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... happy spring everyone !!! to commemorate our favorite season (and to help get this place back to some sort of workable condition) we're having a "spring cleaning" sale !!! please visit the spring (2013) cleaning page to view a list of (recent, mostly 2012) releases that we're now offering at reduced prices (while supplies last, no rainchecks, etc) ...
previous record label:
 airport war 		there are 28 titles on alga marghen in stock.
they are listed below.		next record label:
 alien8 
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 $26.18

back in stock as of
august 23rd, 2012

first in stock on
may 1st, 2009

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

 best of 2009 !!! 
alga marghen (italy) #alga vocson18 lp

gherasim luca “two 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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back in stock as of
august 23rd, 2012

first in stock on
august 2nd, 2007

alga marghen (italy) #alga vocson17 lp

ben patterson “a fluxus elegy” long playing record

  • a fluxus elegy
alga marghen press release...
b e n p a t t e r s o n
"a fluxus elegy"
(cat no. 17vocson061)
lp record

this ben patterson composition, issued on is based on the basic principles of the polyphonic music of the bantu tribes of west and central africa.

first principle: the practice of interlocking individual pitches or tones performed by one person into spaces between other pitches or tones performed by another person, thus alternating pitches or tones of one part with those of another part to create a whole.

second principle: use of cyclical and open-ended forms involving one or more ostinato melodic/rhythmic pattern as a foundation.

third principle: community participation...non-specialists are encouraged to join in long performances with much repetition.

fourth principle: rhythmic complexity with the juxtaposition of double and triple patterns, multiple layering of different patterns, and interaction between a core foundation and improvised parts.

and, most important, the family 'ownership' of a specific tone: in the musical culture of these tribes, each ancestral family 'owns' and is responsible for one or more specific tones, which must be sounded at specific points, sequencing with the many other specific tones 'owned' by other families, to create a seamless melody.

ben patterson made a music based on this information by taking the initials of artists listed in "fluxus: the most radical and experimental art movement of the sixties" and encoding them in basic international morse code. these 'dots and dashes' were then performed on a yamaha djx keyboard (voice pattern setting), connected to a digitech jamman looper (over-dub setting), connected to an eurorack mx 602a mixer. front cover reproducing the original score.

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 $29.06

back in stock as of
august 23rd, 2012

first in stock on
august 2nd, 2007

threads:
sound-poetry
electro-acoustic-composition

alga marghen (italy) #alga vocson09 lp

bernard heidsieck “50/70” long playing record

  • poéme-partition b (6:20)
  • poéme-partition m (11:20)
  • démocratie ii (6:44)

  • publicité (24:09)
alga marghen press release...
b e r n a r d h e i d s i e c k

"50/70"
(cat no. 9vocson022)

lp record

the third bernard heidsieck lp issued by alga marghen draws the picture of two specific moments on artistic creation: the 1950s and the 1970s. close to "poème-partition x" and in the same group of early works are "poéme-partition b" (6:20) and a2 "poéme-partition m" (11:20). more centered on electronic and the use of tape manipulations are the 1970s works. "démocratie ii" (6:44) and expecially "publicité" (24:09) are two clear examples of radical electronic poetry in the heidsieck style.

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 $29.06

back in stock as of
august 23rd, 2012

first in stock on
august 2nd, 2007

alga marghen (italy) #alga vocson06 lp

sten hanson “the sonosopher retrospective” long playing record

  • dance figure (1:55)
  • hermetic back piece (4:03)
  • new york lament (3:11)
  • skärp dig
  • för fan (2:59)
  • lettre d'un ètranger (9:45)

  • am strengsten verboten (2:40)
  • les martyrs (4:15)
  • les sabots du bouc (11:35)
  • finale (2:23).
alga marghen press release...
s t e n h a n s o n
"the sonosopher retrospective"
(cat no. 6vocson017)
lp record

an anthology of sten hanson text-sound composition. this edition pre-dates the anthological cds which were issued in sweden.

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 $19.07

back in stock as of
august 23rd, 2012

first in stock on
june 15th, 2010

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

alga marghen (italy) #alga tes15 cd

monofonic orchestra “musicdesign” 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 “adult” compositional 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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 $19.07

back in stock as of
august 23rd, 2012

first in stock on
july 21st, 2008

threads:
free-improvisation
free-jazz

alga marghen (italy) #alga tes13 cd

quartetto “organic, 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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back in stock as of
august 23rd, 2012

first in stock on
october 12th, 2006

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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back in stock as of
august 23rd, 2012

first in stock on
january 8th, 2009

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

slashdeath “kein 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 / guitar “vibes” 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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back in stock as of
august 23rd, 2012

first in stock on
june 15th, 2010

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 band “languid red marchetti” long playing record

  • languid red marchetti (1)

  • languid red marchetti (2)
september 2009 release ; primal, grainy “sound 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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back in stock as of
august 23rd, 2012

first in stock on
june 15th, 2010

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 humans “disallow” 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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back in stock as of
august 23rd, 2012

first in stock on
june 15th, 2010

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 martin “m.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

 best of 2010 !!! 
alga marghen (italy) #alga planamkrk2 lp
planam (italy) #planamkrk2 lp

klaus röder “kristallisationen 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:
modern-composition
minimalism-drones
concert-recordings
electro-acoustic-improvisation
digital-musics

 best of 2009 !!! 
alga marghen (italy) #alga planamgolpal lp
planam (italy) #planam golpal lp

gol / charlemagne palestine “pandamoniahbleeummm!!!!” long playing record

  • pandamoniahbleeummm!!!! • pt. 1 (17:54)

  • pandamoniahbleeummm!!!! • pt. 2 (14:12)
december 2008 release ; second of two lps pitting the french gol ensemble against various musical avant-garde figures ; in this case minimalism giant & sock monkey enthusiast charlemagne palestine ...

as opposed the ensemble’s direct interference on the dumitrescu / avram set, here they seem to act mainly as augmentation to palestine’s swelling organ clusters, adding a thin layer of bass / guitar / flute / voice / electronic sonority to the rising sound throughout (listen to the sound-sample for an example) ...

lp in full alga marghen spec, comes with a single-sided insert with credits, dedications (one is to philips-prospective 21 siecle lineage composer jean guillou) and a fun panda-bear sketch (detail below) ...
alga marghen press release...

g o l  /  c h a r l e m a g n e   p a l e s t i n e
"pandamoniahbleeummm!!!!"
(cat no. planam golpal)
lp record

entering their twentieth year of existence, the gol orchestra, together with the label planam, celebrates and starts a new program of collaborations: the gollaboration series.

volume 2, "pandamoniahbleeummm!!!!" marks the encounter with charlemagne palestine, pionneer of strumming music and piano maximalism, in the st. eustache church in paris, known for its world famous church organ. the following battle, in form of a long incantatory improvisation, charlemagne palestine playing the church organ and gol doing the electronics, bass, guitar, and the flutes part, combines many attributes of a pagan ritual.

gol was formed in 1988 in paris by jean-marcel busson, frédéric rebotier, ravi sharda and samon takahashi. the quartet embodies, within a post-dada spirit, a lost rural tradition. gol plays flute, horns, guitar, violin, toys, selfmanufactured instruments, tapes, turntables, voices, various percussion instruments and electronics, an appropriateness of both traditional string instrument and handmade low fi equipment. gol's first lp (gol lp 01), issued in 1993, compiles their first items (88-92) based on vinyl- record's scratching, tape's cut-ups and acoustic instruments. the issuing of this lp was followed by a 9 years long hibernation. since 2002, the band is back together to pursue its common research and play together of instinct and invention. their music, electroacoustic oriented, is partially improvised and partly tense. at the time of a collaboration with roumanian composer iancu dumitrescu, gol developped a score system knowned as « layer's leaf ». through this system, they could elaborate an hybrid music, between orchestral conduct and free interpretation of movements.

edition limited to 300 copies, also including a large insert with liner notes great graphics by jean-marcel busson who also design the front and back cover.

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

 best of 2009 !!! 
alga marghen (italy) #alga planamesm lp
planam (italy) #planamesm lp

dendoshi “dendoshi 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, timo “af ursin” van 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 concept” logo 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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threads:
modern-composition
electro-acoustic-composition
electro-acoustic-improvisation
digital-musics
analogue-synth
circuit-bending

 best of 2009 !!! 
alga marghen (italy) #alga planam golda lp
planam (italy) #planam golda lp

gol / iancu dumitrescu / ana-maria avram “musique directe” long playing record

  • musique directe ii (5:37)
  • musique directe i (6:50)
  • musique directe iii (5:09)

  • etude granulaire (7:00)
  • musique directe iv (9:20)
december 2008 release ; first of two lps pitting the french gol ensemble (samon takahashi’s name jumps out, but there’s also jean-marcel busson, frédéric rebotier, and ravi sharda) against titans of contemporary sound ; here the romanian husband-wife team of iancu dumitrescu & ana-maria avram ...

using dumitrescu’s mutating digital processes as a launching-point, the full ensemble get deep into an updated form of the classic electro-acoustic improv spec, taking in all manner of fizzing electronics (both analogue & digital ; listen to the sound-sample), densely fuzzed-out instrumental playing (the long section of destroyed acoustic bass during “musique directe ii” is quite nice) and thick swatches of hazy, sliding forms reminiscient of il gruppo’s various outings ...

lp comes in full alga marghen spec, with a single-sided insert with an “improvisation sketch” for the unheard (here, at least) “musique directe v” ... excellent work !!!
alga marghen press release...

g o l  /  d u m i t r e s c u  /  a v r a m
"musique directe"
(cat no. planam golda)
lp record

entering their twentieth year of existence, the gol orchestra, together with the label planam, celebrates and starts a new program of collaborations: the gollaboration series.

volume 1, hence the title "musique directe", shows the band facing the leaders of roumenian spectralism ana-maria avaram and iancu dumitrescu. electric and intense spontaneous experiments, on the edge of electroacoustic music and primitive avant-garde. live recordings in marseille and paris with the participation of ansamblul hyperion members petru and matei teodorescu on one track.

gol was formed in 1988 in paris by jean-marcel busson, frédéric rebotier, ravi sharda and samon takahashi. the quartet embodies, within a post-dada spirit, a lost rural tradition. gol plays flute, horns, guitar, violin, toys, selfmanufactured instruments, tapes, turntables, voices, various percussion instruments and electronics, an appropriateness of both traditional string instrument and handmade low fi equipment. gol's first lp (gol lp 01), issued in 1993, compiles their first items (88-92) based on vinyl- record's scratching, tape's cut-ups and acoustic instruments. the issuing of this lp was followed by a 9 years long hibernation. since 2002, the band is back together to pursue its common research and play together of instinct and invention. their music, electroacoustic oriented, is partially improvised and partly tense. at the time of a collaboration with roumanian composer iancu dumitrescu, gol developped a score system knowned as « layer's leaf ». through this system, they could elaborate an hybrid music, between orchestral conduct and free interpretation of movements.

edition limited to 300 copies, also including the graphic score of "musique directe iv".

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threads:
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modern-composition

alga marghen (italy) #alga nmn31 cd

dick higgins “the 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 contemporary “orchestral” realization (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
1960s-electronic
electro-acoustic-composition

alga marghen (italy) #alga nmn25 cd

philip corner “more 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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 $19.07

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first in stock on
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threads:
modern-composition
1960s-electronic
electro-acoustic-composition

alga marghen (italy) #alga nmn24 cd

philip corner “more 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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add this item to your
shopping cart
 $19.07

back in stock as of
august 23rd, 2012

first in stock on
december 29th, 2005

threads:
early-electronic
file under:
minimal-drones
sound-research
early-electronic
 best of 2005 !!! 
alga marghen (italy) #alga nmn13 cd

charlemagne palestine “alloy (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 2
recorded in new york city n.y.u. intermedia center (1967)
late night electronic sonorities

alloy
tony conrad, robert feldman, deborah glaser palestine, charlemagne palestine
recorded 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 soundscape

my 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 nights

i 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 way

later 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 spin

tony 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 played

the 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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threads:
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concert-recordings

file under:
modern-composition
plunder-phonic
 best of 2005 !!! 
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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fluxus

alga marghen (italy) #alga nmn08 cd

ben patterson “early 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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live-electronic

alga marghen (italy) #alga 31 lp

charlemagne palestine “relationship studies” long playing record

  • relationship study no. 1 (18:20) 1967

  • electronic (18:25) 1967
may 2010 release ; two recently unearthed buchla pieces, rendered by charlemagne palestine at nyu’s legendary intermedia center in 1967 ...

while i’m not sure about emanuele’s claims about this foreshadowing the “early power electronic scene”, but it’s worth noting that music really couldn’t be any more different than morton subotnick’s (largely recorded on the same machines in the same studio the same year) ... palestine’s largely aleatoric blat, left to simmer & repeat over long duty cycles, shows early evidence of the kind(s) of minimalist rhetoric he’d become more commonly associated with in coming decades ...

a really great record, especially for anyone enamored with those early buchla days ...
alga marghen press release...
c h a r l e m a g n e   p a l e s t i n e
"relationship studies"
(cat no. plana-p alga031)
lp record

edition limited to 350 copies

"relationship studies" lp includes 2 seminal electronic music radical realizations by charlemagne palestine, or "relationship study no. 1" (1967) and the generally titled "electronic" from the same year.

sounds in motion like race cars, motor cycles, war planes, rocket ships excited charlemagne sonic imagination when we was still a young teenager. then came the experience of listening to the electronic music of tod dockstader, alwyn nikolais, pierre henry and pierre schaffer, xenakis and "poème electronique" by edgar varese. immediately fascinated charlemagne palestine bought a primitive electronic equipment and started to experiment, creating his original electronicesque language.

the two previously unreleased 18 minute masterpieces presented here directly come from this early period of intense experimentations in a fluid ever-changing mix of adding and filtering white noise and simple sine tone generators. both pieces are late night compositions created at the electronic music studio of the new york n.y.u. intermedia center using buchla 100 and buchla 200 systems.

even if dating back from the mid-1960s these intense sonorities might very much recall the best early power electronic scene from the late 1970s, in particular to the first brut music works created by maurizio bianchi. for sure they represent a very unique and inspiring approach to electronic creation, sounding more and more actual and surprising nowadays.

edition limited to 350 copies.

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

 best of 2009 !!! 
alga marghen (italy) #alga 26 lp

charlemagne palestine “sound 1” one-sided long playing record

  • 2 separate chords • blending in space • sculptural (18:30)
december 2008 release ; single-sided lp featuring an 18-minute piece by charlemagne palestine, “published in collaboration with “vidéo et après” for the first “œuvres sonores” event, december 15th, 2008 nouveaux media dept, musée national d’art moderne, paris” ...

no word on when the piece in question was physically laid to tape (different reports / opinions range from the mid 60s / mid 70s to present day) ... regardless, you get a static wall of tremulous oscillator patternage that rivals/exceeds contemporary work in the field by such folks as eleh and damion romero ... charlemagne fans (esp. those of the “negative sound study” lp) will need this in their lives ...
alga marghen press release...
c h a r l e m a g n e p a l e s t i n e
"sound 1"
(cat no. plana-p alga26)
1-sided lp record
edition of 500 copies
(only 200 copies available for sale)

as the title well underlines, "sound 1" electronic sonority is a starting point in charlemagne palestine researches for the golden sonority. previously unpublished, this radical and foundamental work has now been released on lp record in collaboration with the new media dept of centre pompidou (national museum of modern art) in paris for the first "œuvres sonores" event, december 15th, 2008.

charlemagne palesitne 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 he began experiments with simple sine tone generators emitting the purest sound waves without any overtones. then, gradually, with access to moog and arps, he 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. palestine experimented in this way from 1964 till 74 in nyc and then, in california, finally he assembled his own drone machine of 16 ultra stable oscillators designed by serge tcherepnin and 4 band pass filters designed by donald buchla. he would build up a sound, oscillator by oscillator, then add ever so slightly to the oscillator imput, tiny increments of white noise that would gradually make the sounds thicker and thicker untill they were immense sacred machines humming like gargantuan tibetan bees. charlemagne played them very very loud, making all the room and objects in it resonate while outside all was quiet and sleeping. he worked like a painter with a palette and a canvas and he mixed and added and mixed and added over, entire nights, 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. he'd put on the tape, prepare the tape machine with the proper level as not to overload it and record the texture.

this 1-sided lp was issued in an edition limited to 500 copies, and about 350 of those copies were offered to the audience partecipating to the first "œuvres sonores" event at centre pompidou. less than 200 copies are available for distribution.

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

 best of 2009 !!! 
alga marghen (italy) #alga 25 lp

malcolm goldstein “early 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 11” 12-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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threads:
sound-poetry
musique-concrète
live-electronic
electro-acoustic-composition
electro-acoustic-improvisation

 best of 2007 !!! 
alga marghen (italy) #alga 24 book

françois dufrêne “françois 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 dufrêne “affichiste - 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.

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threads:
sound-installation
sound-art
modern-composition
film-video

 best of 2007 !!! 
alga marghen (italy) #alga 19 lp
cyalume & azgonzer (italy) #alga 19 lp

charlotte moorman / nam june paik “tv cello” double long playing record set

  • charlotte moorman / nam june paik tv cello (14:56)
  • charlotte moorman / nam june paik tv cello (17:48)

  • charlotte moorman / nam june paik tv cello (17:43)
  • charlotte moorman / nam june paik tv cello (14:42)
2006 double-lp edition on alga marghen sub-label cyalume & azgonzer, containing four readings/performances of nam june paik & charlotte moorman’s “tv cello” piece, presumably recorded during november 1971 at the galeria bonino in new york...
alga marghen press release...


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sound-poetry

alga marghen (italy) #alga 12 lp

brion gysin “bruits du beaubourg” long playing record

  • bruits du beaubourg (part 1) (19:51)

  • bruits du beaubourg (part 2) (20:20)
alga marghen press release...
b r i o n g y s i n
“bruits du beaubourg”
(cat no. alga012).
lp record

brion gysin (january 19, 1916 in taplow, buckinghamshire, uk - july 13, 1986 in paris, france) was a writer and painter. he is best known for his rediscovery of tristan tzara's cut-up technique while cutting through a newspaper upon which he was trimming some mats. he shared his discovery with his friend william s. burroughs, who subsequently put the cut-up technique to good use and dramatically changed the landscape of american literature.

educated in england, at downside college (1932-34), he moved to paris where he studied at the sorbonne. among those he met at this time are renowned members of the surrealist group, including max ernst, salvador and gala dali and picasso. gysin’s work was included in the surrealist drawings exhibition in paris in 1935 (galerie quatre).

he first visited the algerian sahara in 1938, a journey that was to have a deep and lasting influence on his life. equally significant to the form of his later giant landscape paintings were the years he spent in new york working as assistant to broadway stage designer irene sharaff (1940-43). in 1953, having returned to north africa, gysin opened the thousand and one nights restaurant, where the master musicians of joujouka played an ‘extended residency’.

gysin altered the cut-up technique to produce what he called permutation poems in which a single phrase was repeated several times, with the words rearranged in a different order with each reiteration. many of these permutations were derived using a random sequence generator in an early computer program written by ian sommerville. he also experimented with permutation on recording tape, by splicing together the sounds of a gun firing recorded at different amplitudes in the bbc radiophonic workshop thus producing 'pistol poem.' the piece was subsequently used as a theme in 1960 for the performance in paris of le domaine poetique, a showcase for experimental works by people like gysin, françoise dufrêne, bernard heidsieck, and henri chopin.

a cult from the beginnings ...

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sound-art

alga marghen (italy) #alga 08 lp

walter marchetti “the bird of paradise” one-sided long playing record

  • the bird of paradise (25:45)
alga marghen press release...
w a l t e r m a r c h e t t i
"the bird of paradise"
(cat no. plana-m alga ?).
lp record

the bird of paradise: hunting in the city. performance time: from dawn to dusk. leave your home, with a cool head, and carrying a briefcase full of birdcalls, of the kind used by hunters, as well as a portable tape recorder, slung across your back on a carrying strap. you will use it, at the proper time, to play a tape, which has also been placed in the briefcase. once outside, you begin your performance of 'the hunt' by crossing over to the sidewalk on a far side of the street, with respect to the building you have just left. after observing this building for several minutes, you will then begin to walk. from the point at which you begin to walk, proceed for 1632 paces, and then come to a halt. (whenever you come to a halt you should always look around to your rear, since the bird of paradise may in fact be following you. check at least three times, carefully casting your eyes in all directions). resume walking, turn to the left at the first street corner, and stop again. choose 6 calls and sound them 38 times. then put them back into the briefcase and continue along your way, until passing the second street on the right. remove 10 calls from the briefcase and sound them not more than 20 times. resume your walking. stop after 3274 paces, pick out a call with a powerful sound, and sound it 15 times. resume walking, turn right at the third corner, take a few more steps, stop, open the briefcase, take 5 calls and sound them in alternation 127 times. 1005 more paces. after 2536 paces. sound it 140 times. walk 1634 paces. etc.. etc.. at a certain point you can constantly turn either right or left, entering and exiting every door along this whole new route until coming into sight of a park with a single tree. once beneath this tree, sound all the calls a single time. if everything remains unchanged, motionless and silent, open the briefcase and take out the tape, which holds the recording of the song of the bird of paradise. play it by means of the tape recorder which is slung across your back. replay this tape 316 times. having listened to the song of the bird of paradise, wait in complete inactivity for 24 minutes. and then, perhaps ...

this one-sided lp (25 minutes) with the recordings of the song of the bird of paradise is a secret.

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:
 alien8 
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... this page was last updated on thursday, may 23rd, 2013 @ 6:07 pm