art zoyd “musique pour l'odyssée” long playing record

• musique pour l'odyssée (odyssée / falaise / combat / étrave / combat / épave / voile / odyssée) (17:09) 1978
  
  
• bruit, silence-bruit, repos (10:46) 1978
  
• trio 'lettre d'automne' (7:06) 1978

art zoyd “musique pour l'odyssée” compact disc

• musique pour l'odyssée (odyssée / falaise / combat / étrave / combat / épave / voile / odyssée) (17:09) 1978
  
• bruit, silence-bruit, repos (10:46) 1978
  
• trio 'lettre d'automne' (7:06) 1978
  
  
• ex tractu do inocauit (2:56) 1983
  
• le combat des dragons [1] (2:46) 1983
  
• le combat des dragons [final] (1:52) 1983
  
• malbodium - sommeil du noble (0:42) 1984
  
• malbodium - entrée (1:33) 1984
  
• malbodium - églises (1:18) 1984
  
• manège [live] (12:38) 1975

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art zoyd musique pour l'odyssée gatefold cd features gerard hourbette thierry zaboitzeff michel berckmans franck cardon daniel denis michel thomas jean-pierre soarez this second art zoyd cult album was no more available since years. re-released with a new artwork and additional bonus tracks (cd only). released almost three years after art zoyd's first lp, symphonie pour le jour où brûleront les cités (sr330), musique pour l'odyssée (music for the odyssey) presented a slightly different version of the band. the nucleus of gérard hourbette (violin), thierry zaboïtzeff (bass guitar, cello, vocals), and jean-pierre soarez (trumpet) is joined by percussionist daniel denis (who would remain a core member of the band for two decades), oboist/bassoonist michel berckmans (of univers zero and von zamla), saxophonist michel thomas, and a second violinist, franck cardon. this lineup recorded an album much more cinematic than the first. the band finds a new dimension in their sound, one that would remain present on through to their next releases. art zoyd's early and great works have been unavailable for such a long time that it's too easy to forget what a strikingly original and amazing band they were in their prime.

luc ferrari / brunhild ferrari “programme commun” double compact disc set

• luc ferrari - programme commun (17:17) 1972
  
• luc ferrari - didascalies 2 (17:55) 1993
  
• luc ferrari - les emois d'aphrodite (22:48) 1986/1998
  
  
• brunhild ferrari - dérivatif (27:05) 2008
  
• brunhild ferrari - brumes du réveil (28:20) 2009
  
• brunhild ferrari - tranquilles impatiences (20:24) 2010

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luc + brunhild ferrari programme commun 114 minutes 2 x cd digipack inside a slipcase wallet + a 36 page booklet (photos, scores, texts) sr363 ab performed by elisabeth chojnacka jean-philippe collard-neven vincent royer mc band these two volumes are being released together and simultaneously, as a sign of continuation. for luc ferrari, this is the first full-length cd to come out after the trilogy we developed with him les anecdotiques / 2002, a fifteen-part suite (cd sr207), son mémorisé / 1976-2002 (cd sr252) and didascalies / 2007 (cd sr259). what we have here is three substantial pieces: programme commun pour clavecin et bande magnétique / 1972 performed by elisabeth chonacka, didascalies 2 / 1993 performed by jean-philippe collard-neven, claude berset, and vincent royer (in 2009) and available only on vinyl srv305 (note that didascalies and didascalies 2 are two different compositions), and another previously unreleased piece that he held dear: les émois d'aphrodite / 1986-1998, performed by san francisco's mc band under his direction. we are pleased to release for the first time, the solo works of brunhild ferrari: derivatif / 2008, brumes du reveil / 2009, tranquilles impatiences / 2010 forming a trilogy on reconstruction from a memory that is still quite alive. to us, these works are new bricks in the erection of a liberating oeuvre.

etat brut “mutations et prothèses” long playing record

• informations
  
• malaise
  
• hommes nus
  
• marche (1)
  
  
• crash
  
• douce nuit
  
• marche (2)
  
• bande sonore du film 'paysage mental'
  
• bruit

etat brut “mutations et prothèses” compact disc

• informations (1:40)
  
• malaise (5:30)
  
• hommes nus (4:15)
  
• marche (1) (0:47)
  
• crash (1:32)
  
• douce nuit (3:40)
  
• marche (2) (1:00)
  
• bande sonore du film 'paysage mental' (3:45)
  
• bruit (3:10)
  
• sollicitation extérieure (8:32)
  
• psychosomatique (5:08)

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etat brut mutations et prothèses cd digipack rare recordings by pioneers of industrial / noise music 1979-1983. never released before on cd and lp. etat brut is a pioneer industrial / noise band from brussels that operated from 1979 until 1983. the duo (phillippe x and philippe x, today academic scientists) released a dozen of cassettes, various flyers and xeroxed booklets. some collective concerts were organized at that time with club moral and pseudocode. cassettes like emissions 1 (1981) or géométrie d'un assassinat (1982) were released on their own label, some others in collaboration with danny devos (club moral) or jerry wx (2tracks, digital dance). eb001 was released by club moral in 1986, a few years after the facts. the double cassette mutations et prothèses was released in 1981 (etat brut, eb 004) and re-released by club moral in 1986. the two bonus tracks (only on cd) sollicitation extérieure and psychosomatique are extracted from 4 in 1, a cassette released in 1982 by grafika airlines, brussels, including works by pseudocode, human flesh and mécanique végétale. features etat brut

luc ferrari “programme commun” long playing record

• programme commun (17:17) 1972
  
  
• les emois d'aphrodite (22:48) 1986 / 1998

john cage “song books” double compact disc set

• solo for voice no.17 (4:00)
  
• solo for voice no.20 (1:46)
  
• song books mix 1 (12:24)
  
• solo for voice no.65 (4:36)
  
• solo for voice no.4 (1:42)
  
• song books mix 6 (19:14)
  
• solo for voice no.3 (2:37)
  
• solo for voice no.11 (4:49)
  
• song books mix 7 (9:34)
  
• solo for voice no.79 (3:30)
  
• song books mix 3 (14:28)
  
  
• solo for voice no.47 (3:13)
  
• solo for voice no.91 (7:52)
  
• song books mix 5 (6:47)
  
• solo for voice no.5 (9:04)
  
• solo for voice mix 4 (11:25)
  
• song books no.67 (2:30)
  
• solo for voice no.21 (0:45)
  
• solo for voice no.70 (5:11)
  
• song books no.90 (3:25)
  
• song books mix 2 (22:54)

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john cage song books 2cd digipack + 24 page booklet (including photos, scores and exclusive texts) performed by loré lixenberg and gregory rose - vocalists robert worby - electronics the human voice is a magical instrument and john cage's gargantuan opus, song books (solos for voice 3-92), is a magnificent homage. these performances by lore lixenberg, gregory rose, and robert worby are a stunning achievement, and this first complete recording makes a welcome (and long overdue) addition to the ever-expanding catalog of cage's recorded works. laura kuhn - the john cage trust this year, 2012, john cage would have been 100 years old. he defined experimental music in the 1930s and, since that time, his ideas, his music and his work have been copied by hundreds of other composers and musicians time and time and time again. anybody who claims to make experimental music today has to acknowledge their debt to him. song books is a collection of 90 'solos for voice' that cage composed in 1970. as a theme, he took a line from his diaries: 'we connect satie with thoreau'. satie being the eccentric french composer erik satie, whom cage greatly admired. and thoreau, the american writer who lived alone in the woods writing about nature and his own type of anarchy. any number of the solos may be performed by any number of people, in any order, selected by chance operations. songs and theatre and electronics mash up fluxus-like food events, amplified board games, electroacoustic voices, 'animal heads' and intense feedback. cage says that 'a virtuoso performance will include a wide variety of styles of singing and vocal production.' this is the first ever recording of all of the solos for voice contained in song books.

dat politics “blitz gazer” long playing record

• yes way (3:43)
  
• slastic girl (3:58)
  
• people r inside (3:20)
  
• switch on (5:00)
  
• face in sustain (6:15)
  
  
• hypnotricks (5:28)
  
• between us (4:54)
  
• corpsile (4:15)
  
• melt down (5:47)

dat politics “blitz gazer” compact disc

• yes way (3:43)
  
• slastic girl (3:58)
  
• people r inside (3:20)
  
• face in sustain (6:15)
  
• switch on (5:00)
  
• sourcloud (1:44)
  
• hypnotricks (5:28)
  
• between us (4:54)
  
• corpsile (4:15)
  
• melt down (5:47)
  
• lazer x (3:21)
  
• innerlude (2:43)

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dat politics blitz gazer cd digipack sr342 cd electro pop garage band since 1999, dat politics is by far one of the most extatic electro party bands on the planet. their remarkably energetic live shows explain the cult like enthusiasm that surround the french electronic combo as they've been touring the world extensively over the years. dat politics channel a rough-edged turbo pop mood through their laptops to create some of the most unexpectedly catchy and lively music ever assembled by digital means. they use to keep the possibility of mistakes and chaos in their hot wired dance smash is by approaching songwriting and performance the same way a garage band might. dat politics' new album 'blitz gazer' is an exhilarating reboot in the band's career. entirely recorded in berlin in 2011 by the newly formed duo, this new piece will certainly give satisfaction to the electro-maniac fanbase who will find in these 12 tunes their share of synthetic 80's hits, catchy loops and bouncy drum machines. less expected, but pleasantly surprising is their ability to turn the voltage level down by chanting neon lite robo ballads. some dreamy melodic breaks rise in a rhythmic electric storm. we explore a brand new aspect of the band's wide influences and possibilities. blitz gazer is a magnificent patchwork, a dynamic and fanciful mixture that only dat politics could have pulled off. features claude pailliot gaetan collet

charlemagne palestine / z’ev “rubhitbangklanghear rubhitbangklangear” long playing record

• duo c/z #1
  
  
• duo c/z #2
  
• solo c #1

charlemagne palestine / z’ev “rubhitbangklanghear rubhitbangklangear” double compact disc set

• duo c/z #1 (18:26)
  
• duo c/z #2 (13:44)
  
• duo c/z #3 (8:32)
  
  
• solo c #1 (7:37)
  
• solo z #1 (15:15)
  
• solo z #2 (46:09)

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charlemagne palestine + z'ev rubhitbangklanghear rubhitbangklangear sr340 / 2cd 8 pages digipack charlemagne palestine / carillon z'ev / all percussions second time in 20 years palestine and z'ev are performing together. first time they're recording it ! unreleased material from charlemagne's lair, a place now called charleworld, where both fellows spent 3 days in june 2010. part of our sub rosa / laboratoire central sessions. i first started to play the bells while at high school of music + art in the sixties at st. thomas church across the street from the museum of modern art in manhattan !! i played everyday for years !! in the eighties i met z'ev in amsterdam !! i'd known him for 20 years before he suggested one day that we perform together, which we did at lem barcelona in 2007 !! later after seeing and hearing the carillon at my studio in brussels he suggested that we perform and record together there, which we did in 2010 !! here's / hearsz what we did !!!! - charlemagne palestine

eric thielemans “earr plays a snare is a bell” long playing record

• snare mother suite
  
  
• texture de contrebasse isolée
  
• music for a while
  
• ich will hier bei dir stehen
  
• prière
  
• proloog
  
• say that thou didst forsake me for some fault
  
• wind in tube

eric thielemans “earr plays a snare is a bell” double compact disc set

• a snare is a bell (22:12)
  
  
• earr plays a snare is a bell (42:43)
  
  proloog
  texture de contrebasse isolée
  music for a while
  ich will hier bei dir stehen
  snare mother suite
  prière (erik satie)
  say that thou didst forsake me for some fault

sub rosa press release...

eric thielemans earr plays a snare is a bell digisleeve 2cd (cd1 = free bonus cd) sr339 - 2cd yes, it certainly is a walk you propose to us with this recording. a walk into place and sound, into a place through the sound, into a sound via the place. your instrument is this place and your snare drum really brings to live the surroundings like the bow enlivens the violin or a reed needs the mouthpiece of a clarinet. as a result i've been very sensitive towards experiencing musical time and space.  - olivier messiaen's higly appreciated organ player, louis thiry on a snare is a bell earr plays a snare is a bell earr plays a snare is a bell, is a revisitation of the roll and it's overtones by an ensemble of musicians with very different musical backgrounds. the choice of musicians is above all a heart thing. i love hearing and seeing what they play. i like their recipes and the special cookies they bake. and i like sitting down and watching the stars with them. so it started again with my snare drum and voice in a room, and we all listened and added voices and sounds to what we were hearing. as if we were all fishes in a stream. sometimes just swimming, sometimes wanting to show ourselves, wanting to be heard, making sounds and noises, adding to that stream, sometimes just floating, breathing, hanging in there. and sometimes we heard not only single sounds but many sounds together and sometimes we heard a song. and we started to think about where all these sounds, songs and noises were coming from. and where they were going to. and we thought of all those recipes in all our grandmas' and grandpas' cookbooks, and all their grandmas and grandpas, and we started to feel simple and happy. happy fishes in a big stream, watching the stars. eric thielemans genre crossing / blending percussionist / drummer working from a classically trained ear via jazz drumming, free improv and all sorts of contemporary musics towards his own realms in music and performance. being a teenager in the mid eighties of the 20th century, for him, as for many of his generation, multi disciplinarily is an evidence. from his first moments of active musicianship up until now, eric thielemans always has been interested in performing arts, theatre, poetry and dance. consequently he has worked with a wide range of (sound and visual) artists, performers and dancers. currently plays in lidlboj (jozef dumoulin's eclectic post jazz playgarden), jozef dumoulin trio with trevor dunn on bass, tape cuts tape (a trio with rudy trouvé known as founding member of deus and lynn cassiers aka singer of lidlboj), rops, snare et les autres (concert/ballad) with josse de pauw, rudy trouvé, and wim lots, the love substitutes, jean-yves evrard's trio, kaat helling's band and his own earr (ensemble artists repertoire research) with claron mc fadden, jean-yves evrard, peter jacquemyn, jozef dumoulin, hilary jeffery and jorgen cassier. other collaborations and work in progress include following artists: alexander berne, james harrar (cinema soloriens) and marshall allen (sun ra), daysuke takaoka, and louise landes levi. for the past 3 years he has been focussing on the development of a body of solo works on percussion. his first acclaimed solo work "a snare is a bell" was released on vinyl in 2008 on the antwerp based label ultra eczema (ue49). besides this work eric thielemans is active as a producer and teacher / coach. in 2011 he produced "hit of the century", kaat hellings' new release. in the past he produced both albums of ghalia benali's "romeo & laila" and maak's spirit's "stroke". eric was the drummer of the adventurous avant jazz band maak's spirit for 9 years until march 2008 and before that of the ben sluys quartet for 7 years. earr ensemble artists repertoire research founded by eric thielemans in 2008, is a contemporary chamber music ensemble focussing on research and development of a new original music repertoire with a nurturing attitude towards the process of features claron mc fadden, voice jorgen cassier, voice peter jasquemyn, double bass jozef dumoulin, piano & keyboards hillary jeffery, trombone jean-yves evrard, guitar eric thielemans, snaredrum, drums, musical directions

don preston “filters, oscillators & envelopes • 1967-75” long playing record

• electronic music (15:21) 1967
  
  
• analog heaven #1 (10:24) 1975
  
• analog heaven #2 (2:16) 1975
  
• analog heaven #3 (3:47) 1975
  
• analog heaven #4 (2:28) 1975
  
• analog heaven #5 (1:31) 1975
  
• analog heaven #6 (3:06) 1975
  
• analog heaven #7 (2:51) 1975

don preston “filters, oscillators & envelopes • 1967-75” compact disc

• electronic music (15:21) 1967
  
• analog heaven #1 (10:24) 1975
  
• analog heaven #2 (2:16) 1975
  
• analog heaven #3 (3:47) 1975
  
• analog heaven #4 (2:28) 1975
  
• analog heaven #5 (1:31) 1975
  
• analog heaven #6 (3:06) 1975
  
• analog heaven #7 (2:51) 1975
  
• fred & me (20:37) 1982

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don preston filters, oscillators & envelopes 1967-82 digipack cd previously unreleased electronic music from original mothers of invention keyboardist. one could hardly not see in don preston a key musician within frank zappa's oeuvre. he is not only that, but his presence has marked the mothers' major records from 1966 to 1974. his touch was already there before the arrival of ian underwood, and it continued after ian left. you all remember king kong (its magnificence as interpreted by dom dewild) from the second uncle meat suite. a certain form of jubilation emanates from this track, thanks to preston's fluid style and lightly astringent tone on the moog synthesizer - that instrument never sounded quite like that before or after. this might have to do with his double training, his twin interests, since he had been simultaneously working with gil evans and listening intensely to luciano berio, karlheinz stockhausen, and tod dockstader. immersed in jazz music, he was imagining secret ties with the nascent electronic music. in the mid-'60s, preston started developing an electronic instrument, using a home-made synthesizer and a series of oscillators and filters. out of this instrument came electronic (1967), his first piece. two years later, he became a close friend of robert moog, and their discussions gave birth to a number of applications in relation with the flexibility of the instrument. nowadays, you can't mention the mini-moog without thinking of preston. bob moog himself said about his solo in waka jawaka: "that's impossible. you can't do that on a moog.". filters, oscillators & envelopes features the other side, the hidden side of don preston: the composer of purely electronic music. we're coming to the beginning of a new era wherein the development of the inner self is the most important thing. we have to train ourselves. so that we can improvise on anything: a bird, a sock, a fuming beaker. this is, this too can be music. anything can be music. - don preston

zbigniew karkowski / anton lukoszevieze “nerve cell_0 for cello and computer” compact disc

• nerve cell_o (37:48)

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zbigniew karkowski nerve cell_0 (for cello and computer) features zbigniew karkowski computer anton lukoszevieze cello show me something new and i will begin all over again. - erik satie zbigniew karkowski zbigniew karkowski is one of the most influential electronic music composers working today. linking the worlds of modern composition and industrial music he is a pivotal figure in the development of advanced noise. constantly on the road, he is a frequent performer on the geographical fringes of experimental music culture as well as a mainstay on the established festival circuit. anton lukoszevieze cellist anton lukoszevieze is one of the most diverse performers of his generation and is notable for his performances of avant-garde, experimental and improvised music. he is unique in the uk through his use of the curved bow (bach-bogen), which he is using to develop new repertoire for the cello. anton is the subject of several films by the renowned artist-filmmaker jayne parker and he is also a member of zeitkratzer. in june 2009 he was awarded the 'millennium star' medal, for services to lithuanian culture, by the government of the republic of lithuania. this work is not music in a conventional sense, it does inhabit that world, but in a new way. the cello is treated fundamentally, as a resonating body, transmitting sounds elementally. the bow on a string, the flux of weight, pressure, speed and angularity releases a myriad of complex sound phenomena. the juxtaposition of multiple sounds on adjacent strings creates fluctuating and rhythmical beatings. the detuning of the instrument increases its pitch potential and basso profundity. in combination with computer electronics these elements are multiplied, extended and enriched. nerve cell-0 is a joyous, ecstatic, exhilarating and epic vista of sound. it defies categorisation. play it very loud.   - anton lukoszevieze

art zoyd “symphonie pour le jour où brûleront les cités” long playing record

• brigades spéciales (13:25)
  
• masques (9:03)
  
  
• simulacres (7:01)
  
• les fourmis (5:35)
  
• scènes de carnaval (8:57)

art zoyd “symphonie pour le jour où brûleront les cités” compact disc

• brigades spéciales (13:25)
  
• masques (9:03)
  
• simulacres (7:01)
  
• les fourmis (5:35)
  
• scènes de carnaval (8:57)
  
• don juan • danse macabre (1:25)
  
• don juan • le bain (1:40)
  
• don juan • la sainte famille (3:15)
  
• un jour au chateau • le parc (1:12)
  
• un jour au chateau • le matin (1:59)
  
• un jour au chateau • le secret (1:33)
  
• don juan • le bain [final] (0:37)

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art zoyd symphonie pour le jour où brûleront les cités compact disc this cult album was no more available since years. re-released with a new artwork and additional tracks. in 1976, a self-released lp by art zoyd appeared in belgian record stores. at the time, nobody knew symphonie pour le jour où brûleront les cités (symphony for the day cities will burn) would be the first of many albums from this strange chamber progressive rock outfit. all the ingredients of art zoyd's sound for its first decade are here: unusual acoustic instrumentation for a rock band (violin, cello, piano, and trumpet, plus guitar, bass, and percussion), dark and mysterious atmospheres recalling france's magma and foretelling univers zero (formed by art zoyd percussionist daniel denis), and complex pieces owing as much to contemporary classical as to progressive rock. the lineup for this first offering included patricia dallio (piano), alain eckert (guitar, vocals), gérard hourbette (violin), jean-pierre soarez (trumpet, percussion), and thierry zaboïtzeff (bass, cello, vocals). the album is split in two. first is symphonie pour le jour où brûleront les cités in three parts, an apocalyptic work opening with mad laughter, a vision of the end of the world with percussion clashing, frenetic violin motifs, and the trumpet from judgment day. part one, brigades spéciales, is the most striking moment of the album. then comes deux images de la cité imbécile ('two pictures of the stupid city'), two movements leaning more toward some warped chamber rock conception of the burlesque, especially on scènes de carnaval. features gerard hourbette thierry zaboitzeff patricia dallio daniel denis alain eckert gilles renard jean-pierre soarez

dub taylor “lumière for synthesized & concrète sound” long playing record

• lumière: side one (17:09)
  
  
• lumière: side two (14:50)

dub taylor “lumière for synthesized & concrète sound” compact disc

• lumière (for synthesized and concrète sound) part one (17:11)
  
• lumière (for synthesized and concrète sound) part two (14:52)
  
• variations on the ‘dudley do-right’ theme (3:19)

sub rosa press release...

dub taylor lumière (for synthesized and concrète sound) digipack cd this real masterpiece of concrète and synthesized music was no more available since its original manufacture in 1973. dub taylor is an us composer, producer, engineer and designer born june 22, 1948 in burbank, california. he has many creative facets: recording and mastering engineer, record producer as well as composer, graphic designer and visual artist. he has studied with pianist richard bunger and composer karlheinz stockhausen. not long after the release of lumière, taylor established vargod studios for electronic music and recorded sound, where in 1974 he created his second work, variations on the 'dudley do-right' theme for sampled and processed sound (never released before, this exclusive track is included on the cd version). taylor has bounced between the music world and the visual arts for most of his life and continues to pursue diverse creative projects. lumière evolved over a period of three years from 1969 to 1972. i started by recording random sounds: jets taking off at lax, my girlfriend laughing and screaming, my cat bartok biting a microphone, conversations, etc. i also sampled music, film soundtracks and tv and radio broadcasts. during this period i acquired the first self-contained portable synthesizer, the newly-designed arp 2600. i began to envision an electronic and musique concrete piece combining various natural and processed sound recordings with synthesized sound into a suite of noise. in june of 1972 i did a preliminary version of elements of the piece. by october i was ready to put it all together. i set up all these reel to reel machines with tapes i had pre-recorded and plugged them into a mixing board, feeding stereo to a two-track master 15 ips revox a77 tape deck. my idea was to create a sound collage with form but without losing spontaneity and an element randomness. so i rehearsed my fade-ins and fade-outs and the starting and stopping of the various playback decks and when i was ready i went for it, 'playing' all these machines like a musical instrument in this mad moment of creation. in effect, lumière was a 'live' performance. the only later additions were the silence gaps inserted near the end of the piece using pieces of blank leader tape. - dub taylor

charlemagne palestine / joachim montessuis “voxorgachitectronumputer” compact disc

• voxorgachitectronumputer (61:14)

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charlemagne palestine x joachim montessuis voxorgachitectronumputer sr326 digipack features charlemagne palestine / voice, organs joachim montessuis / voice, computer after two massive works from etudes to cataclysms - for the doppio borgato (2cd / sr272) and strumming music for piano, harpsichord & strings ensemble (3cd / sr297) charlemagne's work is now rooted in sub rosa for good ! but next to his solo records, we want to continue to publish collaborative works: we started with an aural symbiotic mystery (sr204) featuring tony conrad. we'll publish soon too some recent recordings done with z'ev. but this time, joachim montessuis is the special guest of another magical night with mister palestine ! charlemagne palestine wrote intense, ritualistic music in the 1970s, intended by the composer to rub against audiences' expectations of what is beautiful and meaningful in music. a composer-performer, he always performed his own works as soloist, but likes new experiences too ! his earliest works were compositions for carillon and electronic drones, and he is best known for his intensely performed piano works. ... joachim montessuis since his birth in 1972, has lived in 15 different cities, including bordeaux, strasbourg, marrakech, abidjan, besançon, rotterdam, cologne. he is currently based in paris. he is interested in the links between art, sound, science and spirituality. since 1993 he has been developing a transversal sonic poetry praxis focused on experimental voice processing and immersive concert-installations. his noise and video events are devised as panic-poetic spaces in which sensorial disturbance and blurring occur, starting from silence to wall of sound. his current work is oriented towards a reflection process on the observation and perception of reality through a non-dual approach.

daniel menche “feral” compact disc

• feral one (17.33)
  
• feral two (14:12)
  
• feral three (17:31)
  
• feral four (18:00)

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new series framework #8 / daniel menche feral 700 copies limited edition / cd digipack sr322 new series framework an extension of our concrete electronics noise, a brand new mix-up of unusual conceptions of sound material by young unknown composers, well known not-so-young composers and old but clever composers. daniel menche has established himself as a musician with a sense of focus and determination uncharacteristic in a genre known for its randomness and chaotic structure. rather than creating 'noise,' he strives for order and cohesiveness. his presentation of sonic structures is similar to the way a writer depicts a story, an allegory seems to arise, which uses confusion as a symbol for the imaginative process of total sound purity; aural intensity is not a representation of confusion or the chaotic, but a concerted effort to provoke and stimulate the listeners imagination by generating intensely powerful sounds and music. daniel menche's work originates from the idea that there is no restriction to the potential sound sources and especially sonic energy. any sounds -all sounds are used and exploited to create the music. there are absolutely no barriers or biases in what can be used and have been used. self made and recorded sound sources, percussion and instruments are the main emphasis in creating a living and emotional feeling to daniel menche's form of contemporary music. subtle and patient compositions rely on long, dense layers of droning sounds, while abrasive pieces rely on sounds amplified and processed to extreme levels, pushing the full spectrum of frequencies to the most threshold of limits. menche has amassed a sizable discography on some the most discerning independent labels in the world. constantly performing live extensively throughout north america, europe and japan with performances that are intense and powerful. characterized as both extremely loud and patiently subtle, daniel menche's live performances define its own sonic presence, an entity that gives form to an emotional rawness with highly textural and dominating sounds. characterized by forcefulness of sound, music that strives for one goal: vehement beauty.

jac berrocal / david fenech / ghedalia tazartès “superdisque” long playing record

• joy divisé (4:11)
  
• human bones (1:45)
  
• cochise (2:59)
  
• quando (2:34)
  
• david’s theme (3:49)
  
• ife l'ayo (1:28)
  
  
• porte de bagnolet (4:47)
  
• j'attendrai (2:43)
  
• jac's theme (3:04)
  
• powow (3:06)
  
• sainte (2:15)
  
• final (4:46)

jac berrocal / david fenech / ghedalia tazartès “superdisque” compact disc

• joy divisé (4:11)
  
• human bones (1:45)
  
• cochise (2:59)
  
• quando (2:34)
  
• david:s theme (3:49)
  
• ife l'ayo (1:28)
  
• porte de bagnolet (4:47)
  
• j'attendrai (2:43)
  
• jac's theme (3:04)
  
• powow (3:06)
  
• sainte (2:15)
  
• final (4:46)
  
• zilveli (7:07)

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jac berrocal - david fenech - ghedalia tazartes superdisque cd digipack superdisque is the first album of the french trio formed by david fenech (electric guitar) with jac berrocal (trumpet) and ghédalia tazartès (vocals). somewhere beyond the borders of rock, jazz, punk and sound poetry... the vocals seem to come from another planet, with lyrics in an improvised language. the winds are blown from tibetan human bones and conch seashells. guitars sound like rubber and steel. expect the unexpected. david fenech is a french musician living in paris. he has played and recorded with musicians such as felix kubin, jad fair, tom cora, rhys chatham, bérangère maximin, james plotkin, shugo tokumaru, ergo phizmiz, and many others. his baroque style has been described as 'a kind of punk musique concrète'. he is at the origin of the superdisque recording project, using his own home studio as an instrument. jac berrocal is a cult trumpet player living in paris. he has played with various musicians including pascal comelade, jaki liebezeit (can), nurse with wound, sunny murray, jacques thollot, james chance, pierre bastien, aki onda, lol coxhill, catalogue, christophe. he's also known for his famous 'rock and roll station', recorded with the black angel of rock, vince taylor. ghédalia tazartès is an orchestra and a pop group in one person. his voice shifts constantly from child to diva, from african sorcerer to tibetan monk. his hypnotic, disturbing polyphonies draw us into an emotional universe. it's punk, sound poetry, folklore and electroacoustics rolled into one. ghédalia has been recording music in his parisian home studio for more than 40 years. he has also worked for theater (la comédie française), dance and more recently for cinema. both jac berrocal and ghédalia tazartès appear on the famous "nurse with wound list". features jac berrocal david fenech ghedalia tazartes zap pascal

henri pousseur “parabolique d'enfer • paraboles-mix avec leçons d'enfer” compact disc

• parabolique d'enfer (1) (6:02)
  
• parabolique d'enfer (2) (8:08)
  
• parabolique d'enfer (3) (8:10)
  
• parabolique d'enfer (4) (5:55)
  
• parabolique d'enfer (5) (5:45)
  
• parabolique d'enfer (6) (4:10)
  
• parabolique d'enfer (7) (4:52)
  
• parabolique d'enfer (8) (4:22)
  
• parabolique d'enfer (9) (5:02)
  
• parabolique d'enfer (10) (5:38)
  
• parabolique d'enfer (11) (8:20)
  
• parabolique d'enfer (12) (5:50)
  
• parabolique d'enfer (13) (5:48)

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henri pousseur parabolique d'enfer / paraboles-mix avec leçons d'enfer cd digipack sr318 this recording will be our first posthumous recording of henri pousseur. it is the sixth release (out of eight) in our catalog devoted to this composer's experimental and electronic works. it also marks the end of the trilogy on the parabolic works (following the 1972 unreleased recordings and the 2001 collective performance). this time around, we have a piece built through another major pousseur work: leçon d'enfer (composed in 1990-1991 around arthur rimbaud). this previously unreleased version was realized by henri pousseur in cologne in 1992. paraboles-mix avec leçons d'enfer - this release was important to henri pousseur, as it concludes, in a sense, the paraboles trilogy, after 1972's 8 etudes paraboliques (released as a 4-cd box set sr174 comprised of all the etudes to be used as the basis for all current and future mixes) and 4 parabolic mixes (sr199, 2001, on which four composers - robert hampson, philip jeck, markus popp, and pousseur himself) tackled those source tapes. this suite of works was gradually pushing composition further into the territory of destruction and abstraction. this final installment, a mix made from the 1972 etudes, as should be, integrates a major external element (something already planned in the initial design): another work by pousseur, leçons d'enfer, a complex piece of musical theatre dedicated to the memory of arthur rimbaud and composed in 1991 for the centennial of the poet's death. this work, over 100 minutes long, was written for two actors, three singers, seven musicians (clarinet, alto saxophone, tuba, harp, piano, and two percussions), tapes (including traditional ethiopian music and field recordings from that area), and electroacoustic devices. with this version, henri pousseur shows how the deep impression left by a work in constant mutation can take different guises. the rimbaud pictured in this flux is neither the promising teenager, nor the striking genius, nor even the desperate man struggling in vain in an empty landscape ; it is an appeased hybrid breathing the ebullient air of the final times.

adolf wölfli / baudoin de jaer “analysis of the musical cryptograms • the heavenly ladder” book and compact disc set

• part 1 : la couronne du roi (0:31)
  
• l'oiseau en cage (bird 1) (0:58)
  
• the high and lower nobility of the english-british union of canada on their ride to saltlake-seawest (0:20)
  
• riisen=kannaari: 10 meter spann=flügel=weitte (1:10)
  
• the swan / pandulen=wasser=fall (3:24)
  
• a l'ombre des arbres / rhodonus spain (1:25)
  
• les notes en bleu / die himmelsleiter (1:17)
  
• island neveranger (1:17)
  
• assiisen=des=mittel=landes (1:52)
  
• part 2 : la baleine / feeding of the fishes (0:30)
  
• joyeux et carré (0:41)
  
• island neveranger (1:14)
  
• pandulen=wasser=fall (0:50)
  
• riisen=kannaari (2:08)
  
• zweitter foliantten=marsch (0:27)
  
• march (geographische und allgebräische hefte, heft 11, s. 837) (1:16)
  
• the st adolf ring of oberburg (0:57)
  
• prélude aux notes en bleu / die himmelsleiter (0:35)
  
• la petite île / island neveranger (1:01)
  
• bird 2 (0:27)
  
• le cours d'eau (0:42)
  
• zweitter foliantten=marsch (1:55)
  
• le sacre de st adolf / the divine almighty and wisdom at the zenith (1:31)
  
• part 3 : bird 3 (0:20)
  
• lea tanttaaria (0:16)
  
• die oberste regenttschaft von sant maria st hall (0:54)
  
• st eugène ysaïe / die oberste regenttschaft von sant maria st hall (1:28)
  
• dans le fond de la crypte (1:37)
  
• march, 1913 (geographische und allgebräische hefte) (0:54)
  
• la tour de st adolf tower (0:28)
  
• dans les rues de berne (0:55)
  
• juno, die göttin der neger (2:12)

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adolf wölfli the heavenly ladder / analysis of the musical cryptograms by baudoin de jaer cd / book cd + book 52 full color pages french + english contains only unreleased before material. all tracks exclusively recorded for this project. sr312 cd / book baudouin de jaer's approach gives a new dimension to the works of 20th century's major artists. he had not been previously exposed to wölfli's work. he was completely moved by the artistic and human dimensions of the mystery surrounding this gigantic and universal body of work created within the waldau hospital in the early 20th century. he managed what none other had accomplished before: to decode wölfli's hermetic and emblematic scores. adolf wölfli (bern, february 29, 1864 - waldau, november 6, 1930) was a swiss artist who was one of the first artists to be associated with the art brut or outsider art label. wölfli was abused both physically and sexually as a child, and was orphaned at the age of 10. institutionalized in 1895 at waldau psychiatric asylum near bern (switzerland) where he spent the rest of his adult life. he suffered from psychosis, which led to intense hallucinations. wölfli started drawing in 1899, but no work prior to 1904 has been preserved. in 1908, wölfli started developing what would become a potentially endless narrative stretched across 25,000 pages interrupted only by wölfli's death in 1930. his images also incorporated an idiosyncratic musical notation. this notation seemed to start as a purely decorative affair but later developed into real composition which wölfli would play on a paper trumpet. after his death the adolf wölfli foundation was formed to preserve his art for future generations. today its collection is on display at the museum of fine arts in bern and can be seen in many museums in the world. features baudouin de jaer

luigi nono / hans van eck “la lontanza nostalgica utopica futura • nuctemeron” double compact disc set

• luigi nono - la lontanza nostalgica utopica futura - start tapes (4:25)
  
• luigi nono - la lontanza nostalgica utopica futura - leggio 1 (6:31)
  
• luigi nono - la lontanza nostalgica utopica futura - leggio 2 (9:03)
  
• luigi nono - la lontanza nostalgica utopica futura - leggio 3 (7:42)
  
• luigi nono - la lontanza nostalgica utopica futura - leggio 4 (8:22)
  
• luigi nono - la lontanza nostalgica utopica futura - leggio 5 (9:31)
  
• luigi nono - la lontanza nostalgica utopica futura - leggio 6 (7:16)
  
  
• han van eck - nuctemeron - 1st hour (1:57)
  
• han van eck - nuctemeron - transition 1 (2:32)
  
• han van eck - nuctemeron - 2nd hour (3:53)
  
• han van eck - nuctemeron - transition 2 (2:00)
  
• han van eck - nuctemeron - 3rd hour (5:01)
  
• han van eck - nuctemeron - transition 3 (3:48)
  
• han van eck - nuctemeron - 5th hour (4:27)
  
• han van eck - nuctemeron - 6th hour (5:14)
  
• han van eck - nuctemeron - 9th hour (3:08)
  
• han van eck - nuctemeron - transition 4 (3:00)
  
• han van eck - nuctemeron - 11th hour (6:32)
  
• han van eck - nuctemeron - 12th hour (4:37)

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luigi nono / hans van eck la lontananza nostalgica utopica futura / nuctemeron 2cd digipack + 16 page booklet cd1/ sacd, playable on cd and dvd players cd2/ standard audio cd sr309 - cd1 features luigi nono's la lontananza nostalgica utopica futura (1992), an original title, a unique aesthetic metaphor even: one could say that the past reflected in the present [nostalgica] brings about a creative utopia [utopica]; the desire for what is known becomes a vehicle for what will be possible [futura] through the medium of distance. performed by tiziana pintus /violin and hans van eck /sound projection (the schreck ensemble). - cd2 features hans van eck's nuctemeron (2008), a spiritual voyage as described in the text of apollonius of tyana (93 ad) which serves as the basis for the performance, connected by intermissions. aspects of number symbolism, the four elements and the road to spiritual perfection have found their way into the music. features hans van eck conducting, sound projection tiziana pintus violin caroline erkelens voice, gong ainhoa miranda gimenez bass, alto, b-flat clarinet wilco botermans stratifier evert de cock mixing jan-kees van kampen computers pieter suurmond computers luigi nono (1924-1990) italian avant-garde composer of classical music who remains one of the most prominent composers of the 20th century. nono studied with malipiero at the venice conservatory (1941-5) and with maderna and scherchen, both of whom orientated him towards 12-note serialism (he married schönberg's daughter nuria in 1955). his avant-garde partisanship was inseparable from a commitment to socialism, twin aspects of a revolt against bourgeois culture: hence his avoidance of normal concert genres in favour of opera and electronic music, his frequent recourse to political texts and his work in bringing music to factories. his works include the operas intolleranza 1960 (1961) and al gran sole carico d'amore (1975), the cantata il canto sospeso (1956), orchestral works and tape pieces. much of his music of the 1950s and 1960s has a fervent lyricism; later works tended to be more pessimistic (ein gespenst geht um in der welt, 1971). the schreck ensemble the magic of sounds is for me the most important aspect of music. the foremost goal of my compositions is to make the listener experience sounds as they are, taking him beyond the surface of the music. my musical style might be described as lyrical and colourful. the use of live electronics and soundtracks is so integrated in my way of making music that i cannot do without it. i co-founded the schreck ensemble with the late arie van schutterhoef in 1989 in order to perform music that combines the use of acoustic instruments with the new sounds offered by modern computer technology. my music is published by mcn/donemus, amsterdam.

ulrich krieger “fathom” compact disc

• fathom (50:19)

pseudocode “slaughter in a tiny place” double compact disc set

• growing down (3:13)
  
• you’re not alone (6:20)
  
• cut up (12:10)
  
• works (11:20)
  
• flesh shop (11:39)
  
• névrose obsessionnelle (11:25)
  
• fight back (the angels) (19:49)
  
• i don't say more (3:37)
  
• keep quiet (17:57)
  
• slaughter in a tiny place (0:33)
  
• sad song (6:00)
  
• kind of a bitch (11:00)
  
• another country (2:34)
  
• refuse the punishment (3:07)

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pseudocode slaughter in a tiny place 2cd digipack features xavier ess alain neffe guy-marc hinant stephan barbery legendary belgian electronic improvised music band including 12 unreleased tracks. recorded between the beginning of 1980 to the end of 1982. pseudocode features xavier ess (thrills) guy-marc hinant, alain neffe (insane music, benne gesserit, human flesh, subject, i scream ... ). while xavier s. contributes most of the lyrics and vocals, and it is guy-marc hinant who often plays the core melody on his pianet electric piano, neffe's contributions are particularly noteworthy throughout, as he weaves together the bulk of the sonic cloth through overdubbing and mixing. one of his parts are remotely virtuosic (hence his self-identification as a non-musician), but they are always unexpected and perfect in and of themselves, emotionally and sonically, and in that sense they are deeply musical. this record is the missing link between the 2 ep's / the 2 potlach cassettes and europa, the final recored - and probably their best work. captagon years in that time, the onset of the eighties, we had the opportunity to create from sound itself instead of notes, from noise, screams, any chord, relevant or irrelevant. xavier (with stéphane barbery, digital dance), had been in one of brussels' first punk bands, thrills. alain had over 10 years of music experience and was influenced by kosmische musik and all kinds of weird and experimental music; he had put together several improvisation ensembles in the area, including the noisy kosmose, which i joined as a teenager. now that i had digested punk, i was into throbbing gristle, cabaret voltaire, the pop group, red crayola, this heat... and all these influences show up upon listen. this cd was made with in mind the urgency of these times. all tracks are unpublished and in this sub-collection, we intend to release a series of releases like they would be released at that time. (gmh)

charlemagne palestine “strumming music for piano, harpsichord & strings ensemble” triple compact disc set

• strumming for bösendorfer piano (52:14) 1974
  
  
• strumming for harpsichord (35:25) 1977
  
  
• strumming for strings (24:26) 1977