the no-neck blues band “languid red marchetti” long playing record

• languid red marchetti (1)
  
  
• languid red marchetti (2)

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.

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

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.

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.

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

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

• pandamoniahbleeummm!!!! • pt. 1 (17:54)
  
  
• pandamoniahbleeummm!!!! • pt. 2 (14:12)

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.

dendoshi “dendoshi 2” long playing record

• dendoshi 2 (1) (16:55)
  
  
• dendoshi 2 (2) (18:07)

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.

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)

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".