media event of dance, music, film and visual projections, as part of the judson dance theater concerts. it is the first music notated by malcolm goldstein with graphic renditions of the words of rimbaud and without traditional music notation. two performers were trained singers while the others were a visual artist and an actor; two women & two men, all in the spirit of the times, sources coming together, as art & life blended in an overflowing of exploration.

edition limited to 350 copies, also including a 12 page large booklet with the reproduction of the complete "illuminations from fantastic gardens" graphic score.

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 $62.51

new to stock as of
february 18th, 2014


threads:
sound-poetry
musique-concrète
live-electronic
electro-acoustic-composition
electro-acoustic-improvisation

alga marghen (italy) #alga 24 book

françois dufrênefrançois dufrêne • affichiste • sound poet” book and compact disc set

  • köchel que j’aime (9:34) 1969
  • le cheval lié à l’art rose (12:36) 1969
  • eryximaque, suite choréographique au tombeau de pierre larousse (7:19) 1965
  • lecture-collage: la ressource du petit peuple & tenilom de jean molinet (18:53) 1965
  • belles nuisances, hantez nos nuits (10:50) 1970
  • comptinuum (10:58) 1958-1970

  • book - françois dufrêneaffichiste - sound poet” (256 pages, french / english / portugese)
another superb alga marghen pairing with curator guy schraenen; this time the catalogue (256 pages in french, english, and portugese, 110 of which are full-color reproductions of dufrêne’s visual work) to the schraenen-curated françois dufrêne show @ the musea serralves in porto, coupled (much like the “modern shit / artcoustics” set, only the disc fits into the book itself... and has something to do with the book itself for that matter...) with a disc of 60s/70s sound-poetry/tape-sound ruminations that boggle the mind ...
alga marghen press release...
f r a n ç o i s d u f r e n e
same
(cat no. plana-d alga24)
catalogue+cd

françois dufrêne (1930-1982) is one of the leading artists from the post-war european and french art scene. he played a key role in many of the initiatives of lettrism, nouveau réalisme and sound poetry. in françois dufrêne's oeuvre, art and poetry intersect in a reciprocal experimentation of the possibilities of transgression of their specific grammars. his oeuvre constitutes a singular example of this special relationship between art and language, which throughout the 20th century proved to be one of the most fertile grounds for expanding the limits seemingly imposed on western art via the history of artistic genres.

many of his artistic creations use objects retrieved from the urban context, such as posters or stencils, or use the voice in non-linguistic contexts. examples of the latter include his creation of the crirhythm , wherein he reinvented sound poetry and the relationship between performance and text.

the present catalogue attempts to present françois dufrêne's work as a totality, wherein it would be artificial to separate his status as a poet from that as a visual artist. poems, books, records, recordings, reverse sides of posters, stencils, films and photographs documenting the artist's actions are combined together in a mosaic that makes it possible to reinterpret françois dufrêne's work as one of the most singular adventures of his epoch, and also re-evaluate the relevance of the challenges he posed to contemporary culture.

the cd offered in the catalogue includes the fantastic crirhythm from 1970 titled "belle nuisances hantez nos nuits", the complete "osmose-art" from 1969 where crirhythms are superimposed to classical music, "eryximaque" and two "lecture-collage" from 1965 as well as the 1958-70 "comptinuum". all the sound works presented on the cd are also included in the 4lp boxset anthology issued by alga marghen and titled "oeuvre desintegrale".

full colour catalogue in a4 size, 250 pages, all texts translated in english, french and portuguese. the book includes a large selection of experimental visual works dating from 1957 to 1981 as well as the biography, essays and original texts (among them "pragmatics of crirhythm" and "the crirhythm and the rest" both from the mid-1960s). full discography and filmography are also included.

first edition of this large catalogue, the first ever to fully document the work of françois dufrêne.

previous record label:
 airport war 
...and that's everything on alga marghen in stock.
(why not take a look at the previous and next labels?)
next record label:
 algamars 
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... this page was last updated on wednesday, october 22nd, 2014 @ 11:06 am