valeri scherstjanoi “zaum´ - заумЬ 1981-1989” long playing record

• glasnost, für andrej tarkowski
  
• unikale morpheme
  
  
• grabrede an einen albernen vergänger
  
• lexikalische zaum´

tochnit aleph press release...

valeri scherstjanoi zaum´ - заумЬ 1981-1989 lp, tochnit aleph ta109 released for the exhibition "valeri scherstjanoi - auf dem weg zum scribentismus. experimentelle texte und gesten. 1982-1989" at rumpsti pumsti (musik), berlin, june 2012. presenting early phonetic poems by scherstjanoi. black on white hand-silkscreened cover with insert (29 x 29 cm), black polylined innersleeves. edition of 80 numbered and signed copies, of which only 40 are available for distribution. valeri scherstjanoi, born 1950, grew up in krasnodar in the south of the present-day russian federation. he is a sound-poet, writer, and graphic artist since 1968. he is the author of a number of poetry-books and has been writing theoretical texts (his own poetic theory and the practice of ars scribendi) as well as articles and books on the history of russian futurism in magazines, collections, and anthologies. he lives and works in berlin.

gerhard rühm “verlautbarungen” compact disc

• glaubensbekenntnis (1973) (3:49)
  
• gruppendynamik (1982) (2:36)
  
• der wallfahrt lohn (1982) (3:56)
  
• rausch (1972) (3:10)
  
• seufzerprozession (2009) (3:36)
  
• ungleiche brüder (2001) (1:37)
  
• verlautbarung. eine sprechstudie in amtsdeutsch (2006) (3:33)
  
  
• expressionen (1952-1954) (3:45)
  
• gebet (1954) (0:56)
  
• atemgedichte (1954) (0:54)
  
• hymne an lesbierinnen (1956) (1:18)
  
• phonetische meditation (1985) (3:46)
  
• lautgedichte (2000) (2:04)
  
• aleatorische und symmetrische lautstudie (2006) (1:17)
  
• 12! ein zahlengedichte (1979) (2:49)
  
  
• zwei anektdotische sprechduette (2012) (2:15)
  
• pressenotizen (2000) (4:44)
  
• schweine, menschen, engel (2001) (5:59)
  
• glaube liebe hoffnung (2002) (2:45)
  
• getäuschtes vertrauen (2007) (4:46)
  
• gebären und bestatten (2007) (3:45)
  
• schimpfduett (1:11)
  
• sprechtänze (2008) (4:33)

tochnit aleph press release...

gerhard rühm verlautbarungen tochnit aleph ta107 cd presenting 37 solo text-pieces, phonetic poems and poetry duets (with monika lichtenfeld) written and composed between 1952 and 2010. recorded 2011 at piethopraxis tonstudio, cologne by marcus schmickler. comes with 24 page booklet with liner notes by gerhard rühm in english & german. gerhard rühm (b.1930) is an austrian writer, visual artist, composer, performer of experimental / phonetic poetry, radio and theatre author and publisher. he is considered one of the most important artists of experimental poetry. he studied piano and composition at the national academy of music and interpretative arts in vienna and later received private tuition from josef matthias hauer. he lives in cologne and vienna. gerhard rühm was a founding member of the “wiener gruppe” (1954-1960) with friedrich achleitner, h.c. artmann, konrad bayer, and oswald wiener. given the radicalism of their writing, works of art, and happenings, the group is considered to be the first avantgarde movement in austria, thus contributing decisively to the origin of the vienna actionism. rühm belongs to the classics of modern german-language literature. scores of new genres, such as "visual music", "auditory poetry" and "gestural drawing", are among his wide-ranging, heterogenous work that emerges from the interface of literature, visual art and music. his work, which bears the influence of expressionism and dadaism, is often based on ready-made material taken from everyday life, which he then adapts using a particular formula. in a spirit of play, and without subjecting himself too rigidly to self-imposed rules, astounding, multi-layered effects of meaning emerge from an extreme concentration of means.

toine horvers “selected recordings of performances and installations 1982-2004” compact disc-recordable boxed set

• wall (fragment) (1:09)
  
• tijd (5:07)
  
• clouds 4 (fragment) (10:02)
  
• waves (studio) (3:03)
  
• clouds 2 (fragment) (7:39)
  
• stream 2 (2:15)
  
• clouds 7 (fragments) (3:50)
  
• scheepshoornstoot (2:30)
  
• rolling 3 (fragment) (5:12)
  
• names, sections of the head (fragment) (5:17)
  
• limestone (fragment) 6:58)
  
• etmaal voor berlage (fragment) (5:50)
  
• stream 4 (2:08)

tochnit aleph press release...

selected recordings of performances and installations 1982-2004 by toine horvers. tochnit aleph ta103 selected and edited by toine horvers & daniel löwenbrück in 2011. edition of 150 copies. cdr and 15 text-sheets in black folder, house in a custom-made box (215 x 150 x 16mm). dutch artist toine horvers (born 1947) started in 1969 as a visual artist with movement experiments using his body as a way to explore the relation between time and space. soon after, performances followed in which he connected these movements with actual architectural space and actual time, for instance by performing a piece over 24 hours. sound, in the form of monotone voices or constant drum-rolling, became an important element in these works: sound as a means of making human energy spatial and perceptible. horvers used to call his immaterial works ‘sculptures’ as an attempt to create statements of energy. through the years language has increasingly become his source of inspiration, becoming both concept and matter and appearing in individual and group performances as well as in installations, books and electronic text displays. the source however is always his fascination for the intangible relation between time and space which he expresses in forms, patterns or procedures that often show similarity with patterns and procedures in ritual ceremonies as well as in childrens' games. available january 20, 2012 - - - 1. wall (1982, fragment) performed at apollohuis eindhoven, the netherlands, as part of three movement sculptures. sound performed by corné evers. in the long low room of the apollohuis – 8 x 20 meters- i move sideways – at short intervals – across the diameter from one side to the other, by short jumps, four jumps per second. by breathing through my teeth i highlight my movements in the space.. the sound is stereophonically recorded and reproduced by loudspeakers on both side of the space. in about 15 minutes the layers create a wall of sound. 2. tijd (2006) recorded by concert radio in theater romein leeuwarden, the netherlands. performed by members of cluster voices chamber choir directed by romain bischoff. i contributed four 'vocal sculptures' to the project espacio by cluster voices chamber choir. the piece tijd (time) was a slightly ironic answer to romains' request for a piece for 5 voices with a duration of 5 minutes. 5 singers are standing close together each equipped with a stopwatch. the first person starts the stopwatch and starts counting aloud the seconds. when the first minute is finished a next person starts the stopwatch and starts counting, and so on till 5 persons are counting. this process stops when the first singer reaches minute 5. 3. clouds 4 (1998, fragment) performed at haagse kunstkring, the hague, the netherlands. six female singer-students from the music conservatorium in the hague are positioned along the walls of the space each equipped with a stopwatch. they are asked to, individually, make long or short voice-waves continuing for one hour. each wave consists of an as much as possible gradually and symmetric increase and decrease of pitch parallel with volume. the singers individually decided the duration of the waves. they also were free to make their increase and decrease in steps or in glissando's. 4. waves (2004, studio) during my stay in 2003 on the aran islands along the irish west coast, i made oral and written textual descriptions of the movements of clouds and waves, often timed with a stopwatch. 'waves' is a studio-recording in layers of my own voice while reading aloud 4 timed notations of the movements of the waves. 5. clouds 2 (1988, fragment) performed at project arts centre dublin, ireland. 'clouds 2' was a sound sculpture as contribution to conference on sculpture curated by jenny haughton, performed by three members of the black raven piper band. the theatre space of the project arts centre has public galleries on three sides of the stage. behind each gallery a narrow beamed theatre light was positioned which could be operated by hand in both light-intensity and direction. three drummers each carrying a different type of snare drum and a stopwatch, were positioned in the stage space, each facing one of the three theatre lights. they were asked to make drum rolls for one hour while continuously moving to and fro in the line of the light in a slow pace, increasing the volume of their drum roll when getting nearer to the light source. the light operator had to follow the drummer along his line through the space and at the same time increase or decrease the intensity of the light. the drummers continuously had to estimate their volume of rolling in relation to their position in the space. the performance lasted for exactly one hour. 6. stream 2 (1994) studio-construction of a sound installation as contribution to the group show the knossos labyrinth in equilibrist gallery st.niklaas, belgium. in this fragment from ovid's metamorphoses, the confusion of the labyrinth is compared to the complex movements of the river meander. for 'stream 2' parts of the text, read aloud in latin, were recorded onto endless tapes and played in the exhibition from cassette walkmen with small loudspeakers, arranged in a moving line through the gallery space. because of the unregular speed-quality of the walkmen the text moves to and fro and has the soft but high-frequency sound of moving water. 7. clouds 7 (1992, fragments) permanent sound installation in the c-block elevators of the ministry of housing, planning and environment in den haag, the netherlands, designed by architect jan hoogstad. hard-and software and sound processing steim by harry stokman and paul spaanderman voices of singer students sweelinck conservatorium amsterdam. the new building for the ministry of housing, planning and environment got the nickname 'transparent ministry' because of its enormous glass covered spaces. my starting point for a commissioned work of art in one of the elevator shafts, was based on the somewhat ironic idea that the elevator-towers are the only spaces in the building where no outside influences are noticed. the work consists of a sound of human voices, which the user of the elevator travels through and which is variable by the influence of the weather conditions outside. through the entire height of the elevator shaft 32 loudspeakers are installed. one side-panel in each elevator, consists of non-soundproof material. in a computer memory 29 pitches of the human voice - from base to soprano - are stored. the data from the buildings weather station, giving information about light, wind, temperature and rain, is directly transformed into a changeable 'choir' sounding from the loudspeakers. no more than 8 consecutive loudspeakers can sound together. the choir changes its vertical position in the shaft as well as its composition, density, volume and pitch. in 'clouds 7' the weather patterns are not directly translated, but the weather's unpredictable movements are continually used as impulses for changes in the 'clouds of voices'. in 2008 the technical installation has been revised. 8. scheepshoornstoot (2004) performed by cluster voices chamber choir directed by roman bischoff. recording by concert radio in theater romein leeuwarden, the netherlands. for years now, visual artist joe cillen has been working on a project in which noordereiland (north island) in rotterdam is perceived as a ship: m.s. (motor ship) noordereiland. where possible, he aims to involve the noordereiland community in the project. arising from this concept, artists were asked to come up with a design for a ships' horn. my ship's horn is designed to be 'sounded' by the voices of islanders the 'noorder-eiland scheeps-hoorn choir' bridging the distance to the shore. the choir's repertoire comprises just one piece: 'scheeps-hoorn-stoot' (one blow of the ships' horn) the piece consists of the compound word: 'scheeps-hoorn-stoot' which is sung for 10 seconds and repeated 3 x 3 times. there is a 5-second pause between each compound word and, between the groups of 3, a 20-seconds pause. a set of 3 times 3 times scheeps-hoorn-stoot therefore takes 2 minutes and 40 seconds. the piece has to be performed with brass megaphones on special days by 3 groups of singers, positioned along the quay of the island and sung in shifting layers. for the performance of cluster voices the singers used their hands around their mouth instead of the brass megaphones. 9. rolling 3 (1986, fragment) studio recording by hans venmans. percussionist cor links. during a stay on inis oírr, the smallest of the aran islands on the west coast of ireland, i made recordings of waves entering and leaving a deep grove in the rocks, dragging stones up and down with them. for rolling 3 i asked a percussionist to continuously roll on a snare drum varying his volume of rolling in reverse with the activity of the waves on the recording, which movements are made visible on a led-panel. because of the irregularity of the waves on the rocks, the performer is continuously confronted both physically and mentally with this rockiness. 10. names, sections of the head (1998, fragment) sound installation as contribution to the symposium eye and ear at duende artist's collective rotterdam, the netherlands. performed by singers of koorproject rotterdam thanks to maarten michielsen. the symposium 'eye and ear' had to do with the relationship between image, sound and space. in 'names, sections of the head' i sought to draw a connection between the spatiality of the sectional systems as depicted in medical books when describing the human body, and the architectonic spatiality in the building of duende. in each of the acoustic hall ways of the monumental former school building, situated on top of each other and connected on both sides by open stairways, a person was situated on whose head light lines were projected indicating the anatomical sections. next to the projectors were two singers who alternately recited aloud all latin names of elements appearing in the projected section. on each hall level a different section system was projected: frontal, sagittal, axial, and the names recited on a different pitch. when the names of a certain section were finished the singers operate the projector for the next section. the sounds of the voices mingled in the staircases due to the extremely sensitive acoustics. 11. limestone (2003, fragment) studio construction with the voices of 18 residents of the island inis oírr, ireland. from january to april 2003 i worked in the guest studio at aras eanna on inis oírr, the smallest of the aran islands on the west coast of ireland. this period has been inspiring for the development of my work with the relationship between time/space, and language. i have described cloud movements, waves, landscapes and rock structures in the form of 'written' drawings. i also described these elements verbally and recorded this on tape. in concluding my work period on the island, i selected a stone, on which i marked the four wind directions, and asked a number of islanders to give an oral description of the form, structure and colour of the stone. some islanders did this in irish, others in english. in the sound installation 'limestone' their vocal descriptions are heard simultaneously from a various number of loudspeakers in a continuous flow of voices. 12. etmaal voor berlage (1985, fragment) vpro radio broadcast from an installation at the gemeentemuseum den haag, the netherlands. performed by 288 participants. technical installation steim software paul van goudoever. as part of the project 'artists and the 50-year-old berlage building', i was commissioned to come up with a temporary art work based on this last and most beautiful building by the architect hendrik berlage. for me, it was the erezaal (reception hall) that most captured the spirit of this building, and possibly the architecture of berlage in general. the situation of the hall within the building, its dimensions, colour and incidence of light, makes it rise above its own architecture, giving it something spiritual and meditative. i decided that a fitting tribute to this would be a demonstration of human energy and concentration: 'day for berlage' was a movement/sound sculpture where human voices are heard continuously over a twenty-four hour period, starting from silence at 00.00 am, gradually increasing to a climax at midday and then decreasing to silence again at 24.00 pm. starting and ending with two voices, each hour a larger new group was installed, without interrupting the sound. at midday a group of 24 participants occupied the chairs around the table on which two monitors dictated the voice volume related to that moment of the day. 13. stream 4 (1995) 'stream 4' is a fragment of weekly stereo radio broadcast. the centrum beeldende kunst rotterdam, the netherlands, invited artists to come up with a proposal for a temporary work of art, inspired by the urban situation in the laurenskwartier, the place where rotterdam, and also the port came into being. the laurenskerk, one of the few buildings that remain of the old centre after the bombings during the second world war, is the central point of this area. keeping in mind that today's port is still moving further away from the old centre, my proposal consisted of a temporary connection by means of the medium radio. for the 12 week period of the event a weekly short real-time sound connection was made between the port and the laurenskerk, and broadcasted live via stadsradio rotterdam. every wednesday at precisely 1.16 pm, three percussionists performed a drum roll on the largest bell of the church with wooden hammers, while at the same time a short telephone conversation took place with the captain of a foreign ship in the port. the humming tone of the bell, and the captain's voice who is telling something about his ship in his mother tongue were broadcasted simultaneously, for 2 minutes, on stadsradio, each sound source on one channel of the stereo signal.

rudolf eb.er “meditation on a broomstick” compact disc

• fehlstartprinzip (2:26)
  
• angsthysterie (in lepido... scherzhaft / spasshaft) (1:44)
  
• shamanoid (4:12)
  
• geisterstimme (0:25)
  
• pechschwarzer schwefelgeruch... (pleakswart swaelreuk) (3:21)
  
• oralsadistische stimmübung mit vögel (2:09)
  
• für aggressionstrieb und grifforgan (0:37)
  
• spieltherapie mit um den hals geknoteter (darm-) saite (1:40)
  
• schnabelartige ausdrucksformen (initiation und verwandlung) (für kham-naar) (1:26)
  
• regnende kröten (1:06)
  
• pink 1 (tiermenschliche doppelnatur) (1:00)
  
• für stehpult und leiter (0:27)
  
• pink 2 (tiermenschliche doppelnatur) (0:27)
  
• sommer (1:08)
  
• mordsmusik (4:52)
  
• jenseitige wahrnehmungen (psychodrama, zürich) (1:39)
  
• triebziel (2:14)wash your brains (baum sein) (3:40)
  
• animist hum papa (0:52)
  
• psychopompos (und kaori yakushinji) (2:30)
  
• hellhören bei schläfenlappen-epilepsie (simulation mittels transzerebraler magnetstimulation) (2:41)
  
• übergangsritus, vogelwaschung (0:23)
  
• hirnstamm / hirnstomp (2:10)
  
• mehrstimmige wahnaktivität 1 (0:53)
  
• organlust - brutwulst (2:12)
  
• mehrstimmige wahnaktivität 2 (1:00)
  
• ich-zerfall (5:55)
  
• quelle (6:23)

tochnit aleph press release...

rudolf eb.er meditation on a broomstick tochnit aleph ta100 first proper studio album by rudolf eb.er / r&g since '23 brutal-humouroid dramas' (ta052) from 2005. psycho-active audio-art composed and mixed 2010-2011 by rudolf eb.er in osaka. cd in 6-panel fullcolour digipak. edition of 500 copies.

valeri scherstjanoi “lautinhalationen” compact disc-recordable and digital versatile disc-recordable set

• untitled (1) (:52)
  
• untitled (2) (1:17)
  
• untitled (3) (1:12)
  
• untitled (4) (3:11)
  
• untitled (5) (4:31)
  
• untitled (6) (4:18)
  
• untitled (7) (2:35)
  
• untitled (8) (3:33)
  
• untitled (9) (5:31)
  
• untitled (10) (5:48)
  
• untitled (11) (1:52)
  
• untitled (12) (6:45)
  
• untitled (13) (1:24)
  
• untitled (14) (2:44)
  
• untitled (15) (1:56)
  
• untitled (16) (2:42)
  
  
• live-performance at nk berlin, november 26th 2010 (15:40)

tochnit aleph press release...

valeri scherstjanoi - 'lautinhalationen' cdr+dvdr cd featuring 16 sound-poetry vocal pieces by berlin-based russian sound poet, graphic artist and futurist valeri scherstjanoi (born 1950) recorded january - december 2010. dvd features scherstjanoi's live-performance at nk berlin, november 26th 2010. comes in white dvd digipak with scribentic artwork by scherstjanoi. first edition of 60 signed copies.

junko / michel henritzi “berlin no tsuki” compact disc-recordable

• junko – solo, may 31 2009, trickster (40:03)
  
• junko & michel henritzi – duo, may 30 2009, ausland (20:52)

hermann nitsch “eighth symphony • for choir, orchestra, and noise orchestra” double compact disc set

• eighth symphony (1) (21:28)
  
• eighth symphony (2) (21:26)
  
  
• eighth symphony (3) (20:44)
  
• eighth symphony (4) (20:51)

tochnit aleph press release...

hermann nitsch - eighth symphony - 2cd-box, tochnit aleph ta093 recordings of the first performance of hermann nitsch's 8th symphony (for choir, orchestra, and noise orchestra). composed by hermann nitsch. performed june 25th 1990 at the mak museum für angewandte kunst, vienna by ensemble 20.jahrhundert, hugo distler chor, blasorchester der wiener e-werke, wolfgang mitterer (synthesizer). first issued as a double-lp by the cortical foundation, usa, in an edition of a mere 185 copies in 2001. comes in big double-disc jewelcase with all new artwork including 2 posters with credits, photos, a part of the score, and the text 'die gigantische symphonie' by günter brus. günter brus the gigantic symphony hermann nitsch is looked upon as the true successor of the great masters of symphony: beethoven, bruckner, and mahler. he draws from scriabin's, schoenberg's, and webern's experience, however, comes up with different conclusions than their (sanctioned) successors. that is to say: nitsch disregards webern's analysis of music. unlike others he does not attempt to advance atonal music with methods that since long should be handed over to science and technical realms (e.g. stockhausen). nitsch ignores any attempt to investigate the core of the construction of webern's music. he does know it well though and starts where others don't react at all; at lust, rot (disintegration) and death, poison and madness, fragrance and temperature, the fluid, the excess. to him the intricate structure of a symphony is not accidental play with traditional forms, it's necessity. a symphony is s o u n d (and complete). nitsch draws material from a number of epochs, mostly though from late romanticism and expressionism. unlike those who don't want to let go of the past, nitsch uses material that pertains to today's interests rather than adhering to structures established before. theater and music cannot be left in the hands of specialists only. a new generation has to grow. nothing is gained by performances of some puny imbeciles. these warmed-up-versions of dadaistic rage are no good if the goal is to leave the current stagnation in theater and music behind. the staging of a nitsch performance requires something that is completely missing in today's karajans and bernsteins: what is called for is rather exact knowledge of where liberation and expansion (really) takes place. maybe they struggle all the way to the primal scream (which should be given a chance to erupt) but get stuck midways as the expressionists whimpering with clammy (inhibited) souls. freud is like an oxygen frenzy (rush) for these tenors. few set out to work on scriabin's fragrance and color prophecies. i see a legitimate expansion of scriabin's mystery play in nitsch's symphonic and theatrical work. nitsch does not make the mistake to turn scriabin's demands into dogma. he doesn't allow himself (run danger) to separate scriabin from history like a fatherly patron the way it happened to webern and his successors (epigons). nitsch didn't run into scriabin like a lost son but as somebody who clearly knew his own goals and was capable to integrate sriabin's visions into his own work. in london, 1966, nitsch was called the "bruckner of the happening". he succeeded so radically in breathing new life into the great symphony which was said to be dead that it will soon turn popular, short sighted hodge podge views on the "history of music" completely upside down. günter brus 1969 (translation hans j. schacht)

schimpfluch-gruppe “paris aktionen • aktion 961123 b/w aktion 970223” long playing record

• aktion 961123 (18:10)
  
  
• aktion 970223 (10:10)

tochnit aleph press release...

schimpfluch-gruppe - paris aktionen lp brutal document of two live actions performed in paris 1996 & 1997. aktion 961123 (the infamous "spaghetti-action") featuring rudolf eb.er, dave philips, helena greter & aktion 970223 featuring rudolf eb.er, dave philips, helena greter, doris tomasoni. edition of 500 copies. mastered & cut by rashad at d&m, berlin. co-released by tochnit aleph & beniffer editions.

deflag hæmorrhage / haien kontra “humiliated” compact disc

• humiliated (22:20)

tochnit aleph press release...

deflag haemorrhage / haien kontra - humiliated cd product code: ta088 mattin (computer feedback, voice, guitar) " " (sic) tim goldie (drums, voice, credit card, amplifier) recorded and mastered by rashad becker october 2007 & july 2008, edited and mixed by mattin and " " (sic) tim goldie at worm, rotterdam, january 2008. edition of 500 copies, with 2 double-sided a5 cards packaged in oversized luxurious metallic silver foil envelope with sticker attached. absolutely fucking insane. the weirdest record i have heard for a long time!! the eccentricity/ form destruction of say ultra but more slick, like a cheetah applying lipstick on a coke mirror. like if you record humidity. wild mix of sexy cymbals, (non) accident vocals/child sighs, makes william bennett sound like moira stewart. bonkers bonkers and once more bonkers its like taking one massive shit and then it grows a mouth and starts talking back??? arachnophobia toilet scene style. w/ heavy last seconds unpaused tape aargh style. - stephen warwick

deflag hæmorrhage / haien kontra “luxury” compact disc

• humiliated (3:17)
  
• paso disjunct doble (1:29)
  
• western guts (3:47)
  
• how will it be enforced? (3:48)
  
• contrast of saturation: resection penetratia (10:30)
  
• it's not your fault you are the authentic version of what the rest of us can only imagine (3:37)
  
• this this this this this this this (4:07)
  
• a fucking con (6:07)
  
• context* (1:02)
  
• "lacguage = noumenal sarcoshyce" [sic] (5:38)
  
• komo deboro parasitic empathy: text eyes humger striker (6:56)
  
• "devocalise: [not to be heard] revocalise! "blocksperree!" revocalise! (1:38)
  
• submucosa (2:48)
  
• oxygen of disavowal (9:37)
  
• victory for the psyche (3:08)
  
• your process of legitmisation (6:43)

tochnit aleph press release...

deflag haemorrhage / haien kontra - luxury cd product code: ta088 mattin (computer feedback, voice, guitar) " " (sic) tim goldie (drums, voice, credit card, amplifier). all tracks recorded by " " (sic) tim goldie except number 12 ('field recording at huntigdon life sciences') by zoe broughton, and number 16 recorded by mattin. mastered by daniel beattie. all tracks edited from improvisations. edition of 500 copies, with 2 double-sided a5 cards packaged in oversized luxurious metallic golden foil envelope with sticker attached. defusing preconceptions of what a live event should be and degrading its components - the sound, the performance, the audience - without imposing aesthetic or moral limits: this is the reason for being of deflag haemorrhage / haien kontra, the project born in 2001 from the minds of two of the most unpredictable and 'conceptual' contemporary sonic activists: mattin and " "[sic] goldie. ferocity and immobility, instruments abused and unused, musicians zombiefied in their 'stage persona' and in general the sense of psychosis, of necessary superfluousness that gushes from every gesture, from each decision taken by this anglo-basco duo make their live event an experience that is all but impossible to relate to, at least until they've stripped you of the costuming of dominant culture. - valerio tricoli

jürgen eckloff “instruction 35/37 • report of a person whereabouts unknown • a column one film by jürgen eckloff” digital versatile disc-recordable

• instruction 35/37 (30:00)
  
• bonus film (3:00)

masonna / runzelstirn & gurgelstøck / masonna “clitoris projectile pump action” compact disc

• untitled (1) (29:59)
  
• untitled (2) (26:14)

junko / mattin “junko & mattin” long playing record

• stop it (17:13)
  
  
• too late (19:55)

dror feiler “zvug” three inch compact disc recordable

• zvug (11:56)

evil moisture “amanita burger” compact disc recordable

• yerm flowers 1990 (+ bonus)
  
• pigtail w/ eyeholes 1991
  
• blood sauce 1998
  
• worm leatherette 2003 (+ bonus)

schnäbi gaggi pissi gaggi “schnäbi gaggi pissi gaggi” long playing record

• elisabeth kopp
  
• klavier band wurscht (und nacher ischs quark)
  
• schlagzüg boxe quark (wurscht ischs viel geiler)
  
• heitzig strom röhre waddi wuddi guggi
  
• chaschtle-eier (und) wand-musik (zwoi stück)
  
  
• yüü-ta
  
• ga-gu
  
• ? (öppis) microphon schlagzüg boxe umä (oder so)
  
• zähputze pyjama allege is bett gah
  
• zwüschet dinne öppis
  
• elisabeth kopp (encore)

“the end of the fear of god” compact disc

• rlw - 7up 2002
  
• n.o.g. - final chant for god
  
• norbert möslang - 4183
  
• rudolf eb.er - trottelgott
  
• sudden infant - fear of richard gere
  
• strotter inst. - rubbish planet remix
  
• soviet subliminal seduction - the fuck of(f) god
  
• suntour - love song
  
• andrew phillips (4) - don't fuck our children
  
• schurer - fantasie in cmaj
  
• unholy grave - absolution
  
• kevin drumm - first class people
  
• bela kiss - pharma-zootic
  
• evil moisture* - umbilical retribution
  
• hecker - easy jxeluspl jxel funnn pre mix
  
• yamatsuka eye* - 7 seconds no tone
  
• r.h.y. yau - prisoner of your ideals
  
• the idealist - the deconstruction and ressurection of under the chainsaw
  
• gorebitch - pelzfotze bitch
  
• massaccesi - i'm positive that i've seen my hands running through a sea of bodies
  
• kure kure takura - our beed god re-trip butt on frog
  
• dylan nyoukis - under the chainsaw
  
• mike patton & kid606 - circle a
  
• genetic transmission - untitled
  
• eric boros / jason flowers - wo-po-po-po
  
• stress - world under my fingernail
  
• jason kahn - running through the blood
  
• fear of smallcock - untitled
  
• imperative - positive
  
• shoji goto - a sunset with 4 painter
  
• glands of external secretion - (make) 7 up (yours)
  
• jim o'rourke - fog rmx
  
• dropdead / outosushi - pneumatic slaughter
  
• k2 - junk grinder of the master
  
• doris tomasoni - nasse fotze
  
• kouhei matsunaga - a lot of fog or 2 fog
  
• eva revox - sphincteral descaling
  
• merzbow - fear of god
  
• kein babel - gloria
  
• blackjewishgays - bjgrmxfog
  
• eva d. - il fece del signore
  
• ommyth - controlled by fear
  
• medieval moisture - f(urbies) o(n) g(lue)
  
• humectant interruption - bird bite
  
• saicobaba - 11:25 am - 11:26 am
  
• rabid dogs - p.c.u.n.t.
  
• j.c. - fear of fnord
  
• dave noyze - chemical induced oscillatory machination of a circle
  
• dj killroy vs von wurstfinger - one day fly (killfinger remix)
  
• rm74 - eintagsfliege
  
• raionbashi - i81b4u
  
• viscious circle - freakers...
  
• ecrase-merde - amuse - guele
  
• atta - absolution
  
• shite minor - schwere geburt
  
• voice crack - 7714
  
• thomas ankersmit - untitled
  
• silvum - catalogue more rubbish bodies
  
• runzelstirn and gurgelstock - lasset uns beten
  
• takedown uav - for lack of all else: youth devour divinity
  
• the haters - rubbish remix
  
• russell haswell - fog micromedley
  
• the nautilus deconstruction - rubbish away
  
• chicken & money - c&m love fear of god
  
• bloodstar vs saalschutz technopunk - pelzfotze
  
• pita - xxx229fog
  
• seaman staynes & master baits - watersports whilst foggy
  
• zbigniew karkowski - trig
  
• machine gun tv - untitled

evil moisture / hanatarash “fatanarchy on airtube” compact disc

• atomichy in the lsd (0:37)
  
• sleepwalking guaide book at ohio (0:32)
  
• antatack for sexpeople (0:13)
  
• punk yappie cutting tree (0:06)
  
• fuckzotika (0:16)
  
• ongaloo trackin' (0:20)
  
• musica club (0:12)
  
• green egg and yellow ham (0:17)
  
• subatomic party (0:26)
  
• ufoff (0:04)
  
• eat 'em used gum (0:04)
  
• bonus beats by dj 100% off (0:18)
  
• bar time with eno (0:28)
  
• fingertip believer (1:17)
  
• ever mind the overdosing (0:33)
  
• plactice youth (0:13)
  
• fatanarchy on airtube (0:47)
  
• espmo (0:42)
  
• bank punks / noise bank (0:27)
  
• dj save ear 50% off (0:12)
  
• my superzone (0:29)
  
• sonic bonus (0:39)
  
• bunch of flash food (0:51)
  
• be airport (0:32)
  
• box rok (0:26)
  
• alphabetical ray (1:26)
  
• ultra choice (4:33)
  
• jawwalkin' (3:47)
  
• eye of the hanatarash (2:52)
  
• banky atmosphere (1:18)
  
• untitled (1:17)
  
• untitled (1:26)
  
• untitled (1:57)
  
• untitled (1:34)
  
• untitled (3:06)

pop “album” compact disc recordable

• untitled (1)
  
• untitled (2)
  
• untitled (3)
  
• untitled (4)
  
• untitled (5)
  
• untitled (6)
  
• untitled (7)
  
• untitled (8)
  
• untitled (9)