tyme. / tujiko noriko “gyu” double long playing record set

• akete, akete (6:11)
  
• gyungyun (3:47)
  
• tropic pengugin (8:12)
  
  
• heart koorasete (7:14)
  
• vacation of god (7:13)
  
  
• from a spring (2:21)
  
• golden heart (4:43)
  
• ten to sen (6:07)
  
  
• slow motion (6:26)
  
• unforgettable light (7:51)
  
• world (5:59)

editions mego press release...

emego 139v /  tyme. x tujiko gyu 2lp release date 17.01.2012 all songs produced and written by tyme. / tujiko noriko except tracks 2, 8 written by p.p.a / tujiko noriko mixed by tyme. tujiko noriko returns to editions mego after a period of relative silence. this time in collaboration with tyme. (aka tatsuya yamada, member of mas). this album was developed from songs that the duo made once a year at the end and beginning of new year, for a period of six years. these were sent to friends and people who asked. after six years there were six tracks they added five more the illustrations of kimura toshiko to complete the album. a gaudy take on j-pop perhaps? these songs are bustling with a weird sense optimism thats not only fun but a little odd as well. the end and the start of a year, made by thinking of future, giving it a shiny sheen with just a dash of darkness. gyu is an onomatopoeia of - holding something tight, grabbing something. you know you like it really. cd version released by nature bliss in japan. vinyl version is for the world.

tyme. / tujiko noriko “gyu” compact disc

• akete, akete (6:11)
  
• gyungyun (3:47)
  
• tropic pengugin (8:12)
  
• heart koorasete (7:14)
  
• vacation of god (7:13)
  
• from a spring (2:21)
  
• golden heart (4:43)
  
• ten to sen (6:07)
  
• slow motion (6:26)
  
• unforgettable light (7:51)
  
• world (5:59)

editions mego press release...

emego 139 /  tyme. x tujiko gyu cd release date 17.01.2012 all songs produced and written by tyme. / tujiko noriko except tracks 2, 8 written by p.p.a / tujiko noriko mixed by tyme. tujiko noriko returns to editions mego after a period of relative silence. this time in collaboration with tyme. (aka tatsuya yamada, member of mas). this album was developed from songs that the duo made once a year at the end and beginning of new year, for a period of six years. these were sent to friends and people who asked. after six years there were six tracks they added five more the illustrations of kimura toshiko to complete the album. a gaudy take on j-pop perhaps? these songs are bustling with a weird sense optimism thats not only fun but a little odd as well. the end and the start of a year, made by thinking of future, giving it a shiny sheen with just a dash of darkness. gyu is an onomatopoeia of - holding something tight, grabbing something. you know you like it really. cd version released by nature bliss in japan. vinyl version is for the world.

daniel menche “guts” double long playing record set

• guts one (19:55)
  
  
• guts two (18:59)
  
  
• guts three (19:05)
  
  
• guts four (18:53)

daniel menche “guts” compact disc

• guts 2 x 4 (10:32)
  
• guts one (19:55)
  
• guts two (18:59)
  
• guts three (19:05)

editions mego press release...

emego 138 /  daniel menche guts cd release date 10.01.2012 daniel menche: abused and thrashed piano guts recorded, mangled and mixed summer 2011 x-ray’s from a chihuahua dog named arrow mastered in the analog domain at stereophonic mastering, portland oregon more voraciously beastial soundwork coming from daniel menche, his time his chosen theme is the piano, in which he attacks, investigates and dissects with the precision of an autopsy surgeon, adding a whole new meaning to concept of prepared piano, or should we say unprepared piano for an all out assault. guts lays out quite possibly some of the finest slabs of menchian sonic mayhem to date. voraciously beastial soundwork coming from daniel menche. slightly different track sequence over cd and vinyl formats due to time constraints.

mark van hoen “the revenant diary” three-sided double long playing record set

• look into my eyes (4:22)
  
• garabndl x (3:56)
  
• don't look back (4:16)
  
• i remember (5:50)
  
  
• no distance (except the one between you and me) (3:37)
  
• 37/3d (6:20)
  
• where were you (4:40)
  
• why hide from me (2:49)
  
  
• unknown host (4:16)
  
• laughing stars at night (4:36)
  
• holy me (9:36)

editions mego press release...

emego 136v /  mark van hoen the revenant diary 3 sided 2lp release date 10.01.2012 all titles composed by mark van hoen recorded in brooklyn & woodstock ny usa 2011 all instruments & processing by mark van hoen with additional vocals by georgia belmont cover art by stephen o'malley “don’t look back”, repeats one of several voices within mark van hoen’s the revenant diary, his fifth solo album and first release on editions mego. surrounded by weighted beats, analogue synthesizer drones and granular dirt, the unidentified, siren-like female voice’s advice is as much seduction as warning. tellingly so, for as well as being both van hoen’s most ambitious and his most accessible work, the revenant diary is an eloquent meditation on the allures and dangers of memory, regret and nostalgia. the album's foundation was shaped by a memory and a chance encounter. while remastering some of his early 90s releases and peel session tracks, van hoen – a founding member of seefeel, who also worked as locust and in seefeel offshoot scala and has collaborated with slowdive, robert fripp, edison woods & esben and the witch amongst others – happened upon a track he had recorded in 1982. attracted by its simplicity, he was inspired to record the basis of the revenant diary on 4-track tape, using a minimal set-up, reminiscent of his first early 80s musical adventures as a young teenager. the recollection of one of these – a 13 year old van hoen's experiment in reel-to-reel tape recording of an ineffectual pop song playing on the radio, which spuriously transformed it into a spooky amalgam of backwards church organ and unintelligible voices – provided an evocative inspiration. the revenant diary pivots on this combination of complex reflection and simplified technology. a determinedly analogue affair, it brims over with van hoen’s signature sounds: immersively decayed drones, almost broken ambient surfaces and lulling rhythms, with granular crackle providing spectral grit. fragments of female vocals pepper the album, and notably dominate the 10-minute epic “holy me”, one of van hoen’s most complex compositions, in which non-verbal sounds rub delicately against each other in an otherworldly choral composition. less song-based than his last solo work, the well-received where is the truth [city centre offices, 2010], its palette and structure are more descendants of the 1995 album truth is born of arguments, which utilised a similar combination of decayed atmosphere against a granular / glitch rhythmic structure. tracks like “laughing stars at night” and “unknown host” exude a powerful emotional undertow, as alluringly woozy as they are intensely contemplative. but this is no exercise in instagram-style disposable nostalgia. van hoen’s adroit juxtapositions of gauzy textures evoke the blurred luminescence of 16mm film and the rich, colour-saturated hues of rediscovered polaroid photos, as the cover artwork, designed by sunn o)))’s stephen o’malley, acknowledges. the revenant diary expertly renders displaced memory daze in lushly melodic, gently delirious electronic sound.

mark van hoen “the revenant diary” compact disc

• look into my eyes (4:22)
  
• garabndl x (3:56)
  
• don't look back (4:16)
  
• i remember (5:50)
  
• no distance (except the one between you and me) (3:37)
  
• 37/3d (6:20)
  
• where were you (4:40)
  
• why hide from me (2:49)
  
• unknown host (4:16)
  
• laughing stars at night (4:36)
  
• holy me (9:36)

editions mego press release...

emego 136 /  mark van hoen the revenant diary cd release date 10.01.2012 all titles composed by mark van hoen recorded in brooklyn & woodstock ny usa 2011 all instruments & processing by mark van hoen with additional vocals by georgia belmont cover art by stephen o'malley “don’t look back”, repeats one of several voices within mark van hoen’s the revenant diary, his fifth solo album and first release on editions mego. surrounded by weighted beats, analogue synthesizer drones and granular dirt, the unidentified, siren-like female voice’s advice is as much seduction as warning. tellingly so, for as well as being both van hoen’s most ambitious and his most accessible work, the revenant diary is an eloquent meditation on the allures and dangers of memory, regret and nostalgia. the album's foundation was shaped by a memory and a chance encounter. while remastering some of his early 90s releases and peel session tracks, van hoen – a founding member of seefeel, who also worked as locust and in seefeel offshoot scala and has collaborated with slowdive, robert fripp, edison woods & esben and the witch amongst others – happened upon a track he had recorded in 1982. attracted by its simplicity, he was inspired to record the basis of the revenant diary on 4-track tape, using a minimal set-up, reminiscent of his first early 80s musical adventures as a young teenager. the recollection of one of these – a 13 year old van hoen's experiment in reel-to-reel tape recording of an ineffectual pop song playing on the radio, which spuriously transformed it into a spooky amalgam of backwards church organ and unintelligible voices – provided an evocative inspiration. the revenant diary pivots on this combination of complex reflection and simplified technology. a determinedly analogue affair, it brims over with van hoen’s signature sounds: immersively decayed drones, almost broken ambient surfaces and lulling rhythms, with granular crackle providing spectral grit. fragments of female vocals pepper the album, and notably dominate the 10-minute epic “holy me”, one of van hoen’s most complex compositions, in which non-verbal sounds rub delicately against each other in an otherworldly choral composition. less song-based than his last solo work, the well-received where is the truth [city centre offices, 2010], its palette and structure are more descendants of the 1995 album truth is born of arguments, which utilised a similar combination of decayed atmosphere against a granular / glitch rhythmic structure. tracks like “laughing stars at night” and “unknown host” exude a powerful emotional undertow, as alluringly woozy as they are intensely contemplative. but this is no exercise in instagram-style disposable nostalgia. van hoen’s adroit juxtapositions of gauzy textures evoke the blurred luminescence of 16mm film and the rich, colour-saturated hues of rediscovered polaroid photos, as the cover artwork, designed by sunn o)))’s stephen o’malley, acknowledges. the revenant diary expertly renders displaced memory daze in lushly melodic, gently delirious electronic sound.

russell haswell “acid no!se synthesis” compact disc

• lissajous square (0:33)
  
• logo #2 (ts) (1:00)
  
• call (1:04)
  
• pulsar anthem (4:43)
  
• shapeshifter (5:25)
  
• acid no!se #6 (ws+ts) (3:01)
  
• a.n.s. #1 (10:33)
  
• void (2:13)
  
• a.n.s. #2 (12:15)
  
• no!se pulsar (3:37)
  
• acid wind (4:05)
  
• acid no!se medley (11:17)
  
• perc klonk carrier (1:13)
  
• brainfloss (1:24)
  
• scm vs modular (3:42)
  
• acid verb 17062010 (6:03)
  
• phase ender (0:52)

editions mego press release...

emego 134 /  russell haswell acid no!se synthesis cd comes with a 16 pp booklet with text and 15 vector oscillograms. improvisation on either modular synthesiser, computer or electronics and pedals. recorded and simultaneously monitored on stereo / phase scope (visual) and speakers or headphones (auditory). performed, recorded (direct to hd - 2 channel - no overdub, no midi), edited, compiled and mastered by russell haswell in suffolk, 2010 - 2011 for multi-sensory experience (seeing sound, in this case, lissajous patterns), connect a stereo / phase scope (oscilloscope x-y view or software equivalent) to your audio player... recommended reading: oscilloscope at work. alfred haas, ralph watson hallows (wireless world / iliffe & sons ltd. 1956) audio metering. eddy bøgh brixen (focal press. 2011) this isnt what you think it is.

mark fell “periodic orbits of a dynamic system related to a knot” long playing record

• this side (23:16)
  
  
• that side (23:16)

russell haswell / florian hecker “kanal gendyn” long playing record and digital versatile disc set

• kanal gendyn stereo [a] (29:53)
  
  
• kanal gendyn stereo [b] (33:00)
  
  
• dvd :: kanal gendyn 4.0 (62:53)

editions mego press release...

emego 129 /  russell haswell & florian hecker kanal gendyn lp+dvd recorded and produced by russell haswell & florian hecker, 2004–2011 stereo version mixed by haswell & hecker @ ccmix (centre de création musicale iannis xenakis), paris, march 2004 digitally mastered by russell haswell @ haswell studio, suffolk, england, july 2011 dvd authored by gop , köln, september 2011 editions mego is happy to announce the release of 'kanal gendyn', a vinyl and dvd set by russell haswell & florian hecker. this is the first full length release by the artists following their highly acclaimed albums, 'blackest ever black (electroacoustic upic recordings)' (warner classics, 2007), and 'upic warp tracks' (warp, 2008), in addition to their remix's of popol vuh, and voice crack. in the late 90s, early 2000s, it became common for bands, or solo artists to perform live - often alternative - soundtracks to feature films or silent classics. critical of obvious instrumentation and the combination with known classic film, the artists russell haswell & florian hecker chose to create a real-time soundtrack, to an unscored film, 'kanal video' (1992, 60 min.) by the swiss artist duo peter fischli & david weiss. core to kanal gendyn is haswell & hecker's ongoing research on the legacies of polymath iannis xenakis (1922–2001) and in particular his concept of the dynamic stochastic synthesis, an abstract sound synthesis procedure that creates 'sound out of nothing'. in an interview with peter hoffmann, the artists recall: this video, which consists of an hour long ‘ride’ through the zurich sewage system, with a remotely controlled maintenance vehicle equipped with a video camera to survey the sewers for eventual irregularities of defects — struck us both as an ideal piece to be projected in a ‘nightclub’ or music venue with a gendyn only performance. we found twisted relations with such an hour long ‘tunnel vision’. once with the seemingly endless amount of computer generated video projections used as visuals accompanying raves and techno parties during the 1990’s — and also to the accounts of visual hallucinations induced by mescaline as described by heinrich klüver in the 1920’s — with the so called ‘form constants’ — where he mentions amongst others, ‘tunnel like’ patterns. the particularities of gendyn, with its ever changing and meandering waveforms appeared to us as an ideal counterpart. kanal gendyn was performed on the occasion of the event ‘musterraum 9. dual presentation — peter fischli & david weiss — russell haswell & florian hecker’ at musterraum, munich, 30.01.2004. originally constructed as an experimental building, ‘musterraum’ — german for sample or reference room — was a freestanding cube with a base area of 10 12 meters. built as a test and reference space for the planning and construction of the adjacent pinakothek der moderne. two stereo feeds were crossed for quadraphonic (4.0) diffusion using a l&b f12 / b12 loudspeaker system. performed concurrently to the peter fischli & david weiss, ‘kanal video’ (1992, 60 min.) screened on three facing walls. kanal gendyn is released as stereo vinyl lp + 4.0 dts 24 bit / 48 khz dvd (audio only) set. the cover features 10 stills from the original fischli & weiss video, included inside is a 30 x 30 cm 170 gramm paper insert with a further, full-page still, plus extensive sleeve notes by musicologist and software developer peter hoffmann, and everything was designed by norm, zurich. its also worth noting that, with a running time of over an hour, this is one of the longest single lp releases you will come across!  cut by rashad 'the master' becker at dubplates & mastering, berlin, september 2011

bill orcutt “how the thing sings” long playing record

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

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

editions mego press release...

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

bill orcutt “how the thing sings” compact disc

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

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

editions mego press release...

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

angel “26000” long playing record

• before the rush (13:45)
  
• in (5:05)
  
• dark matter leak (6:32)
  
  
• out (3:22)
  
• paradigm shift (19:22)

angel “26000” compact disc

• before the rush (13:45)
  
• in (5:05)
  
• dark matter leak (6:32)
  
• out (3:22)
  
• paradigm shift (19:22)

editions mego press release...

emego 127 / angel 26000 cd release date 27.09.2011 angel is ilpo väisänen (pan sonic) and dirk dresselhaus (schneider tm) who play time-transcending freeform sound, weightlessness and gravity of electromagnetic signals together since 1999. the 5 tracks describe the last period of a 26000 years long cycle that leads to a new situation on this planet. 26000 was recorded between 2008 and 2010 at construction site studios in berlin & ilpo's cottage in karttula, finland and features guest appearences by hildur gudnadottir, bj nilsen and oren ambarchi. the repertoire of the instruments is very wide: glassbowls, metal objects, pieces of wood, grass, birds, dragonflies, lake echo, smoking box and the regular electronic equipment as well as acoustic instruments. hildur plays cello & the halldorophon (a kind of cello that feeds itself back). oren plays percussion & guitar. benny did field recordings and processing. all mixed by angel at dirk's newly built studio called zone and mastered by rashad becker in berlin. it's all good in the tummy, bwoys, because the black sabbath parts were totally ac/dc. nothing is wider than empty things (francis bacon) ... time is the accident of accidents (epi kuros)

yasunao tone “mp3 deviation #8” long playing record

• mp3 deviation #8 (1) (15:30)
  
  
• mp3 deviation #8 (2) (14:06)

yasunao tone “mp3 deviations #6+7” compact disc

• mp3 deviation #6 (30:36)
  
• mp3 deviation #7 (22:15)

editions mego press release...

emego 125 / yasunao tone mp3 deviations #6+7 cd release date 18.10.2011 the mp3 deviation album contains pieces that are results of the collaborative research by a team of the new aesthetics in computer music (nacm) and myself, led by tony myatt at music research center at the university of york in uk in 2009. my idea was to develop new software based on the disruption of the mp3. primarily i thought the mp3 as reproducing device could have created very new sound by intervention between its main elements, the compression encoder and decoder. it turned out that result was not satisfactory. however, we found that if the sound file had been corrupted in the mp3, the corruptions generated 21 error messages, which could be utilized to assign various 21 lengths of samples automatically. combining with different play back speeds, it could produce unpredictable and unknowable sound. that is a main pillar of the software. we, also, added some other elements such as flipping stereo channels and phase inversing alternately with a certain length of frequency ranges, which resulted different timbres and pitches. i performed several times at the mrc and i was certain that this software would be a perfect tool for performances. i have tentatively performed the piece in public in kyoto, may 2009 and in new york, in may 2010. i also performed it successfully with totally different sound sources when i was invited for the morning line in vienna in june 2011. the original sound sources made by yasunao tone. producer, yasunao tone executive producer, peter rehberg cover design, tina frank photogrpahy, tina frank, florian voggeneder digital mastering, russell haswell thanks for the support by nacm, tony myatt, mark fell, peter worth, thom blake, oliver larkin, peter rehberg, tina frank and russell haswell. the new aesthetics in computer music research project funded by the arts and humanities research council uk.

mika vainio “life (...it eats you up)” double long playing record set

• in silence a scream takes a heart (13:12)
  
  
• throat (2:30)
  
• mining (5:18)
  
• napoleon (1:39)
  
• open up and bleed (8:51)
  
  
• crashed (6:10)
  
• and give us our daily humiliation (5:24)
  
• cage (1:20)
  
  
• conquering the solitude (5:05)
  
• a ravenous edge (8:59)

editions mego press release...

emego 124v / mika vainio life (...it eats you up) 2lp release date 26.07.2011 all tracks written by mika vainio, except open up and bleed by iggy pop / james williamson whereas previous works by mika vainio have utilised guitar, life (… it eats you up) is the first to use the instrument as its primary sound source. a fascinating, sometimes disturbing and deeply personal work this new 10 track set bears all the hallmarks (exacting attention to detail of tone, rhythm and texture) of vainio's previous works with some stunning surprises, such as his cover version of the stooges' 'open up and bleed'. tracks such as ‘mining’ hark bark to the banging beat excesses of pan sonic, with ‘crashed’ and ‘and give us our daily humiliation’ and the opening ‘in silence a scream takes a heart’ reveal a new intensity to vainio’s work and is yet another superb addition to his brilliant catalogue.

mika vainio “life (...it eats you up)” compact disc

• in silence a scream takes a heart (13:12)
  
• throat (2:30)
  
• mining (5:18)
  
• napoleon (1:39)
  
• open up and bleed (8:51)
  
• crashed (6:10)
  
• and give us our daily humiliation (5:24)
  
• cage (1:20)
  
• conquering the solitude (5:05)
  
• a ravenous edge (8:59)

editions mego press release...

emego 124 / mika vainio life (...it eats you up) cd release date 26.07.2011 all tracks written by mika vainio, except open up and bleed by iggy pop / james williamson whereas previous works by mika vainio have utilised guitar, life (… it eats you up) is the first to use the instrument as its primary sound source. a fascinating, sometimes disturbing and deeply personal work this new 10 track set bears all the hallmarks (exacting attention to detail of tone, rhythm and texture) of vainio's previous works with some stunning surprises, such as his cover version of the stooges' 'open up and bleed'. tracks such as ‘mining’ hark bark to the banging beat excesses of pan sonic, with ‘crashed’ and ‘and give us our daily humiliation’ and the opening ‘in silence a scream takes a heart’ reveal a new intensity to vainio’s work and is yet another superb addition to his brilliant catalogue.

mark mcguire “get lost” compact disc

• get lost (5:05)
  
• when you're somewhere (4:04)
  
• alma (3:22)
  
• another dead end (4:33)
  
• alma (reprise) / chances are (3:44)
  
• firefly constellations (19:56)

editions mego press release...

emego 123 / mark mcguire get lost cd electric and acoustic guitar, vocals, and guitar-synthesizer recorded digitally between june 2010 and july 2011 in westlake, ohio and portland, oregon mixed at hardbodies, july 2011 by mark mcguire mastered and cut by helmut erler @ dubplates & mastering, berlin. photography and art by mark mcguire 2011 layout by julian gulyas this album is dedicated to my family, friends, and the spirit of the summer night sky and yet another killer album from the ever productive mark mcguire. it just keeps getring better, as he delivers another fine set of tunes in his perfected style. a few more electronic elements than usual and even some voices., but still the unique blend feell good riffs, electric and acoustic loops and melodies that just stick in the head. its game of 2 sides of courrse, with side one chocabloc a short hits with side two stretcning to one side long jam of blissed out mcguire ambience. awesome.

cindytalk “hold everything dear” double long playing record set

• how soon now... (5:01)
  
• on the tip of my tongue (1:21)
  
• in dust to delight (6:38)
  
  
• fly away over here (9:14)
  
• hanging in the air (8:27)
  
  
• waking the snow (1:25)
  
• from rokko-san (6:01)
  
• fallen obi (1:42)
  
• those that tremble as if they were mad (6:13)
  
  
• floating clouds (8:47)
  
• i see you uncovered (1:42)
  
• ...until we disappear (7:29)

editions mego press release...

emego 122v / cindytalk hold everything dear 2lp all tracks written and recorded by gordon sharp and matt kinnison between 2006–2011 at roi vert, okamoto (japan), 13th floor and space eko (london), southend (essex) mastered at piethopraxis, june 2011 cut by rashad becker at dubplates & mastering, berlin, june 2011 design/images: david coppenhall assembled at sixism (maggi smith/david coppenhall) for matt kinnison and john berger hold everything dear is the third installment in the new cindytalk sound which started with 2007’s the crackle of my soul, and then last years up here in the clouds. its the first in the trilogy to feature musicians other than gordon sharp namely the late matt kinnison, to whom the album is dedicated. inspired by the john berger book of the same name, this latest release is whole new set of parameters which push the sound on the previous two works to an extreme point of abstraction, and in some places near silent passages and haunted melodic segments. and what a mysterious journey this ends up being with increased use of piano and found/field recordings giving all the tracks a blurry soundtrack appeal to the point where the definitions between the tracks are no longer clearly defined. it harks back to the odder parts of in this world and the wind is strong albums from the early 1990s. superbly packaged with new david coppenhall artwork in a gatefold vinyl sleeve.

cindytalk “hold everything dear” compact disc

• how soon now... (5:01)
  
• on the tip of my tongue (1:21)
  
• in dust to delight (6:38)
  
• fly away over here (9:14)
  
• waking the snow (1:25)
  
• from rokko-san (6:01)
  
• hanging in the air (8:27)
  
• fallen obi (1:42)
  
• those that tremble as if they were mad (6:13)
  
• floating clouds (8:47)
  
• i see you uncovered (1:42)
  
• ...until we disappear (7:29)

editions mego press release...

emego 122 / cindytalk hold everything dear cd all tracks written and recorded by gordon sharp and matt kinnison between 2006–2011 at roi vert, okamoto (japan), 13th floor and space eko (london), southend (essex) mastered at piethopraxis, june 2011 cut by rashad becker at dubplates & mastering, berlin, june 2011 design/images: david coppenhall assembled at sixism (maggi smith/david coppenhall) for matt kinnison and john berger hold everything dear is the third installment in the new cindytalk sound which started with 2007’s the crackle of my soul, and then last years up here in the clouds. its the first in the trilogy to feature musicians other than gordon sharp namely the late matt kinnison, to whom the album is dedicated. inspired by the john berger book of the same name, this latest release is whole new set of parameters which push the sound on the previous two works to an extreme point of abstraction, and in some places near silent passages and haunted melodic segments. and what a mysterious journey this ends up being with increased use of piano and found/field recordings giving all the tracks a blurry soundtrack appeal to the point where the definitions between the tracks are no longer clearly defined. it harks back to the odder parts of in this world and the wind is strong albums from the early 1990s. superbly packaged with new david coppenhall artwork in a 4-panel digipack.

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

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

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

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

editions mego press release...

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

mark mcguire “a young persons guide to mark mcguire” double compact disc set

• dream team (17:18)
  
• the marfa lights (9:10)
  
• clague woods (1:46)
  
• slipstreams (1:22)
  
• stranger than paradise (4:56)
  
• flight (6:44)
  
• ghosts around a tree (11:45)
  
• the path lined with colorful stones (9:45)
  
• the wind on the winding road, pt ii (9:41)
  
  
• radio flyer (10:38)
  
• icy windows (9:05)
  
• the lonesome foghorn blows (1:56)
  
• time is flying (9:57)
  
• sun shining through the open barn door (2:54)
  
• explosion alarm (1:28)
  
• sick chemistry (4:22)
  
• skies (9:34)
  
• over the water (3:54)
  
• the invisible world (7:36)
  
• inside where it's warm (13:26)

editions mego press release...

emego 117 / mark mcguire a young persons guide 2cd disc one 1. dream team from the 2008 cdr "dream team" on wagon art by mark mcguire, limited to 2 editions of 75 copies 2. the marfa lights from the 2009 2xcs & cdr "a pocket full of rain" on pizza night & wagon cs art by sam goldberg, cdr art by mark mcguire, limited to 130 cs's & 200 cdr's 3. clague woods from the 2007 cdr "patterns of development" on wagon art by mark mcguire, limited to 75 copies 4. slipstreams from the 2007 cdr "patterns of development" on wagon art by mark mcguire, limited to 75 copies 5. stranger than paradise from the 2009 business card cdr "stranger than paradise" on everybody else has a record label, so why can't i? art by ryan kuehn, limited to 99 copies 6. flight from the 2007 cdr "patterns of development" art by mark mcguire, limited to 75 copies 7. ghosts around a tree 11:45 from the 2007 cdr "patterns of development" art by mark mcguire, limited to 75 copies 8. the path lined with colorful stones from the 2008 2xcs & cdr "light movement" on wagon art by mark mcguire, limited to 100 cs's & 100 cdr's 9. the wind on the winding road, pt ii from the 2008 cs & 2009 cdr "open chords" on pizza night & high spirits art by sam goldberg, limited to 150 copies disc two 1. radio flyer from the 2009 2xcs & cdr "a pocket full of rain" on pizza night & wagon. cs art by sam goldberg, cdr art by mark mcguire, limited to 130 cs's & 200 cdr's 2. icy windows from the 2010 cs "between family" on wagon art by mark mcguire, limited to 150 copies 3. the lonesome foghorn blows from the 2009 2xcs & cdr "a pocket full of rain" on pizza night & wagon cs art by sam goldberg, cdr art by mark mcguire, limited to 130 cs's & 200 cdr's 4. time is flying from the 2010 cs "tour split w/sam goldberg" on pizza wagon art by sam goldberg, limited to 150 copies 5. sun shining through the open barn door from the 2009 2xcs & cdr "a pocket full of rain" on pizza night & wagon cs art by sam goldberg, cdr art by mark mcguire, limited to 130 cs's & 200 cdr's 6. explosion alarm from the 2009 cdr "losing sleep" on wagon art by mark mcguire, limited to 60 copies 7. sick chemistry from the 2009 2xcs & cdr "a pocket full of rain" on pizza night & wagon cs art by sam goldberg, cdr art by mark mcguire, limited to 130 cs's & 200 cdr's 8. skies from the 2008 2xcs & cdr "light movement" on wagon art by mark mcguire, limited to 100 cs's & 100 cdr's 9. over the water from the 2010 cs "between family" on wagon art by mark mcguire, limited to 150 copies 10. the invisible world from the 2010 cs "the invisible world" on cylindrical habitat modules art by julian gulyas, limited to 100 11. inside where it's warm from the 2010 cdr "things fall apart" on wagon art by mark mcguire, limited to 150 copies electric and acoustic guitar, vocals, tapes, and guitar-synthesizer performed and recorded by mark mcguire 2007-2010. compiled by mark mcguire and peter rehberg mastered at piethopraxis, köln, january 2011 photos by mark mcguire. layout by stephen o'malley a young persons guide to mark mcguire collects together some of this emeralds members best works, previously released on a number of limited editions cdr and tape releases over the last 4 years. although, only 24 years of age mcguire has racked up an impressive canon which most artists twice his age would have problems delivering. with his expert use of loops and layers, as well a superb ear for killer melody hooks makes aypgtmm simply an essential collection.

mark fell “manitutshu” double long playing record set

• acids in the… thin razor, attack noise hat, linn (2:29)
  
• acids in the… primes version (0:51)
  
• manitutshu (a new algorithm)… latelybass and newelectro, attack pulse hat (5:42)
  
  
• acids in the… razor experiment (0:51)
  
• manitutshu... parameter set 2, linn hi tom, jazzorg, vortex study performance overdub, and synthesis reminiscent of duet emmo (6:23)
  
• acids in the… stochastic energy pause with thin razor, attack noise hat, linn (1:47)
  
  
• manitutshu... first algorithm test (3:41)
  
• occultation… razor simple acid pause version with lfo to cutoff (1:47)
  
• materialisation epic razor chord and latelybass version with found voice (3:26)
  
  
• occultation of... mat steel extended remix (14:57)

may 2011 release ; ... love the whole pretext here ; personally, if ni were to market a product that produced music that sounded anywhere near this interesting (on a rhythmic, yes, but mostly timbral scale) i’d consider upgrading my komplete set for the first time since it began gathering dust in the mms “software ghetto” :: ... anyways, mark’s recent flurry of activity continues here, with a series of pieces recorded just two months back (good job on the concept-to-market follow-through peter !!!) merging the a-rhythmic chatter of “ul8” ‘s best moments with a kind of “product demo” sensibility that’s fairly prescient given the contempoary reality of “that new shiny bit of kit that will jump-start my career” (any of you that are friends with richie devine on facebook know that there’s just an insane amount of this sort of thing being launched every week ; very little of it seems not to pander to a 1998 “clicks ‘n’ cuts” aesthetic that you’d think we’d have all moved on from by now) ... comes in a b/w double-wide sleeve w/ a 6-panel fold-out poster (see below ; via mms “hand model” gm) ...

editions mego press release...

emego 116 / mark fell manitutshu 2 x 12" vinyl release date 27.05.2011 total running time: 42 minutes 45rpm in january 2011 mark was invited by erik wiegand (aka errorsmith) to make some presets for his new software synthesizer which he was building for native instruments. after developing about 40 sounds*, mark decided to rework his ul8 project by extending the pattern generating systems used in its construction, which he then connected to the sounds produced in erik's synthesizer. the result is this double 12" single, featuring 9 tracks and a remix from mark's friend and colleague mat steel. the project ships with an a1 full colour poster. recorded rotherham (uk) and sheffield (uk) march 2011. mastered by lupo at dubplates and mastering (de) march 2011. * unfortunately ni rejected all of mark's presets and none were used for the final distribution.

russell haswell “in it (immersive live salvage)” long playing record and digital versatile disc set

• budapest, march 29, 2010, part 1 (uhj)
  
• zurich, march 24, 2010, part 2 (uhj)
  
• berlin, april 1, 2010, part 2 (uhj)
  
• encore from bologna, march 27, 2010 (uhj)
  
  
• encore from nantes, march 21, 2010 (uhj)
  
• encore from luxembourg, april 8, 2010 (uhj)
  
• london, april 10, 2010, part 4 (uhj)
  
• hamburg, april 6, 2010, part 3 (uhj)
  
• encore from hamburg, april 6, 2010 (uhj)
  
  
• milan, march 25, 2010, part 1 (5.1)
  
• leeds, march 17, 2010, part 2 (5.1)
  
• encore from brighton, march 18, 2010 (5.1)
  
• birmingham, march 12, 2010, part 2 (5.1)
  
• amsterdam, april 8, 2010, part 2 (5.1)
  
• brussels, april 9, 2010, part 2 (5.1)
  
• encore from manchester, march 11, 2010 (5.1)
  
• geneva, march 23, 2010, part 3 (5.1)
  
• lyon, march 22, 2010, part 3 (5.1)

coh “iiron” double long playing record set

• war end war (10:10)
  
  
• red square (6:31)
  
• soii noir (6:15)
  
  
• slowup [quadrate für jah) (6:47)
  
• fist of glory (5:34)
  
  
• all lights are fire (6:35)
  
• satsugaii (6:05)

editions mego press release...

emego 114v / coh iiron 2 x 12" vinyl release date: 11.ii.11 all music by ivan pavlov / coh written and recorded 2010 except war end war: written 1988 / recorded 2010 electric guitars recorded may 2009 at the studios of music research centre, univ. of york, england with professional assistance and generous support from tony myatt, pete, oli and theo. acoustic pieces in red square, war end war and satsugaii composed and recorded in the ussr between 1988-1990, extracted from a cassette tape with kind help of andrej "d.a.o." kolesov. it would be too easy to simply call iiron the coh metal album, as it goes way beyond that. true, this album of classic pavlov stompers contains more than its fair share of guitars both acoustic and electric, yet it still maintains that sense of power and purpose through electronic music which stands out as the coh ‘raison d’être’. coming 11 years after iron, which also tackled the sound of rock with alarming results, the new album features not only recent guitar tracks recorded at music research centre at york university, but also recordings made during soviet era russia, which refer to pavlov's underground music activities in the early 80-ies when making or even consuming of "metal music" was forbidden. iiron is a powerful, well executed electronic rock record, with just a dash a humour to keep it from becoming pompous, as so much of that kind of music can be sometimes. packaged in a 4 panel digipack for cd, and lavish gatefold for the vinyl, with stunning artwork by stephen o’malley. in memoriam: satoshi kon peter christopherson hail to world peace and death to false metal

coh “iiron” compact disc

• red square (6:31)
  
• war end war (10:10)
  
• soii noir (6:15)
  
• slowup [quadrate für jah] (6:47)
  
• fist of glory (5:34)
  
• all lights are fire (6:35)
  
• satsugaii (6:05)

editions mego press release...

emego 114 / coh iiron cd release date: 11.ii.11 all music by ivan pavlov / coh written and recorded 2010 except war end war: written 1988 / recorded 2010 electric guitars recorded may 2009 at the studios of music research centre, univ. of york, england with professional assistance and generous support from tony myatt, pete, oli and theo. acoustic pieces in red square, war end war and satsugaii composed and recorded in the ussr between 1988-1990, extracted from a cassette tape with kind help of andrej "d.a.o." kolesov. it would be too easy to simply call iiron the coh metal album, as it goes way beyond that. true, this album of classic pavlov stompers contains more than its fair share of guitars both acoustic and electric, yet it still maintains that sense of power and purpose through electronic music which stands out as the coh ‘raison d’être’. coming 11 years after iron, which also tackled the sound of rock with alarming results, the new album features not only recent guitar tracks recorded at music research centre at york university, but also recordings made during soviet era russia, which refer to pavlov's underground music activities in the early 80-ies when making or even consuming of "metal music" was forbidden. iiron is a powerful, well executed electronic rock record, with just a dash a humour to keep it from becoming pompous, as so much of that kind of music can be sometimes. packaged in a 4 panel digipack for cd, and lavish gatefold for the vinyl, with stunning artwork by stephen o’malley. in memoriam: satoshi kon peter christopherson hail to world peace and death to false metal

marcus schmickler “palace of marvels (queered pitch)” double long playing record set

• new methodical limits of ascension (4:44)
  
• cursive phasing (2:26)
  
• risset brain hammer (8:37)
  
  
• smooth hang (gliding) (3:24)
  
• mystery bouffe (13:41)
  
  
• charm/anticharm (2:35)
  
• hypercubist pareto dist (2:24)
  
• sheps infinity (4:06)
  
• mass ornament (7:05)
  
  
• quasi-segregative (2:47)
  
• dicordance axis (1:59)
  
• palace of marvels (11:02)

marcus schmickler “palace of marvels (queered pitch)” compact disc

• new methodical limits of ascension (4:44)
  
• cursive phasing (2:26)
  
• risset brain hammer (8:37)
  
• smooth hang (gliding) (3:27)
  
• mystery bouffe (8:32)
  
• charm / anticharm (2:35)
  
• hypercubist pareto dist (2:24)
  
• sheps infinity (4:07)
  
• quasi-segregative (2:47)
  
• discordance axis (2:00)
  
• mass ornament (7:08)
  
• palace of marvels (11:10)

editions mego press release...

emego 113 / marcus schmickler palace of marvels (queered pitch) cd composed by marcus schmickler recorded and mastered at piethopraxis, köln. january-august 2010 artwork by tim berresheim marcus schmickler's new release following his acclaimed 'altars of science' is a must have for those interested in the rising field of contemporary computer music. it reconfirms schmickler's interest in the liaison of sound, phenomenology and cognitive sciences. schmickler therefore utilizes a new interpretation of 1960's discovery, the shepard-tone, discovered by roger shepard, which creates the auditory illusion of a tone that continually rises or descends in pitch yet ultimately seems to get no higher or lower. the phenomenon first got imposed to the music world by james tenney in his piece "for ann rising". similarly, schmickler has a musical take on the subject by creating arpeggios, short sequences of tones creating an akin effect. schmickler's interest in the field got fired by ernst gombrich's essays on "art and illusion" questioning the very foundations of our understanding of the history of the image and it's representation of our world. adequately schmickler's work ever since can be seen as a play within an anthropology of music. here in terms of it's very fundamental parameters rhythm, sound and pitch, as well as music practice wit it's socio-economic implications. beyond that, the title palace of marvels was found at french intellectual jacques attali, who, in his critically acclaimed book, "noise: the political economy of music", cites one of leibniz's little known but "extraordinary" texts, "drôle de pensée touchant nouvelle sorte de représentation," in which the philosopher describes the "palace of marvels." the palace of marvels is leibniz's idealization of a perfect political organization, which is built in such a way that the master of the house is able to hear and see everything that is being said and done in the premises without himself being perceived by his subjects. leibniz's vision of disciplinary society not only predates foucault's subsequent versions of surveillance mechanism, the panopticon, but it also conceptualizes a more effective and absolute form of power through eavesdropping, censorship, and recording, as well as surveillance through visual means. listening in on, ordering, transmitting, and recording noise are at the heart of the modern state. the idea for the material was originally conceived for a collaborative installation-piece together with arts-collective interpallazo. the technical application was realized with the kind assistance of prof. dr. alberto de campo.

cindytalk “the poetry of decay (crackle of my soul • up here in the clouds)” double long playing record and seven inch single record set

• signalling through the flames ()
  
• of ghosts and buildings (4:29)
  
• maglev (5:30)
  
• troubled aria (2:50)
  
• our shadow
  
• remembered (3:41)
  
  
• feathers burn (2:22)
  
• one hundred years tomorrow (5:31)
  
• if we meet
  
• we meet in silence (3:46)
  
• debris of a smile (7:28)
  
  
• the eighth sea (7:47)
  
• we are without words (6:39)
  
• i walk until i fall (3:17)
  
• switched to lunar (3:17)
  
  
• hollow stare (6:25)
  
• the anarchist window (4:46)
  
• multiple landings (8:44)
  
• up here in the clouds (2:06)
  
  
• transgender warrior (6:00)
  
  
• guts of london (5:59)