keith fullerton whitman “disingenuity b/w disingenuousness” long playing record

• disingenuity (17:14)
  
  
• disingenuousness (16:22)

pan press release...

keith fullerton whitman 'disingenuity b/w disingenuousness' (pan 13) keith fullerton whitman bursts back with his first full length record in four years, "disingenuity b/w disingenuousness", comprising of two pieces of forward thinking electronic music with a deep exploration into the analogue sound. live and studio recordings of the past two years (cambridge-new york-toronto) were used as source material, which were then realized into two longform compositions. using a musique concrète approach of deconstructed sounds (ala pietro grossi, costin miereanu, basil kirchin, dub taylor, etc) "disingenuity b/w disingenuousness" encompasses various reference points from françois bayle, jacques lejeune, richard pinhas & heldon to the minimal textures of basic channel-chain reaction axis... both tape-collage pieces which derived from an hour-long improvisation based around a setup involving a tape of chance field-recordings (a helicopter, walking on snow, children) bounced to a mono nagra tape machine, which is covered in contact mic's that translate not just the sound coming from the speakers, but the actual mechanical "interface" of the unit into control voltage & triggers that drive a modular synth that's processing said audio using the classic electronic music toolkit (i.e. ring modulation, panning vca's, filters, etc). keith fullerton whitman is an american electronic musician who has recorded albums influenced by many genres, including ambient music, drone, electronic, drill and bass, musique concrète and krautrock. he records and performs using many aliases, of which the most familiar is hrvatski and has been also member in many 90s bands, including el-ron, the liver sadness, sheket/trabant, the finger lakes and gai/jin. he started recording using his own name in 2001, and most of his work recorded today is under that name. he studied computer music at berklee college of music, where he was exposed to modern electronic music composition and synthesis. his moniker asciii has released music distributed with an academic journal. his studio and live setup usually consists of computer devices and other analogue instruments, such as guitars, ouds and synthesizers. whitman has released albums on labels such as planet mu, kranky, carpark records, no fun productions, root strata as well on his own entschuldigen and (now defunct) reckankreuzungsklankewerkzeuge labels. the lp is mastered and cut by rashad becker at d&m, in a limited edition of 500 copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. it is packaged in a pro-press color jacket which itself is housed in a silk screened pvc sleeve with artwork by bill kouligas.

trevor wishart “fanfare & contrapunctus (1976) / imago (2002)” long playing record

• fanfare (6:49) 1976
  
• contrapunctus (3:40) 1976
  
  
• imago (25:40) 2002

pan press release...

trevor wishart 'fanfare & contrapunctus (1976) / imago (2002)' (pan 12) vinyl issue of two very important works by this early british sound art composer, compiling one of trevor wishart's first ever pieces 'fanfare & contrapunctus' (from 1976) and one of his latest, 'imago' (from 2002), documenting a modern approach in composition and an extremely unique progress in sound manipulation and music technology. 'fanfare & contrapunctus' (1976) : these two short pieces were made at the newly opened electronic studio at the sydney conservatorium, before the advent of music computer technology. the source material derives from free improvisations by trevor wishart and martin mayes using “soft trumpets”, pop-guns, french horn and virtuoso eating noises, plus recordings of birdsong and other environmental sources. 'imago' (2002) '…the universe in a grain of sand…' : imago is a piece of magical sound metamorphosis in which the single ‘clink’ of two whisky glasses gradually metamorphoses into a multitude of other sounds, eventually alluding to the sounds of birdsong, a junkyard gamelan, the ocean and the human voice, but never entirely abandoning its links to this minimal source. the piece was made using sound transformation software written by the composer, available through the composers desktop project, and the original source sound was taken from jonty harrison’s ‘et ainsi de suite’. trevor wishart is an english composer, based in york. he is widely acknowledged for his contributions to composing with digital audio media, both fixed and interactive. he has been very active since the early 1970s in the area of electro-acoustic music (first with tape manipulation, later with computer pieces) and musical theatre pieces. not only has he composed many significant pieces, but he has also written extensively on the topic of what he terms “sonic art,” and contributed to the design and implementation of many software tools used in the creation of digital music. his compositional interests deal mainly with the human voice. he has also written two major books, 'on sonic art' and 'audible design'. the lp is mastered and cut by rashad becker at d&m, in a limited edition of 500 copies, pressed on 140g vinyl and comes in a poly- lined inner sleeve. it is packaged in a pro-press color jacket which itself is housed in a silk screened pvc sleeve with artwork by kathryn politis & bill kouligas.

billy bao “urban disease” long playing record

• urban disease (1)
  
  
• urban disease (2)

pan press release...

billy bao 'urban disease' lp (pan 11) 'urban disease' is the new radical work by billy bao, mattin, taku unami, tim barnes, barry weisblat and margarida garcia. it's important to remember that before mattin and anarchism ruined his life, billy bao was a bit of a troubadour who accompanied himself on acoustic guitar and warbled wild songs of protest in his native nigerian patois. this new album, his third on vinyl, finds billy in a transitional phase toward the end of 2006, before the gaztetxes of bilbao burrowed into his marrow, before mattin became the merle to his g.g., before billy turned into herpes sore in the mouth of global capitalism. "billy doesn't believe in hypnagogia," we're told, "because he always sleeps with one eye open, and when he dreams, all he sees is aids denialists, german shepherds, and soldiers disguised as un peacekeepers." before taku unami fucked it up, this session found bao relaxed and in high spirits as he conducted a pickup band of itinerant improvisers through a song-by-song cover of amon düül's psychedelic underground. margarida garcia lent her astounding skill and highly personal idiom on the electric double-bass, in her hands an instrument with the tension of string on wood and the disruptive potential of a crackle box. barry weisblat, meanwhile, teased out a century of drone from a cornell lunchbox of filament and circuitry. who better to play drums and percussion than the sainted tim barnes? mattin, thumb and forefinger compulsively pinching or stroking his hitler mustache after every take, funneled billy's malaise through laptop, percussion, and folk instrumentation. there was even, astonishingly, a women's choir on hand, eerily filling out the atmosphere with wordless vocals and incantations. but this is after, and the result is a fragmentary, extremely loud hippie jam session punctuated by stretches of uneasy silence and scrape. the lp is mastered and cut by rashad becker at d&m, in a limited edition of 500 copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. it is packaged in a pro-press jacket which itself is housed in a silk screened pvc sleeve with original artwork by new york artist henry flynt.

evan parker / john wiese “c-section” long playing record

• the jist (14:29)
  
• little black book (2:16)
  
  
• no shoes (4:42)
  
• dog cesarean (15:53)

pan press release...

evan parker & john wiese 'c-section' lp (pan 9) british free jazz phenomenon evan parker with electronic and tape noise artist john wiese in a set of real-time evolving improvisations intended for maximum volume. vinyl version of the cd released earlier this year, but slightly different containing all the final mixes and edits of the sessions with a new and more intense mastering for the maximum listening experience. c-section finds density in scarcity - deep, glacial muck bubbles emerge beneath parker's inhuman circular breathing, only to plunge into an incessant clatter of industrial landscape. evan parker is a free sax legend, best known for his work with keith rowe (amm), anthony braxton, joe mcphee, cecil taylor, peter brotzmann (including on his epochal ‘machine gun’), derek bailey, and for his inspired, individualistic take on musical freedom. being the uk's equivalent of peter brotzmann means that as far as free jazz saxophonists go, evan parker has very few equals. hugely respected with a rich and varied back catalogue, parker has graced the cream of the free jazz racks for the last forty years. john wiese is an artist and composer from los angeles, california. his recent works have a focus on installation and multi-channel diffusions, as well as scoring for large ensembles. he has toured extensively throughout the world, covering the us, uk, europe, scandinavia, japan, australia, and new zealand. he is also a founding member of the concrète grindcore band sissy spacek. the lp is mastered by diane maroney, cut by rashad becker at d&m, in a limited edition of 330 hand-numbered copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. it is packaged in a pro-press jacket which itself is housed in a two-tone silk screened pvc sleeve with interweaving geometric designs. all artwork by kathryn politis and bill kouligas.

joseph hammer “i love you, please love me too” long playing record

• i love you, please love me too (1) (26:50)
  
  
• i love you, please love me too (2) (20:55)

pan press release...

joseph hammer 'i love you, please love me too' lp (pan 8) with "i love you please love me too", joseph hammer continues his journey into playful yet heavily focused idiot-savant infinite psychedelic inertia. utilising consumer audio technology and 20th century detritus, hammer lovingly decodes his passion for mid century sci fi and am radio station beyond all point of recognition like a snakecharmer. multi-dimensional audio collage techniques to a free form and completely unorthodox plunderphonic hypnosis. baked devotionals for tape loop minds. joseph hammer, a sound artist from los angeles, has actively created experimental works since 1980 as a member of the lafms collective. his practice draws on the complexities of the process of listening and playing, reflecting on the role of the audience versus the performer, and uses music as it influences our notion of time, memory and intimacy as the basis for improvisation and abstraction. in various collaborations, solo, and as a founding member of the trio solid eye along with several other projects (joe & joe, dinosaurs with horns, dimmer, points of friction), hammer has performed widely and is an influential contributor to the los angeles underground scene. the lp is mastered and cut by rashad becker at d&m, in a limited edition of 330 hand-numbered copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. it is packaged in a pro-press jacket which itself is housed in a two-tone silk screened pvc sleeve with interweaving geometric designs. all artwork by kathryn politis and bill kouligas.

das synthetische mischgewebe “frequency conquistadors” long playing record

• frequency conquistadors (1) (29:34)
  
  
• frequency conquistadors (2) (30:17)

pan press release...

das synthetische mischgewebe 'frequency conquistadors' lp (pan 6) words are more often then not the point of departure for many works of das synthetische mischegewebe. the track - titles here stem from ‘el mundo alucinante’ de reinaldo arenas, which itself is inspired by françois-rené de chateaubriand’s ‘mémoires d'outre-tombe’. it is about time rather than history and about being in history. having lost the war of time, the only thing that remains to do is being, and here we go, ‘being infiniment exigent’ in it’s means of expression. dsm began in berlin armed with a visual education from the early 80's. they quickly became part of the international industrial cassette scene. composing for light installations with open-reel machines, cassette recorders, microphone and guitar fuzz boxes with both loud, quiet, occasionally full blast and frequently sneaking in little sounds, all alternating within a few seconds, create an electroacoustic anti-music. with unusual concerts in the underground network as well as in high art institutions and museums (such as centre pompidou) and later on with performances for mixed media installation, exhibitions and conferences on cognitive science and neurologic research related topics, the group toured with changing casts since the early 80's, and participated in international festivals throughout europe and the us. since 1982 they continue to produce vinyls, cd's and tapes on many international labels: discos esplendor geometrico, rrrecords, hypnagogia, vinyl-on-demand, auf abwegen, harsh reality music, equation records, das cassetten combinat and many others. live and recording collaborations with musicians such as: the new blockaders, ralf wehowsky, frans de waard, ios smolders, zeitkratzer ensemble, artificial memory trace, erg, msbr, toy bizarre, roel meelkop and others. the lp is mastered and cut by rashad becker at d&m, in a limited edition of 330 hand-numbered copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. it is packaged in a pro-press jacket which itself is housed in a two-tone silk screened pvc sleeve with interweaving geometric designs. all artwork by kathryn politis and bill kouligas.

blood stereo “your snakelike king” long playing record

• the giving of the grape (19:50)
  
  
• the taking of the tonic (20:25)

pan press release...

blood stereo 'your snakelike king' lp (pan 5) brand new release from brighton mongs blood stereo, duo of dylan nyoukis and karen constance. 'your snake like king' picks up where last years 'the magnetic headache' left off, a shape shifting and strange mix of tape collage, free vocals and electro-acoustic mischief. midnight to 3am recordings fueled by grape and smoke conjour up a blurred narrative, the meaning of which is never quite clear, like weird off camera sounds in some tripped out movie. anal fins tucked in tight behind them, blood stereo look like a pair of ill-kempt roosters, fighting over a doughnut. the guy rooster is jibbering in some unknown tongue, turning his face inside out, while shoving the microphone slowly through a hole in his cheek. the girl rooster appears to be pecking at him, either that or she's picking at various trash they have strewn around the stage. every time she ducks her head there is the sound of a jet passing overhead. but when you look up at the sky there is no sign of a comtrail. after a while you think you are starting to get a handle on what they are doing, but the guy falls down and starts doing a spazz dance so utterly convincing you begin to worry about him. then the girls starts screaming and it seems as though something is really profoundly wrong. and it is. but it's not like they're in any kind of trouble. they're just wrong, y'know? so savagely wrong from every angle that it's really tough to imagine there 's anything you could do to really help them. as if they'd even want in. in their masks or out, they sow confusion like wheat. - byron coley the lp is mastered and cut by rashad becker at d&m, in a limited edition of 330 hand-numbered copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. it is packaged in a pro-press jacket which itself is housed in a two-tone silk screened pvc sleeve with interweaving geometric designs. all artwork by kathryn politis and bill kouligas.

ilios “kenrimono” long playing record

• kenrimono (inmersion)
  
  
• kenrimono (the spirit trapped a soul)

pan press release...

ilios 'kenrimono' lp (pan 4) 'kenrimono' is a type of pachinko machine for advanced players which gives certain privileges during the course of a high-risk game. this lp is entirely based on field recordings and manipulations made from sounds in pachinko parlors in kansai area, japan in 2007. a very intense and meditative atmosphere to be played at maximum volume. active since the early 90's in sound art and image, ilios has been exploring the extremes of sound and image derived phenomena. through constant change in his sound palette touching and surpassing the limits of the sound spectrum he definitely advocates for an anti-career. by 2009 ilios has performed more than 170 times in various venues and festivals in asia, europe, south and north america, pushing the space and body resistances to a hard test pursuing a state of alert for the human senses. he has done studio and live collaborations with the likes of:  francisco lopez, jason kahn, keiichiro shibuya, mattin, michael gendreau, norbert möslang, coti k, xabier erkizia, julien ottavi, bernd schurer, ralph steinbruechel, takehiro nishide, tzesne, thurston moore amongst many others. since 1997 he runs antifrost, a publishing label for sound media with more than 40 works published to date. the lp is mastered and cut by rashad becker at d&m, in a limited edition of 330 hand-numbered copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. it is packaged in a pro-press jacket which itself is housed in a two-tone silk screened pvc sleeve with interweaving geometric designs. all artwork by kathryn politis and bill kouligas.

andy ortmann “provocative electronics” long playing record

• study in decomposition (10:24)
  
• seeds of doom (8:44)
  
  
• variations on a bird in a box (10:19)
  
• force of forms (8:15)

pan press release...

andy ortmann 'provocative electronics' lp (pan 2) 'provocative electronics' is an exploration in analog synthesizers and recording techniques. as in the days of musique concrete and the beginning years of synthesizer development ortmann experiments with tones and his own brand of electronic tweakage. provocative electronics is not a homage, but yet another document in the ongoing history of electronic music. for fans of the 20th century greek composer xenakis, minimalist john cage, or pioneer of musique concrete pierre schaeffer, mort garson, milton babbitt, tom dissevelt, ruth white, delia derbyshire, lejaren hiller, raymond scott, jean jacques perrey and pierre schaeffer. andy ortmann is also known for his work with the transgressive experimental group panicsville, psych freaks plastic crimewave sound and sole curator of the equally bizarre nihilist records label (usa). the lp is mastered and cut by rashad becker in a limited edition of 330 hand-numbered copies, pressed on 140g vinyl and comes in a poly-lined inner sleeve. it is packaged in a pro-press jacket which itself is housed in a two-tone silk screened pvc sleeve with interweaving geometric designs.